Partindo da conexão entre comunicação e cultura, este estudo tem como objetivo contribuir para um melhor entendimento acerca das intervenções culturais contrahegemônicas, que tem na Companhia do Latão uma importante referência atual. Com essa proposta, faz-se uso de algumas das proposições metodológicas indicadas por Karl Marx, segundo as quais a apreensão do mundo real não se dá a partir de um método determinado a priori, mas sim que este deve ser deduzido do próprio objeto de estudo. Portanto, o passo inicial e determinante para todo o trajeto é a análise imanente, isto é, o exame crítico do objeto de pesquisa como fonte primeira e da qual deve retirar-se o máximo possível de determinações, bem como os caminhos para pesquisá-lo. Estipulou-se para início da pesquisa a década de 1960, momento que deixou marcas profundas na vida cultural, política, social e econômica de nosso país, podendo ser lido como um ponto chave para a compreensão da história nacional, bem como das diversas tentativas feitas pelos agentes culturais no sentido de buscar um novo tipo de relacionamento com o público receptor. É também nesta década que aparecem, em sua melhor forma, os grupos de teatro de pesquisa, tradição da qual a Companhia do Latão faz parte. Interessa-nos entender quais foram as verdadeiras mudanças, em termos de experiência cultural e política, causadas pelo Golpe de 1964 e o que foi fomentado mesmo sob a repressão do AI-5, bem como as suas consequências nas décadas que o seguiram, principalmente, na arte engajada e de intervenção política. / Based on the connection between communication and culture this study aims to contribute for a better understanding of counter-hegemonic cultural interventions, which has in Companhia do Latão an important reference nowadays. With this proposal, we use some methodological approaches indicated by Karl Marx, which claims that the seizure of the real world is not derived from a method determined in advance, but this goal must be deducted from the object of study itself. Therefore, the initial and determining step for the entire trajectory analysis is immanent, that is, the critical examination of the research object as primary source and of which we should withdraw, as much as possible, the determinations, as well as the ways to research it. The 1960s was stipulated as the starting point of this research, moment that left a deep mark on the cultural, political and economic structure of our country, and can be read as a key point to understand the national history, as well as several attempts made by cultural agents in order to seek a new kind of relationship with the receiver public. Also, in this decade, appears, in its better form, the theater groups of research, a tradition in which Companhia do Latão shares. We want to understand what were the real changes in terms of cultural and political experience caused by the Coup of 1964, and what was promoted even under the AI-5 repression, as well as its consequences in the following decades, mainly in the activist and political intervention art.

As Ilusões do Romance: Estrutura e Percepção em São Bernardo de Graciliano Ramos é um estudo e análise da narrativa, dos efeitos do ato de leitura (ISER; 1996) produzido pelo romance, que se finaliza com uma compreensão histórica da obra, segundo sua recepção crítica surgida na década de 1930. A fim de dar conta deste último item de pesquisa, lançou-se mão das noções teóricas da estética da recepção (JAUSS: 1994). A partir do estudo, portanto, da estrutura do romance (segundo a teoria e análise do discurso), dos efeitos produzidos no ato da leitura e da recepção histórica dos textos, defende-se a tese de que São Bernardo é uma obra em que seus personagens funcionam como máscara de ideais literários, o que permite ao autor criticar os supostos efeitos causados pela ilusão do texto ficcional. Fato que faz com que São Bernardo deva sua modernidade exatamente à pluralidade discursiva, à indução da expectativa de valores literários, chegando quase a parecer-nos polifônico no sentido que Bakhtin estuda e propõe que seja a obra de Dostoiévski. Daí seu narrador, Paulo Honório, ainda hoje ser visto como um narrador pouco comum, atraindo as atenções da crítica e a deixando na situação embaraçosa da contradição, exigindo dela critérios de análise mais ético-moral que literários. / As Ilusões do Romance: Estrutura e Percepção em São Bernardo de Graciliano Ramos is a study and analysis of the narrative, of the effects produced by the act of reading (ISER: 1996) and ending with a historical perspective of the novel at the moment of his publication (1934). In order to contemplate the last aspect, it made use of the aesthetic of reception (JAUSS: 1994). So, in conformity to this succession, the work proposes the following hypothesis: namely, that the novels personages are masks of literary patterns. That was allowed to the author of São Bernardo to criticize the conventionality of some literary ideals by that time. What is almost the same observed by Bakthin in the novels of Dostoiévski and which he named dialogism. The novel\'s personages of Graciliano Ramos are effects from illusions produced by literary ideals embodied and established in his actions. Therefore, São Bernardo allows many interpretations. In general, the second novel of Graciliano Ramos has been read like a confession of the authors style: by Paulo Honório apparently to be a kind of narrator who hardly would write a book, most readers are induced to make choice of the morale criteria of valuation, instead of a methodology of literary analysis: what intercepted a modern point of view into São Bernardo.

Classical reception, suppressed under Stalin, returned to Soviet poetry during the Thaw (c. 1953-63), and through the many political upheavals of the late twentieth century it has remained a prominent trend in contemporary Russian poetry. This thesis explores classical reception in the oeuvres of Elena Shvarts, Il’ia Kutik, and Polina Barskova, whose poetry spans from 1963 to the present. They form part of – and serve as case studies for – the wider trend of late- and post-Soviet poetic engagement with classical antiquity. This phenomenon has been studied in the cases of Thaw poets Iosif Brodskii and, to a lesser extent, Aleksandr Kushner, but investigations have not extended beyond these figures to the succeeding Stagnation and post-Soviet poets. Shvarts, Kutik, and Barskova come from different generations and different poetic schools, and have very different poetic styles. They share a sustained and playful engagement with the literature and history of Ancient Greece and Rome, which is often in dialogue with earlier Russian receptions of classical antiquity. Their classical reception is frequently intended to ‘estrange’ Soviet/Russian contexts, thus making antiquity an ‘alter ego’ of Russia. This objective is facilitated – and inspired – by the Russian literary tradition. Since its inception Russian literature has set classical antiquity before itself as a model, imitating its literary forms and emulating its characters. This long-standing analogy between Russia and the classical world underpins Shvarts, Kutik, and Barskova’s evocations of classical antiquity as Russia’s alter ego. The utility of the classical alter ego lies precisely in its alterity: as well as a vehicle for veiled dissidence, as with Aesopian speech, it can be a more extreme, or fun, or ideal reality. Inherent in Shvarts, Kutik, and Barskova’s recourse to classical reception as alter ego is a desire to connect with Europe, from which Russians were palpably divided for much of the twentieth century – the Mandel’shtamian ‘yearning for world culture’. It stems also from their desire to connect with pre-Soviet (classically receptive) Russian literature. The thesis begins with a history of classical reception in Russian literature from Russia’s first contact with the classical world up to the present. Such a history is crucial to understanding contemporary poets’ classical reception, as so many of their references to classical antiquity are refracted through Russian intertexts. The chapters on Shvarts, Kutik, and Barskova examine the entire oeuvre (to date) of each poet, selecting key poems and themes for close analysis. This is conducted alongside the intertexts (quotations from classical texts are given in English only, except where the original language has demonstrably informed reception). As well as literary contexts, historical and personal contexts are considered. Interviews conducted by the author with both living poets (Kutik and Barskova) inform the analysis. This thesis contends that the pervasive classical reception evident in Russian poetry from 1953 to the present responds to the series of ontological crises Russia was precipitated into by the upheavals of the twentieth century. With the loosening of Socialist Realism’s control over literature after Stalin, Russian poets resume Russia’s poetic tradition of using classical antiquity as an alter ego, both to heighten portrayals of Russia, and to imagine another, alternate, Russia.

Esta tese investiga a recepção, entre 1982 e 2002, da obra de Edward Palmer Thompson (1924-1993) na produção discente do Programa de Pós-Graduação em História da Unicamp (PPGHU), instituição que se destacou, no período, pela elevada frequência, em teses e dissertações, de referências a textos thompsonianos e pelo envolvimento de discentes/docentes na produção de edições brasileiras de escritos do historiador inglês. Apontada, desde os anos 1980, como uma das principais influências na historiografia brasileira, a obra de E. P. Thompson tem recebido, mais recentemente, estudos sistemáticos sobre sua recepção no Brasil. Nesta pesquisa, apoiando-nos em considerações teórico-metodológicas de, especialmente, Roger Chartier (leitura e apropriação) e de Michel de Certeau (operação historiográfica) e em variada documentação (dissertações e teses, entrevistas, artigos e resenhas, balanços bibliográficos e documentos institucionais diversos do PPGHU), exploramos relações do mencionado processo de recepção com as transformações pelas quais passavam as instituições universitárias de produção historiográfica nacionais (salientando aspectos específicos da dinâmica institucional do PPGHU) e com as conjunturas sócio-político-culturais brasileiras do período (enfatizando seus impactos sobre importantes concepções vigentes entre os historiadores). Investigamos, também, a circulação, no Brasil, das edições (nacionais e estrangeiras) de obras de E. P. Thompson, destacando as variadas formas de participação, em publicações brasileiras de textos do historiador inglês, de docentes e de discentes do PPGHU e, finalmente, analisamos as opções de leitura da obra thompsoniana que os últimos realizaram, as apropriações que empreenderam e os resultados destas nos trabalhos que produziram, sempre considerando como estes dialogaram com debates historiográficos e referências teórico-metodológicas que então hegemonizavam a produção dos (sub)campos disciplinares em que se inseriam. Em nossa pesquisa, fica evidente o caráter criativo/produtor do processo de apropriação empreendido pelo historiadores nacionais aqui enfocados, os quais se mostraram capazes de levar conceitos e noções de E. P. Thompson a terrenos e limites que, dificilmente, ele poderia imaginar. / This thesis investigates the reception, between 1982 and 2002, of the works of Edward Palmer Thompson (1924-1993) in student productions of the Postgraduate Programme in History of the University of Campinas, also known as Unicamp, (PPGHU). The institution stood out during this period for the significant number of references to Thompsonian texts, both in theses and dissertations, and the involvement of students and academics in the production of Brazilian editions of the writings of the English historian. Since the 1980s, E.P. Thompsons work has been indicated as one of the main influences on Brazilian historiography, being the object of recent systematic studies on its reception in the country. Based on theoretical and methodological considerations, especially from Roger Chartier (reading and appropriation) and Michel de Certeau (historiographical operation), and varied documentation (dissertations and theses, interviews, articles and reviews, bibliographic assessments and diverse institutional documents from PPGHU), we explore the relationship between the reception process previously mentioned and the changes experienced by university institutions of national historiographic production (accentuating specific aspects of PPGHU institutional dynamics), while additionally considering the social, political and cultural conjuncture of Brazil in the period (emphasising its impact on important current concepts among historians). We also investigate the circulation of national and foreign editions of E. P. Thompsons works, underlining the different forms of participation, in Brazilian editions, of both academics and students from PPGHU. Finally, we analyse the reading options of the Thompsonian work chosen by the latter, their appropriation, and the results in the work produced, taking into account how students developed a dialogue with historiographic debates and theoretical-methodological references that dominated the disciplinary (sub)fields to which they belonged. It is evident from our research that there are both creative and productive characteristics in the process of appropriation performed by the national historians here analysed, who were capable of bringing E.P. Thompsons concepts to territories he could hardly have imagined.

L’étude du processus de traditionalisation des chansons, c’est à dire les différentes étapes qui font de la création d’un auteur un élément de patrimoine musical commun à une population, se base sur un corpus de deux-cent-soixante-dix chants composés dans la première moitié du 20ème siècle en Bretagne. A cette époque, un fort élan de création traverse le pays et de nombreux auteurs s’attachent à renouveler le patrimoine musical, notamment dans le pays vannetais, secteur géographique de cette étude. La première partie de cette thèse étudie donc ce corpus en cherchant à mieux connaître les principaux auteurs de ces chants, en détaillant les thèmes qu’ils abordent et le contexte historique dans lesquels ilsévoluent ainsi qu’en examinant les caractéristiques littéraires et musicales de leurs oeuvres. Vient ensuite la question de la médiation de l’oeuvre par le biais de différents moyens tant oraux qu’écrits et notamment la presse afin qu’elle atteigne le public à laquelle elle est destinée. La seconde partie consiste à observer le devenir de ces chants un siècle plus tard. Ce travail se base sur le recensement et l’écoute de très nombreux collectages et la lecture de cahiers de chants pour déterminer quelles pièces ont survécu à leur création ou au contraire ont disparu ou n’ont même jamais existé. Il vise à essayer de comprendre quels critères permettent d’expliquer ce phénomène. À ce recensement s’ajoute l’analyse de dixcas d’étude avec l’observation détaillée de tous les collectages trouvés de ces exemples, complétée par des entretiens avec plusieurs chanteuses et chanteurs afin de percevoir leur ressenti à l’écoute de ces dix chants. Lors de ce travail, plusieurs constantes ont été relevées qui permettent de mieux appréhender les différentes transformations que subit un chant pour devenir traditionnel. La création d’un homme devient alors collective. / The study of the process of traditionalization of songs, that is to say the various steps that make the creation of an author a piece of musical heritage common to a population, is based on a corpus of two hundred and seventy songs composed in the first half of the 20th century in Brittany. At this time, a strong impetus of creation crosses the country and many authorsstrive to renew the musical heritage, especially in the country of Vannes, geographical area of this study. The first part of this thesis studies this corpus by seeking to better understand the main authors of these songs, detailing the themes they cover and the historical context in which they evolve, as well as examining the literary and musical characteristics of their songs. Then comes the question of the mediation of the songs through various means, both oral and written, and in particular the press, so that it reaches the public for whom it is intended. The second part is to observe the fate of these songs a century later. This work is based on counting and listening to numerous collections and the reading of songbooks to determine which pieces survived their creation or on the contrary have disappeared or never even existed. It aims to try to understand what criteria can explain this phenomenon. To this census is added the analysis of ten cases of study with the detailedobservation of all collected collections of these examples, completed by interviews with several singers in order to perceive their feelings by listening to these ten songs. During this work, several constants were noted that allow to better understand the different transformations that a song undergoes to become traditional. The creation of a man then becomes collective.

" In telecommunications, a cooperative scheme refers to a method where two or more users share or combine their information in order to increase diversity gain or power gain. In contrast to conventional point-to-point communications, cooperative communications allow different users in a wireless network to share resources so that instead of maximizing the performance of its own link, each user collaborates with its neighbours to achieve an overall improvement in performance. In this dissertation, we consider different models for transmission and reception and explore cooperative techniques that increase the reliability and capacity gains in wireless networks, with consideration to practical issues such as channel estimation errors and backhaul constraints. This dissertation considers the design and performance of cooperative communication techniques. Particularly, the first part of this dissertation focuses on the performance comparison between interference alignment and opportunistic transmission for a 3-user single-input single- output (SISO) interference channel in terms of average sum rate in the presence of channel estimation errors. In the case of interference alignment, channel estimation errors cause interference leakage which consequently results in a loss of achievable rate. In the case of opportunistic transmission, channel estimation errors result in a non-zero probability of incorrectly choosing the node with the best channel. The effect of these impairments is quantified in terms of the achievable average sum rate of these transmission techniques. Analysis and numerical examples show that SISO interference alignment can achieve better average sum rate with good channel estimates and at high SNR whereas opportunistic transmission provides better performance at low SNR and/or when the channel estimates are poor. We next considers the problem of jointly decoding binary phase shift keyed (BPSK) messages from a single distant transmitter to a cooperative receive cluster connected by a local area network (LAN). An approximate distributed receive beamforming algorithm is proposed based on the exchange of coarsely- quantized observations among some or all of the nodes in the receive cluster. By taking into account the differences in channel quality across the receive cluster, the quantized information from other nodes in the receive cluster can be appropriately combined with locally unquantized information to form an approximation of the ideal receive beamformer decision statistic. The LAN throughput requirements of this technique are derived as a function of the number of participating nodes in the receive cluster, the forward link code rate, and the quantization parameters. Using information-theoretic analysis and simulations of an LDPC coded system in fading channels, numerical results show that the performance penalty (in terms of outage probability and block error rate) due to coarse quantization is small in the low SNR regimes enabled by cooperative distributed reception. An upper/lower bound approximation is derived based on a circle approximation in the channel magnitude domain which provides a pretty fast way to compute the outage probability performance for a system with arbitrary number of receivers at a given SNR. In the final part of this dissertation, we discuss the distributed reception technique with higher- order modulation schemes in the forward link. The extension from BPSK to QPSK is straightforward and is studied in the second part of this dissertation. The extension to 8PSK, 4PAM and 16QAM forward links, however, is not trivial. For 8PSK, two techniques are proposed: pseudobeamforming and 3-bit belief combining where the first one is intuitive and turns out to be suboptimal,the latter is optimal in terms of outage probability performance. The idea of belief combining can be applied to the 4PAM and 16QAM and it is shown that better/finer quantizer design can further improve the block error rate performance. Information-theoretic analysis and numerical results are provided to show that significant reliability and SNR gains can be achieved by using the proposed schemes. "

This doctoral thesis deals with the transmission and reception of the works of Cyprian of Carthage in the early Middle Ages. The process of research combined the study of the manuscript transmission of Cyprian’s works with the study of texts that were (in an immediate way or not) influenced by these writings. The connections between the transmission of Cyprian’s writings and the publishing activities of various groups, from the Donatists in fourth-century North Africa to Carolingian priests, is a central part of the thesis. The appropriation of the Church Father by different groups, including Arian writers in the aftermath the Council of Aquileia, proves not only the sense of authority Cyprian’s works invoked but also the, often liberal, way in which ancient works were used or interpreted. In addition, Cyprian was the first Latin Church Father to connect the concept of the unity of the Church with the office of the bishop. He was therefore influential in medieval ecclesiological thought and in the shaping of episcopal identities throughout the early Middle Ages. The thesis examined how Cyprian’s works functioned as tools of legitimisation for the causes of ninth-century bishops, such as Hincmar of Reims; invocations of priestly and episcopal identity, which were often based on Cyprian’s contribution to Catholic theology, enabled influential bishops to affirm their place in a Christian society as major players in ecclesiastical and secular politics.

Submitted by Silvana Teresinha Dornelles Studzinski (sstudzinski) on 2016-04-04T19:10:15Z No. of bitstreams: 1 Rafael Tourinho Raymundo_.pdf: 1919053 bytes, checksum: dd351b067047e3a293dbc118d7f33b56 (MD5) / Made available in DSpace on 2016-04-04T19:10:15Z (GMT). No. of bitstreams: 1 Rafael Tourinho Raymundo_.pdf: 1919053 bytes, checksum: dd351b067047e3a293dbc118d7f33b56 (MD5) Previous issue date: 2011-03-25 / CNPQ – Conselho Nacional de Desenvolvimento Científico e Tecnológico / Esta pesquisa trata da recepção de infográficos webjornalísticos. O objetivo geral é investigar e compreender os usos, as apropriações e os sentidos produzidos por usuários destes produtos jornalísticos. Também são consideradas três instâncias, aqui tratadas como mediações: competências midiáticas/jornalísticas/de infográficos; competências tecnológicas; competências culturais – conhecimento e práticas em relação aos assuntos abordados pelos infográficos. Após um resgate histórico do uso jornalístico da linguagem infográfica, são definidos parâmetros para identificar os chamados infográficos webjornalísticos: produtos calcados no binômio imagem + texto, que narram uma história jornalística e apresentam recursos de hipertextualidade, interatividade e multimidialidade, estando presentes em sites noticiosos. Já a recepção é vista como um lugar desde onde compreender o processo comunicacional, não como uma etapa de um movimento que vai do emissor ao receptor. Na web, a recepção apresenta especificidades como a imersão, a exploração e a intervenção do sujeito no ambiente digital. Esse indivíduo é aqui trabalhado pelo termo usuário, alguém que produz sentidos e se apropria dos produtos midiáticos conforme lógicas perpassadas por matrizes socioculturais – globalização, midiatização e práticas de consumo. Para compreender os usuários de infográficos webjornalísticos em suas particularidades, então, foi preciso elaborar um arranjo metodológico baseado em entrevistas com os sujeitos e na observação de suas navegações pelos infográficos. Procurou-se apreender, assim, as maneiras de navegação e os sentidos produzidos pelos usuários, tendo em vista sua relação com as mídias, com a tecnologia e com os assuntos abordados em cada infográfico. Percebeu-se que o interesse pelas histórias, bem como por recursos multimidiáticos e/ou textuais dos infográficos, é configurado pelas mediações observadas na pesquisa. Constatou-se, ainda, que os usuários tendem a seguir as lógicas esquemáticas dos infográficos, mesmo identificando a possibilidade de uma navegação não-sequencial. / This research talks about the reception of webjournalistic infographics. The main goal is to investigate and understand the uses, the appropriations and the meanings produced by users of these journalistic products. Three mediations are also considered: media/journalism/ infographics competences; technological competences; cultural competences – knowledge and practices considering the subjects addressed by the infographics. After a historical review of the journalistic use of the infographic language, we define parameters to identify the so-called webjournalistic infographics: products based on the image + text binomial, which tell a news story, usually in a news site, and present elements such as hypertextuality, interactivity and multimediality. The reception, in turn, is seen as a place from where it is possible to understand the whole communication process, not as a step in a movement that goes from transmitter to receiver. On the web, the reception has specific characteristics such as immersion, exploration and intervention of the user in the digital environment. The user is someone who produces and appropriates media products according to socio-cultural references – globalization, mediatization and consumption practices. To understand the users of webjournalistic infographics, it was necessary to elaborate a methodological arrangement based on interviews with the subjects and on the observation of their navigations by the infographics. We tried to apprehend, thus, ways to navigate and the meanings produced by the users, considering their relationship with the media, with technology and with the subjects addressed in each infographic. We noticed that interest in the stories, as well as in multimediatic and/or textual resources, are configured by the mediations observed in the research. We also found that users tend to follow the schematic logic of the infographics, even though they identify the possibility of a non-sequential navigation.

This thesis takes Ariadne's abandonment as a case study in order to examine the literary processes of reception that underlie the transmission of classical myth in different eras and cultural contexts - from Classical Antiquity through the Italian Renaissance. Rather than focusing on the ways in which visual representations of Ariadne relate to literary treatments, it draws attention to the literary reliance on a cultural framework, shared by writer and reader, that enables dynamic storytelling. It argues that literary variation of the myth is central to its successful transmission, not least because it allows for appropriations and adaptations that can be made to fit new social and religious parameters, such as Christian conventions in the Middle Ages. In focusing on the important role played by the visual arts in the classical tradition, this research further challenges the still prevalent misconception that the visual arts are secondary to literature, and refutes the common assumption that the relationship between image and text is unidirectional. It highlights the visual impulses leading to paradigm shifts in the literary treatment of the abandonment narrative, and examines the ways in which writers engage with the visual tradition in order to re-shape the ancient narrative. Throughout, attention is drawn to the visual and cultural framework shared by ancient writers and readers, and to the lack of engagement with this framework in traditional classical scholarship. Through its focus on the literary narratives' visuality and mutability, this thesis offers a new paradigm for studying classical myth and its reception.

This research explores Iranian audiences of Farsi Christian satellite channels. It considers what the narratives and interviews of participants of this research reveal about the way audiences interact and negotiate with both religious broadcasts and their socio-political or religious contexts. What are the motivating factors that led the audiences first to watch Christian channels and secondly, where relevant, to change or add to their religious belief system? For those whose faith was transformed, how did this process happen according to their self-declared stories? Expressions of belief are analysed in order to consider their different understandings of religion, faith and their own belief system. The research also studies the triangular relationships between the audience, Farsi Christian media, and the audience’s culture(s). It is therefore a study of Farsi Christian channel audiences, their motivations in viewing the Christian message, their methods of interpretation and negotiations with different media texts, and their process of changing or altering their religion, using the concept of conversion as a tool of analysis. More specifically, I investigate the motivations of those in the audience of the four Farsi Christian satellite channels who stated that they had become Christians through that medium. I will examine factors that influenced both their interpretations of and negotiations with the religious media message, and their process of changing, adding to or modifying their belief system, including their understanding of religious conversion. My research investigates the interactions and negotiations between meaning making and mediation, and the process of faith transformation within Reception Theory against the background of the sociology of religion and culture in contemporary Iran. This research contributes to three areas of study: media reception (largely religious television) and sociology of religion and culture, mostly from the point of view of selfidentified conversion; Media, Religion and Culture, mainly using audiences’ interactions and negotiations methods with the channels, and the religion of Islam and Christianity in the Iranian political-cultural context. This involved analysing three hundred narratives drawn from audiences of four Farsi Christian satellite television channels, during the period between 2010 and 2015, as well as fifteen semi-structured interviews, two focus group discussions and a telephone survey. The argument develops over nine chapters. Chapter one provides the socio-political and religious context of the Iranian audience as well as presenting literature reviews and methodology, while Chapter two gives the Iranian (state and society) understanding of religion (din and mazhab) and of globalisation, as well as discussing the satellite channel usage. Chapter three introduces the four Farsi Christian satellite channels using data from interviews channel directors. Chapter four analyses the two focus groups’ discussion of the central question: how do audiences interact and negotiate with the Christian message presented on the channels? Chapters five, six and seven examine the participants’ narratives and interviews using respectively experimenting, negotiating and resisting attitudes of participants. Chapter eight discusses and analyses the findings, the conclusion sets out the implications, contributions and limitations of the research.