So Hans Robert Jauss is a little off the critical grid, but if you’re into reception theory—and who isn’t?—he’s your man. In fact, he invented the term “reception. Drawing on philosophical hermeneutics, Jauss argued that literary works are Unlike most varieties of reader‐response theory, then, reception theory is. In , Hans Robert Jauss’s Literary History as Provocation of Literary Theory marked the beginning of the aesthetic of reception as one of the most powerful.
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Reception theory is a version of reader response literary theory that emphasizes each particular reader’s reception or interpretation in making meaning from a literary text.
Reception theory is generally referred to as audience reception in the analysis of communications models. In literary studies, reception theory originated from the work of Hans-Robert Jauss in the late s, and the most influential work was produced during the s and early s in Germany and the US Fortierwith some notable work done in other Western European countries.
Reception theory – Oxford Reference
A form of reception theory has also been applied to the study of historiography. The cultural theorist Stuart Hall was one of the main proponents of reception theory, first developed in his essay ‘Encoding and Decoding in the Television Discourse’.
In essence, the meaning of a text is not inherent within the text itself, but is created within the relationship between geception text and the reader.
Hall also developed a theory of encoding and decoding, Hall’s theorywhich focuses on the communication processes at play in texts that are in televisual form. Reception theory has since been extended to the spectators of performative events, focusing predominantly on the theatre.
Susan Bennett is often credited with beginning this discourse. Reception theory has also been applied to the history and analysis of landscapes, through the work of the landscape historian John Dixon Huntjayss Hunt recognized that the survival of gardens and landscapes is largely related to their public reception.
A basic acceptance of the meaning of a specific text tends to occur when a group of readers have a shared cultural background and interpret the text in similar ways.
It is likely that the less shared heritage a reader has with the artist, the less he or she will be able to recognise the artist’s intended meaning, and it follows that if two readers have vastly different cultural and personal experiences, their reading of a text will vary greatly. Umberto Eco coined the term aberrant decoding to describe the case when jauuss reader’s interpretation differs from what the artist intended.
In literature, the interaction between text and reader occurs within rreception framework that controls and limits the interaction, through genre, tone, structure, and the social conditions of the reader and thheory, whereas in landscapes the interaction occurs through movement and viewing, framed by typology instead of genre and tone.
Instead of an “implied reader”, reception theory of landscapes assumes an “implied visitor”, who is an abstracted concatenation of responses of many visitors at different times.
The theory recognizes that there is no single reading of a landscape that fulfills its entire potential, and that it is important to examine the motives of visitors and the factors influencing their visits whether they read guidebooks about the place before visiting, or had strong feelings about the place or the designer, for instance.
One key difference between reception theory in literature and reception theory in landscape architecture is that while literary works are accessible only to the imagination, physical landscapes are accessible to the senses as well as to the imagination.
Reception theoretical analysis of architecture differs from typical writing on the history and analysis of landscapes, which tends to focus on the intentions of the designers, the conditions leading to the creation of the design, and the building process. Reception theory also tends to de-emphasize commonly used terms of description like ‘formal’ and ‘picturesque’, unless those terms were known to have meaning to landscape visitors themselves.
According to Harold Marcuse reception history is “the history of the meanings that have been imputed to historical events. It traces the different ways in which participants, observers, historians and other retrospective interpreters have attempted to make sense of events both as they unfolded and over time since then, to make those events meaningful for the present in which they lived and live. From Wikipedia, the free encyclopedia.
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