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Author: James L. Machor

Abstract: Developing primarily in the fields of literary and cultural studies and the history of the book, reception theory asserts that the interpretive activities of readers explain and in many ways constitute a text’s significance and axiology, and that those activities are shaped through

Author: Iddo Dickmann

Abstract

The talmudic sages granted the legal status of sefer (book) to five texts: the Torah, tefillin, the get, the mezuzah, and the Scroll of Esther. These texts share two features: they have a ritualistic format and use, and they are the only sacred texts that demonstrate mise en abyme—the trait of literary self-containing. These two traits turn the rabbinic book into a radical case of “open work”: the sefer consists of both textual signs and the actual body of an empirical reader; its pragmatic level is not bracketed out in favor of the semiotic one. I argue that Deleuze’s reception theory best accounts for the sefer.

In: The Journal of Jewish Thought and Philosophy
Author: Brent Landau

the point of this statement; indeed, as the author of this statement, I myself am tempted to do so. However, many practitioners of reception theory would hold that the concept of “original meaning” attempts to domesticate texts, which are inherently unstable and pluriform. Jonathan Roberts expresses

In: Gnosis: Journal of Gnostic Studies
Author: B.C. Lategan

impetus behind all these developments is a fascina- tion with the intricacies of the reading process. As a distinctive approach it has become known on the Continent as reception theory, while in North America the usual term is reader-response criticism. It is closely related to the concept of audience

In: Text and Interpretation
Paradigmatische Formen ästhetischer Negativität in der Moderne
Author: Jan Knobloch
Wie lässt sich die ästhetische Erfahrung des Negativen im Roman beschreiben? Und wie ist der strukturelle Zusammenhang zwischen Negativität und ästhetischer Attraktivität zu erklären?
Die Arbeit argumentiert, dass die Negativität des Romans aus einer bestimmten Kombination von existentiellen, sprachlichen und rezeptionsbezogenen Gestalten des Neins besteht. Die entscheidende Neuerung des Ansatzes besteht darin, diese zum ersten Mal aufeinander zu beziehen, Negativität also nicht nur als darstellungsorientierte Qualität, sondern auch performativ sowie als Herausforderung für den Leser in den Blick zu rücken. Dieses dreistufige Modell wird anhand von historischen Paradigmen entfaltet: Der ästhetischen Dimension des philosophischen Pessimismus (A. Schopenhauer); aporetisch-ironischen (G. Flaubert), narrativ-diskursiven (S. Beckett) und hyperbolischen (T. Bernhard) Formen von Negativität, wie sie den Roman prägen, sowie einer neuen Literatur der Resignation (M. Houellebecq). Wie die Untersuchung zeigt, ist es gerade der Modus des Übergangs zwischen den drei Stufen der Negativität, der eine tentative Antwort auf die Frage zulässt, wie die paradoxe Lusterfahrung des Rezipienten zu erklären ist.
Zur rezeptionsästhetischen Temporalität in den Werken von On Kawara, Roman Opałka, Bernd und Hilla Becher, Richard Prince, Cindy Sherman und Sophie Calle unter Berücksichtigung psychodynamischer Perspektiven
Author: Timo John
Die Zeitlichkeit der Werk-Betrachter-Beziehung wurde von der kunstwissenschaftlichen Rezeptionsästhetik erstaunlich lange nur wenig reflektiert. Dabei scheint unbestritten, dass sich visuelle Gestalten, Interpretationen, ästhetische Emotionen und mentale Ergänzungen nur in einer zeitlich ausgedehnten Bildbetrachtung entfalten können. Die empirische Psychologie und die Psychoanalyse besitzen dagegen eine lange Tradition der Erforschung temporaler Aspekte von Wahrnehmung und Beziehungserleben, jedoch wurden ihre Erkenntnisse bisher kaum für die kunstwissenschaftliche Forschung nutzbar gemacht. »Verwicklungen des Betrachters« erweitert die rezeptionsästhetische Methode um psychodynamische Perspektiven, die eine trennscharfe Differenzierung verschiedener Modi der zeitgebundenen ästhetischen Erfahrung ermöglichen. Neubetrachtungen bekannter Werke der 1960er bis 1980er Jahre veranschaulichen die Plausibilität und Produktivität dieser transdisziplinären Betrachtungsweise.
Author: Paul Avis

‘Receptive Ecumenism’, though initially a movement of ecclesiological renewal within the Roman Catholic Church, holds considerable potential for all churches that are engaged in the ecumenical movement and for their closer unity. This article asks why Receptive Ecumenism is needed, given that the process of reception is inherent in ecumenism. It then examines the tension between rhetoric and reality in much ecumenical and ecclesiological discourse, and goes on to ask whether Receptive Ecumenism is a threat to the time-honoured agenda of the Faith and Order tradition in seeking visible unity through theological dialogue. The article touches on the therapeutic dimension of greater mutual receptivity between churches and ends by arguing that Receptive Ecumenism and traditional theological dialogue are mutually dependent.

In: Ecclesiology
Author: Sheona Beaumont

Abstract

Increasingly articulate contemporary art practices are engaging with biblical representation, revealing new relationships with religion through the availability of the word in image. Taking as exemplary the photographic publication of Adam Broomberg and Oliver Chanarin’s Holy Bible (2013), this essay considers the evidence for their hermeneutics between image and word that is characterized by open awareness of and expansive participation in the (rereading of the) Bible. Discussing this engagement, I explore imagistic readings of the Bible through the artists’ strategies of interpolation and repetition, as well as examining their chosen theme—catastrophe—for its revelatory power. Through the artists’ self-reflexive hermeneutics of indeterminacy, I argue that the discussion of the return of religion in art needs attuning to this kind of specific practitioner experience: a hermeneutical circle of imaginative, dialogical, and dynamic interpretative positions in which the notion of indeterminacy is persuasive for interpretative grist, historical accountability, and theological horizon.

In: Religion and the Arts
This is the first complete study of the relationship between Retranslation and Reception. Although many translation scholars have cited Reception Theory in their work, this is the first systematic study of its relationship to Retranslation. The book starts from the hypothesis that frequent retranslations of the same literary text into the same language may be indicative of its impact in the target culture. The volume encompasses both theory and practical analysis of Retranslation and Reception as mutually dependent concepts. The sixteen chapters relate the translations analysed to their socio-historical contexts in order to assess the impact that they have had on the target culture in terms of the reception of the authors studied, and also explore the relationship that may exist between the appearance of new translations and historical, social or cultural changes.