A Survey of Audience Reception of Atọ́ka, A Yorubá Photoplay Magazine

Atokạ́ is a Yorubá photodrama magazine produced in Lagos, Southwest Nigeria from 1967-1991. Published by West African Book Publishers (WABP) and printed by their sister company, Academy Press, Atoka ̣́ was a bi-monthly magazine which, while it lasted, hit the stands fortnightly. Extensive works have been done on Yorubá drama by several scholars. While some looked at specific theater companies, some studied the selected plays of particular companies, and some others examined the production of certain organizations at a particular phase. Despite these myriad of works, some other production media, particularly the stage, celluloid film, and home video film, have gained the attention of researchers extensively but photoplay in particular, and radio, television, and the phonograph-disc have not been so lucky. Apart from some works (Ogundeji 1981, Aro ́ ́hunmolas ̣́ ẹ ̣ 1982, Adeoye 1984, ́ Bolạ́ ́ji ́ 1985, Adéléke 1995, and Akangbé 2014) that referred to and passed comments on Yorubá photoplay, no one has carried out a seminal study on the history, production, and content of Atoka ̣́ photoplay magazine. None of the aforementioned endeavors focused on the audience reception of Atokạ́ photoplay magazine. By implication, there are very scanty works on the photoplay genre and virtually none on audience reception of Yorubá photoplay magazine. It is this yawning gap that this study intends to fill by studying the peculiarities of the readers of Atokạ́ photoplay magazine. This paper is divided into nine parts, namely: Abstract, Introduction, Overview of Yorubá 140 Clement Adéníyì Àkàngbé photoplay magazine, Reception theory, Methodology, Data analysis, Discussion of findings, Conclusion, and Recommendations.

“He’s Adorable”: Representations of People with Dwarfism in Family Guy

This paper examines how people with dwarfism1 are represented in the American animated sitcom Family Guy. Using autocritical discourse analysis, this paper reflects on my own response, as a person with dwarfism, to scenes featuring characters with dwarfism. Whilst the show has been criticised for its controversial humour, this paper argues that the show actually exposes negative social attitudes that people with dwarfism encounter from other members of the public while refraining from encouraging stereotypes of dwarfism. The paper builds upon Fink’s (2013) suggestion that animated comedies are a source of both humour and social commentary. This paper suggests that Family Guy has the potential to challenge social attitudes towards people with dwarfism and the way they are perceived in society through directing the humour towards those who mock them as opposed to those with dwarfism. However, how the scenes are interpreted depends on the audience, which can be related to Hall’s (1993) reception theory.

Children's reception of critical concepts in animated movies

The purpose of this study is to reveal how children interpret animated movies that include critical concepts. The study investigates the mechanism of 20 Iranian children's interpretation aged 9–12 of animations that contain critical concepts and challenging ideas. Participants were interviewed by an ethnographic approach immediately after watching three animated movies, Zootopia, Kung Fu Panda 3, and Inside Out. The collected data were interpreted based on reception theory, sociocultural theory, and frame theory. Three categorizations emerged from the data collected from interviews with children: framegroup, different framegroup, and incomplete framegroup. The variables most influencing children's interpretation of animations were their schemas or frames and the conceptual tools to interpret the animated movies. Some of the results show that the selected animations were not influential enough to change children's schemas and improve their critical thinking. However, if they were equipped with critical conceptual tools, they would grasp and interpret critical concepts featured in the animations.

Recurring Lexis and Reader-Reception in Horace’s Odes: The Formation of a Lyric Opus

<p>This study investigates perceived patterns of lexical recurrence in consecutive or closely proximate poems in Books 1-3 of the Odes of the Roman poet Horace and considers the significance these may have for the structure and organization of this work and its interpretive reception by readers. An initial discussion and demonstration of the types of lexical recurrence observed and their frequency prompts the question of the extent to which these recurrent lexical usages are intentional on the part of the author and hence whether they were factors in determining the order in which the poems of each book are arranged. This question is investigated firstly through statistical analysis, which shows that there is no statistically significant greater clustering effect apparent in the lexical patterns observed than had the odes been arranged in random order. Nevertheless, given than certain recurrences between closely adjacent poems do stand out because of the identity or close similarity of their grammatical or morphological forms and/or metrical location, and that this phenomenon has been perceived by other commentators, the significance that might be attributed to these as poetic effects falls within the domain of reader-reception theory. A summary review of the principal tenets of this theory as developed especially by Ingarden, Gadamer, Jauss and Iser is undertaken in order to derive a sound theoretical method by which the recurrence patterns may be analysed and coherent meaning may be constructed from them. This method is then applied to analysis of a prominent cluster of lexical recurrences over the final five poems of Odes 1 (1.34-1.38). The question of how far such meaning may have corresponded to the intentions of the author Horace is then addressed. A distinction is made, following Bakhtin, between the “primary”, historical author who composed the work and the “secondary” authorial consciousness who engages the reader through the text. While intentions of the former are ultimately unknowable, the secondary author “Horace” does declare intentions for his work through his texts which the reader may then reconstruct. The thesis posits that the poetic ambition of Horace within this textual horizon was first to acquire an erudite and discerning audience capable of accepting him and appreciating his artistry, and then to develop a distinctive generic vehicle by which to engage this audience in dialogue about matters of importance in the Roman social, political and cultural worlds. The development of an audience is a major theme of his Satires Book 1, while the book of Epodes is the framework for his attempt to adapt the iambic metre of Archilochus to his dialogic purpose. The analysis shows that this latter project proved unfruitful because of the indelible association of iambic with invective. The concluding chapter shows that it was the adoption of archaic Greek lyric metres other than iambic that finally provided Horace with the poetic vehicle he sought to write verse that both adhered to the Callimachean aesthetic of brevity and technical perfection and allowed engagement with serious as well as frivolous themes. It examines the manner by which the three Books of Odes, read sequentially as a single opus, firstly familiarize their readers with these archaic metres and the range of lyric themes they can encompass before leading them to an acceptance that lyric can also address important public issues, notably in the “Roman Odes” of Book 3. The perception of the patterns of lexical recurrence throughout the three books is a significant factor in promoting this dialogic engagement of the reader with the text.</p>

Recurring Lexis and Reader-Reception in Horace’s Odes: The Formation of a Lyric Opus

<p>This study investigates perceived patterns of lexical recurrence in consecutive or closely proximate poems in Books 1-3 of the Odes of the Roman poet Horace and considers the significance these may have for the structure and organization of this work and its interpretive reception by readers. An initial discussion and demonstration of the types of lexical recurrence observed and their frequency prompts the question of the extent to which these recurrent lexical usages are intentional on the part of the author and hence whether they were factors in determining the order in which the poems of each book are arranged. This question is investigated firstly through statistical analysis, which shows that there is no statistically significant greater clustering effect apparent in the lexical patterns observed than had the odes been arranged in random order. Nevertheless, given than certain recurrences between closely adjacent poems do stand out because of the identity or close similarity of their grammatical or morphological forms and/or metrical location, and that this phenomenon has been perceived by other commentators, the significance that might be attributed to these as poetic effects falls within the domain of reader-reception theory. A summary review of the principal tenets of this theory as developed especially by Ingarden, Gadamer, Jauss and Iser is undertaken in order to derive a sound theoretical method by which the recurrence patterns may be analysed and coherent meaning may be constructed from them. This method is then applied to analysis of a prominent cluster of lexical recurrences over the final five poems of Odes 1 (1.34-1.38). The question of how far such meaning may have corresponded to the intentions of the author Horace is then addressed. A distinction is made, following Bakhtin, between the “primary”, historical author who composed the work and the “secondary” authorial consciousness who engages the reader through the text. While intentions of the former are ultimately unknowable, the secondary author “Horace” does declare intentions for his work through his texts which the reader may then reconstruct. The thesis posits that the poetic ambition of Horace within this textual horizon was first to acquire an erudite and discerning audience capable of accepting him and appreciating his artistry, and then to develop a distinctive generic vehicle by which to engage this audience in dialogue about matters of importance in the Roman social, political and cultural worlds. The development of an audience is a major theme of his Satires Book 1, while the book of Epodes is the framework for his attempt to adapt the iambic metre of Archilochus to his dialogic purpose. The analysis shows that this latter project proved unfruitful because of the indelible association of iambic with invective. The concluding chapter shows that it was the adoption of archaic Greek lyric metres other than iambic that finally provided Horace with the poetic vehicle he sought to write verse that both adhered to the Callimachean aesthetic of brevity and technical perfection and allowed engagement with serious as well as frivolous themes. It examines the manner by which the three Books of Odes, read sequentially as a single opus, firstly familiarize their readers with these archaic metres and the range of lyric themes they can encompass before leading them to an acceptance that lyric can also address important public issues, notably in the “Roman Odes” of Book 3. The perception of the patterns of lexical recurrence throughout the three books is a significant factor in promoting this dialogic engagement of the reader with the text.</p>

The Oxford Handbook of Byzantine Art and Architecture

The Oxford Handbook of Byzantine Art and Architecture offers a wide-ranging introduction to the richness and diversity of the arts in the Byzantine world. It includes thirty-eight essays by an international roster of authors, from prominent researchers to emerging scholars, on various issues and media. Discussions consider art created for religious purposes, to enhance and beautify the Orthodox liturgy and worship space, as well as art made to serve in royal and domestic contexts. While the Byzantine period is defined as the years 330–1453 ce, some chapters treat the aftermath and influence of Byzantine art on later periods. Arts covered include buildings and objects from the Eastern Mediterranean region, including Italy, the Balkans, Russia, and the Near East. The volume brings together object-based considerations of themes and monuments that form the backbone of art history, with considerations drawing on many different methodologies—sociology, semiotics, anthropology, archaeology, reception theory, deconstruction theory, among others—all in an up-to-date synthesis of scholarship on Byzantine art and architecture. The handbook is a comprehensive overview of a rich field of study, offering a window into the world of this distinct and fascinating period of art.

Analisis Resepsi Objektifikasi Seksual Dalam Tayangan Puteri Indonesia 2020

Rejection and support are present in the implementation of the Puteri Indonesia beauty contest. There were rejections from feminists and religious organizations regarding the issue of sexual objectification. On the other hand, support is present through the enthusiasm of the community, one of which is through the acquisition of high ratings in the Puteri Indonesia 2020 show. The reality of the support and popularity of beauty contests behind sexual objectification has become a research problem. Based on the situation, this study aims to determine the audiences' reception towards the sexual objectification of contestants in the Puteri Indonesia 2020 program. This study involved eight informants who had watched the Puteri Indonesia 2020 show. Based on the research results, the audience's meaning system functioned theoretically to develop concepts from Standpoint Theory and Reception Theory. The study results apply the concept of Standpoint Theory, such as a standpoint of the dominant group, the interests of the dominant group, and situated knowledge that is useful for explaining the phenomenon of sexual objectification in the Puteri Indonesia 2020 show. The concept of the Reception Theory shows the audience's active role through a meaning system of 8 informants based on 10 preferred readings, which resulted in 3 positions of meaning, such as dominant, negotiation, and opposition. The majority of the meanings of the eight informants are in a dominant position. 4 Female informants showed 18 dominant meanings, 12 negotiations, and 10 oppositions. Meanwhile, 4 male informants showed 22 dominant meanings, 17 negotiations, and 1 opposition. The research results add to reception studies for established program genres. In this case, the Puteri Indonesia contest has proven existence until 2020 that successfully held and broadcast on national television stations 25 times.Keywords: beauty pageant; preferred reading; Puteri Indonesia; reception analysis; sexual objectification Abstrak Penolakan dan dukungan hadir dalam penyelenggaraan kontes kecantikan Puteri Indonesia. Penolakan hadir dari para feminis dan organisasi agama terkait isu objektifikasi seksual. Di sisi lain, dukungan hadir melalui antusiasme masyarakat, salah satunya terlihat melalui perolehan rating tinggi dalam penayangan acara Puteri Indonesia 2020. Realita berupa dukungan dan kepopuleran kontes kecantikan di balik isu objektifikasi seksual menjadi permasalahan penelitian. Untuk itu, studi resepsi digunakan untuk mengetahui pandangan khalayak terkait objektifikasi seksual dalam kontes Puteri Indonesia 2020. Penelitian ini melibatkan 8 informan yang telah menyaksikan acara Puteri Indonesia 2020. Sistem pemaknaan khalayak berdasarkan hasil penelitian berfungsi secara teoritis mengembangkan konsep dari Teori Standpoint dan Teori Resepsi. Hasil penelitian menerapkan konsep Teori Standpoint yaitu, sudut pandang kelompok berkuasa, kepentingan kelompok berkuasa, dan pengetahuan tersituasi yang berguna untuk menjelaskan fenomena objektifikasi seksual dalam tayangan Puteri Indonesia 2020. Konsep dari Teori Resepsi menunjukkan peran aktif khalayak melalui sistem pemaknaan 8 informan berdasarkan 10 preferred reading yang menghasilkan 3 posisi pemaknaan yaitu: dominan, negosiasi, dan oposisi. Mayoritas pemaknaan 8 informan berada dalam posisi dominan. 4 Informan perempuan menunjukkan 18 makna dominan, 12 negosiasi, dan 10 oposisi. Sedangkan, 4 Informan laki-laki menunjukkan 22 makna dominan, 17 negosiasi, dan 1 oposisi. Hasil penelitian menambah studi resepsi pada genre program mapan. Dalam hal ini, kontes Puteri Indonesia membuktikan eksistensinya hingga tahun 2020 telah berhasil diselenggarakan dan ditayangkan di stasiun televisi nasional sebanyak 25 kali. Kata Kunci: analisis resepsi; kontes kecantikan; objektifikasi seksual; preferred reading; Puteri Indonesia

Pemaknaan Body Positivity dalam Film Imperfect Pada Kalangan Remaja di Jakarta

Film are widely used as a medium of mass communication because film are considered effective in conveying messages. The presence of film that are usually made to represent the reality of real life that exists in society. As in the film Imperfect which is fully titled Imperfect: Career, Love & Scales, tells a story about the case of self-acceptance with the issue of beauty standards that are assessed by the general public. This study aims to determine the meaning of teenagers in Jakarta in the Imperfect film related to body positivity. This research is a qualitative research which is descriptive and uses reception analysis. The theory used is the reception theory and Stuart Hall's encoding-decoding theory which describe the three positions of the meaning of the audience. The research results were obtained through in-depth interviews which will be grouped into three positions of meaning, namely the dominant position, the negotiation position and the position.Film banyak digunakan sebagai medium komunikasi massa karena film dianggap ampuh dalam menyampaikan pesan. Kehadiran film yang biasanya dibuat untuk merepresentasikan realitas dari kehidupan nyata yang ada di tengah masyarakat. Seperti halnya dalam film Imperfect yang berjudul lengkap Imperfect: Karier, Cinta & Timbangan, bercerita tentang kasus penerimaan diri dengan isu standar kecantikan yang dinilai pada masyarakat umun. Penelitian ini bertujuan untuk mengetahui bagaimana pemaknaan remaja di Jakarta pada film Imperfect terkait body positivity. Penelitian ini adalah penelitian kualitatif yang bersifat deskriptif dan menggunakan analisis resepsi. Teori yang digunakan adalah teori resepsi dan teori encoding-decoding Stuart Hall yang menjabarkan tiga posisi pemaknaan audiens. Hasil penelitian diperoleh melalui wawancara mendalam yang akan dikelompokkan menjadi tiga posisi pemaknaan yaitu pada posisi dominan, posisi negosiasi dan posisi. Hasil penelitian menempatkan sebagian besar informan berada pada posisi negosiasi yang menyetujui bahwa penokohan dan cerita yang disampaikan dalam film Imperfect memiliki nilai body positivity namun dengan pengecuali pada beberapa adegan yang ada.

Translation policy

The translation policy model by González Núñez (2013, 475) comprises three elements, namely “translation management”, “translation practices”, and “translation beliefs”. While the first two elements of this model are straightforward and easy to study in top-down approaches, translation beliefs can relate both to policymakers and policy receivers. However, the distinction has not been clearly made in this model and the element of translation beliefs has been chiefly treated in the literature as though it comes from the top levels of policymaking, hence overlooking the bottom-up aspects of it (see González Núñez 2014, 2016; Li et al. 2017). In order to improve this model, the present paper draws on the audience reception theory (Hall 1973), and shows that the current translation policy model requires a fourth element that I would call ‘translation reception’. The paper draws on the findings of a reception-oriented case study on translation policies in provincial broadcasting in Iran. This study argues that a more inclusive model of translation policy should not only include the authority-level elements of translation management, translation practices, and translation beliefs, but also the element of translation reception on the part of policy receivers. This way, I hope, the end users’ involvement in and contribution to the translation policy network will not be overlooked in subsequent research.