Reception Theory: A Critical Introduction

Holub, Robert C.

doi:10.2307/1771944

Cited by 64 publications

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“…Holub has defined that the horizon of expectations refers to "a structure of expectations or…a mind-set that a hypothetical individual might bring to any text. [3]" That is to say a notion of a reader's previous understanding before the reader's beginning to read. Based on this horizon, the reader can carry on an aesthetic dialogue with the literary text to comprehend and achieve a fusion of horizons.…”

Section: Main Concepts Of Reception Aestheticsmentioning

confidence: 99%

College-English Poetry Teaching with the Perspective of Reception Aesthetics

Zhang¹

2018

dtssehs

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Abstract. College-English poetry teaching is one of the important parts of English teaching in Chinese colleges from which Chinese students benefit in language learning, different cultural knowledge, the ability of cross-culture communication as well as their aesthetical consciousness. The theory of reception aesthetics focuses on the role of readers during the process of reading and its main notions like the horizon of expectations, gaps and blanks and aesthetic distance play a vital theoretical role in the innovation of college-English poetry teaching in college class. The application of the theory in poetry teaching alters the traditional role of teacher, student and textbook in class. It also improves Chinese college students' English learning and enhances the quality of English poetry teaching in china's college classes.

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Section: Main Concepts Of Reception Aestheticsmentioning

confidence: 99%

College-English Poetry Teaching with the Perspective of Reception Aesthetics

Zhang¹

2018

dtssehs

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“…In theatre translation, the intended readers such as the director, actors and band members are merely target-text users, while the audience constitutes the target-text receivers who finally decide the success or failure of a translated theatre work. According to Hans-Robert Jauss's reception theory, an individual's understanding of a work occurs within a "horizon of expectation", that is, "an intersubjective system or structure of expectations" [5] that a reader possesses depending on his or her literary attainments and previous reading experience. Such expectations prescribe a limited frame for a reader's reception of a work.…”

Section: Determining Factors Of Acculturation In Musical Theatre Tranmentioning

confidence: 99%

Rewriting the Exotic: Acculturation in Musical Theatre Translation

Li¹

2017

dtssehs

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Abstract. As a new form of intercultural communication between Chinese and western theatrical arts, the performance of translated musicals has been popular in China in recent years. In the production of the Chinese versions, acculturation of the exotic elements is often a remarkable phenomenon. For the purpose of understanding the phenomenon and guiding the translation practice, this paper investigates the determining factors, specific requirements and typical strategies of acculturation in musical theatre translation by proposing a three-dimensional framework. It arrives at three conclusions. First, acculturation is necessary and inevitable in the translation of musical theatre due to three factors, namely cultural differences, audience reception, and the audiovisual constraints of music and performance. Second, the target text of a musical should meet the requirements of comprehensibility, acceptability, and enjoyability (subdivided into singability and interactivity) for the target audience. Third, in order to satisfy these requirements, a translator has to acculturate the target text by adopting typical strategies such as adapting culture-loaded expressions, filtering information of cultural conflicts, following the target-culture genre conventions of song lyrics, and making recreationalized adjustments.

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“…Hier is daar vyf patrone van interaksie, naamlik assosiatiewe identifikasie, bewonderende identifikasie, simpatiese identifikasie, katarsiese identifikasie en ironie (Holub 1984;75-82).…”

Section: Latere Opvattingunclassified

“…Aan die een kant het hy 'n model wat berus op tekstuele kwaliteite soos 'oop plekke' en 'leë plekke' en aan die ander kant is daar die reaksie van die leser wat die produk van 'n abstrakte handeling is -dit terwyl Iser tog werk met die 'historiese leser'. Holub (1984;101) meen verder dat die groot kritiekpunt egter die kwessie van 'determinacy' en 'indeterminacy' in Iser se benadering is. Iser probeer 'n middelposisie tussen objektivisme en subjektivisme inneem deur te beweer dat die teks verskillende betekenisse toelaat maar tog terselfdertyd die moontlikhede beperk.…”

Section: Negasieunclassified

“…Soos Barthes (1974: 10) dit stel: T his "I" which approaches the text is already itself a plurality of other texts, of codes which are infinite or, more precisely, lost (whose origin is lost).' Waar die resepsieteoretici dus die fokus verskuif het vanaf die teks na die leser, het die Post-strukturaliste alle fokus op die teks na die agtergrond geskuif deur die leser te tekstualiseer (Holub 1984;154).…”

Section: Kritiek Teen Iserunclassified

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'n Verkenning van die moontlikhede van 'n resepsieteoretiese benadering tot die lees van Romeine 7:7–25

Botha¹

1986

HTS Teologiese Studies / Theological Studies

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An exploration of the possibilities of a reception theoretical approach to the reading of Romans 7:7-25 The multiplicity of interpretations of Romans 7:7-25 is well-known in Biblical scholarship. In this article the possibilities of a reception theor etical approach to the different readings of this text is explored. A brief theoretical discussion of this approach is given, focusing on the work of the German literary theorists, Hans Robert Jauss and Wolfgang Iser. When applied to the history of reception of Romans 7:7-25 it seems that Jauss's idea of the reader's 'horizon of expectations' and its influence on the interpretation of a text, is confirmed. It is pointed out how extratextual influences throughout the history had changed the interpretation of this text, starting right back in the fourth century with the controversy between Augustine and Pelagius, leading up to the differences between exegetes and sistematic theologians in our day. Some preliminary re marks on 'the reader' in Romans 7:7-25 as well as the gaps and textual strategies of this text are also made. The conclusion reached is that, although not necessarily revolutionary new, a reading of this text from the perspective of the role of the reader, definitely offers some fruitful possibilities for the understanding of New Testament epistolary litera ture.

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Reception Theory: A Critical Introduction

Abstract: It is uncontentious to argue that readers and viewers of texts construct their own meanings from their reading and viewing. A book, website or film can be Reception Theory and Biblical Hermeneutics-Google Books Result Reading the Bible with Giants: How 2000 Years of Biblical .

Cited by 64 publications

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College-English Poetry Teaching with the Perspective of Reception Aesthetics

College-English Poetry Teaching with the Perspective of Reception Aesthetics

Rewriting the Exotic: Acculturation in Musical Theatre Translation

'n Verkenning van die moontlikhede van 'n resepsieteoretiese benadering tot die lees van Romeine 7:7–25

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