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.

This thesis explores the transmission and reception of Benjamin of Tudela’s Book of Travels, a twelfth-century Hebrew travel narrative. Scholarship of the Book of Travels is fragmentary, descriptive and largely focused on what the narrative can tell scholars about the twelfth-century Jewish and non-Jewish worlds. This study presents a methodological shift away from an intra-textual examination of the text by seeking to answer how the text has been transmitted, how successive copiers and printers have changed the text, and how readers interpreted and used the text between the twelfth and seventeenth centuries. It begins with an outline of the extant manuscripts through a codicological examination and textual comparison. Based on a close reading of the manuscripts, it illustrates how the Book of Travels has survived in four separate textual witnesses. This study, however, highlights the centrality of the Jerusalem manuscript, which carried the transmission of the Book of Travels from manuscript into print. Whilst scholars have argued that the text has been edited and redacted, this thesis offers a more nuanced argument for scribal intervention as copyists, and later printers, altered the text through error and deliberate omissions and additions. Consequently, there is no single transmission of the Book of Travels. Although the core of the text remained unchanged, readers would have encountered different texts through the lens of copyists and printers. The second half of the thesis addresses the medieval and early modern reception of the Book of Travels. It argues that the narrative was used in a variety of contexts, from polemics, to biblical geography and history by medieval Jewish scholars. The early modern reception, discussed more broadly, indicates that the printed Hebrew editions of 1543 and 1556 were read by an Sephardic audience for the purposes of connecting to their Iberian heritage, with an additional layer of interpretation which linked the text to the hope for redemption and the coming of the Messiah. As the text becomes introduced to Christian readers in both Hebrew and Latin, the Book of Travels was initially understood and used in a similar manner. The 1583 Hebrew edition and first Latin translation of 1575 also applied the text to history and biblical geography. This study thus illuminates the continuity in the way in which the Book of Travels was understood – as an eye-witness and authoritative source which found contemporary resonance with later readers. The second Latin translation of 1633 represents an evolution in the way in which the Book of Travels was interpreted, as the text was now engaged polemically to attack the Jews. This study also investigates the censorship of the Book of Travels. It analyses not just the text which has been excised through self-censorship, and the prohibition and expurgations proscribed by both the Italian and Spanish Inquisitions, but also how this impacted the transmission and reception of the narrative. It is shown that whilst Inquisitorial censorship was seemingly systematic, it was unevenly applied and did not impact on the Book of Travels’ transmission. This thesis is ultimately a pioneering study of the afterlives of a Hebrew travel narrative which enjoyed a rich manuscript and printed tradition. In attracting both Jewish and Christian readers alike, the Book of Travels endured and continued to find relevance amongst audiences. As a result of its versatility the Book of Travels achieved a prominent position within the Jewish and Christian worlds crossing cultural and religious divides between the twelfth and seventeenth centuries.

Abstract My dissertation studies public reception of the works of Ilmari Kianto (1874–1970). The guiding principle of my study is contextual analysis, which is a fruitful approach to the primarily social themes of Kianto’s works. The reception of contemporaries of Kianto did not focus so much on the aesthetic properties of his works but rather on their significance in the societal context of the era in which they were published. Later research into Kianto’s reception has focused on his currently canonised descriptions of Finnish folk life, Punainen viiva (The Red Line) and Ryysyrannan Jooseppi (Jooseppi from Ryysyranta) that are his most valued works from an aesthetic point of view. The purpose of my doctoral dissertation is to bridge the gap that both literary history and research literature have left behind. My study shows that all Kianto’s works – including his lyrics and novels – are invariably tied in with the most pressing societal, political and ethical issues of their time. Based on his works and how they were publicly received, Kianto can be perceived as being a significant participant in the debate on social questions and he brought many social issues to the attention of the public. When Kianto demanded freedom of religion and legalisation of civil marriage in his works, he received considerable support from his contemporaries, but this also led to blasphemy charges. Furthermore, my dissertation shows that the later public image of Kianto does not do any justice to the views of his contemporaries because the image highlights his reputation for being a ruthless “butcher” on the side of the Whites in the civil war, which is a view based on a certain widely distributed propaganda article. Observed through his public reception as a whole, Kianto was generally seen as being a spokesman for the poor and as a pacifist through his book Elämän ja kuoleman kentältä (From The Field of Life and Death), which he completed after the civil war in 1918 but which was rejected by publishers and published first in 1928. Kianto’s sentencing to a correctional institution for attempted high treason during the Finnish Winter War was the most tragic event for his literary reputation, which meant that he was expelled from the Writer’s Union and disfavoured all the way through until the 1950’s. / Tiivistelmä Väitöskirjani käsittelee Ilmari Kiannon (1874–1970) tuotannon julkista reseptiota Suomessa. Tutkimustani on ohjannut kontekstuaalinen analyysi, joka on ollut Kiannon teosten voittopuoleisesti yhteiskunnallisten teemojen kannalta hedelmällinen lähtökohta. Kiannon aikalaisvastaanotossa eivät korostuneet niinkään teosten esteettiset ominaisuudet, vaan teosten merkitys ilmestymisaikansa yhteiskunnallisessa kontekstissa. Myöhempi Kiannon tutkimuksellinen reseptio on keskittynyt tuotannon esteettisesti korkeatasoisimmiksi arvostettuihin ja suomalaisen kirjallisuuden kaanoniin nousseisiin kansankuvauksiin, Punaiseen viivaan ja Ryysyrannan Jooseppiin, jotka ovat jättäneet varjoonsa Kiannon muun tuotannon. Kiannon koko tuotannon läpikäyvää reseptiota käsittelevän väitöskirjani tarkoitus onkin täyttää sitä aukkoa, joka sekä kirjallisuushistorialta että tutkimuskirjallisuudelta on Kiannon osalta jäänyt. Tutkimukseni osoittaa, että Kiannon teokset nivoutuvat aina lyriikkaa ja romaanituotantoa myöten aikansa polttavimpiin yhteiskunnallisiin, poliittisiin ja eettisiin kysymyksiin. Kiantoa voidaankin teosten ja vastaanoton pohjalta pitää aikansa merkittävänä yhteiskunnallisena keskustelijana ja monien sosiaalisten ongelmien esilletuojana. Kiannon teosten vaateet lainsäädännön päivittämisestä modernin ajan ihmisen aatemaailmaa vastaavaksi muun muassa uskonnonvapauden ja siviiliavioliiton laillistamisen puolesta saivat aikalaisvastaanotossa runsaasti vastakaikua, mutta toivat myös jumalanpilkkasyytteitä. Tutkimukseni osoittaa myös, että Kiannosta jälkipolville muotoutunut julkisuuskuva ei tee oikeutta Kiannon koko aikalaisvastaanotolle, josta on jäänyt elämään lähinnä Kiannon maine säälimättömänä valkoisena ”lahtarina” yhden tietyn ahkerasti levitetyn propaganda-artikkelin takia. Koko vastaanoton kautta tarkasteltuna Kianto nähtiin yleisesti köyhälistön puolestapuhujana ja sisällissodan jälkeen jo vuonna 1918 valmistuneella teoksellaan Elämän ja kuoleman kentältä myös sodan vastustajana, joka joutui kustantajien hylkäämäksi ja sai ko. teoksensa julkaistua vasta vuonna 1928. Kiannon talvisodan aikaan saama kuritushuonetuomio sotapetoksen yrityksestä oli Kiannon kirjailijamaineen kannalta traagisin tapahtuma, joka merkitsi hänen erottamistaan Kirjailijaliitosta ja vuosikymmenen kestänyttä hylkimistään vastaanotossa aina 1950-luvulle asti.

This exam is about how preschool teachers establish a relationship with children in age one to five years old, in their reception to Swedish preschool. To limit the area the exam illustrates how preschool teachers describe their work in how to create a meaningful relationship in reception throughout the attachment theory. It also focuses on how their work influence the adjustment with the children into the preschool environment. The main aim with the study is to reach knowledge on how preschool teachers view their work with children in their reception, and its importance to children’s attachment and establishing a relationship with the preschool teacher. With a qualitative method three interviews with preschool teachers have been done to answer the main question of the study. The result of the study shows that preschools teachers value children to feel safe before they establish a relationship. It also demonstrates that parents have to feel secure in leaving their children in the preschool for the child to feel safe, and be able to develop a relationship with the preschool teachers and other children. The study gives us knowledge that preschool teachers have the full responsibility to establish - and keep to establish - a relationship to the children throughout their whole visit in preschool. Through the attachment theory the described work in reception confirms how safeness with the child is important to be able to establish a relationship before and during the reception.

This dissertation interrogates how diverse actors ascribe semantic, affective, and political meanings to instrumental music under changing historical circumstances and in different performance contexts. In what I call an “ethnographic reception study,” I employ historical and ethnographic methods to assess the ways in which the popular samulnori percussion genre from South Korea has been imbued with associations as divergent as a sonic symbol of Korea to narratives of resistance against the state. Through five chapters, I track some of the contested and multiple meanings as they interact, both in historical moments in South Korea and vis-à-vis transnational circulations that led to the genre’s transmission outside Korea. As a genre of percussion music that was first created in South Korea in 1978, samulnori has had a complex reception during three dramatic decades in modern Korean history—leading to life-changing encounters from its fans while also eliciting scorn from its detractors. As a dynamic musical genre that is now notated and largely nonverbal, samulnori has served as a user-friendly sonic canvas upon which identities and affinities have been easily grafted by non-Korean fans, leading to the development of amateur samulnori ensembles and musical communities around the world. By considering the ways in which the samulnori genre has been evaluated, interpreted, and practiced by different actors, I show how the genre’s complex reception exhibits a relational and imbricated set of meanings over time. Last, by considering the cultural politics of samulnori from diachronic and synchronic perspectives, I offer a working methodology for contemporary studies of music reception. / Music

Commercial advertising often employs stereotyping in order to connect with the intended audience and appeal to the widest possible demographic. The gender binary of male and female is one of the most popular audience segmentations, therefore gender provides an excellent example for the study of stereotypes. This study focuses on the portrayal of male stereotypes in advertising, and seeks to explore how stereotypes of masculinity are represented in androcentric advertising, and understand how these stereotypes are perceived by men. It uses a reception study and Stuart Hall’s (1996) theory of encoding/decoding to discuss the use of stereotypes with male University of Ottawa students, aged 18-25. Participants in the study suggest that the stereotypes portrayed in commercial advertising influence their masculinity in numerous ways, including, but not limited to, the way they dress and the way they act.

No description available.

L’exposition The Family of Man d’Edward Steichen a été initialement présentée au MoMA en 1955. Cette thèse porte sur sa réception depuis sa création en 1955 jusqu’à aujourd’hui, grâce à sa réinstallation au Château de Clervaux au Luxembourg depuis 1994. Dans les années 1950 et 1960, l’exposition a été présentée dans le monde entier. Comment l’exposition The Family of Man a-t-elle été perçue dans certains pays où l’exposition itinérante a été présentée de 1955 à 1964 ? Comment a-t-elle été réinstallée depuis les années 1990 au Luxembourg dans un nouveau contexte ? Pourquoi a-t-on continué à produire du discours sur l’exposition alors qu’elle avait disparu en tant qu’objet entre ces périodes ? En effet, des réactions sur l’exposition avaient émergé dans la presse au moment de l’exposition itinérante. Aujourd’hui, l’exposition est visible grâce aux objets matériels reproduits des années 1950 et aux documents archivés en plus de la consultation du catalogue. Cela permet au spectateur d’expérimenter l’exposition réellement de son point de vue. / The Family of Man exhibition of Edward Steichen was organized at MoMA in 1955. This thesis addresses the reception of The Family of Man from its creation in 1955 until today, thanks to the reinstallation of the exhibition in the Clervaux Castle in 1994. In the 1950s and 1960s, the exposition was shown in 38 countries. How was The Family of Man exhibition received in certain countries where the itinerant exhibition was shown from 1955 to 1964? How was it reinstalled in the 1990s in Luxembourg in a new context? Why was discourse on the exhibition produced between the two periods when it was no longer there as an object? In fact, there had been reactions to The Family of Man at the time of the itinerant exhibition. Today, the exhibition is visible thanks to the material objects reproduced in the 1950s and the archived documents in addition to the consultation of the catalogue. This allows the spectators to have an actual experience of the exhibition by themselves from their point of view.

While scholars have noticed important allusions to Hesiod in Quintus of Smyrna’s Posthomerica, there is still a need to explain Hesiod’s relevance in a poem that is so overtly Homeric. I argue that an understanding of Hesiod’s reception, especially during the Second Sophistic period, will lead to a deeper appreciation of the Posthomerica and the world that produced it. Hesiodic allusions appear at key moments in the narrative and invite us to see Quintus of Smyrna as reading Homeric epic and ethics through a Hesiodic lens. Rather than read the Posthomerica solely as a work of Homeric emulation, I propose that Quintus of Smyrna relies on Hesiod’s reputation as Homer’s rival to articulate his critique of Homeric poetics and heroism. Chapter One argues that Quintus of Smyrna reorients his reader’s gaze from Homer to Hesiod right when he seems to ape a Homeric practice, namely the ekphrasis of Achilles’ shield. Chapter Two asserts that Quintus of Smyrna’s use of Hesiod contributes to the Posthomerica’s narrative structure and highlights his revision of the Homeric idea of virtue (arete), such that Iliadic force must be joined with Hesiodic wisdom. Chapter Three examines Quintus of Smyrna’s Hesiodic self-portrayal and argues that the Posthomerica may be read as a telling of the Trojan saga through a Hesiodic lens. Chapter Four discusses Quintus of Smyrna in the context of Hesiodic reception. And Chapter Five places Quintus of Smyrna’s reception of Homer and Hesiod within the broader landscape of Second Sophistic and Late Antique literature, comparing his allusive practices to those of Greek hexameter poets of his era. This study concludes that Quintus of Smyrna’s revision of Homer reflects a trend among some Second Sophistic authors who re-write and critique Homeric narratives. Moreover, his direct and pervasive engagement with the works of Hesiod is unique when compared to his fellow Greek hexameter poets, whose allusions to Hesiod are mediated through a Hellenistic filter. By bridging studies of the Posthomerica and studies in Hesiod’s reception, my work enables us to gain a better understanding of Quintus of Smyrna’s dynamic engagement with his archaic literary tradition.

I mitt arbete har jag utforskat skillnaden mellan min intention och lyssnares reception av två musikaliska verk som jag skapat. Som grund till detta arbete har jag använt jag mig av två låtar skrivna av mig själv och mina kollegor till vårat gemensamma musikprojekt. Via tankar om analyser av musikinspelningar ur Gunnar Ternhags bok “Vad är det jag hör?” (2009) där han belyser två analysmodeller - intentionsanalys (skaparens baktanke) och receptionsanalys (vad lyssnaren upplever) - har jag gett min bild av hur dessa inspelningar har blivit till och i vilket syfte för att sedan låta inspelningarna lyssnas på och analyseras av lyssnare via ett formulär. Arbetet innehåller redogörelse för musikens intention från skaparen, och musikens reception från lyssnare. Där emellan intentionen och receptionen uppkom nyttiga lärdomar om hur jag som musikskapare kommunicerar. Resultatet av arbetet visade att de 22 deltagare i undersökningen i stor grad upplevde mina intentioner med musiken. Undersökningen bidrog till större insyn i mina kommunikativa färdigheter inom musikskapande. En sådan lärdom var att musikaliska inspirationskällor till musiken kan upplevas väldigt annorlunda beroende på vilken lyssnare som hör musiken. Låtarna som har analyserats heter “Love Me in a Hurry” och “Bumblebee” och är del av ett större album som jag arbetat med det senaste året.