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1
Troiano, Sergio. "Calvino editore. Riflessioni sui paratesti calviniani." Incontri. Rivista europea di studi italiani 30, no. 1 (July 2, 2015): 34. http://dx.doi.org/10.18352/incontri.10054.
Повний текст джерела
2
Ciotti, Monica. "Italo Calvino e la lingua spagnola." Cuadernos de Filología Italiana 28 (July 15, 2021): 363–78. http://dx.doi.org/10.5209/cfit.72020.
Повний текст джерелаАнотація:
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.
3
Medaglia, Francesca. "L’espansione transmediale quale forma di narrazione egemone della cultura convergente." ENTHYMEMA, no. 31 (February 1, 2023): 287–301. http://dx.doi.org/10.54103/2037-2426/19789.
Повний текст джерелаАнотація:
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.
4
Vergani, Matteo. "YouTube e civic commercial engagement. Il caso Obama Girl e Barely Political." SOCIOLOGIA DELLA COMUNICAZIONE, no. 40 (June 2010): 131–44. http://dx.doi.org/10.3280/sc2009-040011.
Повний текст джерелаАнотація:
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.
5
Barnett, Tully. "Hyperparatextuality: Meaning-making in the digital reading frame." Book 2.0 10, no. 1 (May 1, 2020): 43–58. http://dx.doi.org/10.1386/btwo_00019_1.
Повний текст джерелаАнотація:
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.
6
Ambrosiani, Per. "Vladimir Nabokov’s Lolita." Contexts of Russian Literary Translation 11, no. 1 (March 31, 2016): 81–99. http://dx.doi.org/10.1075/tis.11.1.05amb.
Повний текст джерелаАнотація:
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.
7
T., Sugadev. "COVER DESIGN, FILM POSTER, AND SUBTITLES: SEMIOTICS OF PARATEXTS IN SELECTING PARODIES." ShodhKosh: Journal of Visual and Performing Arts 4, no. 1 (January 10, 2023): 18–28. http://dx.doi.org/10.29121/shodhkosh.v4.i1.2023.269.
Повний текст джерелаАнотація:
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.
8
Yin, Haihong. "Paratext Translation Quality Assessment: The Annals of Imperial Rome as a Case Study." International Journal of English Linguistics 11, no. 6 (October 22, 2021): 34. http://dx.doi.org/10.5539/ijel.v11n6p34.
Повний текст джерелаАнотація:
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.
9
Ruokkeinen, Sirkku Inkeri, and Aino Liira. "Material approaches to exploring the borders of paratext." Textual Cultures 11, no. 1-2 (June 11, 2019): 106–29. http://dx.doi.org/10.14434/textual.v11i1-2.23302.
Повний текст джерелаАнотація:
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.
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, no. 2 (May 15, 2022): 137–56. http://dx.doi.org/10.35824/sjrs.v5i2.23890.
Повний текст джерелаАнотація:
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.
11
Kovala, Urpo. "Translations, Paratextual Mediation, and Ideological Closure." Target. International Journal of Translation Studies 8, no. 1 (January 1, 1996): 119–47. http://dx.doi.org/10.1075/target.8.1.07kov.
Повний текст джерелаАнотація:
Abstract This article deals with the way so-called paratexts were used, in Finland in 1890-1939, in publishing translations of Anglo-American literature, and especially with the tendencies towards ideological closure that those paratexts manifest. The dominant ideology in the material is what could be called religious-conservative ideology, emphasizing the thought content of the works and their (educative, civilizing, sometimes also entertaining) impact on readers. This is due to the ideological unification process that penetrated the cultural institutions, which were still relatively undifferentiated and non-autonomous during the period in Finland. The article emphasizes that in studying paratext, it is necessary to take heed of the wider cultural context; looking at the paratexts alone is not enough.
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Watts, Richard. "Translating Culture: Reading the Paratexts to Aimé Césaire’s Cahier d’un retour au pays natal." TTR : traduction, terminologie, rédaction 13, no. 2 (March 19, 2007): 29–45. http://dx.doi.org/10.7202/037410ar.
Повний текст джерелаАнотація:
Abstract Translating Culture: Reading the Paratexts to Aimé Césaire's Cahier d'un retour au pays natal — This article is concerned not with the linguistic translation of a Caribbean text, but with its cultural translation. It presents the argument that the paratexts to the multiple editions of Aimé Césaire's Cahier d'un retour au pays natal fonction principally as instruments of cultural translation. It also describes how the transfigurations of the Cahier's paratext over time and across cultures serve as markers for the changing epistemes of "Caribbean culture" and "Francophone Caribbean Literature."
13
Correa-Larios, Olivia. "Reseña: Translation and Paratexts." Íkala 25, no. 3 (September 12, 2020): 817–21. http://dx.doi.org/10.17533/udea.ikala.v25n03a13.
Повний текст джерелаАнотація:
La noción de paratexto en los Estudios de Traducción ha estado presente en investigaciones y trabajos de índole práctico, pero también en reflexiones teóricas, que exploran cómo impacta en el proceso y en el producto de traducción la relación entre el texto y su entorno conformado por otros textos dentro o fuera de él o por aspectos materiales o inmateriales, es decir, tanto físicos como socioculturales que lo rodean. En Translation and Paratexts, Kathryn Batchelor propone un marco teórico a partir de una exploración terminológica que conjunta la reflexión crítica con revisiones metodológicas del concepto de paratexto en investigaciones previas.
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Ferrando, Mireia. "El paratext en la narrativa de Carme Riera: títols, dedicatòries i epígrafs." Revista de lenguas y literaturas catalana, gallega y vasca 22 (January 11, 2018): 79. http://dx.doi.org/10.5944/rllcgv.vol.22.2017.20862.
Повний текст джерелаАнотація:
La paratextualitat ocupa un espai destacat en la construcció del sentit de les obres de Carme Riera. No obstant això, no hi ha actualment cap línia d’investigació que l’estudie en la seua transversalitat. A partir de les teoritzacions de Gérard Genette sobre el paratext, exposades a Seuils (1987), aquest article analitza tres de les categories paratextuals més representatives –títols, dedicatòries i epígrafs– presents a l’obra narrativa que Riera ha publicat al llarg de quaranta anys de trajectòria literària (1975-2015). L’enfocament adoptat permet apuntar les pautes funcionals més rellevants del paratext rierià i, de retruc, demostra el notable interès que té l’escriptora mallorquina per obtenir la màxima rendibilitat literària de l’aparell paratextual. En paral·lel, s’observa que el paratext no és sols una via de comprensió d’una obra particular, sinó també de tot l’univers literari, compacte i irreductible alhora, que dissenya Carme Riera.Paratexts play a prominent role in the construction of sense in the works of Carme Riera. However, there is no line of research aimed at studying its transversality. Based on the theoretical work by Gérard Genette on paratext, appeared in Seuils (1987), this article analyses three of the most representative paratextual categories: titles, dedications and epigraphs, all present in the work of Riera throughout her 40 years of literary career (1975-2015). This approach will allow us to emphasize the most relevant functional patterns in Riera’s paratext and, at the same time, will show the high interest by the Mallorcan writer to make use of paratexts as a literary tool. The article will ultimately show also that paratexts are not only a way of understanding a particular piece of work but also the whole literary universe designed by Carme Riera, compact and indomitable as it is.
15
Serra Vilella, Alba. "The Japanese Other in translated literature: paratexts in the translations of Kawabata and Mishima in Spain." Hermēneus. Revista de traducción e interpretación, no. 23 (January 10, 2022): 421–52. http://dx.doi.org/10.24197/her.23.2021.421-452.
Повний текст джерелаАнотація:
This paper is a case study of the role of translation paratexts in creating or reinforcing the image of the Japanese Other. The aim of this paper is to analyze factors related to stereotyping in order to contribute to a better knowledge of the mechanisms of representation of Otherness. My hypothesis is that a significant number of paratexts include stereotypes and that paratext authorship (translator, publisher etc.) and the types of translation (direct, indirect, retranslation) are factors related to this. The corpus comprises books by Mishima and Kawabata for which there are two or more different translations published in Spain.
16
Li, Xiao. "Rewriting of Text and Paratext." International Journal of Translation, Interpretation, and Applied Linguistics 4, no. 1 (January 1, 2022): 1–12. http://dx.doi.org/10.4018/ijtial.304076.
Повний текст джерелаАнотація:
Bushido: The Soul of Japan is an influential sociology work for the world to study Japan. Drawing primarily upon cultural translation studies and Gerard Genette's paratext theory, this article investigates how the 10 Chinese translations of Bushido: The Soul of Japan make meaning through rewriting of both text and paratext. The authoress contends that the cultural self-complacency, typical of “Escape from Asia” mentality in the wake of the Meiji Restoration, has been filtered by the dominant nationalist ideology in the target setting. Specifically, the affirmation of Chinese culture in the texts tends to be over-translated, while those paratexts that run contrary to the interest of the Chinese nation are either omitted or rewritten in conformity to Chinese nationalist thinking. As a result of the ideological rewriting of both text and paratext, Bushido has acquired a new meaning of war machine of modern Japanese militarism, which is a far cry from those intended by Inazo Nitobe in the wake of the first Sino-Japanese War.
17
Muratore, Davide. "Studi sulla tradizione e sul testo degli Scholia in Homeri Iliadem, 4. Inventario sommario dei codici dell’Iliade e dei suoi paratesti. Parte I: Codici dell’Iliade." Rivista di Filologia e di Istruzione Classica 150, no. 1 (January 2022): 120–204. http://dx.doi.org/10.1484/j.rfic.5.131726.
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Martínez Mayor, Carlos. "Els llindars de les Alonsíades. Els paratexts en La Alonsíada, de Joan Ramis, i L’Alonsíada, de Vicenç Albertí." SCRIPTA. Revista Internacional de Literatura i Cultura Medieval i Moderna 10 (December 6, 2017): 273. http://dx.doi.org/10.7203/scripta.10.11083.
Повний текст джерелаАнотація:
Resum: El 1818, l’il·lustrat menorquí Joan Ramis i Ramis (1746-1819) va publicar La Alonsíada, un poema èpic en castellà que narra la conquesta per part d’Alfons III d’Aragó de l’illa de Menorca l’any 1287, aleshores en mans sarraïnes. El mateix any es va imprimir també la traducció del text al català, L’Alonsíada, a cura del seu coetani Vicenç Albertí i Vidal (1786-1859). Tot i que es tracten d’una obra original i la seua traducció, hi ha diferències notables en la presentació de les dues versions. Aquestes divergències afectes aspectes de caire civil i polític, com són la finalitat de cada text o el públic al qual estaven adreçats. En aquesta línia, són molt interessants les implicacions que es desprenen dels paratexts presents en cadascuna de les composicions, ja que posen de manifest les distintes direccions preses per cada autor. Així doncs, en aquest article, partint de la tipologia paratextual proposada per Gérard Genette en Umbrales (1987), hem analitzat les diferències existents entre els paratexts de les dues obres. Aquest estudi ens ha permés concretar els punts civils i polítics en què divergeixen, els motius que van poder provocar les dissensions i la manera com es concreten en la globalitat de les dues obres. Paraules clau: La Alonsíada, Joan Ramis, L’Alonsíada, Vicenç Albertí, paratext Abstract: In 1818, the Menorcan enlightened Joan Ramis i Ramis (1746-1819) published La Alonsíada, an epic poem in Spanish that narrates the conquest by Alfons III of Aragon of the island of Menorca in 1287, then in Saracen hands. In the same year, the Catalan translation of the text, L’Alonsíada, was also printed by his contemporary Vicenç Albertí i Vidal (1786-1859). Although they are an original work and its translation, there are notable differences in the presentation of the two versions. These divergences affect aspects of civil and political nature, such as the purpose of each text or the audience to which they were addressed. In this line, the implications that arise from the paratexts present in each of the compositions are very interesting, since they show the different directions taken by each author. Thus, in this article, based on the paratextual typology proposed by Gérard Genette in Paratext: Tresholds of interpretation (1987), we have analyzed the differences between the paratexts of the two works. This study has allowed us to specify the civil and political points in which they diverge, the reasons that could cause the dissensions and the manner in which they are specified in the globality of the two works. Keywords: La Alonsíada, Joan Ramis, L’Alonsíada, Vicenç Albertí, paratext
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Kiejziewicz, Agnieszka, and Marcin Zwolan. "Smakowanie filmu. Kulinarna promocja filmu jako paratekst w kontekście badań nad międzynarodową recepcją kina azjatyckiego." Panoptikum, no. 25 (September 14, 2021): 155–70. http://dx.doi.org/10.26881/pan.2021.25.09.
Повний текст джерелаАнотація:
The proposed article revolves around broadening the definition of a paratext in the context of culinary promotion, presentation and analysis of the chosen Asian cinema festivals. Starting from theoretical and definitional issues, the authors define how culinary recipes appear in film art, outlining their roles, types, or structures. Furthermore, the reader has the opportunity to learn about the culinary paratexts accompanying the “Five Flavors” Asian Film Festival and the New York Asian Film Festival Winter Showcase in 2020. The article’s main goal was complemented by the elements of the historical links between culinary and cinema in Asia. The authors’ attention was also drawn by the international reception of food and film pairing. An essential point of reference for the authors is the transnational nature of culinary paratexts and the somatic character of the stimuli accompanying the shows.
20
Allen, Garrick V. "Paratexts and the Reception History of the Apocalypse." Journal of Theological Studies 70, no. 2 (July 13, 2019): 600–632. http://dx.doi.org/10.1093/jts/flz092.
Повний текст джерелаАнотація:
Abstract Biblical scholarship usually engages with reconstructed texts without taking into account the form and material culture of the manuscripts that transmit the texts used in reconstruction. This article examines the influence of paratexts on biblical studies and reception history, using the book of Revelation as a test case, in an effort to rediscover the significance of transmission for comprehending the ways in which past reading communities engaged their scriptural traditions. The liminal features of manuscripts that are often ignored in modern editions are an integral part of the artefact that influence and shape a text’s reading. This study argues that paratexts represent an underdeveloped resource for reception history, insofar as the relationship between text and paratext is rarely taken into consideration by modern interpreters. Material culture, textual transmission, reception history, and exegesis are integrally linked processes.
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Moura, Bruno Melo, and André Luiz Maranhão De Souza-Leão. "Time to DTR: fan paratextualization about Game of Thrones last season." Revista de Administração da UFSM 15, no. 2 (July 20, 2022): 311–30. http://dx.doi.org/10.5902/1983465965633.
Повний текст джерелаАнотація:
Purpose: Media products meaning lies on the interpretation of its content. As productive consumers, fans reframe them. In the process, they produce new texts on these products, known as paratexts. The research aims to understand how fan’s paratexts (re)produces discourses to re-signify media products’ (para)texts. For such, we look at fan paratextualization of Game of Thrones (GoT), an economic and cultural phenomenon with huge repercussions on social media. Design/methodology/approach: Through a Foucauldian Archeology, we collected and analyzed comments posted by GoT fans on promotional videos published on the TV series' official YouTube channel. Findings: The fans' paratextual production presents different positions on the consumed cultural product: a public tribute highlighting its cultural legacy that is based on feelings of nostalgia and frustration with the conclusion of its plot. We conclude that these paratexts worked as a reckoning for the TV series’ fans. Broadly, it is possible to interpret paratexts as marketing content that allow fans to act as prosumers of media products, the entertainment industry, and fans' culture. Originality/value: The study presents how the fans’ productive consumption is materialized through the paratext (re)production that both establish the resonance of media objects in the culture of fans and lead them to assume the role of co-authors of the texts they consume. This role reinforces how fans should be understood as consumers who can act freely in relation to marketing actions. Moreover, it implies that paratexts can be produced to stimulate the discursive production that works as prosumer performance of fans.
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Shanmugapriya, T., Nirmala Menon, and Andy Campbell. "An introduction to the functioning process of embedded paratext of digital literature: Technoeikon of digital poetry." Digital Scholarship in the Humanities 34, no. 3 (November 22, 2018): 646–60. http://dx.doi.org/10.1093/llc/fqy064.
Повний текст джерелаАнотація:
Abstract The recent digital-born electronic literature has heterogeneous components such as kinetic texts, kinetic images, graphical designs, sounds, and videos. These digital components are embedded with the main text as the paratext of print and digital works such as preface, author’s name, illustrations, and title. However, the comparative study between paratext and embedded paratext of electronic literature shows the different strategic patterns and functions of these entities. We discuss the conceptual framework of illuminant devices of paratexts and propose a new term technoeikon to recognize the functions of embedded literary artifact in digital literary works. We examine the critical construction of new term technoeikon which has a unique characteristic that makes electronic literary works different from print literature. This essay reviews the cyclical process of technoeikon from the historical perspective of pre-print culture and print culture and acknowledges technoeikon as inherited from our tradition. Due to digital contrivances, technoeikon takes a new expression as performing in digital ecology which is different from our traditional analog. This article presents a case study on Andy Campbell's (2007b) Dim O'Gauble. Also, Campbell responds to the interpretation of new term technoeikon in the fourth section of the essay.
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Harahap, Lena Marliana, and Sholihatul Hamidah Daulay. "TRANSLATION ENGLISH-INDONESIA: LEARNING DEVELOPMENT BASED HYBRID LEARNING IN POST-PANDEMIC ERA FOR EFL STUDENTS." VISION 18, no. 2 (January 11, 2023): 166. http://dx.doi.org/10.30829/vis.v18i2.2313.
Повний текст джерелаАнотація:
<p>This study aims to describe the development of a Hybrid learning model in Translation: English-Indonesian learning for UINSU English Tadris students. researchers use the Borg and Gall model through ten steps. 30 research subjects were taken from the UINSU English Tadris study program population. Data were collected by observation techniques, questionnaires, and tests. Data analysis techniques use percentages, mean, and t-tests. The results of the validation research from experts I and II on the design of the hybrid learning model were an average of 4.34 in the very good category. Field test results I; average paratest 6.17 and posttest 6.60. Field test II average parates 6.63 and posttest 7.65. Field test III average paratest 6.72 and posttest 7. 69. Different test results through t-test on learning motivation t-count 9.254, student creativity 9.796, and learning outcomes 9.840 and it turns out that t-count> t-table 2.136 is proven there is a significant difference before using the model and after using the hybrid learning model. The conclusion of the study is that the hybrid learning model developed in this study is effectively used in Translation: English-Indonesian learning for UINSU English Tadris Program students.</p>
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Horbury, Ezra. "The Bible Abbreviated: Summaries in Early Modern English Bibles." Harvard Theological Review 112, no. 02 (April 2019): 235–60. http://dx.doi.org/10.1017/s0017816019000075.
Повний текст джерелаАнотація:
AbstractEarly modern English Bibles are among the most significant texts in western Christianity. They contained the translation of the Bible into English and its authorisation, they facilitated the Protestant Reformation, and their effects on English Christianity and culture are felt vividly to this day. A vital facet of these editions are paratexts: the titles, summaries, glosses, and other non-canonical additions appended to scripture to aid its organisation and interpretation. Though neglected by literary, historical, and theological scholarship, these paratexts comprised huge portions of early modern Bibles and acted as productive vehicles to disseminate politics and theologies. One such form of paratext are the casus summarii, the chapter summaries that precede many chapters in early modern Bibles. In these summaries, significant biblical events or controversial subjects were condensed, omitted, reframed, rephrased, or otherwise represented to suit the editor’s purposes. This article provides the first survey of the chapter summaries in early modern English Bibles, with a table detailing the extent to which they were copied between editions. The article focuses on the Matthew, Geneva, and KJV Bibles, with additional discussion of the Coverdale, Great, and Bishops’ Bibles. The article addresses notable aspects of this material, including practices of translation, representations of Sodom, the anglicisation of names, and the sexualisation of Eve. By explicating the origins and influences of these summaries, this article facilitates the understanding and study of paratexts and demonstrates their importance to scholarship of early modern Christianity.
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Clemens, Ruth Alison. "Bombast and Sesquipedalian Words: Translation, Mistranslation, and the Epigraph to The Waste Land." Modernist Cultures 17, no. 1 (February 2022): 109–26. http://dx.doi.org/10.3366/mod.2022.0361.
Повний текст джерелаАнотація:
The epigraph to T. S. Eliot's long poem The Waste Land (1922) is one of the most well-known paratexts of twentieth-century literature. However, as previous scholars have noted, the popularized English translation from the Ancient Greek of Petronius’ Satyricon contains a small but significant mistranslation: the Cumaean Sibyl is not actually hanging in a cage. This essay unearths another meaning in Ancient Greek of the ampulla in which the poet oracle is trapped: bombast. Using a Deleuzean new-materialist reading of text and paratext, this article proposes how the new meanings of the ampulla reconfigure both the significance of the original mistranslation and also the position of the poem itself, with its bombastic networks of allusions and paratextual complexities.
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Greinert, Cordula, Ariane Martin, and Mirko Nottscheid. "Paratextelemente der Postkarte." editio 34, no. 1 (November 1, 2020): 142–59. http://dx.doi.org/10.1515/editio-2020-0008.
Повний текст джерелаАнотація:
AbstractThe article examines the main paratextual elements of the postcard. The authors hold that these are not of only secondary importance to understanding this particular medium, but that they constitute it as such. Therefore, paratextual elements must be considered accordingly in an edition. Drawing on examples from the current project Frank Wedekind’s correspondence – digital edition, three aspects are focussed on: (1) the intermedial relations of text(s) and visual paratext(s) on picture postcards, (2) the meaning of specific postal paratexts such as postmark, stamp, or address and (3) the phenomenon of collective communication practices on group postcards. The authors conclude that constitutive paratextual elements of the postcard are better presented as an integral part of the edited text instead of being placed in the critical apparatus.
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Kochkina, Svetlana. "Dressed for Success?" Logos 29, no. 1 (October 5, 2018): 28–37. http://dx.doi.org/10.1163/18784712-02901002.
Повний текст джерелаАнотація:
A translation of a book is not just a faithful conversion of its text from one language to another. The translation is a regeneration of the entire complex organism of the book which often radically alters its paratextual apparatus. Thomas Piketty’s Capital in the Twenty-First Century (Harvard University Press, 2014) is a book that has not only challenged the current capitalist economic model but has also revolutionized the idea of a bestseller. A comparison of the paratexts of its French and English editions demonstrates how a skilful and purposeful visual repackaging of a book, deploying a different paratext, without any cuts or alterations to its text, can radically transform it, make the translation attractive to a wider audience, and ultimately be a contributing factor in its success.
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Kohler, Gun-Britt. "Czasopisma literackie z perspektywy paratekstu. Rozważania na temat metodologii i badań opartych na bazach danych periodyków na przykładzie czasopism „Polymja”, „Maladnjak” i „Uzvyšša”." Studia Białorutenistyczne 13 (December 30, 2019): 181. http://dx.doi.org/10.17951/sb.2019.13.181-207.
Повний текст джерелаАнотація:
<p>Artykuł poświęcono problemowi systemowych badań czasopism literackich. Jego celem jest wypracowanie wieloaspektowej metodologii wykorzystującej ujęcie literaturoznawcze oraz osiągnięcia tzw. humanistyki cyfrowej. Badanie bazuje na trzech najważniejszych białoruskich czasopismach literackich z lat 20. XX wieku („Polymja”, „Maladnjak” i „Uzvyšša”). Na podstawie analizy źródłowej wybranych materiałów prasowych można stwierdzić, że w badanych periodykach problematyka partyjna przeplata się z zagadnieniami kulturowo-politycznymi, co dowodzi konieczności analizy czasopism w nowym, szerszym niż dotąd, ujęciu. Na przykładzie tworzonej obecnie bazy analizowanych czasopism literackich widać korzyści, wynikające z uwzględnienia w procesie konceptualizacji czasopisma literackiego tzw. paratekstu (Genette). Perspektywa uwzględniająca paratekst pozwala odpowiednio odwzorować złożone wewnętrzne i zewnętrzne powiązania czasopism literackich. Zaproponowane w artykule podejście, wykorzystujące analizę ilościową i jakościową, można zastosować przy tworzeniu baz danych, przy uwzględnianiu roli czasopism literackich oraz wskazywaniu znaczenia autorów w historii literatury białoruskiej.</p>
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Uździcka, Marzanna. "Paratekst w literaturze fantasy (na podstawie glosariusza)." Literatura i Kultura Popularna 26 (September 16, 2021): 151–68. http://dx.doi.org/10.19195/0867-7441.26.12.
Повний текст джерелаАнотація:
The content of this article falls within the textual and generic trend of research on paratext. The author describes the meaning of paratexts in fantasy literature via the example of glossaries, which fulfill a special role in the process of creating and perceiving this type of literary text. The argumentation process is subordinated to two perspectives. The first involves the sub-creation of a secondary reality — the Second World in fantasy, which from the beginning to the end grows out of the imagination of the writer and which is complete and internally consistent. In the course of reading, the reader “enters” into a completely different world from that experienced every day. What is needed, therefore, is a kind of guide that allows him to “move around” without disturbing the created universe. Paratext fulfills this function. Hence the second perspective is Gérard Genette’s thesis, according to which the paratext is identified with the text surrounding the proper text, coming from the author and remaining within the same volume (peritext), and one of its basic roles is to help in the interpretation and proper decryption of the creator’s (author’s) intentions. On the basis of the glossaries studied in fantasy texts, it can be concluded that structurally they constitute the determinants of a textual frame, and although there is no linear continuity between the main text and the glossary, considering the content that is contained in it, they serve to strengthen the coherence of the main text. In general, the presence of glossaries facilitates reading the text, allows “unmasking” the intentions of the author and categorizing elements of the plot of a specific work, a given part of the cycle or saga against the background of the whole universe.
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Collins, Ronald K. L., and David M. Skover. "Paratexts." Stanford Law Review 44, no. 3 (February 1992): 509. http://dx.doi.org/10.2307/1228974.
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Ratner, Joshua. "Paratexts." Early American Studies: An Interdisciplinary Journal 16, no. 4 (2018): 733–40. http://dx.doi.org/10.1353/eam.2018.0043.
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Sjökvist, Peter. "Kungapanegyrisk poesi och paratext hos Petrus Lagerlöf." Tidskrift för litteraturvetenskap 42, no. 2-3 (January 1, 2012): 51–64. http://dx.doi.org/10.54797/tfl.v42i2-3.11671.
Повний текст джерелаАнотація:
Royalist Panegyrical Poetry and Paratext in Petrus Lagerlöf
The Latin poetry of the Uppsala professor and historiographus regni Petrus Lagerlöf (1648–1699) has attracted limited attention in modern research, although his Latin diction was highly esteemed and much admired in his own day and in the 18th century. A considerable part of his Latin oeuvre was published as paratexts in the publications of students and colleagues. In this article I examine a number of Lagerlöf ’s poems which contain panegyrics superficially praising the king, but in reality address other people. In the poems we come upon ideas, themes and topoi that recur as necessary ingredients in the works of many other authors in the later Caroline period as well. However, in the poems addressing young students it is especially interesting to note the different arguments serving to excuse their young age. In fact, Lagerlöf demonstrates that this excusatio propter infirmitatem can be used as an effective means in royal panegyrics.
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Skare, Roswitha. "Paratext." KNOWLEDGE ORGANIZATION 47, no. 6 (2020): 511–19. http://dx.doi.org/10.5771/0943-7444-2020-6-511.
Повний текст джерелаАнотація:
This article presents Gérard Genette’s concept of the paratext by defining the term and by describing its characteristics. The use of the concept in disciplines other than literary studies and for media other than printed books is discussed. The last section shows the relevance of the concept for library and information science in general and for knowledge organization, in which paratext in particular is connected to the concept “metadata.”
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Thomas, Scarlett. "Paratext." Nature 441, no. 7092 (May 2006): 548. http://dx.doi.org/10.1038/441548a.
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Smith (book editor), Helen, Louise Wilson (book editor), and Margaret Schotte (review author). "Renaissance Paratexts." Renaissance and Reformation 38, no. 2 (October 5, 2015): 196–98. http://dx.doi.org/10.33137/rr.v38i2.25643.
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Völkel, Markus. "Historiographische Paratexte." Archiv für Kulturgeschichte 85, no. 1 (June 2003): 243–76. http://dx.doi.org/10.7788/akg.2003.85.1.243.
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Bell, Bill. "VICTORIAN PARATEXTS." Victorian Literature and Culture 27, no. 1 (March 1999): 327–35. http://dx.doi.org/10.1017/s1060150399271185.
Повний текст джерелаАнотація:
IN THE POST-THEORETICAL (re)turn to history there is now, in literary and cultural studies, an increasing preoccupation with material relations, manifest in the growing number of interdisciplinary approaches foregrounding the importance of the production, circulation, and reception of texts. It has become increasingly evident that, despite internal claims for praxis, a much-vaunted cultural materialism has found itself at times imaginatively and practically restrained as a consequence of extreme textualist legacies. The familiar and too easy dichotomy between the so-called empiricism and the so-called critical theory is now beginning to recede as empiricist methodologies, much maligned in the post-humanist critiques of the 1980s, are beginning to make their presences felt again, though in revitalized and theoretically informed ways.
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Piekarczyk, Dorota. "Paratekstowe strategie zachęcania czytelnika do lektury tekstów popularnonaukowych." Poradnik Językowy, no. 8/2020(777) (September 9, 2020): 7–20. http://dx.doi.org/10.33896/porj.2020.7.1.
Повний текст джерелаАнотація:
The author of this paper begins with showing the role played by covers today (a cover as a marketing tool used by a publisher, as a paratext presenting a publication and encouraging people to read it, and as a “commercial interpretation” of a text) and demonstrates that they are a special place where the intentions of the author of a text, the needs of its publisher, and the expectations of readers clash. She chooses the following specific issue as the object of her investigation: book metaphors used in paratexts of popular scientific studies. It has not been examined from this angle before. By analysing the metaphors used by publishers, she shows that they are strategies of attracting readers. The author focuses on the aspects of metaphors that allow publishers to achieve the objectives of not only typical covers but also ones imposed on popularisation of science. Analyses indicate that metaphors are applied mainly to stimulate the readers’ minds, to engage them emotionally, and to open them to the cognitive values brought by scientific knowledge.
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Amparo, Flávia, and Monica Gomes da Silva. "“Cuidado, leitor, ao voltar esta página!”, sobre prefácios, leitores e escritores no Romantismo brasileiro / “Beware, Reader, When You Turn this Page!”, About Prefaces, Readers and Writers in Brazilian Romanticism." O Eixo e a Roda: Revista de Literatura Brasileira 29, no. 1 (March 30, 2020): 155. http://dx.doi.org/10.17851/2358-9787.29.1.155-180.
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Resumo: Este artigo objetiva identificar e refletir sobre as estratégias discursivas utilizadas nos prefácios de obras que participam da consolidação do sistema literário brasileiro no século XIX: Primeiros cantos, Lira dos vinte anos, A moreninha e Ressurreição. Busca-se estudar as imagens construídas acerca do Leitor, do Autor e da Obra nos textos introdutórios de Gonçalves Dias, Álvares de Azevedo, Joaquim Manuel de Macedo e Machado de Assis. Parte-se da concepção de paratexto desenvolvida por Gérard Genette (2009) que destaca, especialmente, o aspecto intersticial do prefácio, além do cotejo com dois grandes modelos de prefácio para o Romantismo brasileiro: o Prólogo da Primeira Parte de O engenhoso fidalgo Dom Quixote de La Mancha, de Miguel de Cervantes, e Prefácio ao Cromwell, de Victor Hugo. Ao reafirmar a condição de antessala da obra literária, o prefácio é entendido como um limiar entre realidade e ficção que, para além da função circunstancial e pragmática de apresentação do texto, possibilita a criação de uma verdadeira mise-en-scène discursiva. Nesse sentido, aprecia-se como os autores brasileiros, num contexto literário julgado incipiente, constroem os princípios de um “como e por que ler” indispensáveis à formação de um público-leitor.Palavras-chave: paratexto; prefácio; Romantismo.Abstract: This article seeks to identify and provoke reflections about the discursive strategies used in the prefaces of works that are part of the consolidation process of XIX century Brazilian literature: Primeiros cantos, Lira dos vinte anos, A moreninha and Ressurreição. The aim here is to study the images around the Reader, the Author and the Work within the forewords from Gonçalves Dias, Álvares de Azevedo, Joaquim Manuel de Macedo and Machado de Assis. The article parts from the concept of paratext developed by Gérard Genette (2009), which highlights the interstitial aspect of the preface, besides the comparison between two great preface models for the Brazilian Romanticism: the Prologue from the First Part of The Ingenious Knight Dom Quixote de La Mancha, by Miguel de Cervantes, and Preface to Cromwell, by Victor Hugo. While reaffirming a prelude status in the literary work, the preface is understood as a threshold between reality and fiction and enables the creation of a true discursive mise-en-scène, apart from working as circumstantial and pragmatic tool to present the text. In this regard, the way that Brazilian authors weave the principles of a “way and a reason to read” in a literary context considered incipient is very much appreciated and indispensable for the formation of a readership.Keywords: paratext; preface; Romanticism.
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Dygul, Jolanta. "Parateksty polskich przekładów z literatury włoskiej w czasach stalinowskich / The paratexts in the Polish translation of Italian literature in the Stalinist times." Italica Wratislaviensia 1, no. 1 (April 26, 2010): 85. http://dx.doi.org/10.15804/iw.2010.01.05.
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Vanacker, Beatrijs. "The Gender of Pseudotranslation in the Works of Marie-Jeanne Riccoboni, Mme Beccari and Cornélie Wouters." Tusaaji: A Translation Review 6, no. 1 (December 4, 2018): 78–95. http://dx.doi.org/10.25071/1925-5624.40367.
Повний текст джерелаАнотація:
While authorship recognition was a challenge for all eighteenth-century aspiring writers regardless of their gender, the social position of women was such that public claims of authorship and ownership over a text were even less self-evident in the public sphere. As will be illustrated in this article, female writers especially made extensive use of transfer strategies (such as translation and pseudotranslation) to establish their authorship, thereby turning paratext and narrative into a dynamic maneuvering space. Considered from a gender perspective, the challenge for eighteenth-century female writers was to gradually “invent” themselves, or rather establish a voice of their own. Taking on a different (cultural) persona—even if only on a paratextual level—could provide them with a discursive “platform” from which they could negotiate their way into the literary field. In order to illustrate this gender-specific emancipatory quality of pseudotranslation, as established mainly in their paratexts, the present article proposes a comparative analysis of their forms and functions in the career and oeuvre of three eighteenth-century French women writers, Marie-Jeanne Riccoboni, Mme Beccari and Cornélie de Wouters, who all made extensive use of pseudo-English fiction.
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Genette, Gerard, and Amy G. McIntosh. "The Proustian Paratexte." SubStance 17, no. 2 (1988): 63. http://dx.doi.org/10.2307/3685140.
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Barra, Luca, and Massimo Scaglioni. "Paratexts, Italian style." Critical Studies in Television: The International Journal of Television Studies 12, no. 2 (June 2017): 156–73. http://dx.doi.org/10.1177/1749602017698477.
Повний текст джерелаАнотація:
In recent years, the completed transition towards a fully developed multichannel environment and the growth of non-linear offers has brought to the Italian television (TV) landscape unprecedented attention on the ways in which programmes are communicated to the audience and their images and identities are carefully built. The preparation and circulation of promos have therefore grown in importance and relevance in the national TV industry, as new original practices emerged and a long-lasting tradition was challenged by new formats and goals. Building on a set of in-depth interviews with professionals involved in the writing, production and distribution of promos, and analysis of other production materials, the article reconstructs the ‘promotional cultures’ of Italian broadcasters, analysing the main production processes, the different kinds of promos and the various skills involved, and the logics and constraints involved in the making of these ephemeral paratexts that more and more are pervading both the structure of programming flow and the experience of national TV viewers. Thus, the article investigates the professional practices and logics of contemporary commercial and pay TV programme promotion in Italy, defining the role played by national private broadcasters and transnational groups in shaping an Italian promotional space on TV. The ‘Italian style’ of TV show promotion emerges as a constant negotiation between local historical traditions and clichés, on the one hand, and international trends in promo production and aesthetics, on the other, with a solid path shared with other countries and broadcasters, and some peculiar specificities.
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Schögler, Rafael Y. "Translation and paratexts." Translator 25, no. 1 (January 2, 2019): 82–86. http://dx.doi.org/10.1080/13556509.2019.1567980.
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Wang, Yanmeng, and Mingwu Xu. "Translation and paratexts." Perspectives 28, no. 5 (October 3, 2019): 806–8. http://dx.doi.org/10.1080/0907676x.2019.1670417.
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Brienza, Casey. "Paratexts in Translation." International Journal of the Book 6, no. 2 (2009): 13–20. http://dx.doi.org/10.18848/1447-9516/cgp/v06i02/36733.
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Oosterhoff, Richard J. "Lovers in Paratexts." Nuncius 31, no. 3 (2016): 549–83. http://dx.doi.org/10.1163/18253911-03103002.
Повний текст джерелаАнотація:
In the 1520s, Oronce Fine addressed a “republic of mathematics.” The term captured Fine’s goals for an emerging discipline. Fine, the first professor of mathematics of the Collège Royal in Paris (est. 1530), turned to the language of amicitia and scholarly love to make space in the Republic of Letters for mathematics. Such language drew on an ethics of scholarly love which animated his predecessors in Paris, the circle of Jacques Lefèvre d’ Étaples. This article considers Fine and his colleagues’ efforts to imagine a public – and so reimagine a discipline – using the language of love in the letters, poems, and other paratexts that layered the technical books he authored. The vantage point of mathematical studies shows how practitioners could use the notion of amateur to garner support for their discipline while levelling social distinctions.
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Blair, Ann. "Conrad Gessner’s Paratexts." Gesnerus 73, no. 1 (November 6, 2016): 73–122. http://dx.doi.org/10.1163/22977953-07301004.
Повний текст джерелаАнотація:
Throughout his prolific publishing career Conrad Gessner composed abundant paratexts which offer valuable insight into his methods of working. Gessner wrote many dedications, only a minority of which were addressed to major patrons of his day. Instead he used them to thank dozens of physicians and scholars for sending him information, images, and manuscripts for his ongoing projects. Gessner acknowledged new arrivals in successive publications and invited further contributions explicitly. In “to the readers” and other passages Gessner called attention to his future publication plans and his skill in working with printers and in editing manuscripts of recently deceased scholars, thereby also encouraging new commissions. Gessner was also a master indexer and innovated especially in drawing up the first index of authors cited for his edition of Stobaeus in 1543 and a new all-purpose index in his Stobaeus of 1549. Many other aspects of Gessner’s paratexts warrant further study.
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Collins, Ronald K. L., and David M. Skover. "Paratexts as Praxis." Neohelicon 37, no. 1 (March 25, 2010): 33–51. http://dx.doi.org/10.1007/s11059-010-0050-0.
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Megremis, Stylianos, Erini Papamitsaki, Panagiotis Ieromonachou, and Emmanouil Zois. "Inflammatory Myofibroblastic Tumor of the Paratestis." Journal of Ultrasound in Medicine 26, no. 9 (September 2007): 1227–30. http://dx.doi.org/10.7863/jum.2007.26.9.1227.
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