Bibliografías temáticas / Paratesti

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Literatura académica sobre el tema "Paratesti"

Autor: Grafiati
Publicado: 11 de marzo de 2023

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Artículos de revistas sobre el tema "Paratesti"

1

Troiano, Sergio. "Calvino editore. Riflessioni sui paratesti calviniani". Incontri. Rivista europea di studi italiani 30, n.º 1 (2 de julio de 2015): 34. http://dx.doi.org/10.18352/incontri.10054.

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2

Ciotti, Monica. "Italo Calvino e la lingua spagnola". Cuadernos de Filología Italiana 28 (15 de julio de 2021): 363–78. http://dx.doi.org/10.5209/cfit.72020.

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In questo contributo si analizza la storia editoriale delle opere di Italo Calvino tradotte, e conseguentemente pubblicate, in lingua spagnola. In particolare, si indagano le ragioni del ritardo dell’incontro del pubblico spagnolo con l’opera calviniana, partendo dalla scoperta dell’esordio argentino. Si traccia, inoltre, un’analisi delle diversità linguistiche, culturali e editoriali e, laddove possibile, si studiano i paratesti in lingua spagnola per scoprire in che modo avviene il primo incontro tra l’opera di Calvino e il lettore al di fuori del panorama nazionale.
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3

Medaglia, Francesca. "L’espansione transmediale quale forma di narrazione egemone della cultura convergente". ENTHYMEMA, n.º 31 (1 de febrero de 2023): 287–301. http://dx.doi.org/10.54103/2037-2426/19789.

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Questo intervento ha lo scopo di indagare come la narrazione abbia sfruttato la sua capacità adattiva all’interno della cultura convergente in relazione alla serialità televisiva. In particolare, sembra ormai che i prodotti culturali siano per loro stessa natura profondamente transmediali, nel senso che le narrazioni odierne sono diventate più rapide e multiformi al punto che ogni testo ha un certo numero di paratesti mittelliani. In questo senso, la narrazione della contemporaneità lavora sull’ampliamento dello storytelling attraverso media differenti, che, con le loro specificità, contribuiscono all’estensione del prodotto nei modi che gli sono propri. Questo contributo intende riflettere, anche attraverso una serie di esempi paratestuali, sul fatto che le estensioni transmediali e crossmediali di un determinato prodotto divengono una nuova forma di narrazione tipica della contemporaneità, che aggiunge comprensione e profondità al prodotto originario.
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4

Vergani, Matteo. "YouTube e civic commercial engagement. Il caso Obama Girl e Barely Political". SOCIOLOGIA DELLA COMUNICAZIONE, n.º 40 (junio de 2010): 131–44. http://dx.doi.org/10.3280/sc2009-040011.

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Nuove interessanti pratiche di comunicazione politica hanno attraversato la campagna elettorale di Obama, soprattutto nell'ambiente del cosiddetto Web 2.0. In questo articolo si analizza il fenomeno dei video pubblicati su YouTube da Barely Political, il cui personaggio piů famoso č Obama Girl, che ha ottenuto uno strepitoso successo sia sul Web che sugli altri media tradizionali. L'articolo analizza la comunicazione di Barely Political, valutandone l'efficacia e svelando l'esistenza di una strategia comunicativa professionale che si cela dietro a ciň che era stato ingenuamente definito l'emblema di una comunicazione amatoriale e naďve, tipica del Web 2.0. In questo articolo vengono presentati i risultati di una ricerca sui primi due anni della comunicazione di Barely Political: dal giugno del 2007 al maggio del 2009. Sono stati presi in considerazione tutti i 264 video prodotti da Barely Political in questo lasso di tempo, analizzando non solo i contenuti ma anche i paratesti (le visualizzazioni, i commenti, le votazioni che gli utenti hanno espresso sui video) e i metadata (come le tag). I risultati della ricerca portano a definire il progetto Barely Political come un esempio di civic commercial engagement, che mette insieme due obiettivi strategici, l'impegno civile e il coinvolgimento commerciale.
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5

Barnett, Tully. "Hyperparatextuality: Meaning-making in the digital reading frame". Book 2.0 10, n.º 1 (1 de mayo de 2020): 43–58. http://dx.doi.org/10.1386/btwo_00019_1.

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In this article, I propose the concept of hyperparatextuality as a way of looking beyond the digital paratext to consider the distributed state of immersive reading in digitized and read-in-browser environments. Beginning with a look at the history of the paratext and its relevance in the digital age, this article considers the hyperparatexts of the HathiTrust reading panes in particular to explore the relationship between digitized texts and the platforms that house them. The concept of paratext and its evolving meaning in the digital age has intrigued researchers for decades as literary production, circulation and consumption responds to digitization and digitalization. Digital paratexts might include fan communities, digital editions to material books in the form of official and unofficial content, Goodreads and other reading-related and review websites, and Kindle highlighting tools. However, digitization introduces new reading materialities, interfaces and frames with buttons, links and hypertextual content. These 'read-in-browser' environments, websites through which we access digitized literary works, introduce new paratexts into the reading experience and require different concepts to understand them. When digital paratexts are also hypertextual, they operate differently. This article proposes some ways of thinking about this.
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6

Ambrosiani, Per. "Vladimir Nabokov’s Lolita". Contexts of Russian Literary Translation 11, n.º 1 (31 de marzo de 2016): 81–99. http://dx.doi.org/10.1075/tis.11.1.05amb.

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This article addresses the relationship between text and paratext in the publication history of Vladimir Nabokov’s novel Lolita. Such paratexts include Nabokov’s own afterword to the 1958 American edition and his postscript (published in 1967) to his own translation of Lolita into Russian, as well as various introductions and afterwords, both in English-language editions and in translations of Lolita into Russian and other languages. A particularly interesting type of paratext is constituted by annotations to the main text, and the analysis focuses on parallel examples published in annotated editions of Lolita in English, Russian, Polish, German, Ukrainian, and French. The analysis shows that the most detailed annotations concerning the totality of the English and Russian Lolita text and paratexts can be found in editions published in languages other than English and Russian, whereas most English or Russian editions seem to focus on the respective language version. There is still no complete, annotated edition of the bilingual text containing all the authorial paratexts.
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7

T., Sugadev. "COVER DESIGN, FILM POSTER, AND SUBTITLES: SEMIOTICS OF PARATEXTS IN SELECTING PARODIES". ShodhKosh: Journal of Visual and Performing Arts 4, n.º 1 (10 de enero de 2023): 18–28. http://dx.doi.org/10.29121/shodhkosh.v4.i1.2023.269.

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A literary text becomes complete only when all its linguistic components are seen together to form meaning. French literary theorist Gerard Genette introduced a term called ‘Paratext’ to identify the additional parts of a text like subtitle, prefaces, introductory notes that contribute meaning to the text. A parody is generally understood as a work or performance that imitates another work or performance with ridicule or irony. In the field of literature, a parody comes with the effective imitation of the content of the parodied work in a satirical and ironical way. Paratext also attributes a lot in detailing the imitation of a work which fulfills the nature of parody from cover to cover. The relationship between a paratext and a parody can be better understood from a semiotic perspective. When paratexts are considered as linguistic, cultural, and contextual signs, they make the reader acquainted to the text. Hence, this research paper analyses the semiotic significance of paratexts in selecting parodies with reference to cover design, cover illustrations, subtitles, and film posters of select parodies.
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8

Yin, Haihong. "Paratext Translation Quality Assessment: The Annals of Imperial Rome as a Case Study". International Journal of English Linguistics 11, n.º 6 (22 de octubre de 2021): 34. http://dx.doi.org/10.5539/ijel.v11n6p34.

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Genette (1987) describes a paratext as the threshold between a reader and a text, which presents the text to the readers, and influences how the text is received. Based on Genette’s definition, this study makes further exploration of paratext translation and proposes that paratexts in translated works are constituted of the paratext in the original text and the additional parts from the translator and other participants. Mainly based on the translation assessment model proposed by Katharina Reiss, this essay suggests a three-principle model for the paratext translation quality assessment in historical text. Then mainly taking footnotes in The Annals as a case study, the essay explores the fundamental factors that influence the paratext translation quality in the historical text, and suggests taking the principles of completeness, preciseness, and conciseness into consideration.
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9

Ruokkeinen, Sirkku Inkeri y Aino Liira. "Material approaches to exploring the borders of paratext". Textual Cultures 11, n.º 1-2 (11 de junio de 2019): 106–29. http://dx.doi.org/10.14434/textual.v11i1-2.23302.

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This article examines the relationship of material text (text of the document) and paratext in light of fourteenth to sixteenth century evidence. Despite the wealth of interest generated by paratexts and paratextuality in recent years, especially in the fields of literary studies, book history, and translation studies, theoretical approaches to paratexts and paratextuality remain scarce. The paratextual status of an element is typically determined by its function, in combination with its distance from the material text: elements within the codex which do not share space with the text are part of the paratext. Less studied, however, is the gray area of elements which are located within the codex and share the space with the text. We examine this border between text and paratext through an analysis of late medieval and early modern initials, typeface, script and notes. While the form and function of the element are a good starting point, we propose that gauging the optionality of the element, in relation to the abstract text of the work and the material text of the document, is a better indicator of its paratextual status. Optionality should therefore be taken into consideration as evidence of a type of contemporary paratextual understanding.
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10

Hăisan, Daniela. "Parergonality, paratranslation, and text-as-house imagery: six Romanian-language editions of Oscar Wilde’s fairy-tales". Swedish Journal of Romanian Studies 5, n.º 2 (15 de mayo de 2022): 137–56. http://dx.doi.org/10.35824/sjrs.v5i2.23890.

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This paper focuses on the mediating role paratexts perform in the transmission of a text from one culture to another. Our case in point is a series of (re)translations of Oscar Wilde’s fairy tales into Romanian (published between 1911 and 2018), with their respective allographic paratextuality (prefaces, postfaces, translator’s foreword, introduction, glossaries, author biographies, dedications etc.). The paratexts are examined with a view to distinguishing between those which allocate authority to the translated text and those which undermine it. Architectural metaphorics will be resorted to, for a better illustration of the relation between text and paratext. If, according to Kant (1987[1781]), pareregon is to ergon what columns are to buildings, and if, when it comes to books, parergon is a (near-)synonym for paratext, the text-as-house imagery proposed here is meant to encapsulate the way books assemble their (para)textual contents for the reading public.
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Más fuentes

Tesis sobre el tema "Paratesti"

1

Modolo, Elia. "Videogiochi, cinema e narrazione Le cut scene come paratesti". Master's thesis, Alma Mater Studiorum - Università di Bologna, 2021.

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I videogiochi sempre più spesso raccontano delle storie, usando gli strumenti che gli sono propri ma anche il linguaggio di media differenti. La loro natura è ibrida, sono testi audiovisivi che racchiudono in sé materiali interattivi e non interattivi di tutti i tipi, dalle immagini ai suoni, per passare a testi scritti e simulazioni motorie. Questa complessità li rende unici nel proprio genere, ma allo stesso tempo simili agli altri media. E il paragone più frequente è quello con il cinema, con cui condivide la natura multimediale. I videogiochi e il cinema sono sempre più legati tra loro nei modi espressivi, nella convergenza transmediale e nella rappresentazione estetica. In particolare, le cut scene sono spesso accusate di essere un riempitivo inutile, se non dannoso, per i videogiochi, che non necessitano della presenza di elementi non interattivi ma anzi ne trovano uno svantaggio: l’esperienza di gioco viene interrotta e il giocatore non può intervenire nella creazione di significato del gioco, prerogativa che sta alla base della sua esperienza.
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2

Emanuele, Valerio. "Le discours préfaciel des dictionnaires bilingues : l’exemple des dictionnaires français-italien italien-français (XVIe-XXIe siècles)". Thesis, Cergy-Pontoise, 2018. http://www.theses.fr/2018CERG0937.

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Notre recherche a pour objet l’analyse du discours préfaciel des dictionnaires bilingues italien-français français-italien depuis les origines jusqu’à nos jours (du XVIe au XXe siècle). À partir de l’analyse approfondie des principaux dictionnaires bilingues italien-français français-italien diffusés sur le marché international depuis le XVIe siècle jusqu’au début du XXIe siècle, notre recherche vise à atteindre plusieurs objectifs :• Pallier une lacune de la recherche lexicographique et métalexicographique, où l’on observe un manque d’études d’ensemble sur les préfaces des dictionnaires bilingues I-F F-I.• Comprendre le rôle et la fonction du discours préfaciel relativement aux dictionnaires bilingues français-italien / italien/français.• Établir une typologie de thèmes récurrents abordés au sein du discours préfaciel des dictionnaires franco-italiens.• Comprendre les intentions du préfacier et les circonstances qui l’incitent à s’exprimer.• Déterminer les objectifs annoncés dans la préface et vérifier l’écart éventuel entre le programme et la réalisation concrète du projet.• Vérifier la présence de constantes et de variables par rapport aux choix lexicologiques et lexicographiques.• Identifier et décrire le parcours évolutif du genre « préfaces des dictionnaires bilingues I-F F-I ».• Comparer les discours préfaciels des dictionnaires bilingues I-F F-I avec ceux appartenant aux dictionnaires unilingues français, de manière à mettre en relief les similitudes et les dissemblances entre ces deux types de discours d’introduction dictionnairique.Notre recherche est organisée en deux parties. Dans un premier temps, on a analysé les sources bibliographiques disponibles et on a sélectionné le corpus, constitué des principaux dictionnaires bilingues italien-français français-italien publiés entre la fin du XVIe siècle et le début du XXIe siècle.Dans un deuxième temps, nous avons analysé les préfaces ainsi que les textes qui les complètent ou les remplacent : Avis au lecteur, Avant-propos, Éclaircissement, Avertissement, Discours Préliminaire, Note de l'Éditeur, Présentation, etc. On a essayé, dans cette phase, d’identifier les stratégies discursives du préfacier à travers une analyse méthodique de ses procédés et de son vocabulaire. Notre méthodologie de recherche se base sur la recension et les commentaires des préfaces dans leur intégralité, dans le but d'identifier les sujets les plus récurrents abordés par les préfaciers. Cela nous a permis, deuxièmement, de mettre en lumière toutes les fonctions qui particularisent l'appareil préfaciel au sein des dictionnaires bilingues franco-italiens. On a employé à la fois une perspective diachronique (analyse au fil du temps des différentes éditions du même dictionnaire) et transversale (comparaison des différents dictionnaires entre eux en vue de comprendre les stratégies adoptées par les auteurs relativement à certaines thématiques). Cette approche nous a permis de suivre l'évolution de l'appareil préfaciel au fil des siècles et d'effectuer des parallèles entre des discours de présentation tirés de différents dictionnaires.En définitive, notre recherche vise à identifier et à examiner les divers types de renseignements contenus au sein des préfaces des dictionnaires bilingues italien-français français-italien, dont on fournira également une description formelle générale. Nous allons détailler, en employant une perspective diachronique, les principales étapes évolutives des discours introductifs dictionnairiques et les caractéristiques qui particularisent le discours préfaciel des dictionnaires bilingues F/I – I/F par rapport à celui des dictionnaires unilingues
Our thesis aims at analysing the prefaces of bilingual dictionaries italian-french french-italian (XVI-XXI century). In our corpus we selected the mains bilingual I/F F/I dictionaries in the international market in order to have at our disposal the prefaces written by the most important authors in the franch-italian lexicography. Our purpose is to underline the recurrent topics mentioned by the lexicographers in their introduction texts as well as the differences concerning the monolinguals and bilingual prefaces. We will adopt a diachronic and transversal perspective of analysis, in order to identify and examine the different types of prefaces of the I/F F/I dictionaries. We will provide a general description of bilingual dictionaries I/F F/I prefaces, describing their origins as well as their evolution in order to increase the knowledge of a not enough explored field in the bilingual lexicography research
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3

Eyang, Essono Raymonde. "Sémiotique des formes journalistiques. Reportages et évènements : entre petites mythologies et spectacularisation". Thesis, Limoges, 2019. http://www.theses.fr/2019LIMO0074.

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Les professionnels de l’écriture journalistique s’investissent dans de formes et stratégies de mise en page de l’information. Cette stratégie de mise en page vise une meilleure visibilité et lisibilité, et une hiérarchisation de l’information. Ce travail, propose de voir la construction et le fonctionnement sémiotique de la spectacularisation dans la presse écrite (imprimée) gabonaise. Perçu comme un processus de reformulation, de reprise d’une situation d’information dans un contexte nouveau, la spectacularisation appelle à une stratégie de mise en spectacle. Celle-ci passe par un dispositif d’éléments qui concourent à la monstration d’une information. Nous relevons dans ce travail que l’évènement est pris en charge par une instance qui le met en forme et le met en discours à partir d’un certain nombre de procédés. A l’aide des analyses portant sur les stratégies énonciatives, le déploiement du discours rapporté dans les publications gabonaises, le visuel à travers une instance de la perception, nous avons fait ressortir la manière par laquelle se fait la reconstruction d’un évènement dans les journaux gabonais
Professionals journalists reporters are involved in forms and strategies for and layout information. This layout strategy aims for better visibility and readability, and a hierarchy of information. This work proposes to see the construction and the semiotic functioning of spectacularizing in Gabonese print paper. Perceived as a process of reformulation, of the recovery a enlever information situation in a new context, the spectacularizing calls for a strategy of putting on stage. It passes through expedient elements that contribute to the demonstration of information. We note in this proposal that the event is supported by an instance that a enlever in shape and puts it into speechless from several processes. Using the analyzes of enunciative strategies, the deployment of the discourse reported in Gabonese publications, the visual through an instance of perception, we have highlighted the way in which the reconstruction of an event in Gabonese newspapers works
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4

Moreira, Mariana GonÃalves. "à uma verdade universalmente conhecida que nem tudo à verdade: estudo do universo narrativo e paratextual da websÃrie The Lizzie Bennet Diaries". Universidade Federal do CearÃ, 2017. http://www.teses.ufc.br/tde_busca/arquivo.php?codArquivo=20049.

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O presente trabalho busca analisar a estrutura narrativa da websÃrie "The Lizzie Bennet Diaries", considerando suas caracterÃsticas transmÃdiaticas e por se tratar de um produto de entretenimento adaptado. âThe Lizzie Bennet Diariesâ Ã uma websÃrie adaptada do romance britÃnico âOrgulho e Preconceitoâ, de Jane Austen, escrito no sÃculo XVII. Um estudo de narrativa a partir de pesquisas de ABBOTT (2009), CAMPOS (2016), STAM (2003), dentre outros, foi realizado para compreender as particularidades de cada elemento narrativo analisado e sua relaÃÃo com os paratextos, sob o olhar de GENETTE (2009), ALVARADO (1994) e GRAY (2010), encontrados em TLBD. Com o objetivo de verificar as funcionalidades dos paratextos na narrativa transmÃdia, concluÃmos que as relaÃÃes intertextuais dessa modalidade dentro da narrativa adaptada tÃm um carÃter essencial no qual o paratexto agrega ao processo transmÃdiatico da obra, tornando clara sua necessidade de acompanhar a narrativa, tanto em conteÃdo quanto em processos de divulgaÃÃo.
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5

Stanton, Renee Jane. "Pilgrimage and its paratexts". Thesis, University of Birmingham, 2016. http://etheses.bham.ac.uk//id/eprint/6495/.

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This thesis analyses the paratexts of Dorothy Richardson’s long modernist novel sequence, \(Pilgrimage\). Peritexts, such as the prefaces to \(Pilgrimage\), and epitexts, such as letters written by Richardson and others about \(Pilgrimage\), are explored alongside other paratextual material such as the front covers of different editions, peritextual blurbs and epitextual reviews. I consider the paratexts of \(Pilgrimage\) to be as worthy of study as the anchoring text itself and seek to explain the recurrence of particular paratextual themes which have served to cast doubt on \(Pilgrimage\)’s status and Richardson’s qualities as a writer. Linguistic markers of tentativeness and reservation circulate in \(Pilgrimage\)’s paratextual space, inscribing a dominant tone that has served, at times, to undermine \(Pilgrimage\) and its author. This thesis, by using a range of interdisciplinary, contextualist approaches from narratology, stylistics and modernist studies, traces the links between \(Pilgrimage\)’s paratexts. In so doing it seeks to explain the prominence and liminality of certain paratexts and analyses the collisions and collusions that have characterised \(Pilgrimage\)’s paratextual space.
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6

Geminiani, Luca. "Tradurre la pubblicità Il paratesto grafico nella traduzione pubblicitaria". Bachelor's thesis, Alma Mater Studiorum - Università di Bologna, 2020.

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La traduzione di un testo pubblicitario richiede competenze che vanno oltre la semplice traduzione testuale e che spesso trascendono la formazione accademica tradizionale dei traduttori. Nel cap.1 verrà analizzata l’importanza dell’elemento paratestuale, che rende la pubblicità uno strumento di comunicazione multimediale e la sua traduzione uno sforzo di paratraduzione. È quindi necessario saper riconoscere il valore comunicativo di suoni e immagini per poter creare, o meglio transcreare, una pubblicità altrettanto accattivante e persuasiva per il pubblico straniero. Nel cap.2 verranno messi a confronto vari tipi di paratesto - soprattutto grafico - e verrà analizzata la loro relazione con l’elemento testuale. In questo capitolo si affronterà anche il tema del grado di iconicità di un’immagine, che determina non solo la sua efficacia comunicativa, ma anche la facilità con cui essa si presta ad essere adattata nello sforzo transcreativo. Le immagini a bassa iconicità risultano estremamente versatili e facili da tradurre, mentre quelle ad alta iconicità, cariche di informazioni e facilmente riconoscibili, sono più efficaci nella comunicazione ma più difficili da tradurre. Nel cap. 3 verranno messe a confronto le informazioni dei capitoli predecenti con una proposta di traduzione pubblicitaria: verrà realizzata una traduzione in lingua spagnola di un flyer digitale con una forte componente grafica. La traduzione verrà poi commentata analizzandone l’elemento paratestuale.
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Pittin-Hédon, Marie-Odile. "Alasdair Gray : paratexte, métatexte et intertexte". Grenoble 3, 1998. http://www.theses.fr/1998GRE39035.

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La diegese grayienne peut etre qualifiee de super-diegese, incorporant, sinon a part egale, en tout cas de facon ostentatoire et persistante des paradigmes relevant de textualite, de paratextualite, d'intertextualite et enfin de metatextualite. Le principe directeur, mettant en mouvement les diverses composantes du super-texte grayien, est celui de l'hesitation, ce que milan kundera designe par l'expression la +sagesse de l'incertitude;. L'incertitude, l'hesitation sont en partie obtenues par la combinaison, la fusion des fonctions examinees. On trouvera par exemple dans l'oeuvre de gray des instances de ce que l'on pourrait baptiser +para(inter)texte;, ou encore de +meta(para)texte;. L'objet de cette these est donc de tenter de definir, non seulement ce que le non-texte (paratexte, metatexte, intertexte) nous dit sur le texte, mais egalement comment ce qu'il dit sur le texte, dans un mouvement de retour sur soi, constitue le texte. . . .
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8

Spaak, Sofia y Blom Frida Misker. "Vad berättar bilderbokens paratext? : En studie om hur bilderbokens paratext överensstämmer med handlingen i bilderboken". Thesis, Karlstads universitet, Institutionen för pedagogiska studier (from 2013), 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-71419.

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The purpose of this study is to investigate what the picture book's paratext tells us. The study focuses on aspects such as whether the cover and the story match, and whether the paratext text gives a true and fair view of the contents of the picture book. The study also includes a gender aspect that highlights whether the paratext is different depending on whether it is a male or female illustrator, and a time aspect based on differences in paratexts depending on the year of publication. The method used to carry out the study is a text and image analysis of ten different picture books for children.The survey shows that the picture book's paratext informs the reader about the action in the picture book as well as how the book of the picture book and the story have been related to each other. The survey also shows that the text of the picture book differs depending on the year in which it is published.
Syftet med denna studie är att undersöka vad bilderbokens paratext berättar. Undersökningen fokuserar på aspekter som om omslag och handling stämmer överens och om paratexten ger en rättvisande bild av bilderbokens innehåll. Studien innefattar även en genusaspekt som belyser huruvida paratexten skiljer sig beroende på om det är en manlig eller kvinnlig illustratör, samt en tidsaspekt utifrån skillnader i paratexter beroende på utgivningsår. Metoden som har använts för att genomföra studien är en text- och bildanalys av tio olika bilderböcker för barn.Resultatet av undersökningen visar att bilderbokens paratext informerar läsaren om handlingen i bilderboken samt hur bilderbokens paratext och handling har förhållit sig till varandra. Undersökningen visar också att bilderbokens paratext skiljer sig beroende på under vilket år den är utgiven.
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Lane, Philippe. "Le paratexte éditorial : Analyse pragmatique et textuelle". Rouen, 1989. http://www.theses.fr/1989ROUEL094.

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Le paratexte éditorial désigne un ensemble de productions discursives qui accompagnent le texte ou le livre, comme la couverture, la jaquette, l'argumentaire ou encore la publicité, le catalogue, la presse d’édition. Cet accompagnement relève de la responsabilité privilégiée de l'éditeur et de ses collaborateurs. Notre travail illustre la rencontre entre cet objet d'étude et une démarche d'analyse, la pragmatique linguistique et textuelle ; cette rencontre s'effectue dans le cadre d'un domaine plus vaste, celui de la communication d’édition. Pour mener à bien cette entreprise, nous avons organisé la recherche en deux grandes parties : la première partie, intitulée "pour une analyse du paratexte éditorial", tente de jeter les bases théoriques de l'étude de ce genre discursif; la seconde partie, intitulée "les formes textuelles du paratexte éditorial", aborde plus directement l'approche des différents éléments du paratexte éditorial
The editorial paratext refers to a group of productions in the discursive field which come with a text, a book, such as the cover, the jacket, the various devices aiming at promoting the book (such as argument, pleas to insert. . . ) Or even the advertizing material, the book list, the edition press. These extensions of the discourse depend on the publisher's and his staff's will. Our work aims at illustrating the meeting between this object of study and an analytical process, the linguistic and textual. Pragmatics. This meeting takes place in a larger context, the one of editorial communication. To achieve this goal, we have organised the research work into two parts : the first part : "for an analysis of the editorial paratext," tries to set theoretical bases for the study of this discursive genre; the second part : "the textual forms of the editorial paratext", more closely deals with the study of the various elements of the editorial paratext
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Magaldi, Carolina Alves. "Paratextos das traduções brasileiras da Kalevala e do Popol Vuh ao longo do espaço e do tempo". Universidade Federal de Juiz de Fora, 2013. https://repositorio.ufjf.br/jspui/handle/ufjf/1043.

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A Kalevala finlandesa e o Popol Vuh guatemalteco têm inúmeras e surpreendentes similaridades, bem como uma quantia equiparável de diferenças marcantes. Algumas questões, entretanto, ressaem sobre as outras: suas origens orais, transpostas para o universo escrito em momentos de crise; suas numerosas retraduções e os extensos prefácios, posfácios e introduções escritos por teóricos-tradutores especialistas nas obras, contendo informações sobre o texto-fonte e seu contexto, a respeito do processo de tradução, além de dados sobre os povos e territórios nos quais as narrativas se originaram. Tais paratextos se constituem como ―zonas de transação‖ (GENETTE, 2009), nos quais as negociações de sentido entre tradutores anteriores, versões atuais, editoras e universidades se tornam visíveis em meio ao fazer tradutório, movimentando as obras em seus polissistemas literários e culturais. O ingresso brasileiro neste processo é recente, com a tradução de Sérgio Medeiros para o Popol Vuh (Iluminuras, 2007) e de José Bizerril e Álvaro Faleiros para a Kalevala (Ateliê Editorial, 2009). Nessas edições brasileiras, os temas mais recorrentes nas versões internacionais também se fazem presentes, com destaque para a história e a tradução, saberes esses voltados ao passado, os quais contribuem sobremaneira para a construção do imaginário espacial. Detalhamos, portanto, as obras e seus paratextos para que possamos nos dedicar ao estudo da história e da tradução a partir dos eixos temporal e espacial, optando, sempre que possível, por contemplar teóricos que discorressem sobre ambos os saberes, em especial Walter Benjamin, Paul Ricoeur e Itamar Even-Zohar. Concluímos que a literatura e tradução são polissistemas, ou seja, conjuntos relacionais e hierárquicos em eterna construção de conexões, desenvolvidas e renovadas ao longo do tempo. Os paratextos, tão ―híbridos‖ quanto os textos que vêm a apresentar, são parte integrante das grandes negociações interculturais, políticas e literárias operadas pela tradução. Por esse motivo propomos a noção de prisma, de forma a oferecer uma possibilidade de interpretação que demonstrasse os discursos que atravessam a Kalevala e o Popol Vuh, e de que forma as obras se configuram tanto como bens simbólicos quanto como produtoras de sentido.
The Finnish Kalevala and the Guatemalan Popol Vuh have countless and surprising similarities, as well as a somewhat equal amount of remarkable differences. Some matters, however, must be highlighted: their oral origins, transfigured into a written world in moments of crisis; their numerous retranslations and the extensive prefaces, postfaces and introductions written by theorist-translators specialized on the books, containing information about the source-text and its context, the process of translation, besides data regarding the peoples and territories where the narratives originated. Such paratexts constitute ―zones of transaction‖ (GENETTE, 2009), in which negotiations of meaning between past translators, present versions, publishing houses and universities become visible amid the translating activity, moving the works in their literary and cultural polysystems. The Brazilian point on entry in this process is recent, with the translation of the Popol Vuh by Sérgio Medeiros (Iluminuras, 2007) e of the Kalevala by José Bizerril and Álvaro Faleiros (Ateliê Editorial, 2009). In these Brazilian editions, the most recurrent themes in the international versions are also made present, i.e., history and translation, both forms of knowledge facing the past, which contribute greatly to the construction of a concept of space. We detailed, therefore, the works and their paratexts so that we could, then, dedicate ourselves to the study of history and translation on the axes of time and space, choosing, whenever possible, to contemplate authors who discussed both fields, especially Walter Benjamin, Paul Ricoeur and Itamar Even-Zohar. We concluded that literature and translation are polysystems, that is, relational and hierarchical gatherings eternally building connections, developed and renewed as time passes. The paratexts, as hybrid as the texts they aim to present, are part of the great intercultural, political and literary negotiations operated by translation, which is the reason why we proposed the notion of the prism, so as to offer a possibility of interpretation that demonstrated the discourses run through the Kalevala and the Popol Vuh, and in which manner the works are configured both and symbolic goods and as producers of meaning.
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Libros sobre el tema "Paratesti"

1

Palma, Flavia. Novelle, paratesti e cornici: Novellieri italiani e inglesi tra Medioevo e Rinascimento. Firenze: Franco Cesati editore, 2019.

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Berti, Raffaele De. Dallo schermo alla carta: Romanzi, fotoromanzi, rotocalchi cinematografici : il film e i suoi paratesti. Milano: Vita e pensiero, 2000.

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I paratesti nelle edizioni a stampa dei classici greci e latini: (XV-XVIII sec.). Pisa: Edizioni ETS, 2020.

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Cristina, Demaria, Fedriga Riccardo y Adinolfi Giulia, eds. Il paratesto. Milano: Sylvestre Bonnard, 2001.

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Elefante, Chiara. Traduzione e paratesto. Bologna: Bononia University Press, 2012.

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Alvarado, Maite. Paratexto. Buenos Aires: Instituto de Lingüística, Facultad de Filosofía y Letras, 1994.

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Pirēm-Ramēṣ. Paratēci. Cen̲n̲ai: Marutā, 2003.

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Film als Baustelle: Das Kino und seine Paratexte = Film under re-construction : cinema and its paratexts. Marburg: Schüren, 2009.

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Antonino, Biancastella, Maria Gioia Tavoni y Marco Santoro. Sulle tracce del paratesto. [Bologna, Italy]: Bononia University Press, 2004.

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Smith, Helen y Louise Wilson, eds. Renaissance Paratexts. Cambridge: Cambridge University Press, 2011. http://dx.doi.org/10.1017/cbo9780511842429.

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Capítulos de libros sobre el tema "Paratesti"

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Beil, Benjamin, Gundolf S. Freyermuth y Hanns Christian Schmidt. "Preface and Acknowledgements". En Paratextualizing Games, 9–12. Bielefeld, Germany: transcript Verlag, 2021. http://dx.doi.org/10.14361/9783839454213-001.

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How do paratexts influence the development of games? How is knowledge about games generated and shaped today and how do boundaries between (popular) criticism, journalism, and scholarship have started to blur? How do new forms of communicating about games affect the medium of the game itself? In short: How does the paratext change the text?
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Tahir Gürçaglar, Şehnaz. "Paratexts". En Handbook of Translation Studies, 113–16. Amsterdam: John Benjamins Publishing Company, 2011. http://dx.doi.org/10.1075/hts.2.par1.

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Batchelor, Kathryn. "Paratexts". En Routledge Encyclopedia of Translation Studies, 401–5. 3a ed. Third edition. | London ; New York, NY : Routledge, 2019.: Routledge, 2019. http://dx.doi.org/10.4324/9781315678627-85.

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Alt, Peter-André. "Doppelte Paratexte". En Kleist-Jahrbuch 2019, 71–89. Stuttgart: J.B. Metzler, 2019. http://dx.doi.org/10.1007/978-3-476-04911-7_7.

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Batchelor, Kathryn. "Genette’s paratext". En Translation and Paratexts, 7–24. London : Routledge, [2018] | Series: Translation theories explored: Routledge, 2018. http://dx.doi.org/10.4324/9781351110112-2.

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Freyermuth, Gundolf S. "Paratext . Paraplay". En Paratextualizing Games, 13–52. Bielefeld, Germany: transcript Verlag, 2021. http://dx.doi.org/10.14361/9783839454213-002.

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Pantaleo, Sylvia. "Paratexts in picturebooks". En The Routledge Companion to Picturebooks, 38–48. Milton Park, Abingdon, Oxon : New York : Routledge, 2018.: Routledge, 2017. http://dx.doi.org/10.4324/9781315722986-5.

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Batchelor, Kathryn. "Translation and paratexts". En Translation and Paratexts, 141–67. London : Routledge, [2018] | Series: Translation theories explored: Routledge, 2018. http://dx.doi.org/10.4324/9781351110112-8.

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Batchelor, Kathryn. "Translation and paratexts". En Translation and Paratexts, 168–93. London : Routledge, [2018] | Series: Translation theories explored: Routledge, 2018. http://dx.doi.org/10.4324/9781351110112-9.

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Esteve, Cesc. "Paratexts and mediation". En Comparative History of Literatures in European Languages, 327–38. Amsterdam: John Benjamins Publishing Company, 2016. http://dx.doi.org/10.1075/chlel.xxix.28est.

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Actas de conferencias sobre el tema "Paratesti"

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Dunlavy, Daniel M., Timothy M. Shead y Eric T. Stanton. "ParaText". En the 19th ACM International Symposium. New York, New York, USA: ACM Press, 2010. http://dx.doi.org/10.1145/1851476.1851526.

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Ricardo, Francisco J. "Stalking the paratext". En the ninth ACM conference. New York, New York, USA: ACM Press, 1998. http://dx.doi.org/10.1145/276627.276643.

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Huang, Weilong. "A Study on Paratexts in Ian McEwan's Atonement". En 2016 2nd International Conference on Economics, Management Engineering and Education Technology (ICEMEET 2016). Paris, France: Atlantis Press, 2017. http://dx.doi.org/10.2991/icemeet-16.2017.134.

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Shinya, Shigemi. "La Littérature et les matières de ses supports. Le paratexte du web." En Enseigner la littérature à l’université aujourd’hui. Fabula, 2011. http://dx.doi.org/10.58282/colloques.1537.

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Lucic, Ana, Robin Burke y John Shanahan. "Unsupervised Clustering with Smoothing for Detecting Paratext Boundaries in Scanned Documents". En 2019 ACM/IEEE Joint Conference on Digital Libraries (JCDL). IEEE, 2019. http://dx.doi.org/10.1109/jcdl.2019.00018.

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Polkhovskaya, Elena Vasilyevna, Tatiana Anatolyevna Radchenko, Svitlana Yevgenyevna Chornobay, Maria Vladimirovna Beloventseva y Nikolay Aleksandrovich Vovk. "Paratext As Means Of Narrative Generation In M. Amis’s House Of Meetings". En International Conference on Social and Cultural Transformations in the Context of Modern Globalism. European Publisher, 2021. http://dx.doi.org/10.15405/epsbs.2021.11.172.

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Fütterer, Daniel. "Herausforderungen bei der Kodierung von Paratext am Beispiel Neuer Musik mit Live-Elektronik". En 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/10.25366/2020.103.

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In traditional scholarly editions of music, peritext only plays a minor role so far. Peritexts can be defined as integral components of a score, for example a foreword, that are not part of the musical text. Especially in New Music, which is often intentionally breaking with implicit performance traditions, peritexts might offer essential information, e. g. on the arrangement of instruments and personal on the stage, about the used effects and hardware, and on verbal instructions to the interpreters. Encoding this information to be fully accessible for a scholarly digital music edition, is an important challenge. The poster is explaining this issue using an example by Joachim Krebs.
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Lane, P. "Les frontières des textes et des discours : pour une approche linguistique et textuelle du paratexte". En Congrès Mondial de Linguistique Française 2008. Les Ulis, France: EDP Sciences, 2008. http://dx.doi.org/10.1051/cmlf08299.

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Haug, Judith I. "»Manch eine*r liegt, morgens noch trunken, im Rosengarten« – Rekonstruktionen osmanischer Musikgeschichte in Gesangstextsammlungen". En 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/10.25366/2020.56.

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In Ottoman music culture, song text collections (güfte mecmūʿaları) play a crucial role in transmitting vocal repertoire. They employ paratext which supplies information about modal and rhythmic organisation as well as genre, composer and author attribution. In combination with oral tradition continuing until the present day, this method was understood as sufficient in the prevalent absence of notation until roughly the mid-19th century. Using the example of “Kimi mestāne seḥer yār ile gülşende yatur” by Rūḥī-yi Baġdādī, a poem set to music at least three times since around the mid-17th century which is still part of the repertoire today, we explore possibilities of evaluating güfte mecmūʿaları as source material for the historiography of Ottoman art music.
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Peterman, Nora. "Power in the Paratext: Interrogating Author Identity, Expertise, and Purpose in Picture Books About Refugee Children". En 2020 AERA Annual Meeting. Washington DC: AERA, 2020. http://dx.doi.org/10.3102/1588478.

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Informes sobre el tema "Paratesti"

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Crossno, Patricia Joyce, Daniel M. Dunlavy, Eric T. Stanton y Timothy M. Shead. ParaText : scalable solutions for processing and searching very large document collections : final LDRD report. Office of Scientific and Technical Information (OSTI), septiembre de 2010. http://dx.doi.org/10.2172/1007321.

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