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The current paper aims to present linguistic, pragmatic, and sociocultural features of the paratexts of the Peresopnytsia Gospel and five complete Ukrainian translations of the Holy Scriptures. The ultimate goal of the study is to highlight the peritextual and epitextual dimensions of these translations and to classify translation paratexts, whose characteristics are determined by both the translator’s strategy and the mono-confessional or interconfessional requirements of translation commissioners. The article’s assumptions are grounded in the interdisciplinary approach at the interface of translation studies, biblical studies, religious studies, and historiography. The objective of developing a classification of paratexts in Bible translations within historical, theoretical, and critical contexts is accomplished via the methods of analysis, synthesis, induction, and modelling. The interpretive textual and cultural analysis methods are applied to identify and explain cultural, national, and religiously determined connotations of the paratexts. The comparative translation analysis provides a historically based translation quality assessment. As a result, paratexts of Ukrainian Bible translations have been classified according to thematic and pragmatic criteria. The paratextual dimensions of Bible translation are marked with 1) blurred agency (in many cases, it is difficult to determine the contribution of the translator or theological and literary editors), 2) restrictive requirements of the commissioner, 3) the impact of the overall translation strategy on the nature, type, and content of paratexts. However, no restrictions can conceal the implicit reader of each of these translations, to whom the paratexts appeal as a “second voice” of the main text. Paratexts of the first partial Ukrainian translations of the Holy Scriptures of the Confessionalism period (second half of the 16th century) are characterised by didacticism and a mono-confessional political orientation. The most important translation of that time, the Peresopnytsia Gospel, is analysed to specify the following types of verbal paratexts: 1) identification, containing data on the commissioner/publisher and the translators, as well as the date and place of its creation; 2) informative, providing all additional information not found in the prototext, including brief paraphrases of the main text, dates of the church calendar, and information on the structure of the book; they are often mono-confessional and polemical; 3) meta-lingual, explaining Church Slavonic vocabulary in glosses with Ukrainian equivalents or providing Ukrainian synonyms for Ukrainian words. The findings of the study prove that all complete translations of the Holy Scriptures into Ukrainian, both at the textual and paratextual levels, adhered to the principles of interconfessionality, accessibility for all Christians, and “functional loyalty”. The footnotes were the most important paratexts of the Ukrainian Bible translations made under the auspices of Bible Societies. Only in translations of the Bible of the 21st century does a preface appear, either a short one with general information about the translation strategy (Modern Translation, 2020) or a lengthy one with a detailed justification for the choice of the prototext’s language, a comparative table of the canons of the Old and New Testaments in different translations, and general information about the content of the Bible (New Translation, 2011). The footnotes in all Ukrainian translations done under the auspices of Bible Societies are divided into: explanations of biblical metaphor; explanations of the etymology of proper names; explanations of biblical traditions; alternative readings; foreign language equivalents; and meta-lingual explanations. The prevalence and peculiarities of footnotes depend upon the translation strategy. Thus, only among the footnotes in Ohiyenko’s translation can we trace such types as literal translations of complicated biblical metaphors and explanations of etymological wordplay. In addition, explanations of biblical metaphors are quantitatively prevalent in this translation. Such paratextual features are explained by the principle of foreignization, on which this translation is based. The Modern Translation by R. Turkoniak, in tandem with the Revising Committee of the Ukrainian Bible Society, aims to bring the Scriptures closer to the modern believer, not least through its footnotes. While Ohiyenko’s footnotes offer an alternative reading of some verses in “sacred” languages (Latin, Greek, and Church Slavonic), Turkoniak provides equivalents from translations into modern European languages and previous Ukrainian translations. The elements of “modernization” in the footnotes include vernacular vocabulary and associations with the realities and values of today. The interconfessional nature of Ukrainian translations of the Bible becomes visible in the church affiliations of the agents, such as the tandem of Orthodox Kulish and Greek Catholic Puluj, the cooperation of Ohiyenko, the Metropolitan of the Ukrainian Autocephalous Orthodox Church and Protestant pastors Kuziv and Zhabko-Potapovych, the New (2011) and Modern (2020) translations as part of the project of the Ukrainian Bible Society, which brought together representatives of all denominations of independent Ukraine.

Paratexts in Translation is dedicated to translation aspects relating to the concept of the paratext, which has been in vogue in translation studies over the last two decades. The term paratext was applied by the late French literary theorist Gérard Genette (1930‒2018) to refer to “those liminal devices and conventions, both within and outside the book, that form part of the complex mediation between book, author, publisher and reader: titles, forewords, epigraphs and publishers’ jacket copy are part of a book’s private and public history”. Since then, the definition of the paratext has been both expanded to include reviews and literary criticism as well as refined into the subdivisions of peritexts (i.e., material in same volume as the text, such as prefaces and footnotes), epitexts (i.e., elements outside the book, such as interviews with the author), metatexts (i.e., critical commentary), and extratexts (i.e., texts that can influence how a translation is produced or received).

The title of the short novel Il cavaliere e la morte is inspired by that of an engraving by Albrecht Dürer entitled Knight, Death and Devil (1513 or 1514), which was also reproduced on the cover of the first Adelphi edition of 1989. The essay analyzes the text, highlights its main themes (for example, the strenuous search for the Truth and the denunciation of the mechanisms of the oppressive machine of Power) and the main rhetorical strategies; furthermore, it intends to emphasize the centrality of the image that appeared on the cover of the first edition, illustrating the reasons why the choice of the latest curators not to re-propose it, replacing it with another engraving also signed by Dürer, is to be considered as erroneous, given its function as a commentary (and as a key to the text). The analysis also focuses on the form of the investigative novel and mentions Sciascia’s well-known passion for figurative art.

The aim of this paper is to analyse the concept of testimony and to promote reflections that support the understanding of this linguistic act through the lens of the concept of Zeitzeuge/Zeitzeugenschaft. Our analyses aim to observe how the value of the witness is constructed in the paratext of Ruth Klüger’s work weiter leben, from the German original and its paperback version (1992; 1997) to the later versions in French (1997), English (2001) and Portuguese (2005). In addition to drawing on the work of various scholars on the notion of testimony, this paper is based on the principles of dialogic discourse theory in conjunction with the category of paratext proposed by Genette (2009). Among other things, this study shows how discourse in the testimony is directly influenced by the valorisation of the role of the witness, which in the case analysed leads to different ways of reading the “same work”.

While reflecting upon the intrinsically multilingual and translational history of philosophy, philosophers and philosophy scholars frequently argue metaphorically in terms of a tradition. The perspectives vary in emphasizing either the tradition’s continuance or its transition, whereas translation is perceived of as the central or an auxiliary force in both processes. Four approaches where a philosophical tradition is differently poeticized are discussed in the paper. They reveal specific operations of transfer and transformation which are claimed to be supported or accelerated by/in translation. Such tradition-related operations appear to qualify for being traced and pinned down in a given philosophical translation. The paper seeks to work out this heuristic potential within the selected poetics of tradition and draws upon the paratextual comments on the first Russian translation of Heidegger’s “Being and Time” to eventually illustrate the translation-induced shifts of whatever might be called a philosophical tradition.

The history of Persian literature owes the immortality and influence of its pure didactic and mystical topics in its various forms to the form of “masnavi” poetic genre. Masnavi structure stands as one of the most extensive forms of Persian poetry due to its distinctive feature in rhyming, witnessing the creation of some of the greatest literary masterpieces in the Persian language. The most effective approach to understand and fully comprehend these compositions and to articulate the points of divergence and commonality among them, is to delve into their form and structure. This research undertakes the examination of the external aspects of masnavis from the studied period and delves into the internal exploration of these collections, focusing on their form and structure. Accordingly, the text (the central core) and paratexts (preface and conclusion) of long didactic and mystical masnavis until the end of the seventh century AH are discussed and analyzed. The purpose of this article is to examine the form and shape prevailing in the text and paratext of long didactic and mystical poems in terms of their adherence to the literary traditions of the poets’ era. The authors, recognizing that literary works, as integrative discourses, presupposes the existence of a beginning, middle, and end, endeavor to examine the functions of paratextual elements in seven didactic and mystical masnavis (Hadigat al-Hadigat, Makhzan al-Asrar, Manteq-o-tteyr, ­Mosibat-Nameh, Ilāhī-Nāma, Bostan and Masnavi). Through the examination of these paratexts, the authors aim to highlight the functions envisioned for the use of these elements and articulate the unique features of Rumi’s Masnavi as the exemplar of masnavis.

Wu Guangjian’s translation of the French novel Les Trois Mousquetaires, was first published by the Shanghai Commercial Press in 1907. Although this book uses literal translation methods, descriptions of the scenes and psychological descriptions, as well as Western allusions, it still manages to maintain the original style of the novel. Within the academic community, this style of translation has won much praise. Later on, Wu Guangjian’s edition was re-written with a differing punctuation style by Shen Dehong, also known as Mao Dun, and was classified by the Ministry of Education as "liberal arts supplementary reading". However, problems with the translation of the supplementary text for schools have not yet been fully focused on by the academic community, and include such issues as changes in time and space caused by the understanding of obstacles.

In this study, the English translation of Kıyı Kitabı (Book of the Edge), a poetry book by Ece Temelkuran is analysed through paratexts, where the translator's and the poet's voices become obvious and a great deal about the translation in terms of both process and a product is revealed. The translator, Deniz Perin, has written a preface, which includes information about the poet, the socio-political context, and translation strategies she used including the close cooperation with the author. It is followed by an interpretation of the poems based on political and spiritual themes. Socio-political focus and gender sensitive translation decisions draw attention, which are in line with Temelkuran's articles and books. In the translation, in addition to the translator's preface, there is also a foreword formed of a poem from the poet in her native language, where the voice of the source text writer is heard apart from the translated text. This can be assumed as a cooperation, contribution and support. In the study, these issues are discussed with a sociological perspective and by tracing the voices in the paratexts the journey of two different texts, two different languages and two different authors to become "one" through translation is examined.

The language, religion, art, tradition, politics, and customs of a society and its individuals separate it from other societies and give them an independent identity. With this view, it will be a valuable work that can show the individual, collective and national aspects of people's identity and make them and others aware of the good and bad of their existence. With this view, it will be a valuable work that can show the individual, collective and national aspects of people's identity and make them and others aware of the good and bad of their existence. In the fifth century, the cornerstone of the need of Iranian people interrogate the identity of the township trampled by the Aniranians, but Beyhaghi, despite his sympathy with Ferdowsi in identifying identity, and in the face of his contemporary history's efforts, he represents the identity of Islamic-Iranian. This research, with a library study and a descriptive, analytical method has searched for identity in Beyhaghi history. Findings show that Bayhaqi loves his land and his art served as a causal expression of the weaknesses and failures of Masood Ghaznavi, although he apparently calls him a martyr and is forced to pay more attention to the rule of Styla than the rule of the Platonist sovereignty. Beyhaqi has placed Islamic-Iranian characteristics in the context of the language and art of truth writing and has drawn it in the form of a minister and a secretary, who is based on punishment, providence and divine will, with wisdom, seriousness, foresight, courage, softness, tolerance and by correcting the corruptions, shows the image of Iranian cooperation and informs the people about their liberating qualities against the foolishness of Ghaznavids.

This article presents a personal reflection which addresses the reciprocal influence between object and disciplines by focusing on corpus linguistic analysis of television series. From initial studies in the early 2000 onwards, this has emerged as a vibrant area of research. More precisely, this article considers the influence of television series on my own work as a corpus linguist and how this interest in television narratives has changed both the data and methods that have informed my research. In other words, I turn the gaze upon my own disciplinary work by trying to make explicit how television series have opened up new horizons and encouraged the use of concepts from different disciplines within linguistics and beyond. The article touches upon the multimodality of television narratives, the different perspectives from which television series can be fruitfully approached (e.g. production/creation, product, consumption/reception), and how these aspects have resulted in triangulating different data and methods beyond corpus linguistics. In so doing, I also discuss the extent to which television series as an object have transformed (corpus) linguistics as discipline, and briefly consider the benefits and limitations of corpus linguistic studies.

Im Artikel wird der Beitrag von Anna-Halja Horbatsch zum Image der ukrainischen Literatur in Deutschland thematisiert. Zum einen wird Horbatsch als eine engagierte Kulturmittlerin und Literaturwissenschaftlerin, die produktivste ukrainisch-deutsche Übersetzerin der zweiten Hälfte des 20. Jahrhunderts dargestellt, die sich um ein Ukraine-Bild in Westdeutschland bemühte. Zum anderen wird die Frage aufgedeckt, wie ihre Tätigkeit aufgenommen und wie die ukrainische Literatur in Deutschland rezipiert wurde. Horbatschs Werk wird anhand des Models der Übersetzerbiographie von Renata Makarska beschrieben. Es wird erörtert, wie sich Horbatschs Ukraine-Bild von dem in der DDR entwickelten Bild der ukrainischen Literatur unterscheidet.

This article presents the translations of Spanish and Latin American authors into Lithuanian during the 50 years of Soviet occupation (1940–1990). The purpose of this research is to explore the legacy of these translations within the context of preventive censorship practiced in the Soviet Union. Preventive censorship involves selectively filtering books and authors for inclusion or exclusion from publication due to ideological or political considerations (cf. Leonardi 2008). The article addresses three main questions: (1) What was the volume of Spanish-language literature in the overall corpus of translations in Soviet Lithuania? (2) Which Spanish-language authors were accessible to Lithuanian readers during the period under consideration? And (3) What factors might have influenced their selection for publication in Lithuanian translation? An attempt is made to describe the corpus of translations from Spanish into Lithuanian, with a particular focus on the selection criteria to be met for inclusion of these literary works in the Soviet canon of foreign literature.

From 1531, when Heinrich Steiner illustrated Alciati’s Emblemata, the emblematic genre, while it grew and developed along various lines, came to crystallize in a tripartite structure: a motto, or title, a symbolic picture, and a text. To understand the emblem, the reader had to combine the three elements, usually displayed on the same page, but also make use of exterior knowledge. The emblem is a space where various sources from different eras and, at times, geographical areas, collide and coalesce in order to convey meaning. The reader needs to step out of the tripartite frame as the emblem calls upon other texts and images that have to be reassembled. This constant dialogue between the inside and the outside is perfectly exemplified by Henry Peacham’s Minerva Britanna. The 204 emblems of his collection were all engraved by the emblematist himself who took special care to place each picture within one of the eight different frames he designed. The superposition of elements on the page is coupled with a variety of explicit and implicit sources mainly taken from the Bible, from political and moral treatises, ancient authors, bestiaries and from mythographic dictionaries. The analysis of the intertextual and intermedial relations will show the semantic process which results from embedding frames. Furthermore, the summoning of ancient authors in the margins of the text may at times result in interesting polyphonic and polysemantic effects that I shall analyse. In emblems, the meaning is never given nor fixed by the borders of the page and is often disseminated. In some cases, the intrusion of the outside may even distort the meaning, a particularly efficient strategy in political emblems as it allows subversive comments without transgressing the conventional frame of thought.

Taking the translation of Khalid Khalifa’s 2006 novel مدیح الكر اھ یة [Madīḥ Alkarāhiyya] into English as a case study, this article examines the concept of translation from the periphery to the centre as a consecrating practice and as an avenue for cultural exchange between dominating and dominated literary fields. It draws on concepts from socionarrative theory and theories of paratext to examine the textual and peritextual framing strategies that Madīḥ Alkarāhiyya might have needed to undergo in order to move to the centre and obtain a permit for international circulation. Textual framing is examined through two strategies of selective appropriation of textual material, namely omission and lexical selectivity. Peritextual framing is examined through the powerful thresholds of peritextual devices crafted on the front and back covers of the published translation. A micro-level analysis of how the text has been translated, packaged, and circulated for the consumption of the Anglophone market showed that consecration and peripheralisation were indivisible practices. The translation of Madīḥ Alkarāhiyya was not as consecrating as one might have assumed. On the contrary, it was accompanied by a regressive counterweight that served to re-peripheralise the translated text when translation took place from peripheral to hypercentral languages. This poses a provocative challenge to the general conception of translation from the periphery as a consecrating practice and reveals the effects of power differentials within the circuits of cultural capital.

The broad theoretical underpinning of this paper is that food is a vital part of the second-order signifying modes in literary texts. Its definite thesis, in relation to the age-long debates on power dichotomy between male and female gender, is that while men merely enjoy and noisily exercise social power sustained by patriarchy, which is a contrivance, women possess a great deal of authentic powers usually not overtly acknowledged. These theoretical and ideological (thesis) statements respectively are demonstrated through a semiotic reading and analysis of four foodspheres in J.P. Clark’s The Wives’ Revolt, using the critical lenses of gastro-criticism, social semiotics and textual cooperation theory. Through these analytical lenses, the paper recognises that each of the foodspheres in this play is a hypertext which transcodes or interogates the diverse gendered power relation hypotexts embodied in religious, socio-cultural and institutional semiospheres. It concludes that the power that women exercise in food preparation and administration, as signified in some of the foodspheres analysed, is a semiotic prototype of the many other unnoticed powers, through which the female homo rule the world.

Radical orientation in the feminist movement evoked numerous criticisms calling for a more neutral and non-political paradigm toward women. The urge for visibility is a long-established intersection between gender and translation. Paratexts, as elements outside the text proper, have created a promising avenue for redirecting translators’ visibility outside the textual background. This study sets out to investigate how male and female fiction translators employ their prefaces as an opportunity to elaborate on themselves as translators and their profession as a delicate and serious task. One hundred translators’ prefaces in the fictions translated from English into Persian were analyzed using thematic analysis. The contents of translation- and translator-oriented themes reflected female translators' preference for speaking in the first person and asserting more personal accounts, whereas men preferred the third-person point of view and focused mostly on introducing the original authors and their works. The overall results of this study showed that female and male translators were mostly reluctant to talk about their translation process and its possible challenges or delicacies.

The article is devoted to the study of the nature of the authors remark and its functional ability to create a comic effect. At the first stage, an attempt was made to determine the role of the authors commentary in the text of the play. Within the framework of this question, we have highlighted the key characteristics of dramatic discourse, namely, fiction and stylization. Next, we focused on the phenomenon of paratext, presenting the positions of both domestic and foreign researchers regarding the role of paratext in a dramatic work, namely the need to take into account the features of paratext when performing discourse analysis. In addition, in the article we made an attempt to present a brief history of the origin of the term paratext. Thus, the processes of interaction within the pair text-paratext substantiated the need to study the dramatic text precisely through the prism of this correlation. As sources of factual material, we selected plays (The Comedy About a Bank Robbery, The Play that Goes Wrong), the authors of which were a galaxy of British playwrights working in tandem: Henry Lewis, Jonathan Sayer and Henry Shields. In the course of the study, a selection of text fragments was formed, which made it possible to identify a number of authorial techniques for creating a comic effect, the mechanisms of which are repeatedly duplicated from play to play, which makes it possible to suggest the presence of a characteristic comic style inherent in this trio of playwrights. As a basic technique for creating a comic effect, the authors use the interaction of replicas of the characters of the play and remarks that contradict each other, thereby realizing the principle of inconsistency, which in turn becomes one of the basic principles of comedy. Thus, the final part of the study is devoted to the implementation of the principles of absurdity, inconsistency and deceived expectations through the interaction of the authors remark and the dialogue part of the play.

This paper examines Latin marginalia found in an elegiac poem composed by Antonio de Nebrija as a paratext to his edition of Prudentius, printed by Arnao Guillén de Brocar (Logroño, 1512). Additionally, this paper aims to make known a valuable copy of the edition that is kept in the Biblioteca Menéndez Pelayo in Santander (sig. 30).

The Oscar-winning Disney film Encanto (2021) was hailed for its authentic representation of Colombian culture, but it also sparked a discussion on film’s ability to capture aspects of a culture and even change the global image of a country. This essay does not attempt to evaluate the merit of Encanto as a conveyor of Colombian culture, but investigates the representation of the narrative mode, magic realism, as it is translated from Gabriel García Márquez’s One Hundred Years of Solitude into Disney animation to be presented to a global audience. Based on the current notion of the feminine in modern animated Disney films, we explore how it may function paratextually to guide interpretation of the feminine connection with magic. Viewers of a Disney film in 2021 may have responded differently according to their cultural background and knowledge of languages, and in this case, their familiarity with Disney productions and/or with García Márquez’s literary universe. We examine how Norwegian reviewers received the film, particularly with regard to Disney conventions, such as magical elements, and the representation of female characters.

Because of its protean nature, paratextual material could be viewed as a category which combines items that have various generic characteristics, generally taking from other genres. The dedication and the address to the reader thus derive from the epistolary genre, though with editorial and formal adaptations that this article will study. But if paratexts have generic characteristics of their own, is it also possible to find a generic articulation between the main text and the paratext? Can we trace connections between the codes used in the genre of the main text and those used in the paratextual material? This article takes a corpus of sonnet collections as a case study to measure how the formal and thematic evolutions of a genre can influence the liminary pages.

In the German translation history of the Daodejing, the version rendered by the renowned German sinologist, Richard Wilhelm, has vigorously propelled the study of Laozegetics in Germany and stands as a translation of historical and scholarly significance. Wilhelm complemented the concise main text through the use of diverse, precise, and appropriate paratexts, granting his translation both readability and academic rigor. This ensures the admiration of general readers and the recognition of professional scholars. Tailored to the linguistic preferences and educational levels of German readers, Wilhelm frequently employed highly recognizable theological, philosophical, and literary concepts within the German cultural system to elucidate the Daodejing. This translation strategy effectively satisfies the expectation horizon of target readers. In the paratexts, Wilhelm constructs a philosophical framework of Daoism, compares the thought of Confucianism and Daoism, and broadens the dialogue between Chinese philosophical thought and Western intellectual traditions, thereby bestowing upon the Daodejing a renewed vitality in the German-speaking world.

In A Familiar Preface to the ‘autobiographical’ volume A Personal Record. Some Reminiscences, Joseph Conrad provides that, in this work, there is no ‘veil’ separating the reader from the author. Despite this declaration, Conrad’s ‘memories’ goes beyond autobiography and you can risk the thesis that all ‘autobiographical’ texts are rather telling – in the idiomatic way – not about a man but cultural contexts, which formed him. Conrad ’s paratexts (the famous preface to The Nigger of the ‘Narcissus’, mentioned A Familiar Preface and Author’s notes written by Conrad for subsequent volumes of his works in the period 1917-1920) make an even greater problem of interpretation. They contain not only the artistic statements, but also a surprising ‘autobiographical’ reference and ‘guidance’ of interpretation – that really explains very little and seem to talk about something else. It is difficult to treat Conrad’s paratexts as autobiographical texts (though they often pretend to be); in turn proposal of seeing in them ‘author function’ in the classic form, indicated by Michel Foucault, also appears to be incomplete, because these paratexts simultaneously create author and his cultural context and literary craftsmanship. It seems, therefore, that Conrad considered his paratexts (especially Author’s notes) as a separate literary genre, in accordance with the instructions of Kierkegaard.

This study focuses on the postfaces that accompany Karel Čapek’s Writings (published 1980–1995), with an eye to the way they relate to the primary texts. The first part explores the nature of these essays, as well as the topics they address, in relation to Gérard Genette’s theory of paratexts. The author then goes on to examine certain presuppositions in the essays about the experience of reading Čapek’s writings, and how or whether authors of the essays are aware of their role in mediating this experience. In a third and final part of the study, the author examines the demands placed on literature during the period 1948–1989, and how they are reflected in the postfaces.

This article examines Islamic manuscripts stored in several collections of the people of Southeast Sulawesi (Baubau) and West Java (Cirebon and Indramayu), which have been digitized by the EAP British Library and the Digital Repository of Endangered and Affected Manuscripts in Southeast Asia (DREAMSEA). The study was conducted based on a paratext approach which explains the elements outside the written text in the manuscript. Practically, Arabic script and language are widely used in religious texts to transmit knowledge and Islamic teachings. However, it is not widely revealed that Arabic script and language are also used as magical practices such as amulets, medicine, invulnerability, the knowledge of using weapons, and the like used in various conflicts, both with others and with the colonial side. On the other hand, this paper illustrates that Arabic script and language in the magical tradition became an inseparable part of efforts to legitimize rulers in the archipelago in the 19th century.

This article analyses Italian illustrated editions of Little Women published between 1908 and 1945. After an overview of the publishing history of the novel in Italy, the paper will examine Italian illustrations as hermeneutic tools in order to examine their ideological function in the representation of gender. The belated reception of Alcott’s novel in Italy, caused by its representation of a nonconformist educational model for girls, is mirrored in the tension between the nationalistic drive and the influence of foreign models that can be pinpointed in the illustrated editions. By analyzing adaptations of American illustrations, original Italian creations, and omissions of iconic illustrations, this paper will unveil how much the visual element is embedded in the Italian historical and cultural context, as the choice (or omission) of particular images impacted the interpretation of the book. By examining the Italian editions of Little Women published in this time frame, we will also be able to retrace the links with the American illustrated history of the book and bear testimony to the powerful impact of the 1934 film version on printed editions.

The present work is a continuation of two previously published articles in which the biography of Zhao Rugua 趙汝适 (1170-1231), the author of Zhufan zhi 諸蕃志 (Records of Foreign Peoples; 1225) an important historical geographical source about the foreign lands during the Song dynasty (960-1279), was studied through the usage of the text of his funeral epitaph as well as other historical sources. They also included the translation of the text of inscription into Russian and English [1; 2]. The goal of this article is to deepen the study of Zhao Ruguas funeral epitaph by researching the material features of the source, analyzing the structure of the text and comparing it with other similar sources of Medieval China. In contrast with the previous works the inscription in this article is analyzed both as a textual source and as an object of material culture which enables to understand the context of the creation of the source as well as the extent of detalization of the deceaseds biography.

As a classic piece of Chinese literature, Shen Fu’s (1763–1825)—a famous writer and literary figure of the Qing dynasty—Fu Sheng Liu Ji (Six Records of a Life Adrift) has been translated into more than ten languages. To date, it has had four English versions, and enjoys a favorable reception in the English-speaking world. By analyzing the paratext (including footnotes, the introduction, the note on the translation, the title, illustrations, and other elements) of the latest English version by Canadian scholar-translator Graham Sanders, this paper intends to identify the features of the paratext in terms of spatial distribution, category distribution, and detail density, as well as its functions of facilitating the reader’s reception of the work, explaining unfamiliar cultural concepts, highlighting the translator’s role, and so on. The paper finds that the paratext contributes to a clear and comprehensive understanding of the translated work, and it, as the peritextual and epitextual ties, plays an important role in the translation, publication, and international reception of the translated work, which affect the canonization of Chinese literature in the English-speaking world. Hopefully, this paper will provide a valuable reference for translation theory and practice as well as relevant research in the future.

Mag Hegel angesichts der allumfassenden Ökonomisierung und Marktregulation des künstlerischen Feldes in seinen Vorlesungen über die Ästhetik bereits im frühen 19. Jahrhundert vom Tod der Kunst gesprochen haben, Künstler und Künstlerinnen sind bis heute zum Glück noch nicht gestorben bzw. verschwunden. Paratexte und Interviews zeigen Versuche sich auch unter poststrukturalistischen, postsubjektiven und postfaktischen Vorzeichen auktorial durchzusetzen und auf dem Markt, aber doch auch ganz klar für sich, Aufmerksamkeit über die Auto-Präsentation in der Öffentlichkeit als Anhäufung von symbolischem Kapital zu produzieren bzw. diese Prozesse als Narrative auszugestalten. Dass sich dabei auch immer eine Reflexionsebene gegenüber dem literarischen Feld ergibt, ja letzteres und damit den Literaturbetrieb zum Narrativ werden lässt, wird anhand von HERMANN LENZ Literaturbetriebsromanen genauer herausgearbeitet. Durch die Auseinandersetzung mit dem Literaturbetrieb ist es LENZ möglich, die Inszenierung und Selbstbehauptung von Autorschaft und Autorschaftsbewusstsein zu reanimieren.

George Chapman’s translations of Homer at the beginning of the seventeenth century played a decisive role in the poet’s works. Tackling this colossal task could satisfy Chapman’s ambitious sense of poetic achievement and it also allowed him to display a genuine theoretical reflexion on translation itself. But it is worth looking for the deeper connexions between Chapman and Homer, as Chapman did more than just translate Homer. Particularly in the paratext that introduces his translations, the authorial figures of Homer and Chapman coalesced and sometimes even merged, as Homer’s poetic persona and literary trajectory echoed Chapman’s own career expectations and literary prospects. The Homeric model was absorbed by Chapman through aesthetic, editorial and ideological strategies, which reveal the features of his poetic identity, torn between his deliberate elitism and reception anxiety.

مستخلص البحث باللغة العربية کان لنقل کليلة ودمنة من الهندية إلى الفارسية ومنها إلى العربية أثر کبير في الأدب العربي، وقد تجلى هذا الأثر في عدد من الإبداعات التي تأثرت بکليلة ودمنة شعرا ونثرا، منها الصادح والباغم لابن الهبَّارية، وحکاية النمر والثعلب لسهل بن هارون والأسد والغواص لمؤلف مجهول وغير ذلک من الکتابات التي تأثرت بکليلة ودمنة، بل کان له تأثير في آداب الأمم الأخرى التي تُرجم إليها من العربية کما في حکايات لافونتين، بل ظل ـتأثير کليلة ودمنة حاضرا بصور مختلفة منذ نقله ابن المقفع وإلى الآن. ويسعى هذا البحث إلى النظر في مدي العلاقة التي تربط بين کليلة ودمنة وکتاب الأسد والغواص، والبحث عن أشکال هذه العلاقة ومداها کما وکيفا، وتناول شبکة العلاقات بين الکتابين، من خلال عدة محاور تشکل في النهاية کلا متکاملا مترابطا ومتجانسا ومتدرجا، بما يبرز أثر "کتاب کليلة ودمنة" في کتاب "الأسد والغواص". وقد تجلت هذه العلاقات في عدد من الصور بينهما وهي: مدخل عام حول قصص الحيوان، عتبات النص، مقدمة الکتاب، البنية الکبرى، تشابه القيم، حوار النصوص، التشابهات اللغوية، التشابه في المسکوت عنه. وهذه الصور المتعددة من العلاقات التي يتناولها البحث يتجلى من خلالها مدي تعالق نص الأسد والغواص بکليلة ودمنة، مستخدما في ذلک الموازنة بينهما لتحقيق ما يتغياه البحث. Abstract The interpretation of "Kalīla and Dimna" from Hindi to Persian and from there to Arabic had a significant impact on Arabic literature, which was manifested in several brilliant texts that were influenced by "Kalīla and Dimna", poetry-wise and prose-wise, including "Al-Sadeh and Al-Baghim" by Ibn Al-Habariya, "The Tiger and The Fox" by Sahl bin Harun, and "The Lion and The Diver" by an unknown author. This research addresses the network of intertextualities between Ibn al-Muqaffa's "Kalīla and Dimna" and "The Lion and The Diver" of an Unknown Author, through several perspectives, creating an interdependent, homogenous, and coherent continuum which highlights the influence of "Kalīla and Dimna" in "The Lion and the Diver". These intertextualities were demonstrated in a number of aspects in the two texts. They were discussed through several approaches: a general introduction on animal fables, paratext, introduction to both of the texts, the overall text structure, the resemblance of values, the dialogue of texts, the linguistic similarities, the similarities between the subtexts. Additionally, the author approached this study by the gradual and transitional discussion from general to specific, and from the largest to smallest. Through this nexus, the strong intertextuality between "Kalīla and Dimna" and "The Lion and The Diver", was evident through contrast and comparison, as it is the best way to achieve this research.

Largely overlooked by scholars, dime novels, especially romance, enjoyed spectacular popularity in French Canada in the 1940s and 1950s. Based on an analysis of the editorial peritexts of the ‘Police-Journal’ (P-J) series, the present paper seeks to understand the marketing strategies used to sell dime novels, deployed by the most important popular publisher in Quebec. In the first section, we show how P-J attempted to present itself as “the best in the business.” It constantly heralded its success and extolled the global quality of its publications. In the second section, we demonstrate how the publication of separate series did not stop P-J from trying to attract readers to its entire catalog. The third section analyses how P-J navigated the troubled waters of a French-Canadian society torn between the more emancipated aspirations of an increasingly urbanized population and its elites’ conservative ideology. P-J had to offer a product that was exciting enough to appeal to the crowd, yet sufficiently innocuous to avoid censorship. Overall, our paper underscores P-J’s pioneering marketing practices in French Quebec.

This paper tackles the problematics of domesticating the Islamic identity-strand of the Arab Middle East in metropolitan translation in post-Arab Spring Egypt. The researcher particularly engages with the changing politics of cultural translation (from Arabic into English) and their ramification with respect to the changing parameters of both the top-level process of cultural representation of the non-Western Other, and the production conditions enabling the transposition of Ibrahim Essa’s مولانا [Maulana] (Essa 2012) into its English translation The Televangelist (2016) by the Journalist-turned literary translator, Jonathan Wright. Written by the Egyptian journalist-writer, Ibrahim Essa, the novel signals the journalistic entry into Arabic literary production and patronage nuanced by the changing cultural politics of the post-revolutionary context. The novel fictively dramatizes the Egyptian Muslim preacher movement—what has been academically codified in terms of politics of piety and ‘satellite piety’ (Mahmood 2005; Abou Bakr 2013) – and the movement’s enmeshment in the new media technology, power-politics, and the changing political and social identity of contemporary Egypt. The English translation The Televangelist (2016) augurs a similar turn in the production and promotion of Arabic literature in translation marked by the journalistic identity of the translator and the new American University of Cairo Press imprint (AUCP), Hoopoe Fiction (2016), through which the translation (debut production) is launched and promoted. The research aims to address the question of the political impact of carving a niche market for a transfigured cultural politics for the Arab Middle East through the new AUC imprint, Hoopoe Fiction, and its implication for both the politically induced cultural branding of the New Middle East and the interfaith agenda of global governance. This is done through instrumentalizing 'translation from the margin' and 'marginal translation' (Yuste Frías 2012, 2015) to enable the decolonizing of Euro-centric parameters of translation studies and thence the decoding of the political instrumentalization of translation geo-historical location in the global matrix of power and forthcoming imperial designs.

This article aims to analyze the paratext elements contained in the book Majmu 'Al-Masa'il. The term paratext is defined as a concept that helps readers interpret the main text of a book except for the body of the text, such as covers, pages, and marginal notes. Majmu 'Al-Masa'il is a book that contains the teachings of fiqh in paratextual analysis. However, this paper does not focus on discussing the teachings of fiqh but only focuses on the interpretation of the marginal notes on the pages of the book. Genette's paratext theory was used to analyze other material found in marginal notes on book pages. Paratext Genette is a theory used in analyzing main texts in philological studies.

Translators’ ideology permeates all non-technical translations, and the need to study the extent to which ideology plays a vital role in the manipulation of literary texts with a political edge is undoubtedly important. As of Iran, the state ideology has been changed from secular to religious (Islamic) after the 1979 Islamic Revolution. This shift of ideology has influenced society in many facets, including language use. Therefore, individuals were encouraged to produce religious discourse to appear popular and this encouragement includes translation too (Amirdabbaghian 2019). This study aims to describe the ideological impact of the social situation (Islamic Revolution) in Iran on the translation of George Orwell’s well-known political novel, Animal Farm (1945) into the Persian language. The research will apply van Dijk’s (1998) theory of ideology and Lefevere’s (1992) theory of translation, rewriting and manipulation of literary fame, to discuss the paratextual differences in both the source and target texts. The target text which has been chosen for the current research is Hosseini and Nabi Zadeh’s (2003) version published by the Doostan publication in Tehran, Iran. Using the paratext of Animal Farm translated into Persian, this article makes an effort to prove that the translators’ ideology influenced by their life experience, social status, and occupation as well as the situation and environment in the target language country may be revealed in the set of tactics used in translating the literary work, in the use of language and in the interpretation of the source text author’s ideas expressed in the text.

This work consists of a critique publication of a colophon text in verse form, which was written in the 18th century cursive Glagolitic script at the end of a book (kvadirnica) of Invocations, compiled by the priest Anton Franki from Omišalj, along with the remaining paratexts from the same book. Special consideration is given to the discourse characteristics, as determined by the author’s claim to the right of remuneration for his scribal work.

De fleste moderne bibelutgaver er utstyrt med overskrifter. Selv om disse spiller en viktig rolle for leserens forståelse og tilgang til teksten, er spørsmålet om overskriftenes rolle og funksjon påfallende lite faglig drøftet. Gjennom en undersøkelse primært av overskrifter i Bibel 2011 drøfter denne artikkelen overskriftenes rolle og funksjon i bibeloversettelser. Artikkelen opererer med en rekke kategorier for klassifisering av overskrifter og argumenterer for at det i et oversettelsesarbeid er viktig å ha en klar tanke og mål for hva man vil oppnå med overskriftene, og hvilke valg man må gjøre for å oppnå dette målet.

The plethora of paratextual materials such as digital programs, recorded interviews with artists and creative teams, behind-the-scenes videos, and curated playlists have been pressed into service to extend the reach of the core business of performance companies. Behind the scenes and ancillary activities have come to the fore, potentially altering the way Genette considered paratexts to work as thresholds to the core. Until the last year or so, paratextual elements such as the aforementioned existed primarily in the service of marketing and promotion. They were not themselves seen as separate or independently monetised ventures. They were tasters of the real thing or treats for loyal followers. Comparatively little attention in this field has been paid to live performances, although these too have similar panoplies of paratexts used to promote the core texts: advertisements, advance publicity and reviews for instance. Our concern here is with the way paratexts were used during the extended COVID lockdowns when live performance venues were closed, particularly instances where the usual relationship between core text and paratext, whereby the latter are shorter pieces supporting or promoting the former, is upset. There was a considerable range of sophistication in the paratexts operating as core texts during the pandemic. Most sophisticated ones, like those from the NT or Pinchgut’s The Loves of Dafne and Apollo did not call on audience members to produce the experience of liveness, even if the NT’s branding persisted. We have concentrated here on Dream because it was such a sophisticated piece with liveness at its very heart.

Das weisse Buch (2010) dient Rafael Horzon als Baustein seiner öffentlichen Inszenierungspraktiken, die, so die These dieses Beitrags, den kulturellen Techniken von hochstaplerischen Performances entsprechen. Es wird folgend der Versuch unternommen, Überlegungen zum Begriff der ‚Hochstapelei‘ mit vielversprechenden Ansätzen der autofiktionstheoretischen Forschung zu verbinden. Dabei arbeitet der Beitrag heraus, wie sich der reale Autor Rafael Horzon als gleichnamiger autodiegetischer Erzähler in Das weisse Buch inszeniert. Peritextuelle Angaben in Form von zugleich ironisierenden und täuschenden Gattungsbestimmungen sowie Wahrheitsbekundungen sind Teil einer textintern zum Vorschein kommenden hochstaplerischen Performance. Mit dem spielerischen Umgang zwischen Primärtext und Epitexten setzt der reale Autor Horzon diese Performance textextern fort und versperrt seinen Rezipient*innen letztlich den Zugang zur ‚echten‘ Person hinter dieser schelmischen Fassade. Abstract (english): Rafael Horzon‘s performance of imposture. Staging styles of writing and narration as applied in Das weisse Buch outside the primary text Das weisse Buch (2010) serves Rafael Horzon as part of his public staging practices, which correspond, as hypothesized in this article, to the cultural techniques of impostor performances. Combining reflections on the term ’imposture‘ with promising approaches to research on autofiction, the article shows how the real author Rafael Horzon performs as the autodiegetic narrator of the same name in Das weisse Buch. Peritextual specifications in the form of ironic and deceptive genre definitions as well as statements declared as truths are part of an impostor performance within the primary text. With this playful handling of primary and epitext, the real author Rafael Horzon continues his impostor performance externally to the text and ultimately prevents any access to the ’real‘ person behind this waggish facade.

The cultural phenomenon that Minecraft (Mojang 2009) has become over the past decade demonstrates, amongst many other things, a powerful appetite for games where the player is thrown in a virtual playground to do as they please. Aerospace-themed survival-crafting game Astroneer (2019) by System Era Softworks is one of many such video games released since that capitalizes on this trend. The appeal of such games lies in that they can be enjoyed by players with various interests, abilities and backgrounds: the average player can mine, build, and fight whatever and whomever they please, or even create entire games within the game. The design of such games is, in many ways, less constricted than that of other avatar-based genres, such as action-adventures or first-person shooters. Freedom, playfulness, and creative play are often associated with such design, which evoke questions about agency. This article connects these notions and asks: can agency help us better understand how playfulness can be designed? By interrogating the paratexts surrounding the game’s development to see how developers discussed design decisions that facilitate playfulness, this article illustrates how thinking of agency as something afforded by game design can be a productive analytical tool to identify design decisions that facilitate player freedom and creative thinking. This, in turn, sheds light on whether, and if so how, playfulness can be designed.

This essay considers the effect of #OwnVoices on autistic literary representation by analyzing how autistic authors use paratexts to prescribe for some readers ways of understanding autistic-authored texts while temporarily refraining from prescribing a particular method for others, allowing readers with opposing ideologies to first read the narrative before they encounter the more didactic elements of the text. Building on Gerrard Genette's theorization of the paratext, this essay compares the use of text and paratext in two works of autistic-authored fiction, Corinne Duyvis's On the Edge of Gone and Jen Wilde's Queens of Geek, to that of Mark Haddon's The Curious Incident of the Dog in the Night-Time, a work of allistic-authored YA fiction. The contrast between these two kinds of texts reveals how #ownvoices texts foreground the positionality of the author in ways that enable rather than foreclose discussions about the ethical representation of autistic people.

Marivaux’s last two novels La Vie de Marianne (1731-1742) and Le Paysan parvenu (1734-1735) began to be “Englished” while they were still in the making. As early as 1736 and 1735, the first instalments of both novels were translated into English versions which rather faithfully reproduced Marivaux’s initial prefaces and incipits. It seems that the publications of Richardson’s Pamela (1740) and Fielding’s Joseph Andrews (1742) aroused fresh interest in Marivaux’s works among new translators who drastically altered Marivaux’s initial paratexts, re-imagining (and thus re-presenting to readers) the French novels in different guises. Two new versions of Marianne’s story invested Richardson’s critical discourse on his novel and transposed it in their front materials, while the new translation of the adventures of Marivaux’s peasant borrowed critical ideas from Fielding’s reflective statements on his works in order to dress Jacob’s story in a completely new garb. Simultaneously, Marianne and Jacob were significantly rebaptized as Indiana and Sir Andrew Thompson, thereby directly gesturing towards Pamela and Joseph Andrews’s own names.

On the material of the first introduced into scientific circulation articles published by M. Gorky in the Nizhny Novgorod press of 1895-1901, the analysis of the functions of pseudonyms as a significant component of the paratext is carried out. As a result of the work, it is established that the pseudonyms chosen and invented by the writer reflect the genre specificity of his feuilletons, essays, bibliographic notes, reviews and replicas, being a kind of marker of the author’s position. It is noted that this kind of paratext as a pseudonym gave the writer’s journalism an additional semantic and emotional impulse, formed the perception of the problems of his feuilletons, which was confirmed by the detailed analysis of the structure and function of the abbreviated form of the pseudonym “I. Khl.” By this example of this pseudonym which is an abbreviation of the nickname “Iegudiil Khlamida,” the authors show that this truncation of the name is due to issues of materials published by Gorky and their presentation. It is proved that pseudonym alludes to the facts, meaning of which is far beyond the interest of the provincial newspaper, and to the role of the author of articles covering not only local problems; for example, in the feuilletons devoted to “the Cretan question,” the author acts as a political observer of international events.

Footnotes are paratextual elements which appear at the bottom of a page in a text. In translated literary texts, translators may employ footnotes to assist readers in their understanding of the translation. Despite the use of footnotes in literary translation, there are few studies which have looked into their use in translations in Malaysia. This paper thus aims to explore the use of footnotes in a literary translation from English into Malay. More specifically, the aim is to determine the types of words which are footnoted in the Malay translation of the English-language novel, A Thousand Splendid Suns, and to determine the information provided in the footnotes. The paper also aims to determine the function served by the footnotes in the translation. To carry out this study, the footnotes in the Malay translation are collected and their content examined. The analysis reveals that the footnotes are generally linked to culture-bound words which are transferred unchanged from the source text to the translation. In terms of their content, the footnotes provide mainly dictionary-like definitions of the foreign words in the Malay translation. As such, the footnotes serve a purely informative function. This paper argues that footnotes must be used judiciously in a translation. Informative footnotes can play an important role in enhancing the readers’ understanding of the text and in bringing the text closer to the readers; measures, however, must be taken to ensure the accuracy of the content of the footnotes if they are to benefit the readers.

En este trabajo se expone cómo algunos elementos paratextuales que rodean a un texto pueden influir en la interpretación del mismo. Se verá El diario inédito del filósofo vienés Ludwig Wittgenstein (2016), de Fredy Yezzed (Bogotá, 1979), y se analizarán el título, los epígrafes y la cuarta de forros, para ver cómo es que éstos intervienen en el lector antes de su encuentro con la obra, la cual se encuentra en diálogo constante con otras obras de Wittgenstein y otros autores, participando así en una atmósfera transtextual. / In this article, we will expose how some paratextual elements that surround a text can influence the interpretation of it. We will approach to El diario inédito del filósofo vienés Ludwig Wittgenstein (2016), by Fredy Yezzed (Bogotá, 1979), exploring the title, the epigraphs and the inside back cover, to see how is it that these elements intervene previously in the reader and his encounter with Yezzed work, which have a constant dialogue with other works by Wittgenstein and many other authors, thus participating in a transtextual atmosphere.

This article addresses the problem of the perception of Mark’s endings as expressed in its manuscript tradition. I will argue that, unlike the modern standardized image, manuscript evidence offers a complex phenomenon in which the endings were perceived in diverse ways that move across the threshold that separates a text from paratexts. Further, the manuscripts show an influence between the endings and their associated paratexts. I will show this phenomenon by examining (i) the hypotheses before the Gospel, (ii) marginalia that engaged Mark 16, and (iii) postscripts after the Gospel. In conclusion, the article recommends revisiting the standard perception of the “endings” within their larger paratextual ecosystem.

This study is an analysis of the book cover images of a selection of Swedish crime literature, published in Greece and the Spanish-speaking world in the period of 2000-2017. Covers are crucial to the paratextual signal system (Genette, 1991); departing from theories on paratext within translation studies, we aim to compare the original book covers to the covers of the translated volumes. Do the Greek and Spanish book markets emphasise the stereotypical images of the North that have been identified in studies on borealism (Chartier, 2008)? The image covers of the original and the translated editions were examined by means of a content analysis, complemented by an empirical study. The examination of the sample did not unambiguously indicate that the translated editions draw more heavily on the Nordic origin. Similarly, not all covers of the translations revealed belonging to the crime genre.

In this article, humour is viewed as a strategic resource for informing in media discourse. It is analyzed through the case of “Evening Meduza”, a Russian-language nightly newsletter, received via email or Telegram messenger. A media linguistics analysis of polycode hypermedia text is used to identify communicative linguistic means, contributing to a comic reinterpretation of news on the paratextual, intratextual and visual-illustrative level. News messages in the newsletter are created in the format of compressed “packagings” (a term borrowed from Chafe) with embedded links, following which an addressee goes to the page with source text or concomitant informational resources. Humour is analyzed in packagings as well as in whole text and paratext blocks. Humorous means are revealed in three vectors of analysis: empathy in packaging texts, paratextual focus interaction, and news visualization. The change of narrative perspectives in text packages allows the authors to shift the focus of contrast within a newspiece and create humorous content while showing empathy to readers with different presuppositional expectations. The author’s signature always includes a prepositive ironic addition (attribution) that highlights one of the issue’s news elements and forces the audience to reread the newsletter in order to understand the semantic relation. Subheadings create a comic contrast, focusing on individual parts of the reference content while preparing the reader to perceive the news of the day interconnectedly. A mandatory humorous component in the block “And – picture” was found to show the news event in a visual semiotic code using a demotivator style that expresses a pun.

The purpose of this paper is to show how humour is involved in creating effective media communication. The research method is a stylistic analysis of the media text through establishing the manifestations of humour in its compositional components – paratext, metatext, and intratext. The paper reveals the manifestations of two types of irony – ridicule and banter – in these text components. It is established that banter is a means to demonstrate the event distantly, to reduce unnecessary pathos in the speech of top public officials, and to emphasize public contradictions indirectly. Language markers of banter are most often found in the metatext. In such forms of irony, veiled references and hints are expressed which require an additional cognitive effort to understand. The feelings that motivate irony are hidden behind a mask, and are the opposite of the implied ones expressed in the text: for example, indignation is hidden behind surprise and bewilderment. Banter is typical of business mass media, where every event is transmitted distantly. Ridicule is characteristic of sociopolitical mass media. It is expressed in the conflict charge of the media text – the desire to discredit the object of speech, and often acts as a means of transmitting alienation, demonstrating categorical opposition of one’s position to another’s. Ridicule is created by the saturation of negative-evaluative means, most often manifested in the expression of anger and indignation, which determine ridicule. The text markers of tonality, evaluation and degree of indirect expression form the basis of reading the modality character – i.e. badinage.

Throughout its 30-year history, The Killing Joke has undergone major changes in its different editions: colors and linework differ, as do paper quality, formats, but also the length and the actual structure of the piece. This comic in particular reveals how reception can be guided by editors, sometimes independent from artists’ will. This article explores a few of the comic’s outings and shows how depending on what audience publishers want to attract and what kind of reading they want to emphasize, a comic’s material and esthetic properties may be changed. Fan and expert discourse may alter the horizon of expectation, as well, and, depending on editorial intent, can be incorporated into the piece’s composition or not. In the end, The Killing Joke reminds us to what extent editors can truly be considered co-creators of a comic.