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This article discusses the different lives of the short moral treatise Le chemin de l'ospital, which was written by the French nobleman and military officer Robert de Balsac in the late fifteenth century. The moral treatise lists various types of people whose bad behavior has earned them a place in the hospital or poorhouse. In the late 1480s, Le chemin de l'ospital was included in the richly illuminated manuscript MS Cambridge, Fitzwilliam Museum, 167. The text was probably printed for the first time in Toulouse between 1494 and 1501. Several other editions were printed in the sixteenth and seventeenth centuries. This article examines the relationship between the Le chemin de l'ospital and its various material manifestations over time. It argues that material context and paratext influenced the intended reception of the text and it emphasizes how materiality and paratext could shift the intended reading from purely moral to playful and parodic based. The study thus highlights the transformative power of materiality and paratext the late medieval and early modern period, particularly in relation to parody, and underlines the role of printers in shaping intended reception.

The aim of this essay is to examine book covers consisting of art reproductions as a contemporary book cover tendency for literary fiction. Since the ”art cover” does not recur to the same extent on popular fiction the study focuses on its functions in the packaging of literary fiction. The theoretical framework is based on concepts such as ”paratext”, ”duomedial dialogues” and ”cultural capital”. Earlier studies on literary fiction, book covers and classical artforms are moreover central aspects to the conclusions made in this essay. The method used is a mix of a quantitative mapping of the book cover tendency and a qualitative analysis of the selected material. The material, consisting of nine contemporary literary fiction novels, are analyzed through their intermedial connections to the artworks displayed on their book covers. While the quantitative mapping showed that most art covers reproduce non-contemporary artworks, the qualitative analysis demonstrated that the motifs are depicted differently in the selected novels. Whereas the artwork in some novels seem meaningful to the plot, other novels only mention the artwork briefly or not at all. Consequently, the art cover is discussed as a marketing tool developed by publishing companies in order to address the right audience. In its displaying of historical or classical art, the book cover tendency resembles classical aesthetics and cultural ideals that are mainly learned through institutions that legitimizes cultural capital. Thus, the novel’s intermedial connection to the art cover is not equally comprehensible to all readers but firmly to a cultural privileged one. Furthermore, this essay demonstrates that the art cover conveys prestige and cultural value in a similar way to literary fiction. As a result, literary fiction continues to distance itself from popular fiction on the contemporary book market.

Malin Podlevskikh Carlström, Department of Languages and Literatures, University of Gothenburg and School of Languages and Translation Studies, University of Turku “Swedish Crime Fiction in Russia 1992−2021. Publication, Marketing and Paratextual Framing” This article investigates the publication and paratextual framing of Swedish crime fiction in Russia in the period 1992–2021. Based on an analysis of publication data and the written peritexts of 230 editions, conclusions are drawn regarding: 1) publication patterns and trends; 2) representations of Swedish crime fiction; 3) representations of Swedish crime fiction authors; 4) representations of Sweden; 5) the marketing of Swedish crime fiction. The article also includes comparisons to the previously analyzed Soviet context. The publication of Swedish crime fiction in Russia has increased considerably during the period investigated. The boom in Swedish crime fiction reached the Russian market around 2010, which coincides with the publication of Stieg Larsson’s Millennium trilogy. In terms of editions, crime fiction is the most important genre of Swedish literature in Russia today. Sjöwall & Wahlöö, Mankell and Larsson are seen in Russia as important stages in the development of Swedish crime fiction. These three authors, who all write socially motivated crime fiction, are included in the top five for both the entire period analyzed, 1992–2021, and for the latest 15-year period, 2007–2021. While Sjöwall & Wahlöö were seen as the top writers of Swedish crime fiction during the Soviet period, this status has today been passed on to Stieg Larsson. Thus, social issues are still the cornerstone of Swedish crime fiction from a Russian perspective. The following aspects seem to be important for the marketing of Swedish crime fiction in Russia: 1) the novel itself (e.g. genre and plot); 2) aspects that signal the author’s consecration (e.g. awards and translations into other languages); 3) indications of the auth

R/Nosleep is a digital publishing platform for horror literature. A unique quirk that defines this platform is the common understanding between its authors and readers that any story published to the platform is to be treated as a recollection of actual events. In other words, the fiction is to be treated as plausible non-fiction, both by those who write the texts and those who comment on them. This collaborative performance is enforced by a series of rules that authors and readers need to abide by. In this thesis I examine what exactly it is that authors and readers on r/Nosleep engage in when they treat the fiction as plausible. To do this I have conducted two analyses. First I have done analysises of three different stories posted to R/Nosleep, where I examine paratextual and narratological elements in each text to find if they either make a claim for authenticity or fictionality. And second I have analyzed the top comments for each of these stories to determine what sort of readings the users of r/Nosleep engage in and whether or not these readings play along with the rules established by the platform and its performance. From my analysises of the literature as well as the reader response I come to the conclusion that the seemingly strict rules enforced by R/Nosleep still leave a lot of wiggle room for authors and readers alike to engage in a rich variety of creative expressions both when it comes to writing and interacting with works of fiction.

As an emerging literary subgenre in the twenty-first century, Children’s Gothic challenges and blends the norms of both children’s literature and Gothic literature, featuring child characters’ self-empowerment in the face of fears and dark impulses. The foreignness and strangeness that pertain to the genre haunt the border of its translatability. Daniel Handler’s A Series of Unfortunate Events (1999­–2006), written under the pseudonym Lemony Snicket, poses a chain of translational challenges due to its linguistic creativity, paratextual art, and mixed style of horror and dark humor intended for a child readership. To investigate the interplay between Children’s Gothic and its (un)translatability within the context of cross-cultural communication, this study compares the Gothic manifestations in the original English-language series and its Chinese translations. A comparative analysis shows that the Gothic elements are diluted in the Chinese version’s translation, re-illustration, and repackaging of the original, reflecting a tendency towards moral didacticism and localization. Taking together the educational emphases of Chinese children’s literature with François Jullien’s aesthetics of blandness, this paper argues for the commensurability of the diluted translation with the Chinese cultural-educational system, as well as draws poetic implications from the translation of a literary genre that is simultaneously pedagogical and transgressive.

This study deals with the reception of world literature novels and authorships between 1997 and 2003. The study analyses the Swedish book publishers' presentations and the newspaper reviews of fifteen authors and novels from geographical areas that are seen to be peripheral to Swedish culture. Using Gerard Genette's concept of paratext and various evaluation categories, the study explores how presentation and reception situate so-called peripheral authorships. With a discourse analytical approach, the study identifies the themes and tropes used to situate these authorships and what kind of norms govern the peripheral literature. Taking a step from the focus on the worldling processes of world literature which usually occupies postcolonial oriented studies, this thesis rather highlights the valuing processes of world literature. The analysis consists of four parts. The first part demonstrates how the novels are introduced with almost exoticising statements. Thus, paradoxically, inclusion also means exclusion, as the authorships are presented as a cultural other. The second part highlights two different legitimisation strategies, either by attributing the authorship to a Eurocentric or Anglo-Saxon context or solely to the author's own literary continent. The third part focuses on how publishers and reviewers determine literary value through the knowledge that novels and authorships convey about other cultures and societies. The authorship can be attributed to social and emotional values in these first three parts. The statements rely on the particularities of authorship as truth-tellers for their own culture. The fourth part, focuses on statements that do not revolve around the author's geographical starting point, but instead on the author as standing between or across cultures. In these cases, values of authenticity, originality, style and form are attributed.

This article offers an innovative perspective on Katharine Bradley and Edith Cooper’s Long Ago (1889), their Sapphic volume of verse published under the Michael Field pseudonym. Rather than propounding new interpretations of the lyrics in the collection, I focus on its paratextual apparatus –from the cover and the frontispiece to the endnotes or appendix– with the aim of unveiling a significant aspect that has been overlooked by most critics: the fact that, in its rich paratextuality, Long Ago possesses an effective illocutionary force that seduces the reader, pre-establishes a clear interpretive framework, and activates an innovative dialogue with the past. This paratextual dialogue, I conclude, results in a protomodernist reworking of Sappho as an enigmatic, unstable, and radically open (para)textual figure –one that is always ready to be made new., Este artículo analiza desde una perspectiva innovadora el poemario sáfico Long Ago (1889), escrito por Katharine Bradley e Edith Cooper bajo el pseudónimo compartido de Michael Field. Más que proponer nuevas interpretaciones de sus piezas líricas, nos centraremos en su aparato paratextual (desde la portada y el frontispicio a las notas finales o el anexo) con el objetivo último de revelar un aspecto significativo soslayado por la crítica: en su compleja paratextualidad, Long Ago posee una potente fuerza ilocutiva que seduce al lector, prefigura un claro marco interpretativo y activa un diálogo novedoso con el pasado. Este diálogo paratextual, colegimos, culmina en una reelaboración postmodernista de la figura de Safo como una figura (para)textual enigmática, inestable, radicalmente abierta y siempre presta para revestirse de novedad.

Digital influence is an increasingly present phenomenon in society. Digital influencers appropriate pop divas and paratextualize them, evidencing the normalization that is imposed on their bodies. We then argue that the normalization applied to divas is carried out through a haterization process. Having said that, we seek to analyze how Brazilian digital influencers paratextualize the haterization of pop divas. For this, we analyze the discourse of digital influencers through Foucaultian Discourse Analysis. Our research archive was built from celebrity gossip blogs that have published news about pop divas. As for the results, we arrived at two discursive formations that reveal forms of resistance to the haterization of pop divas paratextualized by digital influencers: the first refers to the protection of divas, evidenced by the support for their choices and empathy regarding the attacks they suffer; the second materializes in the disclosure of the negative points of being a pop diva, who have their lives launched to the constant public judgment., A influência digital é um fenômeno cada vez mais presente na sociedade. Os influenciadores digitais se apropriam de divas pop e as paratextualizam evidenciando a normalização que é imposta a seus corpos. Argumentamos então que a normalização aplicada às divas é realizada por meio de um processo de haterização. Exposto isto, buscamos analisar como influenciadores digitais brasileiros paratextualizam a haterização de divas pop. Para isto, analisamos o discurso de influenciadores digitais pela Análise de Discurso Foucaultiana. Nosso arquivo de pesquisa foi construído a partir de blogs de fofocas de celebridades que publicaram notícias sobre divas pop. Quanto aos resultados, chegamos a duas formações discursivas que revelam formas de resistências à haterização das divas pop paratextualizadas pelos influenciadores digitais: a primeira, se refere à proteção às divas, evidenciado pelo apoio às suas escolhas e pela empatia e pelos ataques por elas sofridos; a segunda, se materializa na evidenciação dos lados negativos de ser uma diva pop, que passa a ter sua vida lançada ao constante julgamento público.

Capitalist enterprises continuously push consumption of commercial products on children, for instance in the form of transmedial worlds in which multiple stories can play out across media and over time. The popular Swedish children's franchise Bamse has undergone an obvious capitalist expansion over time, with more and more commodities being made available for purchase. At the same time the brand continues to be promoted as a force for spreading good values and thus provides a valuable service to its audience of Swedish children. The present article explores, through a combination of paratextual analysis and political economy, how these inculcative and commercial goals coexist in a tense but seemingly functional configuration.

Tato bakalářská práce se zabývá recepcí maďarského autora Istvána Örkénye v kontextu současné české literární kultury. Část práce je teoretická a pracuje s pojmy kulturní transfer, paratexty a recepční pole. Praktická část práce se zabývá otázkou recepce Istvána Örkénye v českých paratextech – konkrétně ve slovnících, učebnicicích, studiích, doslovech a recenzích. Cílem práce je na základě zmíněných paratextů složit obraz Istvána Örkénye, jak figuruje v české literární kultuře., This bachelor thesis is focused on reception of Hungarian writer István Örkény in the context of contemporary Czech literary culture. Part of the thesis is theoretical and focuses on terms culture transfer, paratexts and the fields of reception. The practical part of the thesis is focused on reception of István Örkény in Czech paratexts – specifically, in dictionaries, textbooks, studies, afterwords and reviews. The goal of the thesis is to use the mentioned types of paratexts to construct a picture of István Örkény in the context of Czech literary culture., Fakulta filozofická, Studentka představila téma své práce, cíle, zvolenou metodu. Vedoucí a oponent práce seznámili komisi s posudky. Studentka reagovala na otázky obsažené v posudcích a na další dotazy členů komise. Diskuse., Dokončená práce s úspěšnou obhajobou

Literature lives on translation, is fed by translation. Judezmo literature may be absent from world literature, but world literature is omnipresent in Judezmo literature. Judezmo literature is a literature of translation (adaptation, imitation, rewriting, plagiarism), that is, a literature of adaptation of European works in terms of inspiration, influence or models of imitation. Reliance on foreign-language sources became a characteristic of Sephardic fiction that tended to receive influences rather than exert them., La literatura sefardí puede estar ausente de la literatura mundial, pero la literatura mundial está omnipresente en la literatura sefardí. La literatura judezma vive de la traducción, se alimenta de la traducción, se alimenta del pasado. La literatura judezma se presentó como una literatura de traducción (adaptación, imitación, reescritura, plagio), es decir, una literatura de adaptación de obras europeas en términos de inspiración, influencia o modelos de imitación. La dependencia de fuentes en lengua extranjera se convirtió en una característica de la ficción sefardí que tendía a recibir influencias más que a ejercerlas.

Syftet med uppsatsen har varit att undersöka hur fenomenet ”director’s cut” kan komma till uttryck inom litteratur. Detta har undersökts genom en fallstudie med utgångspunkt i följande titlar: A Clockwork Orange, The Stand Complete and Uncut Edition och Life and Death: Twilight Reimagined. Utifrån dessa avsåg uppsatsen att undersöka vad de bakomliggande syftena till utgivningen var, samt hur receptionen är i de valda fallen. Särskilt fokus har legat på författarens betydelse i relation till verken och litterär värdering. Resultatet har sedan analyserats utifrån Bourdieus teori om fält och kapital, olika litterära värden som definieras i Höstens böcker och Joe Morans studie om litterära celebriteter. Resultatet av undersökningen visar tre skilda scenarion för hur ”director’s cut” kan komma till uttryck inom litteratur i form av författarversioner. Avsikten bakom dessa utgivningar skiljer sig åt, men grundas i författaren som en pådrivande kraft. Gemensamt för alla fallen är författarens framträdande roll och rätt förutsättningar för att en författarversion ska kunna publiceras. Mottagandet är också olika för varje enskilt fall. Det som framgår av resultatet är framförallt författarens betydelse för läsaren i relation till verket, samt att diverse litterära värden framhålls i samband med alla valda titlar. Utöver detta visar undersökningen på flera likheter mellan ”director’s cut” inom film och litteratur.

Paratext, as defined by Genette (2009), is one of the ways in which the text presents itself as a book to the reader. Extending this concept to translation, we also have, as Pellatt (2013) argues, another layer of interpretation, formed by the elements that will shape the reader's reception of the foreign text, such as prefaces and introductory notes. In this paper, we present an analysis of selected paratextual elements of Guimarães Rosa's works translated into English, such as cover, back cover, flaps, preface, and introduction, comprising the period from 1963 to 2020. From such analysis, it becomes evident how stereotypes about Brazilian literature and Brazil and even the interest devoted to this literature are reflected in the analyzed elements, as well as their evolution in more recent translations., O paratexto, como definido por Genette (2009), é uma das formas pelas quais o texto se apresenta como livro para o leitor. Estendendo o conceito à tradução, temos ainda, como coloca Pellatt (2013), mais uma camada de interpretação, formada pelos elementos que moldarão a recepção do texto estrangeiro pelo leitor, como prefácios e notas introdutórias. Neste artigo, apresentamos uma análise de elementos paratextuais selecionados das obras de Guimarães Rosa traduzidas para o inglês, como capa, contracapa, orelhas, prefácio e introdução, compreendendo o período de 1963 a 2020. A partir desta análise, tornam-se evidentes como estereótipos sobre a literatura brasileira e o Brasil e até mesmo o interesse dedicado a esta literatura são refletidos nos elementos analisados, assim como sua evolução em traduções mais recentes.

This paper aims to carry out a qualitative analysis of the translator’s notes that Humberto Giannini included in the translation of some fragments of the work of the Italian philosopher Enrico Castelli Pensieri e giornate (1945), which he published in Chile in Revista de Filosofía (1962). The results show a clear pedagogical will in the exercise of translation by the Chilean philosopher in the process of linguistic and cultural reinterpretation that every translation implies through a set of footnotes with various references (extratextual, intratextual, geographical, etc.). In short, this research delves into the study of the figure of Humberto Giannini in his role as a committed translator concerned about the reception of Castelli in Chile and, with this, of the presence of Italian language from this discipline of Applied Linguistics., Este artigo tem como objetivo realizar uma análise qualitativa das notas do tradutor que Humberto Giannini incluiu na tradução de alguns fragmentos da obra do filósofo italiano Enrico Castelli, Pensieri e giornate (1945), que publicou no Chile na Revista de Filosofía (1965). Os resultados mostram uma clara vontade pedagógica no exercício da tradução do filósofo chileno no processo de reinterpretação linguística e cultural que toda tradução implica através de um conjunto de notas de rodapé com várias referências (extratextuais, intratextuais, geográficas, etc.). Em suma, esta pesquisa se aprofunda no estudo da figura de Humberto Giannini em seu papel de tradutor comprometido e preocupado com a recepçao de Castelli no Chile e, com ela, da presença da língua italiana desta disciplina de linguística aplicada., Este artículo tiene como objetivo desarrollar un análisis cualitativo de las notas del traductor que Humberto Giannini incluyó en la traducción de algunos fragmentos de la obra del filósofo italiano Enrico Castelli, Pensieri e giornate (1945), que publicó en Chile en la Revista de Filosofía (1962). Los resultados dan cuenta de una clara voluntad pedagógica en el ejercicio de la traducción por parte del filósofo chileno en el proceso de reinterpretación lingüística y cultural que implica toda traducción a través de un conjunto de notas a pie de página con variadas referencias (extratextuales, intratextuales, geográficas, etc.). En definitiva, esta investigación ahonda en el estudio de la figura de Humberto Giannini en su rol de traductor comprometido y preocupado por la recepción de Castelli en Chile y, con ello, de la presencia de la lengua italiana desde esta disciplina de la lingüística aplicada.

In this article we try to justify the use of the polemic translator’s notes in the translation of essays even in the present context, where the reader has easy access to information, and focusing on the recipient of the translation. We base the argumentation in the quantitative results from a questionnaire taking the translation of the essay On decadence, written in April 1946 by the Japanese writer Sakaguchi Ango, as a case study. We analyze if the translator’s notes fulfill their essential aim: to facilitate a better understanding of the text by the Spanish-speaking readers. The final objectives of this article are to contribute to the bibliography on literary translation between Japanese and Spanish and to the few translation studies about the reception of the translator’s notes., Este artículo trata de justificar el uso de las controvertidas notas a pie de página en la traducción literaria de ensayos, aun en el contexto actual en el que el lector tiene acceso fácil a mucha información, poniendo el foco en los receptores de la traducción. El estudio se basa en los resultados cuantitativos obtenidos a través de un cuestionario, tomando como estudio de caso la traducción al español del ensayo Sobre la decadencia, publicado en abril de 1946 por el japonés Sakaguchi Ango. Se analiza si las notas cumplen con el objetivo primordial de incluirlas: favorecer una mejor comprensión del texto por parte de los lectores hispanohablantes. Los propósitos finales de este artículo son contribuir a la bibliografía existente sobre traducción literaria entre el japonés y el español y a los pocos estudios de traductología sobre la recepción de las notas a pie de página.

The methodological basis is the concept of paratextuality outlined by Genette in the broader context of his general poetics on transtextuality; this work focuses in particular on the use of the allographic note in translation of some Andrea Camilleri’s and of Arturo Pérez-Reverte’s works. The aim is to demonstrate, even with rather partial data, that the use of allographic notes in the translations of these authors is of great use to give a concrete idea of the linguistic varieties and culture of the countries of origin. Inserting them in a translation does not imply an admission of incompetence on the part of the translator, but it does reveal the ethical will to share with a foreign reader the choices, language and strategies of an author from another country, to make perceive the immeasurability of the differences between cultures – which however does not prevent communication –, as a value and not as a defeat., La base metodológica es el concepto de paratextualidad delineado por Genette en el contexto más amplio de su poética general sobre la transtextualidad; este trabajo se concentra en particular en el uso de la nota alográfica en la traducción de algunas obras de Andrea Camilleri y de Arturo Pérez-Reverte. El objetivo es demostrar, incluso con datos bastante parciales, que el uso de notas alográficas en las traducciones de estos autores es de gran utilidad para dar una idea concreta de las variedades lingüísticas y de la cultura de los países de origen. La inclusión de notas a pie de página en una traducción no implica una admisión de incompetencia por parte del traductor, sino que revela la voluntad ética de compartir con un lector extranjero las opciones, la lengua y las estrategias de un autor de otro país, para hacer percibir la inconmensurabilidad de las diferencias entre culturas —que, sin embargo, no impide la comunicación—, como valor y no como derrota.

The reception of Swedish literature in Italy has been widely overlooked. Only few studies consider it and these usually neglect the most recent history of this reception. For this reason, this research aims at describing how the Italian readership interpreted the Swedish books which were translated in the years 2006-2020. After detecting the main translation tendencies in the considered time-span, the Italian reception of some Swedish humouristic writers will be analysed by closely reading the Italian reviews of their books. Thus, it will be possible to verify whether the Italian readership grasps the humouristic tone that these authors use in their books or if it focuses only on the melancholy and loneliness that is believed to characterize all Nordic literature.

Masterarbeit Universität Innsbruck 2022

Translated literature and the surrounding paratexts contribute to the formation and reinforcement of cultural images. Several editions of the novel Confessions of a mask by Yukio Mishima have been published in Spain. This paper analyses the paratexts in order to explore how they present the Japanese Other. For this case study we chose an outstanding author, which ensures a higher degree of visibility in the reception society, and this novel because several editions have been published throughout forty years. Cultural and Translation Studies methodologies were combined to analyse visual and textual paratexts. Results show that some of the paratexts present the Other in exoticizing ways, especially the paratexts by the publisher. Meanwhile, time variable does not seem relevant, since exotization has not followed a decreasing pattern., La literatura traducida y los paratextos que la rodean contribuyen a la formación y refuerzo de imágenes culturales. Para comprobar cómo se presenta al otro japonés, hemos analizado los paratextos de las diferentes ediciones publicadas en España de la novela Confesiones de una máscara de Yukio Mishima. El prestigio del autor y el gran número de ediciones en un periodo de cuarenta años, auguran una mayor visibilidad en la sociedad receptora, lo que ha motivado su elección para este estudio de caso. Hemos combinado metodologías de los estudios culturales y de traducción para el análisis de los paratextos visuales y textuales. Los resultados muestran que parte de los paratextos presentan una imagen del otro exotizante, especialmente en el caso de los paratextos editoriales, mientras que el paso del tiempo no parece apuntar a una disminución de la exotización.

This thesis explores the new and contemporary audiences and fans’ studies with the genre of reality competition shows, using the Korean show Street Woman Fighter (2021) as a case study. A qualitative interview method was used to collect the empirical data of the study, and qualitative data analysis was employed to understand the data. The research takes the standpoint theory (Harding, 2008) to design the approach to the research, and it positions the researcher’s gaze as Korean female audience of SWF. The thesis aims to examine a spectrum of engagement (Hill, 2019) by audiences and fans with SWF and attempts to investigate the power relations between audiences and fans and their criticism of producers and positive support for contestants regarding gender representation on SWF. This study shows the active audience’s and fan’s positive engagement, with the contestants in the micro-level engagement such as tagging, watching, re-watching, commenting, and recommendation. It also reveals a high degree of negativity toward the producers because of the frequent adaptation of K-pop, celebrities, and idols to the show. This research illustrates the female contestants depicted by the devil’s edit in a gender-biased way. The thesis elaborates on the power relations between the fans and audiences, contestants and producers of the show and the push-pull dynamic (Hill, 2015) is extended to the broader range, including contestants as key agencies. It focuses on how each agency shows its ‘empowerment’ (Andrejevic, 2004 & Napoli, 2011) in the complex power dynamic, and social media works as a platform for empowerment. In specific, the study argues that the audiences and fans perform as ‘produsers’ (Lind, 2020) by creating new meaning ‘paratext’ (Gray, 2010) surrounding the show. As a result, the intense negativity on the producers and criticism of negative gender representation combines and affects their self-identification as fans. This study contributes to media and communication s

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.

Категория интертекстуальности и игра с читателем стали неотъемлемой частью массовой литературы в эпоху постмодернизма. Целью данной статьи является анализ интертекстуальных включений в романе «Маскарад» (1995) Терри Пратчетта, британского писателя, снискавшего успех в жанре юмористического фэнтези благодаря циклу «Плоский мир» и использованию многочисленных культурологических отсылок, что является ключевым элементом в конструировании сюжетной линии. Материалом исследования выступает оригинальный текст романа «Maskerade», первостепенными прецедентными текстами для которого являются роман Гастона Леру «Призрак Оперы» и одноименный мюзикл Эндрю Ллойда Уэббера, а также ряд музыкальных произведений прошлого века. К особенностям данного произведения Пратчетта можно отнести преобладание музыкальных отсылок над художественными, что объясняется центральным сюжетом романа, развивающегося на подмостках оперного театра Анк-Моркпорка. Писатель уже в самом паразаглавии романа начинает интертекстуальную игру с читателем, делая намек на основной повествовательный ход, двойственность и маскарадность происходящего. Все сюжетообразующие интертекстуальные связи, подвергнутые анализу в данной статье, носят неатрибутивный характер и выражены преимущественно в форме маркированных цитат, квазицитат и аллюзий. Однако Терри Пратчетт, учитывая «белое знание» и горизонт ожидания читателей, многие образы персонажей и, казалось бы, заранее известные сюжетные повороты «Призрака Оперы» подвергает переосмыслению. Кроме того, показывая изнутри театральный мир с его предубеждениями и трудностями, автор тем самым связывает мир реальный с вторичным, вымышленным миром, которые оказываются мало отличимы друг от друга., The category of intertextuality and playing with the reader have become an integral part of mass literature in the era of postmodernism. The aim of this article is to analyse the intertextual inclusions in Maskerade (1995), a novel by Terry Pratchett, a British writer who achieved success in comic fantasy and is well-known for his book series Discworld and the use of different cultural references which play a crucial role in the construction of the storyline. The research refers to the original text of Maskerade, the primary precedent texts, i.e. The Phantom of the Opera by Gaston Leroux and the musical of the same name by Andrew Lloyd Webber, as well as several musical works of the last century. The distinctive features of the novel include a predominance of musical references over literary ones, which can be explained by the primary plot of the book developing on the stage of the Ankh-Morpork Opera House. In the very paratitle of the novel, the writer begins an intertextual game with the reader, hinting at the main narrative line, the duality and masquerade of what happens. All the plot-forming intertextual connections analysed in this article have no attribution and are expressed in the form of marked quotations, quasi-quotations, and allusions. However, taking into consideration “the white knowledge” and the readers’ horizon of expectations, Terry Pratchett reconsiders many images of the characters and seemingly well-known plot twists of The Phantom of the Opera. Furthermore, showing the backstage of the theatrical world with its prejudices and difficulties, the author thereby connects the real world with the secondary fictional world which turn out to be hardly distinguishable from each other.

The essay explores the peritexts of Swedish translational national anthologies of Italian literature. Translational national anthologies are collections of translated literary texts from one specific nation published in another. Usually, peritexts are understood as hybrid spaces where source and target cultures meet (Elefante 2012: 11). Is this the case for translational national anthologies as well? Or does the recontextualization in a new language and setting rather “reinforce the more or less stereotypical representations of foreign cultures” (Sapiro 2008: 163)? To answer these questions, the peritexts of anthologies of Italian literature published in Sweden during the years 1947–2012 are analyzed. The corpus – consisting of titles, covers, blurbs, notes and prefaces – is examined in order to reveal which cultural images of Italy and Italians the anthologies display. More specifically, the article compares the discourse in the corpus to the images of Italy and Italians that have been identified from centuries of European travel writing (Beller 2007). The second part of the essay examines whether or not the results are exclusive for anthologies of Italian literature. For this purpose, the peritexts of a sample of Swedish translational national anthologies focusing on Polish, French and Spanish texts are analyzed. The results show that Italian literature is presented similarly to the central language area (French) than it is to the (semi-)peripheral languages Spanish and Polish. The images of Italy and Italians are, however, the most stereotypical, and their focus on contrasting elements perpetuate a tenacious vision of Italy as an anomaly.

The prière d’insérer represents an element of great interest, above all when it adopts, as it does in Marcel Aymé, an almost prologal and manifestly parodic form. Instead of using the prière d’insérer, as is usual, to bring out the value of the book and offer the reader interpretative clues, Aymé uses it for a very different purpose: denouncing the very prière d’insérer as an editorial practice. Aymé deploys a number of strategies to this end: playing down or denying the qualities of the text, admitting the occurrence in the book of completely random elements, or using a pompous and pseudo-intellectual discourse to mock pedanticism. Paradoxically, through these strategies Aymé manages to raise a simple editorial genre to the category of a literary genre., La prière d’insérer constituye un elemento de gran interés, sobre todo cuando adopta, tal y como sucede con Marcel Aymé, una forma casi prologal y manifiestamente paródica. En lugar de aprovechar la prière d’insérer, como es habitual, para poner en valor el libro en cuestión y ofrecer al lector indicaciones relativas a su interpretación, Aymé la dedica a un objetivo muy diferente: la denuncia de la propia prière d’insérer en tanto que práctica editorial. Para ello, Aymé se sirve de diversas estrategias: la atenuación o la denegación explícita de las cualidades de su texto, la confesión de la presencia en el libro de elementos completamente aleatorios o el empleo de un discurso ampuloso y pseudointelectual que se burla del pedantismo. Paradójicamente, con estas estrategias Aymé consigue elevar un simple género editorial a la categoría de género literario., La prière d’insérer se révèle un élément de grand intérêt, surtout quand elle adopte, ainsi qu’il arrive avec Marcel Aymé, une forme quasi préfacielle et manifestement parodique. Au lieu de profiter de la prière d’insérer, ainsi qu’il est de mise, pour mettre en valeur le livre en question et offrir au lecteur des indications relatives à son interprétation, Aymé la consacre à un but tout différent : la dénonciation explicite de la prière d’insérer elle-même en tant que pratique éditoriale. Pour ce faire, Aymé se sert de plusieurs stratégies : l’atténuation ou la dénégation explicite des qualités de son texte, l’aveu de la présence  dans le livre d’éléments parfaitement aléatoires, ou l’emploi d’un discours ampoulé et pseudo-intellectuel se moquant du pédantisme. Paradoxalement, au moyen de ces stratégies Aymé réussit à élever un simple genre éditorial à la catégorie de genre littéraire.

The translators of Caribbean novels have to deal with the delicate question of the transposition of multilingual content. Their task is to make accessible to a distant audience a work describing a multiple referential universe, both culturally and linguistically. In this article, I will observe the complications implied by translating novels by three contemporary Guadeloupean authors: Daniel Maximin, Ernest Pépin and Maryse Condé. I will also analyze the different strategies adopted by the translators to transpose as well as possible the universe depicted by these three novel writers. The purpose will be to determine the stakes, the possibilities and the limits of the translation of plurilingual Caribbean novels., Les traducteurs de romans caribéens sont confrontés à la délicate question de la transposition d’un contenu plurilingue. Ils ont pour tâche de rendre accessible à un public éloigné une oeuvre décrivant un univers référentiel multiple tant sur le plan culturel que linguistique. Nous observerons ici les complications inhérentes à la traduction de romans de trois auteurs guadeloupéens contemporains : Daniel Maximin, Ernest Pépin et Maryse Condé. Nous analyserons également les différentes stratégies mises en place par les traducteurs pour transposer au mieux l’univers dépeint par ces trois romanciers. Il s’agira ainsi de déterminer les enjeux, les possibles et les limites de la traduction de romans plurilingues caribéens.

Este estudio presenta un análisis de las cubiertas de una selección de novelasnegras suecas, publicadas en Grecia y en el mundo hispanohablante durante el periodo de2000-2017. Las imágenes de cubierta son importantes en el sistema paratextual (Genette,1991); a partir de las teorías sobre el paratexto aplicadas al campo de los estudios detraducción, proponemos comparar las cubiertas originales con aquellas de las edicionestraducidas. ¿Hacen hincapié los mercados del libro griego y español en las imágenesestereotipadas del norte que han sido identificadas en los estudios sobre el borealismo(Chartier, 2008)? A lo largo de este trabajo se examinó las imágenes de las cubiertas deediciones originales y traducidas mediante un análisis de contenido, complementado por unestudio empírico. El examen de estas muestras no indicó de forma inequívoca que lasediciones traducidas recurrieran en mayor medida al origen nórdico. Asimismo, no todas lasportadas de las traducciones revelaron pertenecer al género policíaco. PALABRASCLAVE: cubiertas de libro, novela negra sueca, paratexto, imagología,traducciones, borealismo211, This study is an analysis of the book cover images of a selection of Swedishcrime 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 fromtheories on paratext within translation studies, we aim to compare the original book coversto the covers of the translated volumes. Do the Greek and Spanish book markets emphasisethe 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 examinedby means of a content analysis, complemented by an empirical study. The examination of thesample did not unambiguously indicate that the translated editions draw more heavily on theNordic origin. Similarly, not all covers of the translations revealed belonging to the crimegenre

This essay aims to investigate the extent to which a book’s peritext can be used to determine which age-group a book is best suited for. This in the hopes of finding a useful complement to the bibliographic information that is usually used for information retrieval, a complement that can simplify the process by adding more subject signifiers to an information retrieval system’s repertoire. The material being used is a selection of books that were published or republished between the years 2014-2020 and catalogued by the National Bibliography as belonging to the fantasy fiction genre. The study is grounded in Gérard Genette’s concept of peritext, defined as the information surrounding a written text with the purpose of introducing the text before the actual reading commences. A number of these peritextual elements are studied to see how frequently they appear in the present study’s selection of books, after which the books’ cover designs and titles are studied in more detail. The results of this study show that there are differences in how the peritext of children’s and adults’ books are formatted, especially when it comes to how the front covers are designed. It is not, however, possible to draw any definite conclusions regarding how the peritext might be used to facilitate the process of information retrieval. To achieve this there is need for further research on the subject.

Paratexter är verk som ger konsumenter en uppfattning om en produkt utan att interagera med själva produkten. Denna undersökning har studerat hur spelupplevelsen kan påverkas av en viss typ av paratext, digitala uppslagsverk, i överlevnadsspel. Spelupplevelsen är ett subjektivt fenomen, vilket ligger till grund för undersökningens kvalitativa ansats. En prototyp av ett generiskt överlevnadsspel, samt ett digitalt uppslagsverk för spelet, producerades. Därefter användes observationer och semistrukturerade intervjuer för att jämföra tio respondenters handlingar med deras åsikter. Resultatet bekräftade att det finns många olika attityder gentemot digitala uppslagsverk. Bland annat påvisades att dessa paratexter aktivt bidrar till att skapa mål för spelaren, och kan komplettera eventuella brister i spelets design. Spelupplevelsen kan också försämras, eftersom spelaren redan ”upplevt spelet” genom uppslagsverket. Framtida studier bör förslagsvis utnyttja denna introducerande studie för att skapa ett paratextuellt ramverk som spelutvecklare kan använda för att skapa så genomtänkta spelupplevelser som möjligt., Det finns övrigt digitalt material (t.ex. film-, bild- eller ljudfiler) eller modeller/artefakter tillhörande examensarbetet som ska skickas till arkivet.

Streaming av film är populärare än någonsin. År 2021 nådde streamingtjänsten Netflix fler än 200 miljoner användare världen över. Det som fångar kundens uppmärksamhet för en film/serie på Netflix är thumbnail-bilden. Dessa bilder styrs av algoritmer och väljs baserat på användares tittarhistorik – de ser annorlunda ut användare emellan och ändras frekvent. Filmaffischer har historiskt sett varit viktiga i marknadsföring av filmer, men har en statisk design till skillnad från thumbnail-bilder. Thumbnail-bilder och filmaffischer är paratexter till en film; paratexterna bidrar till helhetsintrycket av filmen. Denna uppsats undersöker hur kommunikationen ser ut i algoritmbaserade thumbnail-bilder och traditionella filmaffischer, sett ur perspektiven genre och handling. Detta görs genom en semiotisk bildanalys och en kvalitativ intervju med åtta Netflix-användare. Materialet som undersöks är Netflix thumbnail-bilder tillhörande nio filmer/serier och samma filmer/seriers affisch från IMDb. I intervjuerna visas materialet både med och utan text för att undersöka typografins kommunikativa förmåga och om grafiska element spelar in i tolkningen. Resultaten visar att filmaffischer förmedlar genre och handling något bättre än thumbnail-bilder, samt att typografi har kommunikativa egenskaper. Vissa tecken förmedlar direkt genre; används dessa tecken effektivt kan en bild kommunicera genre utan text. I vissa fall behövdes text och grafik för att tolka budskapet mer korrekt vilket stärker vikten av grafisk design. Uppsatsen hävdar att Netflix över tid utmanar de klassiska affischerna genom att summan av de potentiella thumbnail-bilderna sammantaget kommunicerar filmen/seriens innehåll mer nyanserat och därmed mer kommunikativt än de statiska affischerna.

This thesis concerns six Swedish paintings depicting sick or convalescent individuals; Richard Bergh’s Konvalescent (unfinished, 1886), Flickan och Döden (1888), Eva Bonnier’s Magdalena (1887), Gustaf Magnusson’s Konvalescent (1933), Jenny Nyström’s Konvalescenten (1884), and Georg Pauli’s Vid sjukbädden (1885). The purpose of this study is to examine how sickness is portrayed and staged using performative theory and visual semiotics. The thesis takes into account that tuberculosis, being a widespread disease during the 18th and 19th Century, made it a topic of exploration in the contemporary art. With this as the framework the thesis examines whether or not it is possible to diagnose the depicted individuals. The results shows that sickness first and foremost is portrayed and staged in signs regarding the body: the face, the hands, and how the body is posed. Lastly, it is suggested that these artworks can be seen as cultural symbols of TB, since not being viable for a strictly medicinal diagnosis they are more the result of the contemporary need to examine TB and its effects on society and culture. The paintings becomes – such as a body is a vessel for a disease – vessels for the disease culturally speaking.

Segons Haugen (1983), la codificació gramatical forma part de la planificació de corpus de la varietat estàndard d’una llengua. D’altra banda, segons Genette (2001), els textos van acompanyats de paratextos que en donen informació i els presenten. Per aquest motiu creiem que les introduccions de les gramàtiques, com a paratextos que són, ens poden servir com a declaració de principis del plantejament no només de la codificació en si sinó també del model de llengua estàndard que codifiquen. Partint d’aquesta idea, l’objectiu d’aquest estudi és analitzar i contrastar, a través de l’anàlisi del discurs (Calsamiglia i Tusón, 1999), les introduccions de les gramàtiques de quatre llengües (català, espanyol, anglès i francès). Aquestes obres són de referència per a l’estandardització de les respectives llengües i, a partir de la informació que recullen, ens permetran esbrinar el model de llengua que presenten, tant si convergeixen com si divergeixen.Paraules clau: gramaticografia, llengua estàndard, paratext, codificació, anàlisi del discurs., According to Haugen (1983), grammar codification is a part of corpus planning for standard languages. On the other hand, according to Genette (2001), texts are introduced by paratexts that give information about them. Therefore, we believe that grammar introductions, as paratexts, can serve not only as a statement of principles for codification itself but can also give us information about the kind of standard language presented. In line with these ideas, the main aim of this study is to analyse and compare, using discourse analysis (Calsamiglia & Tusón, 1999), the introductions of Catalan, Spanish, English and French grammars. All these grammars are reference books for the standardization of these languages and they shed light on their language model.Keywords: grammaticography, standard language, paratext, codification, discourse analysis.

“Southern Fringes: Little Magazines and Larry Brown’s Early Short Fiction” seeks to revitalize and expand the scholarly field of the New Southern Studies, employing textuality, book history, and postcritique perspectives towards the study of literary events and objects. Whereas the New Southern Studies rightly problematizes and dismantles notions of the signifier southern named in connection with literary works, such approaches often ignore paratextual elements, including material and sociological features, that work to frame and support these narratives. This dissertation addresses such shortcomings, arguing that paratextual formations function as vital spaces for constructing senses of southernness in service of both bibliographic identity and readers’ literary discernments. Exploring public epitext in a variety of locations, as well as four cases of Larry Brown’s short stories appearing in Mississippi Review, The Greensboro Review, and The Chattahoochee Review, this dissertation demonstrates how Brown’s writing emerges as southern fringe: a joint presence of autobiographic, material, perceptual, and other paratextual elements that frame Brown’s writing in unique locales outside of the literary mainstream. This dissertation's implications include adopting a mode of reading and analysis, focusing on case studies and surface readings of paratext serving specific bibliographic documents, as a way to move beyond generalizing and broad claims about the nature, function, and interpretation of literature. Additionally, this dissertation focuses on little magazines, materiality, and paratext as expanded sites and perspectives for the continued growth and development of interdisciplinary humanities fields such as the New Southern Studies., 2021, Includes bibliography., Degree granted: Dissertation (Ph.D.)--Florida Atlantic University, 2021., Collection: FAU Electronic Theses and Dissertations Collection

I den här kandidatuppsatsen utforskas peritexten på 19 humanvetenskapliga avhandlingar ur ett retoriskt perspektiv. Hur förmedlar bokomslaget genretillhörighet, information om verkets innehåll, om möjlig läsupplevelse och målgrupp? Analysen är hermeneutiskt grundad, och det teoretiska och metodologiska ramverket utgörs av prototypteori, stilistik, paratext enligt Gérard Genette, samt analys av visuell retorik. Undersökningens resultat tyder på att det i genreprototypen är avhandlingens ämne, förmedlad genom titeln, som står i det främsta rummet. Vidare diskuteras författarens röst i den vetenskapliga processen, hur objektet riktar sig inåt eller utåt, uppåt eller neråt, och om det kan finnas fler än en möjlig prototyp för en avhandling.

Predmet istraživanja u našoj disertaciji su novi prevodi sa aspekta Retraduktoloških studija, koje u središte interesovanja stavljaju fenomen različitih prevoda istog izvornika, sa ciljem da odgovore na pitanja o prirodi tekstova koji su predmet novih prevoda, o razlozima za nove prevode, kako jezičke tako i vanjezičke prirode, o ulozi i uticaju „agenasa“ prevođenja, kao i o načinu na koji se dela ponovo prevode. U naš korpus ušla su dva „atipična“ klasika, od kojih prvi pripada razdoblju italijanske renesanse, politički traktat Il Principe Nikoloa Makijavelija s početka XVI veka i avangardni klasik s početka XX veka, Il Fu Mattia Pascal Luiđija Pirandela, odnosno njihovi prevodi: 1. Vladalac Miodraga T. Ristića (1907), Knez Filipa M. Dominikovića (1918), Vladar Ive Frangeša (1952), Vladalac Jugane Stojanović (1976) i Vladalac Jelene Todorović (2009); 2. Prevodi sa jedinstvenim naslovom Pokojni Matija Paskal sledećih prevodilaca: Filipa M. Dominikovića (1927), Miodraga T. Ristića (1940), Jugane Stojanović (1962) i Mirele Radosavljević i Aleksandra Levija (2004)..., The subject of the dissertation are retranslations viewed from the aspect of Retranslation Studies which is focused exactly on a phenomenon of different translations of the same original text aimed at answering the questions about the nature of the retranslated texts, the reasons for new translations, of both linguistic and non-linguistic nature, role and effect of translating ‘agents’, as well as the method by which the works are re-translated. Our corps included the two ‘atypical’ classics of which the first one belongs to the Italian renaissance era, The Prince, a political treatise by Niccolò Machiavelli written in the early 16th century and The Late Mattia Pascal, an avant-garde classic written by Luigi Pirandello in the early 20th century, i.e. the following translations thereof: 1. Vladalac translated by Miodrag T. Ristić (1907), Knez by Filip M. Dominiković (1918), Vladar by Ivo Frangeš (1952), Vladalac by Jugana Stojanović (1976) and Vladalac by Jelena Todorović (2009); 2. Il Fu Mattia Pascal (1904) by Luigi Pirandello and the translations bearing the unique title The Late Mattia Pascal by the following translators: Filip M. Dominiković (1927), Miodrag T. Ristić (1940), Jugana Stojanović (1962) and Mirela Radosavljević and Aleksandar Levi (2004)...

In contemporary historical culture, digital entertainment games about the Second World War have become a prominent format for cultural expression. By allowing players to actively engage with the history of the Second World War, this body of commercial digital entertainment games can significantly co-configure how this war is understood, especially in light of the blurring distinction between formal and informal historical learning. This article presents an interpretative content analysis of the marketing ‘paratexts’ of a corpus of digital entertainment games about the Second World War that are shared through online game stores and online game community platforms. This is done to provide insight into how digital entertainment games and their online community platforms can function as sites for informal historical learning, both in relation to the history of the Second World War and the central goals of formal history education.

The Flying Saucer by Wisdom Dede Kamkondo was first published in Malawi in 1989 by Popular Publications, Montfort Press. It is now out-of-print, but rare copies can be found in the archives in Malawi, at Chancellor College Library, and in America, at Yale University Library. This article presents a reading of the textual history of Kamkondo’s novella. By means of partial comparison between two copies of the text, the main argument is that the materiality of The Flying Saucer has appropriated its textual meaning. This manifests in a number of ways. The article firstly discusses the materiality of the physical text as it is now found in Chancellor College and Yale archives, before providing an analysis of The Flying Saucer’s traditional paratext. It then goes on to acknowledge the traces of Kamkondo’s book in various textual archives in order to draw attention to the silences that contribute to its textual history. Ultimately, the article sheds new light on the ways in which the speculative fiction novella, and perhaps the genre more generally, has been made to perform. In advancing the notion of “rhetorical accretion”, I also argue that the layers of paratext are avaluable means through which to read particular literary histories.

Godkänt datum 2020-01-09

The main objective for this study was to explore Storytel users’ selection of audiobooks to examine what search strategies and relevance aspects emerge in the relation to a digital book streaming service mobile application, and to examine how this application aids and influences its users in the search and selection of audiobooks. With the help of previous research on book selection and the concepts of search strategies and tactics, as well as the user-centered perspective on relevance and the concept of the digital paratext, five interviews with audiobook readers were analysed. The two major search approaches were known item search and browsing. The major difference compared to previous research on book selection was the new, additional component of the performing narrator. The narrator did not provide any new relevance aspects to the already identified in earlier studies, but rather, proved to be a component spread out on the already identified relevance aspects. Compared to previous research, the author of this study would, however, like to emphasis the relevance aspect of variation. The fact emerged that the readers used the book(s) read previously as a reference, but not necessarily as something they wanted more of or something similar to, but as something they liked something different from. In this desire for variation, the Storytel’s browsing and recommendations’ functions seemed to fall short and the context of the social world outside the app broke in as a helpful aspect of the audiobook selection.