Ambrosia in an Earthen Vessel: Three Centuries of Audience and Reader Response to the Works of Thomas Middleton

The aims of this study were: (1) to identify an increase in students' understanding of the value of mutual cooperation through the use of reader response rules in Indonesian Language Learning (KRPDPBI); (2) identifying the use of the reader response principle in Indonesian Language learning (KRPDPBI) there are differences between male and female students. The design of this study used a quasi-experimental study with two different methods. The results showed that (1) the achievement of the score of understanding the value of mutual cooperation for students taught by KRPDPBI was better than for students taught by regular learning according to the curriculum; (2) the achievement of the understanding of the value of male students' mutual cooperation is no better than that of female students.

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Multisensory Modalities and Modernist Translation

CounterText ◽

10.3366/count.2016.0061 ◽

2016 ◽

Vol 2 (3) ◽

pp. 283-306

Author(s):

Tamara Brzostowska-Tereszkiewicz

Keyword(s):

Twentieth Century ◽

Reader Response ◽

Sensory Integration ◽

Cultural Anthropology ◽

Sensory Perception ◽

Cross Cultural ◽

Avant Garde ◽

Artistic Production ◽

High Modernism ◽

The Arts

Multisensory and cross-modal perception have been recognised as crucial for shaping modernist epistemology, aesthetics, and art. Illustrative examples of how it might be possible to test equivalences (or mutual translatability) between different sensual modalities can be found in theoretical pronouncements on the arts and in artistic production of both the avant-garde and high modernism. While encouraging multisensory, cross-modal, and multimodal artistic experiments, twentieth-century artists set forth a new language of sensory integration. This article addresses the problem of the literary representation of multisensory and cross-modal experience as a particular challenge for translation, which is not only a linguistic and cross-cultural operation but also cross-sensual, involving the gap between different culture-specific perceptual realities. The problem of sensory perception remains a vast underexplored terrain of modernist translation history and theory, and yet it is one with potentially far-reaching ramifications for both a cultural anthropology of translation and modernism's sensory anthropology. The framework of this study is informed by Douglas Robinson's somatics of translation and Clive Scott's perceptive phenomenology of translation, which help to put forth the notion of sensory equivalence as a pragmatic correspondence between the source and target texts, appealing to a range of somato-sensory (audial, visual, haptic, gestural, articulatory kinaesthetic, proprioceptive) modalities of reader response.

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Dorothy L. Sayers, Dante, and the Modern Reader

Journal of Inklings Studies ◽

10.3366/ink.2013.3.2.4 ◽

2013 ◽

Vol 3 (2) ◽

pp. 41-58

Author(s):

Chris Willerton

Keyword(s):

Reader Response ◽

Modern Reader ◽

Modern Thought ◽

Christian Apologetics

The strongest link between the medieval and Dorothy L. Sayers’s Christian apologetics are her commentaries on Dante. She was less interested in medievalism than in the medieval itself, used as a mirror of her own century. One result is that Sayers does not discuss Dante’s work in order to promote the gospel but rather finds the gospel fused into it. Her concern with reader response drives both her exposition of Dante and the Christian apologetic embedded in it: to rejoice in Dante, a reader has to suspend disbelief (and other habits of modern thought) and consider whether Christianity might be both true and desirable.

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