Reception job

Reception is a noun form of receiving, or to receive something, such as information, art, experience, or people.
According to Harold Marcuse, reception history is "the history of the meanings that have been imputed to historical events. It traces the different ways in which participants, observers, historians and other retrospective interpreters have attempted to make sense of events both as they unfolded and over time since then, to make those events meaningful for the present in which they lived and live."
Reception theory is a version of reader response literary theory that emphasizes the reader's reception of a literary text. In literature, it originated from the work of Hans-Robert Jauss in the late 1960s. Reception theory was at its most influential during the 1970s and early 1980s in Germany and USA (Fortier 132), amongst some notable work in Western Europe.
This approach to textual analysis focuses on the scope for "negotiation" and "opposition" on the part of the audience. This means that a "text"—be it a book, movie, or other creative work—is not simply passively accepted by the audience, but that the reader / viewer interprets the meanings of the text based on their individual cultural background and life experiences. In essence, the meaning of a text is not inherent within the text itself, but is created within the relationship between the text and the reader.
Therefore a basic acceptance of the meaning of a specific text tends to occur when a group of readers have a shared cultural background and interpret the text in similar ways. It is likely that the less shared heritage a reader has with the artist, the less he/she will be able to recognise the artist's intended meaning, and it follows that if two readers have vastly different cultural and personal experiences, their reading of a text will vary greatly.
Cultural theorist Stuart Hall is one of the main proponents of reception theory, and developed Hall's Theory of encoding and decoding. Reception theory has since been extended to the spectators of performative events—predominantly theatre. Susan Bennett is often credited with beginning this discourse within theatre.