Reception theory: School of Constance

Holub, Robert C.

doi:10.1017/chol9780521300131.013

Cited by 24 publications

(3 citation statements)

References 288 publications

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“…In fact-reception theory, or, as originally called by Hans Robert Jauss, considered "the father of modern Rezeptionsästhetik", who started it in the 60ies, but its most influential works were published in the 70ies and early 80ies (e.g. Holub, 1995;McMillen Conger, 1981). Galia Oz had won mixed reactions, including also slanders (e.g.…”

Section: Reception As Writers and Reception Of Le Consentement (Conse...mentioning

confidence: 99%

Le Consentement (Consent: A Memoir) by Vanessa Springora (2020), and Something Disguised as Love (Hebrew: Davar She’Mitchapes Le’Ahava) by Galia Oz1 (2021): Similarities and Differences

Hine¹

2023

ALS

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The two books: Le Consentement (Consent: A Memoir) by Vanessa Springora (2020), and Something Disguised as Love by Galia Oz (2021) were published by two women-French and Israeli about their child abuse by very famous writers: Gabriel Matzneff, who was more than 30 years older than Springora when the described events happened, and Amos Oz, one of the most famous and influential Israelis known and respected all over the world-the father of Galia Oz. Matzneff's abuse was sexual; Oz's-physical and emotional. The first part of this work is about the words used for the description of Matzneff's and Oz's deeds, as words not only reflect reality, they also create it. Its second part will show the main similarities and differences between these two books: reception as writers and reception of the books; their subject; the books' genre; the professional status of the writers; the literary status of the abusers; the writers' age their books tell about; others' knowing or believing; the families reaction; the time between the abuse happened and the publishing of the books; the shock when the truth came out; father versus father-figure; abusing "just" one girl versus abusing many girls and boys; using the full name versus abbreviations of the abuser; the use of ideology for explaining the deeds; being considered intellectuals; being good looking; being a moralistic preacher versus being a Nihilist.1 As the writer of the book-Galia Oz, her famous father-Amos Oz, and her brother Daniel Oz share the same last name, I have referred to her as "Galia Oz", to her accused-as abusive father as "Amos Oz", and to her brother "Daniel Oz". The writer's older sister, Fania, is referred to as "Oz-Salzberger".

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Section: Reception As Writers and Reception Of Le Consentement (Conse...mentioning

confidence: 99%

Le Consentement (Consent: A Memoir) by Vanessa Springora (2020), and Something Disguised as Love (Hebrew: Davar She’Mitchapes Le’Ahava) by Galia Oz1 (2021): Similarities and Differences

Hine¹

2023

ALS

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“…All texts therefore invite 'some form of participation on the part of the reader'; they appeal to and rely upon readers who can engage with the ideas expressed. 31 There are, of course, some profound epistemological questions here about the reading of texts and the nature of interpretation. Iser talks about 'implied readers', a phrase which refers to the pre-structuring of potential meaning by a text, as well as the readers' interpretative role.…”

Section: Towards a Language Of 'Europe': History Rhetoric Communitymentioning

confidence: 99%

Towards a Language of ‘Europe’: History, Rhetoric, Community

Stock

2017

The European Legacy

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From Herder to Benedict Anderson, language and nation have been at the centre of ideas about (imagined) community. This hypothesis, however, poses a problem for analysing ideas about Europe. How can we understand 'Europe' as a concept or form of identity when language and nationality are considered the foundation of imagined communities and loyalties? This article addresses this difficulty. It uses J. G. A. Pocock's definition of 'sub-languages' to suggest that one can investigate the rhetorical strategies, images and vocabularies with which texts articulate ideas about Europe. These sub-languages evoke imagined communities, most obviously when texts name and identify particular groups of people as 'Europeans'. But by using images and rhetorics about Europe, these texts also appeal to a readership who comprehends-even if it does not fully accept-certain assumptions about the continent. In this way, texts evoke an imagined community of readers who purportedly share a similar way of understanding Europe, or who can perhaps be persuaded to think about it in similar terms. These processes are historically particular, and so the article concludes with concrete examples. It focuses on how early nineteenth-century philhellenes evoke a European imagined community to solicit support for the Greek Revolution.

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“…Since a fundamental concept such as the quality of literature cannot be explained using what most researchers believe is the primary method of philology, textual analysis on single work or corpus level, reception and reader-response are of growing importance again. Former booms of impact-oriented research during 19th-century positivism (Barsch, 2000;Kaltenbrunner, 2010), in early structuralism (Jakobson, 1960), and especially with the school of Constance (Holub, 2008) saw reader-response as a one-directional process caused or even implied (Iser, 1980) by textual structures. New developments in neurocognitive poetics (Jacobs, 2015) foster a view that considers the complexity of neural processing in the brain as a default condition of the responding reader.…”

Section: Introductionmentioning

confidence: 99%

Is badfiction processed differently by the human brain? An electrophysical study on reading experience

Weitin,

Fabian,

Glawion

et al. 2024

Front. Hum. Neurosci.

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Literary reception is a special case of language processing. The judgment of literature reveals deep social patterns with embodied cognition. In this study, we investigate how differences in literary quality resonate in the human brain. Modifying a series of stimuli previously used in studies of the emotional potential of Harry Potter, we alternate passages from the original novels with passages from imitative and intentionally poorly written fanfiction. EEG data shows how the three text types are processed differently by the brain. Comparing the brain activity of the readers for the various text types, we see a difference in the absolute power but not in the relative power of the frequency bands. Reading badfiction evokes the lowest activity. However, the functionality of this activity is the same for all texts since the relative power of the frequency bands does not differ. When comparing the participant groups, we observe the opposite situation. Here, different relative powers of the frequency bands reflect different judgments and reading habits of participants. For example, fans of Harry Potter, regular readers of fantasy texts, and generally frequent readers read the texts more attentively, which is reflected in a pronounced relative activity of the theta and alpha frequency bands. Non-frequent readers and readers who are not devoted to Harry Potter and fantasy in general have increased activity in the delta frequency band. This suggests their saliency detection is more prominent because they are less familiar with reading or the subject matter. To support our findings, we use the EEG data without averaging over stimuli and participants, capturing the participants' responses on the level of individual stimuli. A Kohonen self-organizing map trained on this more extensive data finds reliably detectable differences in the responses to passages from the original Harry Potter novels and fan- and badfiction. Our study allows for an interpretation of an adaptive brain response. Readers who enjoy Harry Potter or have experience with the fantasy genre show different reactions from those who do not. Thus, badfiction appears to be processed differently by the human brain, but not for all readers in the same way.

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Reception theory: School of Constance

Cited by 24 publications

References 288 publications

<i>Le Consentement</i> (<i>Consent</i>: <i>A Memoir</i>) by Vanessa Springora (2020), and <i>Something Disguised as Love</i> (Hebrew: <i>Davar She’Mitchapes Le’Ahava</i>) by Galia Oz<sup>1</sup> (2021): Similarities and Differences

<i>Le Consentement</i> (<i>Consent</i>: <i>A Memoir</i>) by Vanessa Springora (2020), and <i>Something Disguised as Love</i> (Hebrew: <i>Davar She’Mitchapes Le’Ahava</i>) by Galia Oz<sup>1</sup> (2021): Similarities and Differences

Towards a Language of ‘Europe’: History, Rhetoric, Community

Is badfiction processed differently by the human brain? An electrophysical study on reading experience

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