Relevant bibliographies by topics / Ideological and aesthetic reception

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Ideological and aesthetic reception'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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Journal articles on the topic "Ideological and aesthetic reception"

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Fathurrosyid, Fathurrosyid. "TIPOLOGI IDEOLOGI RESEPSI AL QURAN DI KALANGAN MASYARAKAT SUMENEP MADURA." El-HARAKAH (TERAKREDITASI) 17, no. 2 (February 5, 2016): 218. http://dx.doi.org/10.18860/el.v17i2.3049.

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Islamic teachings in the Quran are fused in the community life of West Pakandangan Village, district Bluto at Sumenep Madura. It is not only expressed through reading and exploring the moral messages, or is treated as magical and powerful objects, but also is an aesthetic reception. For instance using a piece of written verses as accessories at homes, mosques and others. This research is qualitative in nature, employing both literary review and field research. It uses phenomenological analysis and content analysis. The findings show; first, the ideological typology of Quran reception in West Pakandangan involves exegetical, aesthetic and functional receptions. Second, the surface structure of reception symbols presents the religious community. While the deep structure exists in the form of social harmony, social stratification, educational media and pragmatic logical structure on the miracle of Quran. Thirdly, the typology reception of West Pakandangan society in the discourse of Quran and commentary can be categorized as a realist and transformative interpretation, that is dialectic and negotiated interpretation with the social context developed in the community.
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Cvejić, Žarko. "From "Bach" to "Bach's son": The work of aesthetic ideology in the historical reception of Carl Philipp Emanuel Bach." New Sound, no. 54-2 (2019): 90–108. http://dx.doi.org/10.5937/newso1954090c.

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The paper explores the historical correlation between the marginalization of C. P. E. Bach in his posthumous critical reception in the early and mid 19th century and the paradigm shift that occurred in the philosophical, aesthetic, and ideological conception of music in Europe around 1800, whereby music was reconceived as a radically abstract and disembodied art of expression, as opposed to the Enlightenment idea of music as an irreducibly sensuous, sonic art of representation. More precisely, the paper argues that the cause of C. P. E. Bach's marginalization in his posthumous critical reception should not be sought only in the shadow cast by his father, J. S. Bach, and the focus of 19th and 20th-century music historiography on periodization, itself centred around "great men", but also in the fundamental incompatibility between this new aesthetic and philosophical ideology of music from around 1800 and C. P. E. Bach's oeuvre, predicated as it was on an older aesthetic paradigm of music, with its reliance on musical performance, especially improvisation, itself undervalued in early and mid 19th-century music criticism for the same reasons. Other factors might also include C.P. E. Bach's use of the genre of fantasia, as well as the sheer stylistic idiosyncrasy of much of his music, especially the fantasias and other works he wrote für Kenner ("for connoisseurs"). This might also explain why his music was so quickly sidelined despite its pursuit of "free" expression, a defining ideal of early to mid 19th-century music aesthetics.
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Davis Gonzalez, Ana. "La recepción diferida de la narrativa de Roberto Arlt y Leopoldo Marechal." Monteagudo, no. 25 (October 7, 2020): 185–202. http://dx.doi.org/10.6018/monteagudo.448561.

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Este trabajo sugiere la expresión de recepción diferida para aludir a la atención de una obra en una época posterior a su publicación. Analizar la evolución de su recepció manifiesta los paradigmas estéticos, ideológicos y socio-políticos que rigen un periodo histórico. Para ejemplificar dicho análisis, nos serviremos de la narrativa de Roberto Arlt y Leopoldo Marechal, pues consideramos claves los juicios que padecieron algunos de sus textos. Nos proponemos demostrar que su recepción fue simétricamente opuesta y no totalmente motivada por cuestiones estéticas. Un examen conjunto permite profundizar en los criterios de época que condicionaron su admisión en el canon nacional. The present work proposes the delayed reception for the acceptance of at specific book in a period after its publication. The route of its reception reveals the aesthetic, ideological and socio-political paradigms that govern a specific era. That study the follows exemplifies this methodological approach with the works of two writers: Roberto Arlt and Leopoldo Marechal. We consider key the judgments that both suffered when publishing certain texts because the changes of opinion among the critics have been symmetrically opposed and not totally motivated by aesthetic causes. A joint analysis of the two allows deepening the criteria of the period that conditioned their admission into the national canon.
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Kovalets, Lidija. "Taras Shevchenko’s Ballade “Why do you come to the grave?” and it’s Ideological and Aesthetic Reception by Jurij Fed’kovych." Pitannâ lìteraturoznavstva 90 (December 22, 2014): 7–22. http://dx.doi.org/10.31861/pytlit2014.90.007.

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Guthrie, Kate. "Propaganda Music in Second World War Britain: John Ireland's Epic March." Journal of the Royal Musical Association 139, no. 1 (2014): 137–75. http://dx.doi.org/10.1080/02690403.2014.886430.

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ABSTRACTWhile biographical studies of British composers' experiences in the Second World War abound, little attention has been paid to how the demands of ‘total’ war impacted on music's ideological status. This article sheds new light on how composers and critics negotiated the problematic relationship between art music and politics in this period. John Ireland's Epic March – a BBC commission that caused the composer considerable anxiety – provides a case study. Drawing first on the correspondence charting the lengthy genesis of the work, and then on the work's critical reception, I consider how Ireland and his audiences sought to reconcile the conflicting political and aesthetic demands of this commission. With its conventional musical style, Epic March offers an example of a ‘middlebrow’ attempt to bridge the gap between art and politics.
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Wróblewski, Wojciech. "Dwie antyutopijne wizje – My Jewgienija Zamiatina i Miranda Antoniego Langego. Z dziejów idei i recepcji." Konteksty Kultury 17, no. 4 (2020): 479–503. http://dx.doi.org/10.4467/10.4467/23531991kk.20.038.13257.

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Artykuł stanowi próbę zaprezentowania dwóch antyutopijnych powieści powstałych w latach dwudziestych XX wieku: My Jewgienija Zamiatina (1920) i Mirandy Antoniego Langego (1924). Autor przedstawia w nim genezę obu tekstów, a także wskazuje kulturowe, artystyczne i ideowe płaszczyzny ich odczytania. Omawia recepcję My i Mirandy oraz stan badań nad twórczością antyutopijną Zamiatina i Langego. Stara się ująć obie powieści w kontekście rozwoju gatunku. Ponadto ukazuje My Zamiatina i Mirandę Langego jako wypowiedzi o charakterze historiozoficznym, uwikłane często w dyskusje z dominującymi prądami artystycznymi i estetycznymi. Two Anti-Utopian Visions – We by Yevgeny Zamyatin and Miranda by Antoni Lange: History of Idea and Reception The article attempts to present two anti-utopian novels written in the 1920s: We by Yevgeny Zamyatin (1920) and Miranda by Antoni Lange (1924). The author examines origins of both texts and points out cultural, artistic and ideological aspects of their interpretation. The reception of We and Miranda is discussed as well as the current state of research on the anti-utopian oeuvre of Yevgeny Zamyatin and Antoni Lange is addressed. The author attempts to present both novels in the context of evolution of the literary genre. Moreover We by Zamyatin and Miranda by Lange are depicted as statements of historiosophical character, often embroiled in disputes with the dominating artistic and aesthetic movements.
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Stolow, Jeremy. "Aesthetics/Ascetics." Postscripts: The Journal of Sacred Texts, Cultural Histories, and Contemporary Contexts 2, no. 1 (May 20, 2007): 5–28. http://dx.doi.org/10.1558/post.v2i1.5.

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This article focuses on the relationship of aesthetics and ascetics with regard to the publication and popular reception of Kosher By Design, a cookbook published by a major American Jewish Orthodox press, ArtScroll Publications. The article analyses the ideological, rhetorical, discursive, and iconographic modes of address embedded within this text, treating them as instances of popular religion, and also as elements of a project in and through which the Orthodox Jewish intellectuals associated with ArtScroll seek to assert new forms of religious authority, in the context of a broader culture of “kosher consumerism,” to which this text is directed. The article ends by highlighting the paradoxical character of this form of “post-scripture,” in which books like Kosher By Design, and by extension other ArtScroll texts—including their popular prayer-books—are caught between competing demands of popularity and authority, art and asceticism, and religious stringency and bourgeois living.
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Ozsvárt, Viktória. "Folklorism and Classical Tradition in László Lajtha's Late String Quartets." Studia Musicologica 59, no. 3-4 (December 2018): 323–44. http://dx.doi.org/10.1556/6.2018.59.3-4.5.

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Abstract The gains from the folk music collection movement initiated by Béla Bartók and Zoltán Kodály in the first decade of the twentieth century set a path for Hungarian music theory that continued to influence the approach to composition in later decades. Placing folklore material in composed, classical works is complicated by tonal and formal problems and by political overtones. For quotations or thematic material from folk music may introduce complex implications and associations. So the way a composer imbues folk music calls for more than mere technical skill – it embodies an artistic statement. This article analyzes two works by the Hungarian composer and ethnomusicologist László Lajtha (1892–1963): his string quartets nos. 7 and 10 completed in the early 1950s. Through these two quartets I attempt to fathom the aesthetic, ideological and personal motives behind Lajtha's use of folk material in classical composition. Analysis of the composing process involved and the reception the two works received reveal the manifold scope that folk music brings as a source of inspiration.
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Noll, K. L. "THE KALEIDOSCOPIC NATURE OF DIVINE PERSONALITY IN THE HEBREW BIBLE." Biblical Interpretation 9, no. 1 (2001): 1–24. http://dx.doi.org/10.1163/156851501300112335.

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AbstractOver the centuries, rabbis, priests and laity have wrestled with the Bible's various and often conflicting portraits of the God Yahweh. The social sciences suggest that each Yahweh text reflects the needs of the communities that formulated the text. Also, academic research has explored the reception of the complete Bible by religious communities. With the exception of so-called canonical criticism, very little work has been done on the transition between these two stages of the Bible's (and Yahweh's) evolution, from initial composition of texts to complete biblical canon. But canonical criticism usually presumes, a priori , that any text later deemed biblical was in some sense religiously useful from the day of initial composition, became (or continued to be) religiously authoritative as it evolved toward final edited form, and only increased in sacredness as it moved toward canonization. This study disputes that presumption, suggesting that the anthology was produced by a group of literati whose motivation was both socio-ideological and aesthetic, but not religious. This motivation best explains the extreme diversity of Yahweh personalities in the Hebrew canon.
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Stevanovic, Vladimir. "Cultural based preconceptions in aesthetic experience of architecture." Spatium, no. 26 (2011): 20–25. http://dx.doi.org/10.2298/spat1126020s.

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On a broader scale, the aim of this paper is to examine theoretically the effects a cultural context has on the aesthetic experience of images existing in perceived reality. Minimalism in architecture, as direct subject of research, is a field of particularities in which we observe functioning of this correlation. Through the experiment with the similarity phenomenon, the paper follows specific manifestations of general formal principles and variability of meaning of minimalism in architecture in limited areas of cultural backgrounds of Serbia and Japan. The goal of the comparative analysis of the examples presented is to indicate the conditions that may lead to a possibly different aesthetic experience in two different cultural contexts. Attribution of different meanings to similar formal visual language of architecture raises questions concerning the system of values, which produces these meanings in their cultural and historical perspectives. The establishment of values can also be affected by preconceptions resulting from association of perceived similarities. Are the preconceptions in aesthetic reception of architecture conditionally affected by pragmatic needs, symbolic archetypes, cultural metaphors based on tradition or ideologically constructed dogmas? Confronting philosophical postulates of the Western and Eastern traditions with the transculturality theory of Wolfgang Welsch, the answers may become more available.
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Dissertations / Theses on the topic "Ideological and aesthetic reception"

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Dempsey, Sinead. "Aesthetic and ideological trends in the reception of Mendelssohn's music in nineteenth-century Germany." Thesis, University of Manchester, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.504770.

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This dissertation investigates trends in the critical reception of the music of Felix Mendelssohn Bartholdy in the second and third quarters of the nineteenth century; more precisely, from the earliest reviews ofhis works to appear in the German musical press (1824) up to the controversy provoked by Wagner's 'Judaism in Music' (1869). The reasons for this fifty-year span are twofold: first, to consider the changing dynamics in critical reactions towards the composer in greater detail than a broader time frame would afford; and second, to avoid the historical determinism present in our existing picture, which assumes a direct link between the anti-Semitic dimension of Mendelssohn reception in the 185Os and the composer's treatment in the Third Reich. In identifying and explaining changes in the reception ofMendelssohn's output, this . study explores some ofthe aesthetic and ideological issues shaping its evaluation. As such, it touches on many aspects ofnineteenth-century thought and culture. In'addition to revising and clarifying the existing picture ofMendelssohri's reception, secondary outcomes of this study include an elucidation of the aesthetic stances and competing agendas of a diverse selection ofpolemicists and critics such as Adolf Bernhard Marx, Eduard Hanslick, Eduard KrUger, Heinrich Heine, Robert Schumann, Franz Brendel, Richard Wagner, Richard Pohl, Peter Cornelius, Franz Liszt, Wilhelm Heinrich Riehl, Emil Naumann and Felix Draeseke. Thus, this dissertation aims to contribute to our broader understanding of music criticism and aesthetic discourse in this period.
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Staskievicz, Jurata. "Aesthetic and ideological functions of time and space shifts in the postmodernist narrative." Master's thesis, Lithuanian Academic Libraries Network (LABT), 2008. http://vddb.library.lt/obj/LT-eLABa-0001:E.02~2008~D_20080924_174222-28427.

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The purpose of this study was to analyze aesthetic and ideological functions of time and space shifts in the postmodernist narrative. The paper investigates the problems of time and space relationships in literary discourse and is based on the material of famous postmodern novel by Kurt Vonnegut, Jr. Slaughterhouse – Five Or The Children’s Crusade A Duty – Dance With Death. The textual features expressed by space and time relations have not received enough attention in English critical literature. However, provides a continual response to the importance of time and space notions which are often included as part of the themes in the genre of novels. The method chosen for the study was descriptive. The paper consists of two basic parts and their subdivisions. The first part examines the differerences between traditional and postmodernist narrative discourse. The second focuses on the aesthetic and ideological functions of time and space shifts in the above mentioned novel by Kurt Vonnegut, Jr. In the introduction some general characteristics of the narrative structure are outlined. A narrative structure is usually defined as a story which develops in time and space. But the simpliest way of conceiving a narrative is presenting it as a series of events in specific order with a beginning, a middle and an end. The structuralist theoretician Genette distinguishes such features of a narrative: discourse, story and narration. The theoreticians ( Paul Ricoeur, Mikhail... [to full text]
Laiko kaita naratyve yra neatsiejama nuo erdvės, nes laiko poslinkiai visada sukelia erdvės pasikeitimą. Šiame darbe siekiama atskleisti laiko ir erdvės kaitos estetines ir ideologines funkcijas postmodernistiniame Kurto Vonneguto, Jr. romane Skerdykla Nr.5 arba Vaikų Kryžiaus Žygis Privalomasis Šokis su Mirtimi. Laiko ir erdvės kaita romane apsprendžia jo struktūrines, semantines ir stilistines savybes. Pagrindinis metodas naudojamas šiame darbe yra aprašomasis. Darbas susideda iš dviejų dalių bei jų poskyrių. Pirmoje dalyje nagrinėjami skirtumai tarp tradicinio bei postmodernistinio literatūrinio diskurso. Pristatomos bendros žinios apie narratyvą bei tradiciniai ir postmodernistiniai požiūriai į literatūrinį diskursą. Tradiciniai naratologai kreipia dėmesį į romano struktūrą, laiką, įvykių seką, siužeto liniją, pasokotojo funkcijas. Postmodernistai yra priešingi tradiciniams požiūriams į naratyvo struktūrą. Jie neigia ne tik naratyvo linijiškumą bet ir pačio naratyvo ir jo elementų esmę. Postmodernistai pačiuose savo veikaluose nagrinėja kūrinio diskursą. Antroje darbo dalyje analizuojamos estetinės bei ideologinės laiko ir erdvės kaitos funkcijos Kurto Vonneguto, Jr. romane Skerdykla Nr.5 arba Vaikų Kryžiaus Žygis Privalomasis Šokis su Mirtimi. Romanas Skerdykla Nr.5 – pati ryškiausia antikarinė rašytojo knyga, kurią Vonnegutas komponuoja pasakojimo pasakojime principu, fragmentiškai pateikia sukurtą Bilio Pilgrimo istoriją ir į ją įaudžia dokumentinį... [toliau žr. visą tekstą]
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Xiang, Yu. "Ideological sinicization of China Central Television in Africa : a reception analysis of African audiences." Thesis, University of Westminster, 2018. https://westminsterresearch.westminster.ac.uk/item/q4yzw/ideological-sinicization-of-china-central-television-in-africa-a-reception-analysis-of-african-audiences.

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China’s booming investment in and trade with many African countries since the early 2000s marks the beginning of a new wave of industrial escalation on a global scale and at the same time a revived campaign for a new world information and communication order. The launch of CCTV-Africa in Nairobi, Kenya in January 2012 was a significant milestone in the ‘China media going global’ project initiated by the Chinese government in 2009. This research is aimed at conducting a reception analysis of the African audiences of CCTV-Africa from the perspective of critical political and economic media studies. The focus of this research is not limited to the audience reception of the media content produced by CCTV-Africa but also focuses on the wider context of China-Africa political and economic interactions within the global structure of capitalism. The thesis will explore how the Chinese media is paving its way in the African news market and the process of manufacturing ideological consent among its target audience of the elite classthrough the medium of CCTV-Africa news programmes by analyzing how African students in China perceive the ideology of Sinicism delivered by CCTV-Africa. Therefore, this thesis has two main aims: first, to provide a definition of ideological Sinicization through a comprehensive illustration of China’s political-economic reality as a semi-peripheral country and its political and economic interaction with the peripheral countries in Africa, deploying the revised theoretical frame of structural imperialism developed by Johan Galtung. The second goal is to look into the mechanism of the process by which CCTV-Africa news programmes represent ideological Sinicization. The term Sinicization is deployed in this research to summarize the ideological homogenization of the China-African elite class through the establishment of ‘harmony of interests’. One the one hand, as a semi-peripheral country conditioned by the contemporary global system of economy, China attempts to boost its economic interaction with peripheral countries from Africa in order to complete its domestic economic transition from semiperiphery to core. On the other hand, countries from Africa see the economic cooperation with China as an alternative opportunity to transfer their peripheral statues to semi-periphery by developing their labour-intensive industries. Therefore, there exists a consensus amongst transnational elite class underpinned by the “harmony of interest” to pursue economic growth. Such consensus is reinforced by the news of CCTV in Africa which is the state-controlled international media of Chinese government. Target audiences of CCTV in Africa, as the opinion leaders of their local societies, are more or less influenced by either the reality of China-Africa cooperation or the ideological agenda of CCTV in Africa to support such consensus. And the findings of this research achieved through content analysis and individual interviews show that the majority of the African audiences of CCTV-Africa do agree with the ideological agenda of the news channel to promote the economic development in local societies. The audience reception research of the thesis is situated within an analysis of the political and economic context, which conditions the agenda and production of the media. The extensive review of the literature of international communication studies, imperialism studies and ideology studies, contributes to establishing a theoretical framework for the empirical research. Together with the data collected from field research, it is intended that this analysis should contribute to the understanding of the development of China-Africa communication and media studies and also to the enrichment of the research topics in this field.
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Al-Omiri, Mona H. "The aesthetic experience of the Kuwaiti audience : an application of reception theory." Thesis, University of Leeds, 2007. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.486138.

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The aesthetic experience of the spectator has a continuous ability to become a new experience at every theatrical event. This thesis endeavours to explore this. phenomenon and test the variables that may influence the theatrical experience of a Kuwaiti spectator through the use and application of a survey questionnaire. In Chapter One we aimed to provide the thesis with a historical background to serve as a backdrop for the reader of this thesis to better understand the experience of Kuwaiti spectator and to know the main features and historical events that shaped the Kuwaiti society and how various historical events affected as well as shaped the Kuwaiti individual and society. The sea and the desert life, the discovery of oil and the Iraqi invasion are the main events which formulated the features of the Kuwaiti spectator. In Chapter Two we presented the theoretical framework ofthis study with emphasis on the reception theory. In Chapter Three we discussed the development ofArabic theatre as a backdrop of the Kuwaiti theatre. While the fourth chapter traces the stages ofthe development ofKuwaiti theatre' from its early beginnings to the present, Chapter Five is the presentation of the two study cases examined in this research. .. The sixth chapter is devoted to the experimental application and its results, and in Chapter Seven we have examined the correlation between the variables.
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Rubinson, Claude. "The Production of Style: Aesthetic and Ideological Diversity in the Arts and Crafts Movement, 1875--1914." Diss., The University of Arizona, 2010. http://hdl.handle.net/10150/194514.

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What explains the aesthetic diversity of the Arts and Crafts movement? Typically, artistic movements are characterized by a single style but the Arts and Crafts produced both organic and geometric forms. Examining two Arts and Crafts retrospective exhibitions, I find that organic aesthetics predominated in Great Britain, Scandinavian countries, and Hungary and that geometric aesthetics were more prevalent in the United States, Germany, and Austria. This finding is largely consistent with previous sociological research on artistic form, which has found that stronger political-economies are more likely to produce geometric work while weaker political-economies are more likely to produce organic work. Austria, however, is a contradictory case and here the Arts and Crafts movement was more geometric than the political-economic model would predict.Through a comparative-historical study, I determine that the cause of aesthetic diversity of the Arts and Crafts movement was not per se a region's political-economic situation. Rather--and in contradiction to existing sociological theories of artistic style--the aesthetic variation of the Arts and Crafts was a function of whether, in a given country, the movement was backward-looking or forward-looking which, in turn, was function of which Arts and Crafts principles particular regions privileged. In regions where the members of the movement emphasized the value of labor (Great Britain) or regionalism (Scandinavia and Hungary), the movement was backward-looking and characterized by an organic aesthetic. In contrast, in regions that emphasized the democratization of the arts (the United States and Germany) or artistic unity (Austria), the movement was forward-looking and characterized by a geometric aesthetic. I further argue that in order to make sense of the ideological diversity of the movement, we must appreciate that the Arts and Crafts was a cultural manifestation of a period of political and economic turbulence characterized by the emergence of the first great world-wide depression, the decline of British hegemony, and the rise of American hegemony. The Arts and Crafts movement served to buffer the disruptive effects of this period and, in doing so, helped to usher in the modern age.
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Pantoja, Jônatas Oliveira. "Benedetto Croce nos dois lados do Atlântico: os percursos de uma obra na Itália e nos Estados Unidos." Universidade de São Paulo, 2016. http://www.teses.usp.br/teses/disponiveis/8/8138/tde-21122016-125743/.

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Esta dissertação tem como objetivo analisar as raízes do prestígio de Croce na Itália e da recepção de suas ideias nos Estados Unidos. Interessa descobrir como ele se fez um intelectual reconhecido em seu país de origem, e quais sentidos sua obra teve entre os acadêmicos americanos. Para tanto, são aqui examinadas as condições sócio-históricas destes dois circuitos intelectuais socialmente diferenciados. A partir do exame da principal obra croceana, Estetica (1902), procura-se esclarecer como as especificidades destes universos intelectuais conferiram sentidos distintos ao pensamento de Croce.
This thesis aims to analyze the Croce prestigious roots in Italy and the reception of his ideas in the United States. Interests find out how he became an intellectual recognized in their country of origin, and which way his work has had among American academics. To that end, the socio-historical conditions of these two socially differentiated intellectual circuits examined here. From the examination of the main work of Croce, Estetica (1902), seeks to clarify how the specific features of these intellectual universes have given different meanings to the thought of Croce.
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Olsson, Eva-Kristina. "Att vara någon annan : Teater som estetisk läroprocess vid tre 6–9-skolor." Licentiate thesis, Växjö University, School of Humanities, 2006. http://urn.kb.se/resolve?urn=urn:nbn:se:vxu:diva-889.

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The licentiate thesis focuses on young people’s dramatisation and reflections on the reception of theatre in schools as part of aesthetic learning processes. Its main objective is to describe and analyse how theatre can be used in teaching as a means to create meaning and knowledge in practice. The theatre’s relation to the Swedish subject is discussed from different aspects.

The empiric survey was conducted at three 6–9 schools in the south of Sweden, referred to in the study as Österskolan, Norrskolan and Söderskolan. The survey is designed as a multiple case study. Two cases consist of individual classes with supplementary work based on the students’ reception of A Midsummer Night’s Dream, the other two on stage productions that include acting. The material consists of video recordings of teaching processes, rehearsals and performances; notes from observations, interviews with teachers and pupils, a questionnaire regarding theatre habits, as well as documents such as theatre programmes and home pages. The cases are contrasted in order to extend the analysis, distinguish between mutual and contrasting patterns, and to some extent also to explain concepts used for description and analysis.

The thesis aims to answer the following questions:

• What is required in order for theatre to create meaning and knowledge in practice within a school’s framework?

• How do form, content and use, and also production, reception and reflection cooperate in various media in the aesthetic learning processes and what didactical potential is the result of this cooperation?

The result of the survey shows that a teacher’s patterns for verbal and physical interaction and his or her media specific competence strongly influence the terms for the aesthetic learning processes. The nature of the theatre culture’s meeting with the school culture at the individual school determines the possibilities for the participation in creation of meaning and knowledge in practice that are offered to pupils. Financial conditions, support from the school management, collaboration between subjects, functioning rooms, and the school’s gender practice are other important factors.

The conditions for the theatre’s creation of meaning and knowledge differ significantly between the three schools included in this study. At Österskolan the theatre culture is a fairly unfamiliar element in the school culture. The teacher who supervises the supplementary work for A Midsummer Night’s Dream, however, possesses good media specific competence in the theatrical field and is able to generate possibilities for reflections on experience pedagogy based on the theatrical performance and actual participation in the theatrical practice for the pupils. For a number of years, the theatre culture at Norrskolan has been included in an integrated part of the school culture. A Midsummer Night’s Dream becomes the basis for verbal, dialogue-oriented discussions in the classroom. The pupils’ performance at the school strengthens the school culture and the pupils learn how to cooperate and take responsibility. The cultural profile at Söderskolan collaborates with professional cultural workers and regional cultural institutes in a theatrical project that invites both schools and the general public. In this case, all media is integrated in the creation of meaning and there is great didactical potential.

In the intended doctoral thesis the analysis of the terms and the design of the aesthetic learning processes will be further discussed.

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Gomes, Graziela Marcheti. "Uma escuta para a finitude: ensaio sobre RIO OIR de Cildo Meireles." Universidade de São Paulo, 2015. http://www.teses.usp.br/teses/disponiveis/47/47134/tde-10082015-113053/.

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Este trabalho é um ensaio que se propõe como forma de recepção estética da obra RIO OIR (1976-2011), do artista plástico contemporâneo Cildo Meireles. Trata-se de uma escultura sonora condensada num disco de vinil, composto, de um lado, por sons de águas captadas dos rios brasileiros (referente à palavra oir) e, de outro, de sons de risadas humanas (presentes no verbo rir/rio). O amplo processo de realização da obra deu-se por intermédio de uma expedição que percorreu quatro lugares diferentes do Brasil (Estação Ecológica de Águas Emendadas; Foz de Iguaçu; Foz do Rio São Francisco; pororoca do Rio Araguari), com o intuito de realizar a coleta destes sons. A partir desta obra e do documentário Ouvir o Rio (2011), de Marcela Lordy - que nos apresenta o processo de criação e execução da mesma -, iniciamos uma pesquisa acerca da poética do artista, suas escolhas e concepções sobre o trabalho, a partir de textos críticos e de seus depoimentos em entrevistas. O impacto da obra e, posteriormente, do documentário acerca de seu processo, levou a pesquisadora a buscar na Psicologia Social, assim como na Filosofia, na Psicanálise e na Antropologia, e também em suas próprias elaborações e memórias, estofo teórico e experiencial capaz de tornar possível a realização da recepção singular suscitada pelo contato com os dois trabalhos. Situando-se no universo da arte contemporânea, a autora partiu do campo da percepção e da materialidade da obra, composta por sons de águas e risadas, como abertura para o campo da escuta e da reflexão acerca de certa experiência que se revelou como experiência da finitude. O que a obra apresenta, portanto, pede interpretação, suscita leitura crítica; porém, só é possível realizá-la na medida em que o terreno do pensamento se abre ao não pensado e dele se fertiliza na forma de uma experiência, ou seja, como algo que nos acontece, que exige de nós criação e, portanto, nos transforma
This work is an essay which is intended as a form of aesthetic reception of RIO OIR (1976-2011), a work by contemporary artist Cildo Meireles. RIO OIR is a sound sculpture condensed in a vinyl record, which has on one side the sounds of waters collected from Brazilian rivers (relating to the word oir) and, on the other side, sounds of human laughter (which appear in the rir/rio verb forms). The extensive execution process of the work comprised a expedition through four different locations in Brazil (the Águas Emendadas Ecological Station; Foz do Iguaçu; the mouth of the São Francisco River; the pororoca of the Araguari River) in order to colect such sounds. Starting with this work and the documentary Ouvir o Rio (Listening to the River) (2011), by director Marcela Lordy, which shows us the process of creation and execution of Meireless work, we started an investigation into the artists poetics, his choices and conceptions about his work, based on critical writings and on his own statements in interviews. The impact of the work and subsequently of the documentary has led the researcher to seek experiential and theoretical background in Social Psychology, as well as in Philosophy, Psychoanalysis, Anthropology and in her own concoctions and memories, which could facilitate the production of a singular work of reception induced by the contact with both works of art. Standing in the contemporary art world, the author of this essay started from the field of perception and the materiality of Meireles work, made of water and laughter sounds, and used it as a doorway to the field of listening and thinking about a specific experience which revealed itself to be an experience of finitude. The stuff that is presented by the work hence calls for interpretation and evokes a critical reading; however, such a reading can only be accomplished if the field of thinking opens up to the unthought and allows itself to be nurtured from it in the shape of an experience, i.e., as something that happens to us, which demands creation of us and therefore transforms us
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Oliveira, Richard de. "Variações schumanianas: música e loucura no campo da recepção estética." Universidade de São Paulo, 2016. http://www.teses.usp.br/teses/disponiveis/47/47134/tde-08022017-093939/.

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Considerando as principais apreensões teóricas acerca da relação entre arte e loucura, define-se amplamente o propósito deste trabalho verificar as relações entre música e loucura no campo da recepção estética, enquanto subárea da Psicologia Social da Arte. Partindo sobretudo da perspectiva crítica de Michel Foucault, entre outros autores, consideramos a loucura um complexo fenômeno sócio - histórico que atravessa a cultura ocidental, e não a loucura como doença mental e o louco como fato. E dado o papel fundamental da atividade do espectador na produção e na circulação dos sentidos das obras de arte, realizamos um estudo sobre a percepção estética da obra de Robert Schumann, músico romântico do século XIX, cuja existência foi atravessada pela experiência trágica da loucura. Selecionamos alguns trabalhos significativos desse compositor e os apresentamos aos sujeitos da pesquisa, isto é, músicos eruditos, especificamente pianistas, que entrevistamos individualmente com o propósito de investigar a percepção da loucura vinculada à percepção da obra musical de Schumann. A reflexão fenomenológica a partir das percepções expressas pelos pianistas configurou três perspectivas: biográfica, psicopatológica e poética. A consideração desse conjunto teve por implicação um estudo teórico-crítico do campo multifacetado do Romantismo, estudo que focou principalmente as concepções de sujeito, universo e música ( assim como suas relações) que emergem na tempestade romântica. Tal estudo ensaístico permitiu-nos discutir mais amplamente, com base principalmente em Barthes e Merleau-Ponty (entre outros críticos e historiadores da arte), a questão arte-loucura, no tocante à música, articulada à questão vida-obra do artista, vida e obra que guardam aspectos trágicos em sua gênese e em sua forma
Considering the main theoretical apprehensions regarding the relation between art and madness, the purpose of this work is defined broadly to verify the relations between music and madness in the field of aesthetic reception, as a subarea of the Social Psychology of Art. Starting primarily from the critical perspective of Michel Foucault, among other authors, we consider madness a complex social historical phenomenon that crosses the western culture, and not the madness as a mental illness and the mad person as a fact. And given the fundamental role of the spectators activity in the production and circulation of the senses of the works of art, we conduct a study on the aesthetic perception of Robert Schumanns work, a romantic musician from the 19th century, whose existence was crossed by the tragic experience of madness. We selected some significant work from this composer and presented them to the subjects of the research, i.e., erudite musicians, specifically pianists, that we interviewed individually with the purpose of investigating the perception of madness bound to the perception of Schumanns musical work. The phenomenological reflection carried out from the perceptions expressed by the pianists constituted three perspectives: biographical, psychopathological and poetic. The consideration of this set had as an implication a theoretical critical study of the multifaceted field of the Romanticism, study that focused mainly on the concepts of subject, universe and music (as well as its relations) that emerge in the romantic storm. This essayistic study allowed us to discuss more broadly, based on Barthes and Merleau-Ponty (among other philosophers, critics and art historians), the art-madness matter, regarding the music, articulated to the artists life-work matter, life and work that hold tragic aspects in its genesis and its form
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Borges, Ellen Valotta Elias [UNESP]. "O poema concreto: um efeito de estranhamento na conduta dos leitores." Universidade Estadual Paulista (UNESP), 2011. http://hdl.handle.net/11449/94042.

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Este trabalho tem por objetivo verificar a aplicabilidade dos princípios da teoria do efeito de Wolfgang Iser em textos literários com diferentes estruturas composicionais apresentados a diferentes leitores. Como corpus do trabalho utilizamos o texto bíblico “Coríntios”, a canção “Monte Castelo”, de Renato Russo, o soneto “Amor é fogo que arde sem se ver”, de Camões, e o poema concreto “Ferida”, de Augusto de Campos. Além das diferentes estruturas, consideramos a temática do amor e as relações de intertextualidade presentes nos textos. Ao entrevistarmos um grupo de trinta homens e trinta mulheres, procuramos observar o efeito estético na recepção dos textos. Verificamos que houve uma grande preferência pelo texto bíblico e um maior estranhamento em relação ao poema concreto, o que nos fez redefinir o corpus da pesquisa. Utilizamos, desta forma, o poema concreto para analisar os elementos que causaram seu estranhamento pelos leitores. Considerando o texto literário um conector entre o sujeito e a realidade, nosso intuito foi verificar em que medida a percepção dos elementos estéticos aproximou o leitor da função comunicativa do texto ficcional ou nos mostrou o quanto uma leitura escolarizada pode significar uma prática social que, mais do que formar, deforma, transformando leitores reais em simples ledores de textos literários
The aim of this study is to understand the theory of aesthetic response and check its application to literary texts read by different readers. The corpus consists of four texts with different structures: text 1 – THE biblical text “Coríntios”, text 2 - The lyrics of “Monte Castelo”, by Renato Russo, text 3 - the concrete poem “Ferida”, by Augusto de Campos and text 4 - the sonnet “Amor é fogo que arde sem se ver”, by Camões. The selection of texts took into account not only the different text structures but also the love theme and the intertextuality among the texts. We interviewed thirty men and thirty women to check the aesthetic response in the readers' receptions of the texts. The biblical text was the favorite one and the concrete poem was not so appreciated by the readers. These data led us to modify the corpus. So, we focused on the concrete poem in order to analyse elements that triggered the different response from the readers. Considering the communicative role of literary texts, which approach man and reality, we wanted to understand how relevant the esthetic elements are to the communicative role of literary texts as well as to check the relationship between basal reading and social formation, which can form, deform and transform real readers into innocent readers of literary texts
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Books on the topic "Ideological and aesthetic reception"

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Beyer, Landon E. Aesthetics and the curriculum: Ideological and cultural form in school practice. Ann Arbor, Mich: University Microfilms International Dissertation Information Service, 1987.

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The making of the state reader: Social and aesthetic contexts of the reception of Soviet literature. Stanford, Calif: Stanford University Press, 1997.

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Pellegrini, Ernestina, Federico Fastelli, and Diego Salvadori, eds. Firenze per Claudio Magris. Florence: Firenze University Press, 2021. http://dx.doi.org/10.36253/978-88-5518-338-3.

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This volume brings together a selection of essays on Claudio Magris’ work, aiming to enrich critical debate with a specific focus on interdisciplinary dimension and continuous dialogue with the main European literary traditions. The outcome is an overall study on Magris’ narrative, essayistic and theatrical production, trying to fix his plural and prismatic identity: from the narration of places to an unavoidable ideological tension; from philosophical alphabets to the weight of History; from Myth’s remediation to the abroad reception; from hypotext filigree to real case studies. According to a diachronic perspective, they focus attention on Magris’ works, such as Microcosmi, Alla cieca, Non luogo a procedere and Tempo curvo a Krems.
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Grabowski, Antoni. The Construction of Ottonian Kingship. NL Amsterdam: Amsterdam University Press, 2018. http://dx.doi.org/10.5117/9789462987234.

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German historians long assumed that the German Kingdom was created with Henry the Fowler's coronation in 919. The reigns of both Henry the Fowler, and his son Otto the Great, were studied and researched mainly through Widukind of Corvey's chronicle Res Gestae Saxonicae. There was one source on Ottonian times that was curiously absent from most of the serious research: Liudprand of Cremona's Antapodosis. The study of this chronicle leads to a reappraisal of the tenth century in Western Europe showing how mythology of the dynasty was constructed. By looking at the later reception (through later Middle Ages and then on 19th and 20th century historiography) the author showcases the longevity of Ottonian myths and the ideological expressions of the tenth century storytellers.
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Siewert, Senta. Performing Moving Images. NL Amsterdam: Amsterdam University Press, 2020. http://dx.doi.org/10.5117/9789462985834.

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Performing Moving Images: Access, Archive and Affects presents institutions, individuals and networks who have ensured experimental films and Expanded Cinema of the 1960s and 1970s are not consigned to oblivion. Through a comparison of recent international case studies from festivals, museums, and gallery spaces, the book analyzes their new contexts, and describes the affective reception of those events. The study asks: what is the relationship between an aesthetic experience and memory at the point where film archives, cinema, and exhibition practices intersect? What can we learn from re-screenings, re-enactments, and found footage works, that are using archival material? How does the affective experience of the images, sounds and music resonate today? Performing Moving Images: Access, Archive and Affects proposes a theoretical framework from the perspective of the performative practice of programming, curating, and reconstructing, bringing in insights from original interviews with cultural agents together with an interdisciplinary academic discourse.
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Guynes, Sean, and Dan Hassler-Forest, eds. Star Wars and the History of Transmedia Storytelling. NL Amsterdam: Amsterdam University Press, 2017. http://dx.doi.org/10.5117/9789462986213.

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Star Wars has reached more than three generations of casual and hardcore fans alike, and as a result many of the producers of franchised Star Wars texts (films, television, comics, novels, games, and more) over the past four decades have been fans-turned-creators. Yet despite its dominant cultural and industrial positions, Star Wars has rarely been the topic of sustained critical work. Star Wars and the History of Transmedia Storytelling offers a corrective to this oversight by curating essays from a wide range of interdisciplinary scholars in order to bring Star Wars and its transmedia narratives more fully into the fold of media and cultural studies. The collection places Star Wars at the center of those studies’ projects by examining video games, novels and novelizations, comics, advertising practices, television shows, franchising models, aesthetic and economic decisions, fandom and cultural responses, and other aspects of Star Wars and its world-building in their multiple contexts of production, distribution, and reception. In emphasizing that Star Wars is both a media franchise and a transmedia storyworld, Star Wars and the History of Transmedia Storytelling demonstrates the ways in which transmedia storytelling and the industrial logic of media franchising have developed in concert over the past four decades, as multinational corporations have become the central means for subsidizing, profiting from, and selling modes of immersive storyworlds to global audiences. By taking this dual approach, the book focuses on the interconnected nature of corporate production, fan consumption, and transmedia world-building. As such, this collection grapples with the historical, cultural, aesthetic, and political-economic implications of the relationship between media franchising and transmedia storytelling as they are seen at work in the world’s most profitable transmedia franchise.
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Paszkiewicz, Katarzyna. Genre, Authorship and Contemporary Women Filmmakers. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474425261.001.0001.

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Genre, Authorship and Contemporary Women Filmmakers examines the significance of women’s contribution to genre cinema by highlighting the work of US filmmakers within and outside Hollywood – Kathryn Bigelow, Sofia Coppola, Nancy Meyers, Karyn Kusama and Kelly Reichardt, among others. Exploring genres as diverse as horror, the war movie, the Western, the costume biopic and the romantic comedy, Katarzyna Paszkiewicz interrogates questions of ‘genre’ authorship; the blurring of the borders between commercial and independent cinema and gendered discourses of (de)authorisation that operate within each sphere; ‘male’–‘female’ genre divisions; and the issue of authorial subversion in film and popular culture in a wider sense. With its focus on close analysis of the films themselves and the cultural and ideological meanings involved in the reception of genre texts authored by women, this book expands critical debates around women’s cinema and offers new perspectives on how contemporary filmmakers explore the aesthetic and imaginative power of genre.
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Barnard, Philip, Hilary Emmett, and Stephen Shapiro, eds. The Oxford Handbook of Charles Brockden Brown. Oxford University Press, 2019. http://dx.doi.org/10.1093/oxfordhb/9780199860067.001.0001.

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The Oxford Handbook of Charles Brockden Brown provides an up-to-date survey of the life of and full range of writings by Charles Brockden Brown (1771–1810), a key writer of the Atlantic revolutionary age and U.S. Early Republic. Through the late twentieth century, Brockden Brown was best known as an important author of political romances in the gothic mode that were widely influential in romantic era, and has generated large amounts of scholarship as a crucial figure in the history of the American novel. More recent work recognizes him likewise an influential editor, historian, and writer in other genres such as poetry, short fiction, and essays, and as a figure whose work resonated throughout the Atlantic world of the revolutionary age. The Oxford Handbook’s thirty-five chapters build on the research of the most recently scholarly generation to introduce readers to and explore Brown’s wide-ranging work. Its chapters focus on the author’s biography, romances, writings in a range of genres, his key concept of the romance as a form of engaged conjectural history, his engagements in the cultural-ideological struggles of the revolutionary and Napoleonic eras, as well as the aesthetic, political, scientific, and other key dimensions of his corpus. The volume concludes with a survey of Brown’s complex reception history and the state of Brown studies at present.
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Vladimir Nabokov and the Ideological Aesthetic: A Study of His Novels and Plays, 1926-1939. Lang AG International Academic Publishers, Peter, 2017.

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Berliner, Todd. Ideology, Emotion, and Aesthetic Pleasure. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190658748.003.0007.

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Chapter 7 examines the ways in which a film’s ideological properties contribute to aesthetic pleasure when they intensify, or when they complicate, viewers’ cognitive and affective responses. The chapter demonstrates the ways in which the ideology of a Hollywood film guides our beliefs, values, and emotional responses. In ideologically unified Hollywood films, such as Die Hard, Independence Day, Pickup on South Street, and Casablanca, narrative and stylistic devices concentrate our beliefs, values, and emotional responses, offering us a purer experience than we can find in most real-life situations. By contrast, ideologically complicated Hollywood films, such as Chinatown, The Third Man, Invasion of the Body Snatchers, The Last Temptation of Christ, and The Dark Knight, advance their worldviews in a novel, ambiguous, or peculiar way, upsetting our appraisals of events and characters and complicating our intellectual and emotional experiences.
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Book chapters on the topic "Ideological and aesthetic reception"

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Swingewood, Alan. "Discourse, Reading, Reception." In Sociological Poetics and Aesthetic Theory, 135–49. London: Palgrave Macmillan UK, 1987. http://dx.doi.org/10.1007/978-1-349-18771-3_6.

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Ascari, Maurizio. "Ideological Stances and Aesthetic Concerns." In Cinema and the Imagination in Katherine Mansfield’s Writing, 46–60. London: Palgrave Macmillan UK, 2014. http://dx.doi.org/10.1057/9781137400369_4.

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Goldblatt, David. "Seeing Stars: the Reception and Ontology of Movie Stars." In Wittgenstein on Aesthetic Understanding, 329–54. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-40910-8_11.

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Whiteley, Giles. "Schelling in British Mythological and Aesthetic Literature." In Schelling’s Reception in Nineteenth-Century British Literature, 257–88. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-95906-1_10.

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Kock, Christian. "The Semiotics and Rhetoric of Music: A Case Study in Aesthetic Protocol Analysis." In Rhetorical Audience Studies and Reception of Rhetoric, 185–211. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-61618-6_7.

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Szőnyi, György E. "“What is Our Life?” Cultural History and Aesthetic Experience in Literary Reception." In Man within His Life-World, 329–39. Dordrecht: Springer Netherlands, 1989. http://dx.doi.org/10.1007/978-94-009-2587-8_18.

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Pan, David. "The Structure of Aesthetic Pleasure in the Nazi Reception of Goethe’s Faust." In Pleasure and Power in Nazi Germany, 87–106. London: Palgrave Macmillan UK, 2011. http://dx.doi.org/10.1057/9780230306905_5.

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Green, Rebecca. "How Aesthetic Style Can Influence Reception of Visual Communications of Climate Change." In Climate Change Management, 77–93. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-69838-0_5.

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Christensen, Nina. "Chapter 7. Rupture. Ideological, aesthetic, and educational transformations in Danish picturebooks around 1933." In Children's Literature and the Avant-Garde, 171–88. Amsterdam: John Benjamins Publishing Company, 2015. http://dx.doi.org/10.1075/clcc.5.08chr.

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Brennan, Marcia. "Corporeal Disenchantment or Aesthetic Allure? Henri Matisse’s Early Critical Reception in New York." In The Aesthetics of Enchantment in the Fine Arts, 235–50. Dordrecht: Springer Netherlands, 2000. http://dx.doi.org/10.1007/978-94-017-3234-5_15.

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Conference papers on the topic "Ideological and aesthetic reception"

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Zhang, Jie, and Weifang Zhong. "Ideological and Political Education Under the Perspective of Receptive Aesthetics." In 2014 International Conference on Education Technology and Social Science. Paris, France: Atlantis Press, 2014. http://dx.doi.org/10.2991/icetss-14.2014.45.

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"Research on Aesthetic Education in College Ideological and Political Education." In 2018 3rd International Social Sciences and Education Conference. Francis Academic Press, 2018. http://dx.doi.org/10.25236/issec.2018.149.

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Patsiou, V., and V. Oikonomopoulou. "Astrofegia (Starry night): A novel by I.M. Panagiotopoulos. Aesthetic and ideological issues." In VI Международная научная конференция по эллинистике памяти И.И. Ковалевой. Москва: Московский государственный университет им. М.В. Ломоносова, 2021. http://dx.doi.org/10.52607/9785190116113_208.

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Wang, Jie, Huihua Liu, and Xiaoxiao Liu. "Study on the Strategies for Cultivating College Students' Aesthetic Ability Through Ideological Education." In Proceedings of the 3rd International Conference on Culture, Education and Economic Development of Modern Society (ICCESE 2019). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/iccese-19.2019.332.

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Li, Na. "Strategies on Literary Reading in College English Teaching Based on Aesthetic Reception Theory." In International Conference on Education, Language, Art and Intercultural Communication (ICELAIC-14). Paris, France: Atlantis Press, 2014. http://dx.doi.org/10.2991/icelaic-14.2014.102.

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Lv, Caiyun, and Bin Chen. "Research on Ideological and Political Education from the Perspective of Educational Information Reception." In Proceedings of the 5th International Conference on Arts, Design and Contemporary Education (ICADCE 2019). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/icadce-19.2019.158.

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Wang, Jia, and Yanjun Dai. "Notice of Retraction: New approaches based on the Reception Esthetics for the teaching of “Ideological & Moral Cultivation and Legal Basis”." In 2010 International Conference on Optics, Photonics and Energy Engineering (OPEE 2010). IEEE, 2010. http://dx.doi.org/10.1109/opee.2010.5508061.

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Liu, Yali, and Mei Dong. "Comparison and Translation Between English and Chinese from the Perspective of Reception Aesthetics and Aesthetic Linguistics-a Case Study of Character Reports." In Proceedings of the 2019 3rd International Conference on Economic Development and Education Management (ICEDEM 2019). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/icedem-19.2019.13.

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Zorn, Magdalena. "Musik mit dem Radio hören: Über den Begriff der musikalischen Aufführung." In Jahrestagung der Gesellschaft für Musikforschung 2019. Paderborn und Detmold. Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold, 2020. http://dx.doi.org/10.25366/2020.77.

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This article focuses on the phenomenon of listening to music via radio transmission. In an examination of linguistic findings and media archaeological observations, the specific performance characteristics of mediatized music are worked out using the example of a radio broadcast of a Beethoven symphony. The music-aesthetic and sociological essay “The Radio Symphony: An Experiment in Theory” (1941), written by Theodor W. Adorno during his stay in New York, is subjected to a re-reading. Although Adorno showed the full scope of his cultural conservatism in this essay, his thoughts nevertheless exemplify a function of technically mediated music reception that seems to be constitutive for the concept of musical performance as a whole.
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Santamaria, Giovanni. "Transforming Territories: A Landscape of “In-Tension-Alities”." In 2018 ACSA International Conference. ACSA Press, 2018. http://dx.doi.org/10.35483/acsa.intl.2018.46.

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The flow of people, resources, material and immaterial goods, and at the same time regimes and strategies of control, have always shaped/reshaped our geographies and processes of urbanization. Therefore built and unbuilt landscapes have been characterized by gradual or dramatic changes, leading to new architectural typologies and urban morphologies corresponding to the transformation of means of production, distribution, circulation, consumption and to the shift of political, economic and ideological realms. The effects of these processes on structure and quality of space and life could be described as part of a complex Urban Metabolism¹ which looks at the city and its territory as a complex organism. This dynamic landscape has reached a high level of complexity where natural environments (geology, hydrology, topography) and cultural environments (productive lands, urban settlements, infrastructural networks) need to be synergistically understood as part of an articulated ecological system, with both micro and macro implications. It is the synthesis of geographic-historical contents (collective values), aesthetic-perceptual contents (individual values), and ecological-natural contents (biological values)², influenced more and more by natural and man-made disasters caused by climate change and human conflicts. Since the city as a definable entity and product of predetermined models has become obsolete, we are now called to work with a collage of fragments, heterogeneous and dynamic, often in opposition and unpredictable, subjected to the balance of variable forces, with their own order and rules, and their own ways of evolving, which we have to understand and manage³. This determines the need for new tools and methods to observe, record and assess urban phenomena, and the data regarding them, towards more sensitive interventions.
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