Paratext – a Useful Concept for the Analysis of Digital Documents?
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Paratext in Bible Translations with Special Reference to Selected Bible Translations Into Beninese Languages
DigitalResources SIL eBook 58 ® Paratext in Bible Translations with Special Reference to Selected Bible Translations into Beninese Languages Geerhard Kloppenburg Paratext in Bible Translations with Special Reference to Selected Bible Translations into Beninese Languages Geerhard Kloppenburg SIL International® 2013 SIL e-Books 58 2013 SIL International® ISSN: 1934-2470 Fair-Use Policy: Books published in the SIL e-Books (SILEB) series are intended for scholarly research and educational use. You may make copies of these publications for research or instructional purposes free of charge (within fair-use guidelines) and without further permission. Republication or commercial use of SILEB or the documents contained therein is expressly prohibited without the written consent of the copyright holder(s). Editor-in-Chief Mike Cahill Compositor Margaret González VRIJE UNIVERSITEIT AMSTERDAM PARATEXT IN BIBLE TRANSLATIONS WITH SPECIAL REFERENCE TO SELECTED BIBLE TRANSLATIONS INTO BENINESE LANGUAGES THESIS MASTER IN LINGUISTICS (BIBLE TRANSLATION) THESIS ADVISOR: DR. L.J. DE VRIES GEERHARD KLOPPENBURG 2006 TABLE OF CONTENTS 1. INTRODUCTION.................................................................................................................. 3 1.1 The phenomenon of paratext............................................................................................ 3 1.2 The purpose of this study ................................................................................................. 5 2. PARATEXT: DEFINITION AND DESCRIPTION............................................................. -
Critical Responsei. Paratext and Genre System: a Response to Franco Moretti
Critical Response I Paratext and Genre System: A Response to Franco Moretti Katie Trumpener In the 1970s, as a teenage browser in West Germany’s remarkably well- stocked bookstores, I noted with astonishment that many German title pages included generic designations. German plays old and new tended to announce their dramatic status in idiosyncratic subtitles that seemed to push at the limits of the genre, even question the possibility of theater itself: Friedrich Schiller, Don Carlos. Infant of Spain. A Dramatic Poem (1783–87); O¨ do¨n von Horva´th, Faith, Love, Hope: A Little Dance of Death in Five Acts (1932); Wolfgang Borchert, Outside the Door: A Play No Theater Wants to Perform and No Public Wants to See (1947); Peter Weiss, The Investigation. An Oratorio in Five Songs (1965). Works in hybrid, documentary genres often had equally idiosyncratic subtitles; East German poet Sarah Kirsch named her 1975 oral history The Panther Woman. Five Unkempt Tales from the Tape Recorder. More occasionally, a work of fiction used its subtitle to play tricks on its reader. Robert Walser published his 1908 novel, for instance, as Jakob von Gunten. A Diary (although the work that follows is not exactly a fictional diary either). Yet most books of prose fiction and of poetry, I found, bore accurate if rudimentary generic designations: Heinrich Bo¨ll’s The Bread of the Early Years. Narrative (1955); Gu¨nther Grass’s The Tin Drum. Novel (1959); Reiner Kunze’s with the volume turned down. poems (1972); Karin Struck’s Class Love. Novel (1973). At the same time, German publishers and German literary culture seemed to place great weight on generic subdis- Critical Inquiry 36 (Autumn 2009) © 2009 by The University of Chicago. -
Text and Image in Translation
CLEaR, 2016, 3(2), ISSN 2453 - 7128 DOI: 10.1515/clear - 2016 - 0013 Text and Image in T ranslation Milena Yablonsky Pedagogical University of Cracow, Poland [email protected] Abstract The primary objective of the following paper is t he analysis of selected issues related to the translation of comic books. The paper aims at investigating the relationships between the text and the image and their implications in the process of translation. It reflects on the status of the translation of comics/graphic novels - a still largely unexp loited area within Translation Studies and briefly presents a definition and specificity of the genre. Moreover, it discusses Jakobson’s (1971) tripartite distinction into interlinguistic, intralinguistic and intersemiotic translation. The paper concludes with the analysis of certain issues associated with the Polish translation of V like Vendetta by Alan Moore, a text that is copious with intertextual and cultural references. Keywords: graphic novel, comics, V like Vendetta , Jakobson, constrained translat ion, intertextuality Introduction The translation of comic books still occupies a rather unexploited area within the discipline of Translation Studies, maybe due to the fact that it “might be perceived as a field of l esser interest” (Zanettin 273) and comics are usually regarded as an artistic form of a lower status. In Dictionary of Translation Studies by Shuttleworth and Cowie there is no t a single entry on comics. They refer to them only when they explain the term “multi - medial texts” ( 109 - 1 10) as: “ . The multi - medial category consists of texts in which the ver bal content is supplemented by elements in other media; however, all such texts will also simultaneously belong to one of the other, main text - type . -
PARATEXTUALITY and the LOST URTEXT Anthony Enns the Term
ANTHONY ENNS PARATEXTUALITY AND THE LOST URTEXT Anthony Enns The term “paratext” refers to the elements of a literary work that ac- company the text but are not considered part of the text itself, such as title pages, introductions, annotations, appendices, etc. Gérard Genette famously described the paratext as the “threshold…between the inside and the outside” of a text, and this threshold represents “a privileged place of a pragmatics and a strategy, of an influence on the public, an influence that…is at the service of a better reception for the text and a more pertinent reading of it” (2). In other words, the contextual information and critical commentary provided in the paratext ultimately serves the author’s own interests by ensuring that the text is interpreted correctly: “The way to get a proper reading is…to put the (definitely assumed) reader in possession of information the author considers necessary for this proper reading…[such as information] about the way the author wishes to be read” (209). Genette also noted that paratextual elements have expanded over time in order to satisfy “the educated public’s growing curiosity about the ‘making’ of the text and about the unearthing of versions the author had abandoned” (339). Paratexts were thus increasingly seen as necessary “supplements” or “acces- sories” to a literary work, and a text without a paratext is now viewed as “a power disabled…like an elephant without a mahout” (410). If a text without a paratext is “an elephant without a mahout,” then a “paratext without its text is a mahout without an elephant,” which Gen- ette dismissed as “a silly show” (410). -
Introduction to the Paratext Author(S): Gérard Genette and Marie Maclean Source: New Literary History, Vol
Introduction to the Paratext Author(s): Gérard Genette and Marie Maclean Source: New Literary History, Vol. 22, No. 2, Probings: Art, Criticism, Genre (Spring, 1991), pp. 261-272 Published by: The Johns Hopkins University Press Stable URL: https://www.jstor.org/stable/469037 Accessed: 11-01-2019 17:12 UTC JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at https://about.jstor.org/terms The Johns Hopkins University Press is collaborating with JSTOR to digitize, preserve and extend access to New Literary History This content downloaded from 128.227.202.135 on Fri, 11 Jan 2019 17:12:58 UTC All use subject to https://about.jstor.org/terms Introduction to the Paratext* Gerard Genette HE LITERARY WORK consists, exhaustively or essentially, of a text, that is to say (a very minimal definition) in a more or less lengthy sequence of verbal utterances more or less con- taining meaning. But this text rarely appears in its naked state, without the reinforcement and accompaniment of a certain number of productions, themselves verbal or not, like an author's name, a title, a preface, illustrations. One does not always know if one should consider that they belong to the text or not, but in any case they surround it and prolong it, precisely in order to present it, in the usual sense of this verb, but also in its strongest meaning: to make it present, to assure its presence in the world, its "reception" and its consumption, in the form, nowadays at least, of a book. -
Introduction to the Paratext*
Introduction to the Paratext* Gerard Genette HE LITERARY WORK consists, exhaustively or essentially, of a text, that is to say (a very minimal definition) in a more or less lengthy sequence of verbal utterances more or less con- taining meaning. But this text rarely appears in its naked state, without the reinforcement and accompaniment of a certain number of productions, themselves verbal or not, like an author's name, a title, a preface, illustrations. One does not always know if one should consider that they belong to the text or not, but in any case they surround it and prolong it, precisely in order to present it, in the usual sense of this verb, but also in its strongest meaning: to make it present, to assure its presence in the world, its "reception" and its consumption, in the form, nowadays at least, of a book. This accompaniment, of varying size and style, constitutes what I once christened elsewhere,' in conformity with the frequently ambiguous meaning of this prefix in French2--consider, I said, adjectives like parafiscal or paramilitary-the paratext of the work. Thus the paratext is for us the means by which a text makes a book of itself and proposes itself as such to its readers, and more generally to the public. Rather than with a limit or a sealed frontier, we are dealing in this case with a threshold, or-the term Borges used about a preface-with a "vestibule" which offers to anyone and everyone the possibility either of entering or of turning back. "An undecided zone"3 between the inside and the outside, itself without -
Irrational Paratext: Manipulated Paratext
IRRATIONAL PARATEXT: MANIPULATED PARATEXT IN THE GOTHIC POSTMODERN NOVELS HOUSE OF LEAVES, THE ADVENTURESS, AND THE THREE INCESTUOUS SISTERS A thesis submitted in partial fulfilment of the requirements for the Degree of Master of Arts in English in the University of Canterbury by Nicole Marie Howard University of Canterbury 2014 2 Contents Illustrations 3 Acknowledgements 4 Abstract 5 Introduction 6 (i) Terminologies 17 (ii) Contexts 20 (iii) The Chapters 29 Chapter One: Genre 34 (i) Ghostliness 37 (ii) Monstrosity 54 Chapter Two: Authorship 68 (i) Niffenegger: Feminine Authorship 71 (ii) Danielewski: The Author as Text 82 Chapter Three: Reader/Viewer 96 (i) The Gaze 99 (ii) Text World Theory and Epistolary Gothic 112 Conclusion 128 Works Cited 134 3 Illustrations Figure 1. Alison Gibbons. Illustration in Multimodality, Cognition, and 116 Experimental Literature pg. 70 4 Acknowledgments I would like to thank my supervision team, Nicholas Wright and Anna Smith, for their advice, support, and patience; my parents, Annemarie Butler and Steven Howard, for being just generally amazing; and my partner, Chris, for his unfaltering belief in me. 5 Abstract Mark Z. Danielewski’s House of Leaves and Audrey Niffenegger’s two visual novels The Three Incestuous Sisters and The Adventuress all contain examples of manipulated paratext— paratexts being the devices involved in the presentation of the text such as titles, author names, font, introductions, illustrations, appendices, advertising, and interviews. The emphasis these authors place on these usually inconspicuous devices is an expression of the irrational themes contained within these texts. The irrational is an underlying theme of the Gothic genre and through examining the use of manipulated paratexts this thesis demonstrates how these texts make use of the irrational Gothic elements that are present within the postmodern. -
Pamela: Or, Virtue Reworded: the Texts, Paratexts, and Revisions That Redefine Samuel Richardson’S Pamela
Marquette University e-Publications@Marquette Dissertations (2009 -) Dissertations, Theses, and Professional Projects Pamela: Or, Virtue Reworded: The exT ts, Paratexts, and Revisions that Redefine aS muel Richardson's Pamela Jarrod Hurlbert Marquette University Recommended Citation Hurlbert, Jarrod, "Pamela: Or, Virtue Reworded: The exT ts, Paratexts, and Revisions that Redefine aS muel Richardson's Pamela" (2012). Dissertations (2009 -). Paper 194. http://epublications.marquette.edu/dissertations_mu/194 PAMELA: OR, VIRTUE REWORDED: THE TEXTS, PARATEXTS, AND REVISIONS THAT REDEFINE SAMUEL RICHARDSON’S PAMELA by Jarrod Hurlbert, B.A., M.A. A Dissertation submitted to the Faculty of the Graduate School, Marquette University, in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy Milwaukee, Wisconsin May 2012 ABSTRACT PAMELA: OR, VIRTUE REWORDED: THE TEXTS, PARATEXTS, AND REVISIONS THAT REDEFINE SAMUEL RICHARDSON’S PAMELA Jarrod Hurlbert, B.A., M.A. Marquette University, 2012 This dissertation is a study of the revisions Samuel Richardson made to his first novel, Pamela, and its sequel, Pamela in Her Exalted Condition, published within his lifetime. Richardson, who was his own printer, revised Pamela eight times over twenty years, the sequel three times, and the majority of the variants have hitherto suffered from critical neglect. Because it is well known that Richardson responded to friendly and antagonistic “collaborators” by making emendations, I also examine the extant documents that played a role in Pamela’s development, including Richardson’s correspondence and contemporary criticisms of the novel. Pamela Reworded, then, is an explanation, exhibition, and interpretation of what Richardson revised, why he revised, and, more importantly, how the revisions affect one’s understanding of the novel and its characters. -
Historiographic Paratext 89
Spiel Siegener Periodicum zur Internationalen Empirischen Literaturwissenschaft spiel Siegener Periodicum zur Internationalen Empirischen Literaturwissenschaft Jg.. 30 (2011), Heft 1 Peter Lang Frankfurt am Main · Berlin · Bern · Bruxelles · New York · Oxford · Wien Bibliografische Information der Deutschen Nationalbibliothek Die Deutsche Nationalbibliothek verzeichnet diese Publikation in der Deutschen Nationalbibliografie; detaillierte bibliografische Daten sind im Internet über http://dnb.d-nb.de abrufbar. ISSN 2199-8078 © Peter Lang GmbH Internationaler Verlag der Wissenschaften Frankfurt am Main 2012 Alle Rechte vorbehalten. Das Werk einschließlich aller seiner Teile ist urheberrechtlich geschützt. Jede Verwertung außerhalb der engen Grenzen des Urheberrechtsgesetzes ist ohne Zustimmung des Verlages unzulässig und strafbar. Das gilt insbesondere für Vervielfältigungen, Übersetzungen, Mikroverfilmungen und die Einspeicherung und Verarbeitung in elektronischen Systemen. www.peterlang.de spiel Siegener Periodicum zur Internationalen Empirischen Literaturwissenschaft Jg. 30 (2011), Heft 1 Auf dem Weg zu einer Narratologie der „Geschichtsschreibung“ Towards a Historiographic Narratology Herausgegeben von / edited by Julia Nitz (Halle) & Sandra Harbert Petrulionis (Altoona) Siegener Periodicum zur Internationalen Empirischen Literaturwissenschaft Herausgeber dieses Heftes / Editors of this issue: Julia Nitz & Sandra Harbert Petrulionis Inhalt / Contents SPIEL 30 (2011), H. 1 Julia Nitz, Sandra Harbert Petrulionis (Halle/Altoona) Towards -
Chapter Titles in Three Mid-Century English Novels by Sarah Fielding, Henry Fielding, and Charlotte Lennox
Direction and Diversion: Chapter Titles in Three Mid-Century English Novels by Sarah Fielding, Henry Fielding, and Charlotte Lennox Dorothee Birke Studies in Eighteenth-Century Culture, Volume 41, 2012, pp. 211-232 (Article) Published by Johns Hopkins University Press DOI: https://doi.org/10.1353/sec.2012.0005 For additional information about this article https://muse.jhu.edu/article/467031 Access provided at 24 Mar 2019 22:58 GMT with no institutional affiliation Direction and Diversion: Chapter Titles in Three Mid-Century English Novels by Sarah Fielding, Henry Fielding, and Charlotte Lennox DOROTHEE BIRKE ost readers of eighteenth-century novels will recognize a typical feature Mthat seems designed to delight, instruct and occasionally annoy the audience: the long chapter titles in works by authors such as Henry and Sarah Fielding and Charlotte Lennox. Famously, Henry Fielding himself provided a commentary on the phenomenon: in Joseph Andrews, he explains that the purpose of the “Contents prefi xed to every Chapter” resembles that of “Inscriptions over the Gates of Inns … , informing the Reader what Entertainment he is to expect, which if he likes not, he may travel on to the next.”1 In Joseph Andrews or other novels of the period, however, these titles in fact work in a less straightforward way than this quote suggests: while some do seem calculated to convey an adequate idea of a chapter’s contents, others appear as ironical, superfl uous, mysterious, or self-contradictory. While interpretations of individual novels have included references to the chapter titles, the phenomenon as a whole has not received the attention it deserves. -
Footnotes in Fiction: a Rhetorical Approach
FOOTNOTES IN FICTION: A RHETORICAL APPROACH DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Edward J. Maloney, M.A. * * * * * The Ohio State University 2005 Dissertation Committee: Approved by Professor James Phelan, Adviser Professor Morris Beja ________________________ Adviser Professor Brian McHale English Graduate Program Copyright by Edward J. Maloney 2005 ABSTRACT This study explores the use of footnotes in fictional narratives. Footnotes and endnotes fall under the category of what Gérard Genette has labeled paratexts, or the elements that sit above or external to the text of the story. In some narratives, however, notes and other paratexts are incorporated into the story as part of the internal narrative frame. I call this particular type of paratext an artificial paratext. Much like traditional paratexts, artificial paratexts are often seen as ancillary to the text. However, artificial paratexts can play a significant role in the narrative dynamic by extending the boundaries of the narrative frame, introducing new heuristic models for interpretation, and offering alternative narrative threads for the reader to unravel. In addition, artificial paratexts provide a useful lens through which to explore current theories of narrative progression, character development, voice, and reliability. In the first chapter, I develop a typology of paratexts, showing that paratexts have been used to deliver factual information, interpretive or analytical glosses, and discursive narratives in their own right. Paratexts can originate from a number of possible sources, including allographic sources (editors, translators, publishers) and autographic sources— the author, writing as author, fictitious editor, or one or more of the narrators. -
Sir Gawain and the Green Knight (South Lancashire, C.1400, 90V-91R); British Library MS Cotton Nero A.X
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Humanities Commons Fig.1. First Two Folios of Sir Gawain and the Green Knight (South Lancashire, c.1400, 90v-91r); British Library MS Cotton Nero A.x. (art. 3); web; 12 June 2016. 1 Liberties that Editors and Translators Take: Unframing and Reframing the Border of Sir Gawain and the Green Knight Wajih AYED LERIC, Faculté des Lettres et des Sciences Humaines, Université de Sousse Abstract: In this work, I discuss the management of the initial iconic peritext of Sir Gawain and the Green Knight in a paper edition, a translation, and a digital facsimile. Writing from the perspective of cognitive narratology, I argue that the miniature is not a disposable illustration but a framing border, the (non) reproduction of which in each modern rendition of the text has different consequences on the mental processes involved in reading the poem. Keywords: Editorial liberties – iconic peritext – spatial status – cognitive frame / framing – framing border [O]ne would wish for an editing and reproduction culture in which framings, including original framings, are not as frequently omitted as in many present editions of literary texts…. — Werner Wolf, “Introduction” 33 Introduction Of the extant paratexts of Sir Gawain and the Green Knight,1 folio 90v2 in British Library MS Cotton Nero A.x. (art.3) is the most widely recognised illustration of the poem and, paradoxically, the least frequently reproduced in modern renditions of the text. Editors and translators of the poem have indeed taken liberties with the text and its peritextual elements which have significant repercussions on the cognitive processes involved in reading.