Paratext

Depuis les années 1960 jusqu’à nos jours, la pensée de Jacques Derrida a connu une grande expansion en Grèce grâce à la médiation de la traduction. Nous présentons ici le travail de traduction et d’annotations de Vanghélis Bitsoris qui a traduit, entre 1995 et 2019, le plus grand nombre de textes de Derrida, soit 11 volumes et 7 traductions d’articles. Enseignant à l’université Panteion des sciences sociales et politiques à Athènes, spécialisé en philosophie et en traductologie, Bitsoris a contribué à la diffusion de la pensée du philosophe français à travers de nombreuses publications, des séminaires et des conférences universitaires. Après un bref tour d’horizon des traductions de Derrida en Grèce, nous tâchons de mieux éclairer l’approche traductive et l’apport de Vanghélis Bitsoris. à la suite de la comparaison entre textes sources et textes cibles, nous nous intéressons à sa stratégie de traduction telle que celle-ci se dégage des diverses solutions qu’il propose afin de surmonter les impasses de l’intraduisible, de la polysémie, des néologismes et des références implicites.

What might it mean to use books rather than read them?

This work examines the relationship between book use and forms of thought and theory in the early modern period. Drawing on legal, medical, religious, scientific and literary texts, and on how-to books on topics ranging from cooking, praying, and memorizing to socializing, surveying, and traveling, Carla Mazzio and Bradin Cormack explore how early books defined the conditions of their own use and in so doing imagined the social and theoretical significance of that use.

The volume addresses the material dimensions of the book in terms of the knowledge systems that informed them, looking not only to printed features such as title pages, tables, indexes and illustrations but also to the marginalia and other marks of use that actual readers and users left in and on their books. The authors argue that when books reflect on the uses they anticipate or ask of their readers, they tend to theorize their own forms. Book Use, Book Theory offers a fascinating approach to the history of the book and the history of theory as it emerged from textual practice.

This book, based on a library exhibition at the University of Chicago, has been put online by the University of Chicago library and thus has no restrictions on use.

Abstract. This essay analyses the elements of the editorial, authorial and allographical paratext of the edition of Centuria. Cento piccoli romanzi fiume by Giorgio Manganelli, which has been published by Adelphi since 1995, highlighting how the keys to reading and interpreting Manganelli's text attempt to suggest an idea of experimentation, of a unique and singular case within a literary tradition that is also familiar and codified.

Keyword. Manganelli; Centuria; paratext; short story; peritext; flash fiction.

Riassunto. Il presente saggio analizza gli elementi del peritesto editoriale, autoriale e allografo che compongono l’edizione di Centuria. Cento piccoli romanzi fiume di Giorgio Manganelli che dal 1995 pubblica Adelphi, evidenziando come le chiavi di lettura e di interpretazione del testo manganelliano proposte e veicolate cerchino di suggerire un’idea di sperimentazione, di caso unico e singolare all’interno tuttavia di una tradizione letteraria altresì familiare e codificata.

Parole chiave. Manganelli; Centuria; paratesto; racconto; peritesto; microracconto.

Title. The Unnamed Short Story. Analysis of the Paratext of Centuria. Cento piccoli romanzi fiume by Giorgio Manganelli

Le paratexte, trente ans après Résumé Pendant les trois décennies qui se sont écoulées depuis la publication de Seuils (1987) de Gérard Genette, les études sur le paratexte se sont multipliées dans des disciplines très différentes et dans plusieurs champs littéraires. Pour couronner le trentième anniversaire de la publication de cet ouvrage pionnier, un colloque international a été organisé à Bologne, pendant lequel de nombreux chercheurs se sont interrogés sur l'actualité des études sur le paratexte. Le dossier thématique qui en constitue l'issue comporte une réflexion aussi bien sur les implications découlant des théories de Seuils que sur sa réception dans les domaines littéraires et médiatiques. Il y est question de détecter les évolutions, les distances et les connexions entre les sous-catégories indiquées dans l'essai d'une part et, d'autre part, entre les directions de recherche assumées par les chercheurs. Le présent article, qui constitue l'introduction au dossier, définit les bases théoriques de la recherche et synthétise les dévelop-pements des articles qui le suivent. Abstract Over the past three decades since the publication of Gérard Genette's Seuils (1987), studies on paratext have spread in different disciplines and in several literary fields. To mark the thirtieth anniversary of the emergence of this pioneering work, an international conference held in Bologna and host many researchers questioning the relevance of the paratext. The thematic dossier of the current issue focuses on both the implications drawn from Seuils and its reception in our current literary and media landscape. The aim is to detect some advancements, differences and connections, on the one hand, between the sub-categories indicated in the text and, on the other hand, between the research strands that researchers have developed. This article, which accounts for the dossier's introduction, sets the theoretical basis of our research and summarizes the following articles.

This paper sketches out some methodological coordinates for investigating the formal category of narrative voice in a broader discursive context. It seeks to reformulate the classic model of narrative communication in order to redress the imbalance of current narratological scholarship, which focuses on theorizing the role of real readers without due attention to real authors.

The subject of this article is the paratext of one of the two major literary collections of Rieder's publishing house, the « Prosateurs français contemporains » (1921-1939). In order to define the profile of the collection and to promote it, the publishers make extensive use of the peritext, primarily the back-cover, through which they advertise other books in the catalog and propose groupings of works that informs us about their priorities. With the launch of the magazine Europe, in 1923, the collection gains a new epitextual space of promotion and definition-and vice versa. The importance of the paratext is fundamental for the study of « Prosateurs français contemporains » and Rieder editions in general, whose archives were destroyed during the Second World War: the peripheral areas are the only ways to get to the heart of the editorial project.

L'objet de cet article est le paratexte d'une des deux principales collections littéraires des éditions Rieder, les « Prosateurs français contemporains » (1921-1939). Pour définir le profil de la collection et pour la promouvoir, les éditeurs se servent largement de l'espace péritextuel des volumes, en premier lieu des quatrièmes de couverture, par le biais desquelles ils signalent les autres livres au catalogue et proposent des groupements d'oeuvres qui nous renseignent quant à leurs priorités. Avec le lancement de la revue Europe, en 1923, la collection gagne un nouvel espace (épitextuel, cette fois) de promotion et de définition-et inversement. L'importance du paratexte est fondamentale, aujourd'hui, pour l'étude des « Prosateurs français contemporains » et des éditions Rieder en général, dont les archives ont été détruites pendant la Seconde Guerre mondiale : les espaces périphériques permettent aux chercheurs d'arriver au coeur du projet éditorial.

La rivista intende raccogliere e diffondere studi, contributi, interventi inerenti le complesse e coinvolgenti problematiche legate al paratesto: l'obiettivo è indagare l'aspetto della presentazione e della conseguente fruizione del testo nelle diverse forme (dal libro al portale), ed anche di garantire ulteriore visibilità ai protagonisti delle vicende che hanno segnato e segnano le sorti della comunicazione scritta materializzata in documento pubblico. Numerosi ruoli, autori ed editori in primo luogo, concorrono al processo delle dinamiche di oggetti che nel loro estrinsecarsi raggiungono lo status di 'genere'. Ne consegue che la strada storico-bibliografica prescelta non potrà non aprire spettri di indagine ad ampio raggio, giacché tutto ciò che è peripherie di un testo assume una connotazione difficilmente riconducibile ad una sola unità disciplinare. La rivista mira dunque ad offrirsi quale spazio in cui si possano riconoscere studiosi italiani e stranieri che avranno modo di attingere a serbatoi di conoscenze e di saperi i più diversi per depositarli fra le sue pagine, chiamando quanti del 'paratesto' in tutte le sue accezioni fanno oggetto di indagine sempre più scaltrita.

The journal intends to collect and provide access to studies, articles, and papers on the complex and intriguing problems connected to paratext: the aim is to study various aspects of presentation and the resulting use of text in its various forms (ranging from book to portal), and also to ensure the further visibility for the protagonists of events that have influenced (and continue to influence) the destiny of written communication as a public document. Many professionals (especially authors and editors) concur on the process of the dynamics of objects that achieve the status of 'genre'. It follows that the historico-bibliographic point of view cannot help but open up a wide-ranging spectrum of investigation, so that which is on the peripherie of a text assumes a connotation difficult to reduce to the unity of a single discipline.
The journal aims to create an arena for Italian and foreign scholars who have access to many different sources of knowledge and learning in order to bring them together in the journal's pages, calling on the 'paratext' in all its forms as an object of study.

"L’intenso quindicennio (1551-1566) in cui si svolge la carriera editoriale di Girolamo Ruscelli è caratterizzato dal progressivo affinamento dei meccanismi di un apparato paratestuale che estende la sua influenza sull’area del testo e ne veicola la fruizione allargata all’intero mercato del «mondo». La regia di questo articolato congegno viene sistemata nella sezione dei paratesti preliminari, che – come risulta dalla silloge qui pubblicata – da spazi tradizionalmente riservati all’autore e al tipografo, diventano il luogo in cui la nuova figura del curatore-editore realizza il proprio ruolo professionale nel dialogo con l’universo dei lettori, introducendosi di forza nei rapporti di produzione culturale della piena età della stampa.
Nelle 34 dediche e nei 26 testi variamente riconducibili alla categoria dell’avviso che aprono le circa 40 edizioni allestite da Ruscelli si assiste allo sviluppo di un discorso unitario basato su alcune costanti fondamentali. Nello specifico della dedica, egli agisce da vero auctor del genere, modificando gli equilibri interni dell’epistola in funzione della componente prefativa e ricollocando la figura del patronus in una posizione ancillare che gli assegna forte responsabilità nel successo della pubblicazione. Così concepito, il complesso dei paratesti preliminari diventa la sede ideale per condurre nel solco della moderna saggistica militante l’autopromozione della figura ibrida di mediatore culturale in equilibrio tra mondo delle lettere e pratica tipografica. Ma, soprattutto, le dediche e gli avvisi di Ruscelli risultano cruciali per la presentazione di un catalogo editoriale che cresce intorno a un ampio progetto di divulgazione culturale imperniato sull’affermazione del volgare come lingua moderna al «colmo» di perfezione e prossima a scalzare il latino dalla sua posizione di dominanza."

When encountering a new digital game, players can rarely access gameplay without first installing and patching the game, assenting to its End User License Agreement, creating an account, or adjusting the audiovisual and gameplay settings. In this dissertation, I critically examine everyday transactions of authority and value in the design of digital games by calling attention to interfaces and interactions on the periphery of gaming such as authentication, character configuration, and physical interfaces. Interfaces like these dictate accessibility and inclusivity and influence how players interact with games. These interfaces set the stakes for what gameplay can be and demand players conform to implicit and explicit norms in return for access to gameplay. Authentication secures access control while enrolling players in data-driven practices that are increasingly commonplace in computational media. Character configuration can allow players to customize their experience, but limits in the design of customization can limit who games can be about. Physical interfaces facilitate gameplay yet constrict game design practice and constrain physiological accessibility. By moving beyond the lens of efficacy that is commonly applied to these interfaces by UX/UI researchers, I re-frame how these interfaces mediate, manage, enable, and enforce transactions of authority for both players and designers alike.

Seit dem sogenannten spatial turn hat die Reflexion unterschiedlicher Raumkonzepte in den Kulturwissenschaften Hochkonjunktur. Dabei wird immer wieder auf einen Aspekt verwiesen, der gleichwohl merkwürdig randständig bleibt: der Zwischenraum als materielle oder imaginäre Grenze. Sei es die häusliche Schwelle (Bachelard) oder der Schwellenritus (van Gennep), der postkoloniale in-between-space (Bhabha), die paratextuelle zone intermediaire (Genette) oder eine assoziative Ikonologie des Zwischenraums (Warburg). All diese Aspekte verweisen auf ein besonderes Feld von Praktiken im Raum, die in einem 'Zwischenbereich' stattfinden, nämlich die Bewegungen im Zwischenraum.

Paratextual information as a mystery-solving device? Is the director's hand an agent of paratexts and interventions? The Deus Ex Machina trick Haneke played on the spectators on Caché tells more than meets the eye: the transition from modernist to postmodern cinema/audiovisual, and the understanding of how the focus has changed from one “era” to another is essential to understand how new media can be perceived on contemporary society.

The author presents in this paper both the technical and practical outcomes that the new translatological term "paratranslation" has fostered in the field of Translation Studies since its creation by the Vigo University T&P Research Group. The notion of paratranslation does not intend to be either a new "paradigm" or another "new product" adding to the catalog of translatological concepts that have appeared during the last decades in the university "market" of translation; on the contrary, the Vigo School wants to design a paradigmatic area suitable for an authentic renovation of the everlasting quandary between univesity theory and professional practice. This aim implies, inexorably, an epistemological opening that allows to observe the new theoretical, didactic and professional perspectives that the notion of paratranslation can offer when not limited to a predetermined frame such as paratexts. There is of course an affinity between translation and paratextuality, but defining paratranslation exclusively as a term referring to the study of the translation of paratexts is not enough; this definition would just mean an enlargement of the textual corpus analyzed by translatology and therefore would fall short of stirring up a new theorization applicable to the daily professional practice. From the standpoint of the establishment of a new way of "on-the-edge-thinking" about translation, the notion of paratranslation shows us, in this digital age of automatic translation and translation memories, that translation is not all about translatio but also, and above all, about traductio.

Gérard Genette has famously defined a paratext as a threshold, “that by which a text becomes a book and offers itself as such to its readers" (Seuils, 1987, p. 7). This definition, though simplistic, offers a good rule of thumb to determine what is part of a given diegesis and what is not. The question becomes more complicated with books that are explicitly looking to blur the limit between what is real and what is fictional, as is the case with Doug Dorst’s S. (2013) and Mark Z. Danielewski’s House of Leaves (2000). The paratext of those two books is very complicated to define, as the fictional diegesis arguably begins from their very covers, hence almost abolishing the notion of paratext. Hence, I would try to use them as a case study for a reflection on the status of paratext in postmodern literature, and on what constitutes a threshold in such experimental works

This essay sets out to establish the significance of Southey’s Common-place Book (1849-51) and The Doctor (1834-47) in explicating his near obsessive use of paratext, and, by extension, his systematic inclination towards a digressive and fragmentary narrative style. In an attempt to identify Southey’s writing practice, especially his methods for annotating his orientalist romantic poems, I will explore the connections between his practices of ‘common-placing’ and annotating, and introduce aesthetic and stylistic parallels between his common-place books/notebooks and his literary paratext. Finally, I will discuss the theoretical implications of The Doctor’s abundance in paratextual material and its peculiarly elusive structure and generic status, demonstrating a ‘playful hybridity [and an] ability to be novel and common-place book, everything and nothing’. In 1821, Southey confessed: ‘I have a dangerous love of detail, and a desire of accuracy, which is much more expensive (both in m...

Nell'articolo si analizza un campione di paratesti presenti in "letteratura aristotelica" del Cinquecento. Gli esempi selezionati sono tratti da opere di Niccolò Massa, Bernardo Segni, Felice Figliucci e Alessandro Piccolomini, pubblicate a metà XVI secolo tra Venezia, Firenze e Roma. Tali paratesti, oltre ad anticipare i contenuti fondamentali dei volumi, offrono dichiarazioni sul metodo di lavoro dei volgarizzatori e forniscono coordinate utili a collocare le opere nel loro contesto di produzione. Le riflessioni dei traduttori, incoraggiate dal dibattito sulla "questione della lingua" e sulla trasposizione in volgare di discipline ancora dominate dal latino come la filosofia, sviluppano alcuni punti in comune che nel contributo sono esaminati in dettaglio.

This essay will explore as much the substantial space of the page, its form and the implications of the typographical choices, as the immaterial space between the writer and the reader, or the space between the writer and his text-work. The meaning of the word “text” will be stretched so that to reach sound-contiguous meanings such as “texture” or “architexture”. The image of the page, the text and the “paratext”, the notes (footnotes, sidenotes, endnotes) and the margins will be conceived as that space where the critical issues of authorship-ownership of the text, its reading and interpretation are at stake. Upon the page, the text confirms or rejects its subordination to its author, reader or interpreter.

PDF AVAILABLE HERE: https://users.utu.fi/lmputk/

In this dissertation, I study indirect translation. Indirect translation is a translation made from a translation, and it may include compilative and/or collaborative practices, that is, many source texts may be used, or the translator may collaborate with someone.

The case study in this dissertation consists of 22 novels translated from Modern Greek into Finnish between 1952 and 2004. Indirect translation is studied from the perspectives of status (what translations are claimed to be), origin (what the genesis of a translation was like), and features (what kind of linguistic features translations have), and the findings are contextualized by examining the culture-bound norms governing the production of translations. The framework, proposed by Delabastita (2008), stems from descriptive translation studies (Toury 1995/2012).

In this study, mixed methods are used. One the one hand, the materials are mixed, comprising paratexts, translator bios, the 22 novels, and a corpus of translated and non-translated Finnish novels. On the other hand, both quantitative and qualitative methods are employed, including paratextual analysis, methods of genetic translation criticism and textual criticism, and corpus research tools.

In one article of this study, the analysis shows that, although bibliographical metadata offers information on the status of translations, this information is not always in line with whether the translations were done directly or indirectly. In another article, the origins of a compilative translation are studied to uncover how translators work when using several source texts. In the third article, the study of features suggests that the linguistic profile of indirect translations is different from those of direct translations and non-translated Finnish texts. In the fourth article, the study of norms shows that, in Finland, attitudes towards indirect translation are negative, and translators may use compilative and collaborative strategies to respond to criticisms.

The mixed-methods approach allows us to gain a holistic picture of indirect translation. In addition, the present study shows that indirect translation challenges the idea of the source text–target text relationship as exclusive, binary, and unidirectional.

Although Palestinian citizens of Israel remained in their homeland, this community has undergone massive transformations in almost all aspects of life. The 1948 War, during which Israel was created, was a catastrophe (Nakba) for the Palestinians. Some 750,000 Palestinians were displaced during this war, which erupted in November 1947, and became refugees. A group of 156,000 Palestinians remained to become citizens in Israel. How did the Palestinian citizens of Israel adapt to their new status as a minority, numerical and political, and to the subsequent social and political reality? To answer this question, in this article I will analyze the first Palestinian novel to be published in Israel after the 1948 War. Mudhakkarāt lājiʾ aw Ḥayfā fī al-maʿraka (A Refugee’s Memoirs or Haifa in the Battle, 1958), by Tawfīq Muʿammar. This novel registers some aspects of the initial transformation in Palestinian discourse, as well as the considerations that underlie them. This article will focus on the political motivations as well as the inhibitions
that surround the publishing of this novel.

Opsomming

Die parateks kan funksioneel ingespan word by ’n vertaling om die doelteks vir die doelteksleser toegankliker, verstaanbaarder en aanvaarbaarder te maak. In die vertaling van Anne Frank se dagboek, Het Achterhuis, uit Nederlands in Afrikaans (Die Agterhuis) maak Lina Spies as vertaler ruimskoots gebruik van parateks om die doelteks toegankliker vir die Afrikaanssprekende Suid-Afrikaanse doelteksleser te maak. In hierdie artikel word die funksionalistiese vervreemdings- en domestikeringsbenaderings bespreek as basis vir die motivering vir die gebruik van parateks in oorwegend vervreemdende doeltekste, met spesifieke fokus op Die Agterhuis. Daar word gekyk na die funksionaliteit van die parateks in Die Agterhuis, naamlik die voorblad en titel, die agterblad, Spies se gedig "Vir Anne Frank van Het Achterhuis", die inleiding (wat as vertaalspesifikasie dien), die bronnelys, die toevoegsels, die foto’s, die voetnote, die nawoord en die epiloog. Daar word tot die gevolgtrekking gekom dat hierdie benadering tot die vertaling (vervreemding gekombineer met die parateks) geslaagd is om die stem en styl van die dagboekskrywer en die outentiekheid van die dagboek behoue te laat bly, maar terselfdertyd die doelteks vir die doelteksleser toeganklik te maak en die vertaler se prominensie en sigbaarheid te verhoog.

Summary: Functionality of the paratext in Lina Spies’s translation of the diary of Anne Frank, Het Achterhuis, in Afrikaans

Paratext can perform the function of making a translation more accessible to the target text reader by making the target text more understandable and acceptable. In her translation of Anne Frank’s diary, Het Achterhuis, from Dutch to Afrikaans (Die Agterhuis) Lina Spies makes generous use of paratext to make this translation more accessible to the Afrikaans-speaking South African target text reader. In this article the theoretical approaches of functionalism, foreignisation and domestication, are discussed in order to form a premise for the motivation behind the use of paratext in foreignised translations, and more specifically Die Agterhuis. The functionality of the various forms of paratext in Die Agterhuis is investigated. These include the cover page, the title, the back page, Spies’s poem "Vir Anne Frank van Het Achterhuis", the introduction (which serves as a translation brief), the list of references, the addenda, the photos, the footnotes, the afterword and the epilogue. It is concluded that this approach to the translation (foreignisation combined with making use of paratext) is effective in preserving the voice and style of the author of the diary and the authenticity of the diary while at the same time making the target text more accessible to the target text reader and elevating the prominence and visibility of the translator.

This paper proposes to review the current concept of paratext, taking into account how the techno-cultural peculiarities of digital media force us to consider new aspects of textuality, particularly the relationship between space and time. Three factors of change are examined: the opposition between deep structure and surface structure; the modularity of digital texts; the mobile/locative paradigm. The relationship between ephemerality and resilience is also briefly considered, as it is closely connected to the logical organization of contemporary textuality in digital media.

Among the humanistic editions of Catullus, the one edited by Girolamo Avanzi in 1502 and printed by
Aldo Manuzio represents a milestone in philological studies and the sum of Avanzi’s work on Catullus,
started in 1495 with the publication of Emendationes in Catullum (written in 1493, but published only
two years later). In 1515 Avanzi took care of a second edition for Manuzio, slightly different in variants,
and twenty years later a third one, this time for the venetian printer Bartolomeo Zanetti, aere...et
diligentia Ioannis Francisci Trincaueli, that shows peculiar traits in text variants and poetry lay-out. Julia
H. Gaisser has studied textual variations occurring between ed. Aldina 1502 and ed. Trincavelliana 1535
(as is called the third ed.), but we know little what influenced these changes. Some interesting clues have
emerged from looking at editorial degrees of intervention between ed. Aldina 1502 and ed. Aldina 1515,
in particular from investigating Gedichtüberschriften.
The topic of this paper addresses paratextual data from these two editions and try to use external
evidences to argue that this renaissance editor works not only ope ingenio, but also ope codicum, even
if he doesn’t declare it. If Avanzi, indeed, seems to follow the setting of ed. Aldina 1502, there are some
titles and merged poems in ed. Aldina 1515 that have a different handwritten source, probably from θ-
class. There are also a handful of textual variants that seems to reinforce the hypothesis.

El capítulo Espacios paratextuales de la minificción en México no sólo releva autores (Julio Torri) y publicaciones (El Cuento. Revista de Imaginación) clave para el desarrollo del género en México, sino que también se ocupa de practicantes contemporáneos como Guillermo Samperio y, en especial, Alberto Chimal, con el objeto de examinar lo que ocurre con estas piezas breves y su circulación antes de entrar a la canonización por medio del libro. Las nociones de paratextualidad y epitextualidad propuestas por Gérard Genette (2001) permiten distinguir entre espacios de tránsito privados y públicos que se encuentran ligados a cuestiones de  transitoriedad y temporalidad. El texto discute la forma en que estas categorías han resultado y aún hoy resultan esenciales para la construcción de la tradición literaria de la minificción en México.

Following Gérard Genette’s brief comments in Seuils, this article seeks to shed new light on the place of the author’s name within the medieval paratext. It does so by using original data collected in 41 inventories of medieval aristocratic libraries located in French-speaking areas from the 14th and 15th century, amounting to a total of 4686 entries. Analyzing the question of authorship within such documents might seem incongruous, given that they were written for bibliophilic purposes, not scholarly, bibliographical ones. However, it will be argued that the theory of paratext can be used – here, and in future research – as a means of rethinking these inventories, both as offering a wide-ranging perspective on the multiple layers of the medieval paratext, and as a series of traces reflecting how medieval readers were able to identify and classify books. The article will gather, sort and analyse the 244 cases out of 4686 where the names of 56 French authors are used by inventories as a means to designate given works. It will then offer a reflection on the nascent, minority status of the notion of authorship within a medieval literary landscape that was clearly aware of this concept, yet seemingly applied it to French literature only sporadically and with the utmost hesitancy.

Considérer que certains éléments transfictionnels relèvent de la paratextualité impliquerait d'établir une hiérarchie entre un centre narratif et sa périphérie, de sorte que des portions de la diégèse pourraient être interprétées comme constituant un simple paratexte, généralement à fonction promotionnelle, pour un récit plus restreint, qui constituerait le coeur du dispositif médiatique. Comment determiner alors une frontière entre texte et paratexte face aux innombrables configurations offertes par les franchises contemporaines? Nous proposerons de nous servir de la notion d'intrigue, trop souvent marginalisée dans les études sur les narrations transmédiatiques, de manière à montrer que cette notion demeure un critère fondamental permettant de distinguer différents degrés d'intégration des lignes narratives. Nous verrons que certains récits impactent la trame globale de la narration transmédiatique, alors que d'autres ne sont pas des récits au sens plein du terme ou n'ont que la fonction marginale de remplir des interstices de la trame des événements, voire peuvent être rétrospectivement délégitimées au profit du récit principal porté par un média spécifique.
If we consider that some marginal elements of a transfictional storyworld belong to paratextuality, it would imply that we can establish a hierarchy between a narrative center and its periphery, so that portions of the diegesis could be considered as mere paratexts, usually with a advertising function, for a smaller fabula, which constitutes the heart of the mediatic experience. But how to decide where we should situate the boundaries between text and paratext while facing the countless configurations offered by contemporary franchises? While it has often been marginalized in studies on transmedia storytelling, I will propose to use the concept of plot in order to discriminate between text and paratext. I will show that this concept remains a fundamental criterion for distinguishing between different degrees of integration of storylines in transmedia storytelling. Indeed, some subplots impact the overall fabric of transmedia storytelling (especially through an extension of the narrative under the forms of prequels or sequels), while others are not narrative in the full sense or only serve to fill in unstrategic gaps of the storyline. These paratextual narratives can even be retrospectively delegitimized if they come to affect the main storyline carried out by a specific media.

This paper examines the postscript Chuck Palahniuk added to an anniversary edition of his debut novel Fight Club, released 10 years after the novel was first published. The article argues that this postscript, though having many aims, has its chief interest in redirecting the interpretative potential of the novel. Insofar as this postscript is a form of interpretation, the interpretation is rather reductive and it is the aim of this article to demonstrate (1) that this is actually the case, (2) how this interpretative reduction is carried out – while in the end (3) also suggesting ideas for why this reduction is made by the author.

Many miniatures from recently digitised medieval manuscripts circulate in social media as mere objects of curiosity and amusement. This article first studies the statuses of samples of these thresholds in their contexts of production, reception, and transmission, then explores their functions in the manuscript matrix. Proceeding from the Genettian theory of paratextuality, it argues for a functional typology of medieval iconic peritexts involving simple or complex and governed or non-governed relations with the written text. Funny, perhaps at times, and at times almost amusing, these gateways/getaways still have a painted depth that delights (in) sight.

In a politically, socially and historically challenging context as the one that characterizes the 19th century, all actors involved in translation publishing seem to take liberties dictated by the desire to respond to the preferences or needs of the target readership: on the one hand, the translator towards the original author, the target audience and the editor (by choosing the texts to be translated) and on the other hand, the editor towards the author, the translator and the readers. Between 1800 and 1900, the absence of deontological norms and the quasi-sure existence of the notion of intellectual property in the Romanian Principalities are reflected not only in the laxism of the translational approaches but also in certain aspects of the paratextual apparatus accompanying the translations themselves. And if some of the translators are aware of the importance of their fully assumed role, the editorial behavior (from page layout and in(voluntary) omission of information to misspellings and renaming according to the Romanian graphy) betrays the negligence or the ignorance of the messengers of the cultural act. Our research focuses on a corpus of relevant paratexts that frame the main texts and are likely to provide valuable insights into how such meta-elements and meta-speeches have influenced, changed or altered the reception of the source text in the target culture. Therefore, at the dawn of the translation studies in Romania, our goal is to analyze if and how editorial decisions canceled, minimized or granted the right of the first author and that of the secondary author (the translator).
Într-un context politico-social și istoric tulbure precum cel care caracterizează secolul al XIX-lea, toți actanții implicați în publicarea traducerilor par să își ia libertăți dictate de dorința de a răspunde cât mai bine preferințelor ori nevoilor cititorului-țintă: pe de-o parte, traducătorul față de autorul originalului, de publicul țintă și de editor (prin alegerea textelor de tradus) iar de pe altă parte, editorul față de autor, traducător și cititori. În perioada 1800-1900, absența unor norme deontologice și cvasi inexistența noțiunii de proprietate intelectuală în Principatele Române se reflectă nu doar în laxismul abordărilor traductive ci și în anumite aspecte ale aparatului paratextual ce însoțește traducerile propriu-zise. Astfel, dacă unii traducători sau unele traducătoare erau conștienți/conștiente de importanța rolului pe deplin asumat, nu puține sunt situațiile în care comportamentul editorial (de la așezare în pagină și omiteri (in)voluntare de informații până la greșeli de ortografie și românizări) trădează fie neglijența, fie ignoranța mesagerilor actului cultural. Cercetarea noastră se axează pe un corpus de câteva zeci de paratexte care încadrează textele principale și care sunt susceptibile de a oferi indicii prețioase cu privire la modul în care aceste meta-elemente și meta-discursuri au influențat, modificat sau alterat receptarea unui text sursă în cultura țintă. Ne propunem, așadar, să analizăm, în zorii traductologiei românești, dacă și în ce fel deciziile editoriale au anulat, au minimizat sau, dimpotrivă, au acordat locul cuvenit autorului prim și, mai apoi, autorului secundar (traducătorului).

Cuvinte-cheie: proprietate intelectuală, paratext, secolul al XIX-lea, apocrife, plagiat, traducere.

Juliane Witzke untersucht am Beispiel von Judith Hermanns Œuvre (1998–2014) die paratextuellen Inszenierungsstrategien der Gegenwart. Ihre Monographie schließt nicht nur eine Forschungslücke im Hinblick auf die wissenschaftliche Auseinandersetzung mit der Autorin, sondern bereichert auch die methodologische Fachdiskussion innerhalb der Literaturwissenschaften; ihr Analyseinstrumentarium ist vielseitig einsetzbar. Eine besondere Stärke der Untersuchung stellt zudem die umfassende Berücksichtigung medialer Veränderungen (z. B. Leser_innen als Kritiker_innen) dar. Die immer wieder angesprochenen Genderaspekte – insbesondere die Interpretation von Hermanns gewandelter Strategie als erfolgreiche Inszenierung von ‚Natürlichkeit‘ – hätten stellenweise einer eingehenderen gendertheoretischen Reflexion bedurft.

In the second half of the eighteenth century the number of English school grammars underwent a dramatic increase, and grammar writers used title pages, prefaces and, in general, other book components to attract potential buyers. A very common commercial strategy consisted in adding supplementary material to the grammars. Among this material, a type of supplement, commonly called " directions for reading " , is often found in these grammars. This was intended to provide guidance on reading aloud to students, since a successful and effective oral delivery was considered a polite social asset and an important professional skill at the time. This article aims (i) to present a representative list of school grammars of English with " directions for reading " , (ii) to compare the directions for reading contained in different works to identify those aspects considered essential for a good reading performance, and, finally, (iii) to explore the relationship between these directions for reading and some works of the eighteenth-century elocutionary movement.

This study examines how literary works use the peritext to signal and problematize their fictional or nonfictional status. Comparative analyses of examples mostly from the 18 th and 20 th centuries show that the peratext – whether of works billed as " true stories " or of those in which " any resemblance to actual persons, living or dead, is purely coincidental " – always negotiates acute problems in contemporary understandings of fiction.