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CrashCourse Literature and other educational YouTube videos are essential mechanisms for connecting students and the general public to the humanities. Public humanities projects are in an intellectual tug-of-war between what academia and the diverse developing public want them to be, but that contention can and should be mediated using new media tools like CrashCourse Literature. CrashCourse Literature's emphasis on bringing the reader to the text and the text to the reader, echoes the goals of reception theory. Reception theory focuses on finding meaning in a literary text using the reader's horizon of expectations more than an a traditional, essentialist, "original' reading of a text. Analyzing public humanities projects like CrashCourse Literature through the lens of reception theory can help to show why the public uses them to connect more fully with the humanities. Within the texts of the videos "Fate, Family, and Oedipus Rex: Crash Course Literature 202," "Shakespeare's Sonnets: Crash Course Literature 304", "Like Pale Gold--The Great Gatsby Part I: Crash Course English Literature #4," and "Was Gatsby Great? The Great Gatsby Part 2: Crash Course English Literature #5," I see two distinct levels of reception that influence and strengthen each other: 1. First level of reception: CrashCourse interacts with and refracts the texts they are explicating based on where the reader is in time and space. 2. Meta-reception: CrashCourse interacts and connects with the viewers of the video by interpreting their viewers' responses to said text. CrashCourse's use of popular culture references, references to current or familiar social, political, and cultural ideologies, jokes, validations of viewers previous literary experiences, informal language all situated well within sound academic scholarship constitute examples of first-level and meta-reception. CrashCourse Literature sees the humanities, and fictional literature in particular, as exercises in empathy. Accordingly, they treat their approach to the text (first-level reception) and their viewers response to the text (meta-reception) with the same empathetic care. Public humanities projects that use new media well, allow public access to and connection with scholarly discussion and information. If academic institutions want to continue humanities research and discussion in a way that keeps their publics enthusiastically engaged, they will find good tools in CrashCourse Literature, which is engaging precisely in the kind of intellectual work and dialogue the academic establishment needs in order to stay relevant and significant to the publics they serve.

The purpose with this study was to find out about the perception of a couple of individuals regarding the feature of gender in lifestyle magazines. This is a qualitative journalistic study with focus on gender, lifestyle magazines and reception.   One of our main questions was to find out about our respondents opinion concerning the content through a gender perspective. We were also interested in their thoughts about their own consciousness and others regarding the representation of gender in lifestyle magazines and how they think that their interpretation of male and female features in lifestyle magazines may shape their lives.   In our study we chose to interview eight (8) people. We had a qualitative approach and an open structure regarding the questions during the interviews. Almost all of them took place in Kalmar and a few of them on Skype. To get our respondents to understand our definition of lifestyle magazines we chose to provide them with six (6) articles from the swedish lifestyle magazines Solo and Café, three (3) from each.   The results of the study show that our respondents over all seemed to be conscious readers according to themselves. At the same time they thought that other readers besides themselves did not question how gender were presented in the magazines and therefore contributed to the gender structure in society. According to our respondents one of the main reasons for applying both content and values of the magazines seems to be driven by the age of the reader. Something that we thought was quite interesting, especially considering that almost all of them brought up this subject.   We are hoping this study will contribute to the research about gender and in particular regarding lifestyle magazines and to inspire others to take interest in further studies about gender.

David Jones (1895-1974), the Anglo-Welsh, Roman Catholic, poet, artist, and essayist, believed that Western civilisation was in decline. From his formative experience as a private in the First World War to the harrowing destruction of Western and British culture that he perceived during the Second World War and in its aftermath, Jones shaped his artistic vision of modernity on the basis of a complex and dynamic concept of ancient Rome. Jones developed this vision through his poetry, paintings, inscriptions, essays, interviews and letters over a period which spanned most of his adult life. It was not founded in any form of classical education, but was fashioned from his own experiences, his extensive reading, his conversations with friends, and, most importantly, from the discourses surrounding Rome's relationship with the modern world which were prevalent in his contemporary society. This thesis offers the first sustained study of Jones's reception of Rome and brings together a wide range of published and unpublished material. It situates Jones's vision of Rome within a broad context divided into four central areas of contemporary discourse: British political rhetoric, the cyclical historical movement, the defence of cultural unity and continuity, and the Welsh nationalist movement. Exploring the deep and previously uncharted relevance of Jones's works to twentieth-century British intellectual history reveals the enduring fascination of the Roman analogy as a way to comprehend the crisis of modernity.

Between 1900 and 1970 seven different versions of Sophocles’ play Oedipus Tyrannos were performed or published in Arabic in Egypt. This thesis looks at the first 71 years’ history of this iconic Greek tragedy in Arabic and the ways it can be used to think through the cultural debates of the period. The long history of contact between Greece and Egypt and the 19th and 20th century interpretations of this history can be used to look at different models of colonial and post-colonial cultural interaction. Classicism offered Egyptian writers a constructive way of looking at their cultural identity and contemporary world – a way which takes in to account the legacies of colonialism but also engages Greek literature to create their own models of nationhood. Following the history of performance and adaptation of the play throughout the 20th century, this thesis offers close readings of the most prominent adaptations of Oedipus, particularly those of Farah Antun (whose text was used for Actor-Director George Abyad’s first version of the play in 1912), Tawfiq al-Hakim (1949), Ali Ahmed Bakathir (1949) and Ali Salem (1970). Using performance and translation theory, I show how performance of translated plays like Oedipus was a crucial but complex part of the formation of an Egyptian dramatic tradition through the dynamic interaction of diverse views of what the theatre should be, using, for instance, the role of singing in turn of the century drama. This thesis also revisits and revises misconceptions about the relationship between Islam and theatre. In addition to examining Egyptian Oedipus’ 19th and 20th century context, I also stress the contribution of performance and adaptation to readings of the original text. In particular, these versions of Oedipus ask questions about monarchical rule and democracy that form one link between this classical play and 20th century Egypt. Through its interdisciplinary approach as well as the close readings it offers, this thesis aims to make valuable contributions to the fields of Arabic Theatre Studies and Classical Reception in Colonial and Post-Colonial contexts as well as Performance and Translation Theory.

<p>Arbetets syfte är att få kunskap om barns reception av bilderböcker i år 1 för att som lärare kunna göra bättre litteraturval för undervisning av elever i år 1. Genom att presentera bilderböcker som skapar känslor och berör kan elever hjälpas i sitt identitetssökande samtidigt som deras läs- och skrivutveckling stimuleras. Arbetet har utförts med hjälp av boksamtal som främsta datainsamlingsmetod. Fyra elever i årskurs ett har fått ta del av fyra bilderböcker som de sedan diskuterat och relaterat till i samtal om boken. Samtalen formades efter Aidan Chambers boksamtal som går ut på att en samtalsledare ställer frågor utifrån boksamtalsdeltagarnas tankar och funderingar om en utvald text. På så sätt kan elever utvecklas och bli bättre på att tänka och samtala om texter. Arbetet visar att det finns skillnader i hur barn tar till sig olika typer av bilderböcker och att det finns skillnader mellan kön. Tex. tas böcker som beskriver barns verklighet bättre emot än böcker som inte beskriver den. Böcker som beskriver barns verklighet leder även till att existentiella och emotionella frågor ställs. Arbetet visar även att barnen tenderar att identifiera sig med karaktärer av samma kön.</p>

Arbetets syfte är att få kunskap om barns reception av bilderböcker i år 1 för att som lärare kunna göra bättre litteraturval för undervisning av elever i år 1. Genom att presentera bilderböcker som skapar känslor och berör kan elever hjälpas i sitt identitetssökande samtidigt som deras läs- och skrivutveckling stimuleras. Arbetet har utförts med hjälp av boksamtal som främsta datainsamlingsmetod. Fyra elever i årskurs ett har fått ta del av fyra bilderböcker som de sedan diskuterat och relaterat till i samtal om boken. Samtalen formades efter Aidan Chambers boksamtal som går ut på att en samtalsledare ställer frågor utifrån boksamtalsdeltagarnas tankar och funderingar om en utvald text. På så sätt kan elever utvecklas och bli bättre på att tänka och samtala om texter. Arbetet visar att det finns skillnader i hur barn tar till sig olika typer av bilderböcker och att det finns skillnader mellan kön. Tex. tas böcker som beskriver barns verklighet bättre emot än böcker som inte beskriver den. Böcker som beskriver barns verklighet leder även till att existentiella och emotionella frågor ställs. Arbetet visar även att barnen tenderar att identifiera sig med karaktärer av samma kön.

The purpose with this qualitative interview-study was to try, from the carer´s point of view, to describe the meaning and the essence of the good meeting. The participants were selectively chosen and were all women of varying life- and professional experience. They were interviewed with four interrogative forms that dealt with the experiences of the meaning and the essence of the good meeting. The analysis of the contents of the four interviews produced five themes: the meaning and the essence of aware presence in the good meeting, the meaning and the essence of the personal alliance, the carer's need of being seen and getting appreciation, the courage to bring up insulting behaviors while still preserving the relationship, personal qualities of the care. Aware presence was to be a main theme through out the meeting. Mutual satisfaction and attention to personal boundaries was emphasized primarily in the personal alliance and trust and confidence was important. It was considered difficult, sharing your personality while still stake out boundaries. The carer also had the need to feel seen and to receive appreciation. The carer as a reward for a work, well done, took positive signals from the person in receipt of care. In close relationships and meetings, the carer sometimes felt insulted by the persons in receipt of care and their relatives. The informants to create the good meeting used personal qualities like courage, sensitivity, flair and common sense.

I define the youth respondent method as a process by which artists and/or producers involve children and/or young adults through planned theatre activities or discussions with the objective of answering specific questions about the development of the work and collect feedback to improve the text or further the production. This pluralistic practice grants agency for the target audience, while informing the creators of the possibilities of the play and answering challenging questions regarding the work. Considering a continuum that places creative dramatics and children’s theatre at its poles, the youth respondent method demonstrates a merger of the two genres affiliated with youth, theatre, and play. My dissertation documents the youth respondent method’s application in a number of mid-twentieth century and contemporary case studies from the U.S., all of which received national attention through festivals and professional productions at regional theatres throughout the country. These case studies include: Playwright Charlotte Chorpenning’s work with the Goodman Theatre (1940s), Deni Kruger’s play MUDDY BOOTS (2005), Jason Tremblay’s play KATRINA: THE GIRL WHO WANTED HER NAME BACK (2009), Lydia Diamond’s play HARRIET JACOBS (2008), and Duncan Sheik and Stephen Sater’s musical SPRING AWAKENING (2006). This diverse group of plays and musicals relied on variations of the youth respondent method at different stages of their development and production processes, in which youth took the reins to serve as collaborative creators. The child is another essential collaborator in determining how their generation can make a better future through the practice and art of theatre. I examine the dialectics between artists, scholars, producers, and children, applying the youth respondent method. This model strengthens Theatre for Young Audience (TYA) plays while it gives children the agency to learn, exchange ideas, and address subjects that are important to them. TYA is a continually expanding field, although there is a significant lack of scholarship documenting its growth and such important practices as this method. By documenting various forms of the best of this practice, I hope to educate other scholars and practitioners about its vitality. / text

Den Anlass zur vorliegenden Studie gibt die Spezifik der Rezeption beim Dolmetschen. Sprachverstehen ist eine Basiskompetenz der Translation. Im Unterschied zu einfacher Kommunikation nutzt der Translator zeitbedingt oft nur unvollständig entwickelte Verstehensergebnisse zur Erstellung des Zieltextes und überwindet dabei sprachliche und kulturelle Barrieren. Diese einmalige Besonderheit des Dolmetschens verlangt vom Translator eine dolmetschspezifische Rezeptionskompetenz. Vor allem für den simultanen Modus, der durch die sofortige Umsetzung von Information gekennzeichnet ist, die häufig nicht ausgiebig verarbeitet werden kann, muss eine stark spezifische Rezeptionskompetenz angenommen werden. Um Kompetenz gezielt zu erwerben und nicht allein auf Intuition und trial-and-error angewiesen zu sein, ist bewusste Kenntnis des Gegenstands notwendig. Eine Beschreibung der Faktoren, Prozesse, Produkte und des Ablaufs des Sprachverstehens beim Dolmetschen ist die Grundlage für bewußten Erwerb und effektive Vermittlung von dolmetschspezifischer Rezeptionskompetenz. Die Studie hat zum Gegenstand die noch näher zu beschreibenden Produkte des Sprachverstehens beim Dolmetschen. Im weiteren Sinne befasst sich die Arbeit mit der Form mentaler Repräsentation von verstandenem Text und mit dem zeitlichen Fortschreiten ihrer Entstehung. Obwohl das Produkt nicht losgelöst von den an seiner Entstehung beteiligten Faktoren und Prozessen betrachtet werden kann, ist die gewählte Perspektive die vom Produkt des Verstehens her. Das Ziel der Studie ist eine Beschreibung des konzeptuellen Substrats und seiner Rolle für die Dolmetschkompetenz. Damit soll eine stärkere Bewusstheit der Rezeptionshandlungen des Dolmetschers ermöglicht werden, um auf diese Weise den Bereich der Rezeption beim Dolmetschen stärker für strategisches Handeln und effektivere Vermittlung in der Ausbildung zu öffnen. Die Studie ist so angelegt, dass sie auf den relevantesten Studien zur allgemeinen und dolmetschspezifischen Sprachverarbeitung mit ihren zentralen Begriffen und Definitionen aufbaut. Dabei spielen übersetzungswissenschaftliche Studien insofern eine Rolle, als sie teilweise die Grundlage für spätere dolmetschwissenschaftliche Forschungen waren. Zweitens wird ausgehend davon der Stand der Forschung zu einer Synthese verdichtet, um zentrale Fragestellungen herauszuarbeiten und strittige Punkte zu diskutieren. Diese Synthese mündet im Versuch eines Modells des konzeptuellen Substrats beim Dolmetschen. Die Hypothese wird in empirischen Tests überprüft. Nach der Auswertung der Testergebnisse werden abschließende Schlussfolgerungen zur Rolle des konzeptuellen Substrats in Praxis und Ausbildung gezogen.