Aris Giavris

An Introduction to stereotypes
And Creative Reading

Each document set up an interpretation. Many readers of the preceding sentence

will seem reassuringly obvious. But let's get the time to think a bit more content
and depth. Assume initially that the depth is much greater than the phenomenon
and for this reason, the legitimate need for deeper study, can contribute both to
changing the emotional mood, and the formulation of more complex ideas than
we are willing to allow to our thought.

Incidentally, we say that in this introductory text will not read the stereotyped
expressions (cliché) usually encountered in spoken or written texts –with a few
exceptions– of our everyday lives. The reason is that phrases like "in bad
times", "collective madness", the "crisis of Greek society" and other similar,
because of endless repetition, form, even occasionally, grids of meanings and
predispositions, able to provide readers with viewpoint from which it is
necessary to consider all the events that shape the reality, to make their
arguments (correctly or not is of least interesting) and eventually turned into
satellites of the current reality which they invited to interpret.

Temporarily closing parenthesis opened, back in the previous paragraph. No

text exists in itself, is itself, in a vacuum. In each text found first, the invisible
expectation of the author and the obscure will of the reader. But in the order of
phrases in the visible syntagmatic axis and the resonances of meanings, the text
– particularly the commentary– is been transmuted to screen or (to become
more colorful) to a system of crystals, which on the one hand calls attention to
focus extract of the reality that the writer proposes enlarging, and the other hand
managed in a way that makes it inevitable to impose an interpretation.
© Aris Giavris 2010

www.arisgiavris.gr

Foto: MagiCircle

1st Publish: June, 2010

An Introduction to stereotypes and Creative Reading

Each document set up an interpretation. Many readers of the preceding

sentence will seem reassuringly obvious. But let's get the time to think a bit
more content and depth. Assume initially that the depth is much greater than
the phenomenon and for this reason, the legitimate need for deeper study, can
contribute both to changing the emotional mood, and the formulation of more
complex ideas than we are willing to allow to our thought.

Incidentally, we say that in this introductory text will not read the stereotyped
expressions (cliché) usually encountered in spoken or written texts –with a few
exceptions– of our everyday lives. The reason is that phrases like "in bad
times", "collective madness", the "crisis of Greek society" and other similar,
because of endless repetition, form, even occasionally, grids of meanings and
predispositions, able to provide readers with viewpoint from which it is
necessary to consider all the events that shape the reality, to make their
arguments (correctly or not is of least interesting) and eventually turned into
satellites of the current reality which they invited to interpret.

Temporarily closing parenthesis opened, back in the previous paragraph. No

text exists in itself, is itself, in a vacuum. In each text found first, the invisible
expectation of the author and the obscure will of the reader. But in the order of
phrases in the visible syntagmatic axis and the resonances of meanings, the text
– particularly the commentary– is been transmuted to screen or (to become
more colorful) to a system of crystals, which on the one hand calls attention to
focus extract of the reality that the writer proposes enlarging, and the other
hand managed in a way that makes it inevitable to impose an interpretation.

Reading the last sentence of the preceding paragraph, the observant reader will
rightly complain, saying that in front of the text is "plain paper" (tabula rasa);
that is free to consider the ideological aspects of the author and to evaluate the
correctness of his views. And she is right. But he must consider that the
expression of preference for texts of x based columnist is found, often but not
always, on a form of structural coupling or even complicity: the columnist
writes for a public audience and in turn the public chooses the text written
directed it. In this way is opened between the two (the columnist and the
public) a field of meanings, contexts and finally interpretations which are
maintain –like as a recursive function– the writing activity the first and confirm
the interpretative abilities of the latter.
 Aris Giavris || An Introduction to stereotypes and Creative Reading
4

The potential reader has certainly the ability to read the text or reject it. She
will not, however, cease possessed or be gripped by the potentiality of its role,
namely confessed or untold, because custom, belief that we must always return
to the text and, therefore, to read. So we could talk about addiction to reading
or otherwise for the addiction of reading? Before answering, we need a
clarification. The creative reading has little in common with addiction
mentioned. And to dare a dramatic difference, we would say that both versions
of the reading are two ways of inner life and personal style

The addicted reading feeds on the inescapable need for confirmation: "That is
the stuff! Not because the way I think, but because wiser people are verify with
the strongest possible terms what I think." This is not the closure of
interpretation, by which anyway we characterized as interpretative and
narrative beings, but a kind of intellectual arrangement of our household daily
upsets the violent onslaught of television news by greedy intention to redirect
our attention to the 'new', the' explosive' in 'unprecedented' in the interim
"excessive interest worth."

At this point, before continuing with the creative reading, it seems appropriate
to return to the stereotyped expressions (cliché). We mentioned that form grids
ofg meanings and predispositions. A cliché such as "we need a different
institutional context ' is not just a constantly recurring order of words or
meanings that reassure the unannounced and strain to protest the suspicious
reader. Much more is as we understand etymologically, a fixed point (in the
math sense) in the continuous flow of the tide of potential semantic
correlations, namely thought. The presence in the text (spoken or written)
reflects the efforts of the author or speaker to turn it into a magnet while a
capacitor (with the strict sense of the concept in physics) of intellectual energy,
and thus flow controller of it. Prima facie this function is not unfair. I would
dare even to liken cliché –simplistically of course– the rhetorical ground (loci),
gave the orator the ability to draw on a ready arsenal of arguments, the figure
of speech, starting to be contemplating the strategy of confrontation with the
interlocutor .

Bypassing the intention of the author or speaker to persuade, we stress that the
cliché lacks a similar ambition. Furthermore, the purpose of this introduction is
to focus on the reasons for the use of stereotyped expressions by the author or
speaker. Instead, having as a pretext the presence of these expressions in some
texts, our intention is focused on how the reader affected.

Stereotyped expressions (cliché) serve as attractors (with the meaning given to

the term by the theory of dynamical systems). Their function is consist of the
conscious or –more often– unconscious pursuit of the author to establish the
 Aris Giavris || An Introduction to stereotypes and Creative Reading
5

note down thought until thickened solidification meanings, from which

originates or to which converges almost whole verbal material constituting the
text. We would add even (to shorten this lengthy parenthesis) that in many
cases a stereotyped term is regulated in the propositional space provides a
major premise usually or, simply, a "universal" assumption. Especially if we
consider that thinking in words (with meanings more accurately), that with the
words we see and hear, we can conclude that the current stereotyped
expressions (whether manifested as witticisms or as cues or as parts of
arguments), in conjunction with the multiplicity of meanings that they evolve
and attract, create understanding; require a way to interpret and understand.

Creative reading is not novel idea. Each reading requires a reader-observer.

The difference lies in allowing him to remain, even for a short time, the
thoughts of silence at rest: in an anteroom where anything goes and where the
rules do not require confirmation of the public; in other words, a playful and
experimental space. Indeed we would add that it would be useful to avoid the
emergence (anadeixis) of some of the articles published –on the website,
newspapers or blogs– as leading texts with our comments. Any creative
reading implies an absence and a minimal silence. As for the lack we refer to
the previous paragraph. As for the silence, and it has its own strategy.

The purpose of this introduction is not to propose definitive solutions; solutions

that does not claim it holds. The intention is to provide a simple tactic. First it
proposes to the reader equip with weapons of suspicion. Then it reminds him
that the very introduction is just a screen that is almost impossible to disengage
without the risk of returning to a pre-conceptual level.

What is really this tactic? The reader can submit texts and his own reading of
the temptation of ignorance and improvisation. He can play the game of the set
of keywords to try out the ideas that create the sudden of their proximity. The
deeper he proceed, that is to say as much space her thought occupies in the
anteroom mentioned in the previous paragraph, both would be released from
the "unique" or imposed interpretations which in fact we are all exposed by
way of ultraviolet radiation.

Translating the text into a few simple words or phrases we are not relieved
completely from addicted reading, but remove the dull part of the load, in order
to translate texts offered a starting point for patient improvisation. This whole
process may constitute one of the aspects of reading release.

Aris Giavris