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English bibles, from Tyndale's 1525 New Testament to the 1611 King James, feature calendars, woodcuts, maps, chronologies, prayers, philological glosses, inset historical essays, elaborate multi-page diagrams, single-leaf summaries of scripture, prefaces by eminent churchmen, doctrinal notes by leading theologians, a dialogue on predestination, a twelfth-century genealogy of Christ, a ninth-century Jewish chronicle--most widely available, given the hundreds of editions printed between those dates. This book explores this archive, but it also tracks its changes, because while biblical translations remain relatively stable over time, the paratexts cocooning a bible's first printing sometimes mutate or vanish in succeeding editions--and indeed sometimes they migrate to a competing bible. These paratexts, together with their revelatory print histories, disclose a picture of the English Reformation that differs in striking ways from the authorized version.

Christoph Schlingensiefs autoreferenzielles Theater verhandelt Kunst- und Künstlerdiskurse im Kontext avantgardistischer Theorie und Praxis. In detaillierten Text- und Aufführungsanalysen nimmt Giovanna-Beatrice Carlesso zwei der komplexesten und anspielungsreichsten Inszenierungen des Autor-Regisseurs in den Blick, um ein dichtes Netz aus intermedialen Selbst- und Fremdzitaten im Nexus von Kunst, Terror und Tod zu entwirren. Dabei beleuchtet sie erstmals die longue durée des Künstlerdramas und erforscht dessen Weiterentwicklung durch Schlingensief in Zeiten der Postdramatik.

Der neutestamentliche Römerbrief ist die redaktionelle Überarbeitung einer älteren Fassung, die für die marcionitische 10-Briefe-Sammlung bezeugt ist. Bei dieser Überarbeitung im 2. Jahrhundert wurde die ältere Fassung in großem Umfang ergänzt: Das'Abrahamkapitel'(Rm 4) sowie die beiden letzten Kapitel (Rm 15f) finden sich nur in dieser jüngeren, kanonisch gewordenen Fassung. Diese grundstürzende These wird vor allem textgeschichtlich begründet: Die Studie stützt sich auf paratextuelle Zeugnisse, die von der Textkritik bislang weitgehend vernachlässigt wurden, und verbindet sie mit neueren Untersuchungen zur marcionitischen Schriftensammlung und zur Kanonischen Ausgabe des NT. Die Ergebnisse haben weitreichende Auswirkungen auf die Paulusexegese sowie auf die Textkritik und ihre Methodik. Sie erschließen die früheste Theologiegeschichte und etablieren das NT als Buch des 2. Jahrhunderts.

The Book of Revelation is a disorienting work, full of beasts, heavenly journeys, holy war, the End of the Age, and the New Jerusalem. It is difficult to follow the thread that ties the visions together and to makes sense of the work's message. In Manuscripts of the Book of Revelation, Garrick Allen argues that one way to understand the strange history of Revelation and its challenging texts is to go back to its manuscripts. The texts of the Greek manuscripts of Revelation are the foundation for the words that we encounter when we read Revelation in a modern Bible. But the manuscripts also tell us what other ancient, medieval, and early modern people thought about the work they copied and read. The paratexts of Revelation--the many features of the manuscripts that help readers to interpret the text--are one important point of evidence. Incorporating such diverse features like the traditional apparatus that accompanies ancient commentaries to the random marginal notes that identify the true identity of the beast, paratexts are founts of information on how other mostly anonymous people interpreted Revelation's problem texts. Allen argues that manuscripts are not just important for textual critics or antiquarians, but that they are important for scholars and serious students because they are the essential substance of what the New Testament is. This book illustrates ways that the manuscripts illuminate surprising answers to important critical questions. We can learn to'read'the manuscripts even if we don't know the language.

Algún cínico podrá decir que los libros son meras'láminas de árboles recubiertos con una vaca muerta'. Nada de eso. A lo largo del tiempo el libro ha representado conocimiento, libertad, fantasía, revoluciones y esperanza. Recorrer su historia, tanto para el investigador como para el público general, permite observar sus desarrollos, mutaciones y experimentos. ¿Qué es? ¿Cómo cambió? ¿Qué significa? Agitada por estas preguntas, la poeta e investigadora estadounidense Amaranth Borsuk parte desde los códices y llega hasta los ebooks y las experiencias más radicales en libros de artista para analizar los sentidos de sus variaciones con el fin de imaginar un futuro posible de este dispositivo. No se trata simplemente de una breve introducción al tema. Es mucho más. Al trazar las interrelaciones del libro como objeto, idea, interface y concepto, Borsuk no solo logra tender diálogos entre la historia, las artes y la literatura electrónica sino proponer un nuevo marco teórico construido desde el siglo xxi para expandir, de un modo sugerente, su definición.

As the'thresholds'through which readers and viewers access texts, paratexts have already sparked important scholarship in literary theory, digital studies and media studies. Translation and Paratexts explores the relevance of paratexts for translation studies and provides a framework for further research. Writing in three parts, Kathryn Batchelor first offers a critical overview of recent scholarship, and in the second part introduces three original case studies to demonstrate the importance of paratextual theory. Batchelor interrogates English versions of Nietzsche, Chinese editions of Western translation theory, and examples of subtitled drama in the UK, before concluding with a final part outlining a theory of paratextuality for translation research, addressing questions of terminology and methodology. Translation and Paratexts is essential reading for students and researchers in translation studies, interpreting studies and literary translation.

Die Fiktionstheorie sieht in peritextuellen Elementen häufig Signale, die den Umgang mit einem Text steuern oder gar festlegen. Weder die historischen Hintergründe noch die theoretischen Implikationen dieser Annahme wurden ausführlicher analysiert. Diese Studie verfolgt daher zwei Ziele: Einerseits sollen die Anschlussmöglichkeiten und Verschränkungen zwischen theoretischen Positionen in Fiktions- und Paratexttheorie aufgezeigt werden. Andererseits wird in der komparatistisch angelegten Betrachtung von Erzähltexten insbesondere des 18. und 20. Jahrhunderts eine breitere Materialbasis geschaffen, um peritextuelle Signalisierungen, Markierungen und Verhandlungen von Fiktion in ihrem jeweiligen Kontext situieren zu können. Dabei zeigt sich, dass diese immer auch auf zeitgenössische Probleme im Umgang mit fiktionalen Texten reagieren – ob sie nun eine wahre Geschichte versprechen oder aber behaupten, dass alles frei erfunden ist und Ähnlichkeiten zur Realität rein zufällig sind. Der Peritext als vermeintlich externer Kommentar, der aber selbst Teil dessen werden kann, was kommentiert wird, ist ein Ort der Selbstreflexion, an dem sich inter(peri)textuelle Traditionslinien und Topoi herausbilden, die sich als sehr komplex erweisen.

In the age of'complex Tv', of social networking and massive consumption of transmedia narratives, a myriad short-lived phenomena surround films and TV programs raising questions about the endurance of a fictional world and other mediatized discourse over a long arc of time. The life of media products can change direction depending on the variability of paratextual materials and activities such as online commentaries and forums, promos and trailers, disposable merchandise and gadgets, grassroots video production, archives, and gaming. This book examines the tension between permanence and obsolescence in the production and experience of media byproducts analysing the affections and meanings they convey and uncovering the machineries of their persistence or disposal. Paratexts, which have long been considered only ancillary to a central text, interfere instead with textual politics by influencing the viewers'fidelity (or infidelity) to a product and affecting a fictional world's'life expectancy'. Scholars in the fields of film studies, media studies, memory and cultural studies are here called to observe these byproducts'temporalities (their short form and/or long temporal extention, their nostalgic politics or future projections) and assess their increasing influence on our use of the past and present, on our temporal experience, and, consequently, on our social and political self-positioning through the media.

The series Studies in Manuscript Cultures (SMC) publishes monographs and collective volumes contributing to the study of written artefacts. This field of study embraces disciplines such as art history, codicology, epigraphy, history, material analysis, palaeography and philology. SMC encourages comparative approaches, without regional, linguistic, temporal or other limitations on the objects studied; it contributes to a larger historical and systematic survey of the role of written artefacts in ancient and modern cultures, and in so doing provides a new foundation for ongoing discussions in cultural studies.

What is a paratext, and where can we find it in a Roman text? What kind of space does a paratext occupy, and how does this space relate to the text and its contexts? How do we interpret Roman texts'paratextually'? And what does this approach suggest about a work's original modes of plotting meaning, or the assumptions that underpin our own interpretation? These questions are central to the conceptual and practical concerns of the volume, which offers a synoptic study of Roman paratextuality and its exegesis within the broad sphere of Roman studies. Its contributions, which span literary, epigraphic and visual culture, focus on a wide variety of paratextual features - e.g. titles and inter-titles, prefaces, indices, inscriptions, closing statements, decorative and formalistic details - and other paratextual phenomena, such as the frames that can be plotted at various intersections of a text's formal organization.

'This book suggests a theoretical and practical tool for building bridges between disciplines interested in conducting joint research and exploration of digital culture, helping scholars from different fields find an interdisciplinary framework and common language to study digital objects'--

Videogames and Agency explores the trend in videogames and their marketing to offer a player higher volumes, or even more distinct kinds, of player freedom. The book offers a new conceptual framework that helps us understand how this freedom to act is discussed by designers, and how that in turn reflects in their design principles. What can we learn from existing theories around agency? How do paratextual materials reflect design intention with regards to what the player can and cannot do in a videogame? How does game design shape the possibility space for player action? Through these questions and selected case studies that include AAA and independent games alike, the book presents a unique approach to studying agency that combines game design, game studies, and game developer discourse. By doing so, the book examines what discourses around player action, as well as a game’s design can reveal about the nature of agency and videogame aesthetics. This book will appeal to readers specifically interested in videogames, such as game studies scholars or game designers, but also to media studies students and media and screen studies scholars less familiar with digital games. The Open Access version of this book, available at http://www.taylorfrancis.com, has been made available under a Creative Commons Attribution-Non Commercial-No Derivatives 4.0 license.

How have the forms and functions of authorial epitexts expanded and developed in the German-speaking world since the turn of the millennium in a professionalised literary field with changed media conditions and possibilities with regard to the staging and role of authorship and the correlation of author and work? The contributions collected in this volume address this question with a view to the dynamic relationship between work, authorship and paratext, as articulated in epitexts in particular. The aim is to capture the multifaceted potential of epitexts in their heterogeneity, to focus an different questions and to work out their significance for research in literary studies., Wie erweitern und entwickeln sich im deutschsprachigen Raum seit der Jahrtausendwende Formen und Funktionen auktorialer Epitexte in einem professionalisierten literarischen Feld mit veränderten medialen Bedingungen und Möglichkeiten hinsichtlich der Inszenierung und Rolle von Autor*innenschaft sowie der Korrelation von Autor:in und Werk? Dieser Frage widmen sich die im Band versammelten Beiträge mit Blick auf das dynamische Verhältnis zwischen (Gesamt-) Werk, Autor:innenschaft und Paratext, wie es sich insbesondere in Epitexten artikuliert. Ziel ist es, das vielseitige Potenzial von Epitexten in ihrer Heterogenität zu erfassen, auf unterschiedliche Fragestellungen hin zu fokussieren und ihre Bedeutung für literaturwissenschaftliche Forschung herauszuarbeiten.

Gérard Genette's seminal study of the paratext, Seuils (1987), is the starting point for this collection of essays, all of which seek not only to engage with Genette's taxonomy and apply it, but also to interrogate it and to move through and beyond it. In addition to mapping Genette's organization of (para)textual space onto a number of French texts, including novels and plays, texts translated into French, book series and publishing marketing material, these essays take up some of the challenges raised in Seuils as well as posing their own. For example, the relationship between Genette's work and deconstructionist approaches to text and the intersection of paratextuality and translation, which are hinted at by Genette, are explored in more detail in the volume, as is the notion of moving through and beyond the paratext. As such, this book offers a significant re-engagement with and deployment of paratextual theory and practice.

In his 1987 work Paratexts, the theorist Gérard Genette established physical form as crucial to the production of meaning. Here, experts in early modern book history, materiality and rhetorical culture present a series of compelling explorations of the architecture of early modern books. The essays challenge and extend Genette's taxonomy, exploring the paratext as both a material and a conceptual category. Renaissance Paratexts takes a fresh look at neglected sites, from imprints to endings, and from running titles to printers'flowers. Contributors'accounts of the making and circulation of books open up questions of the marking of gender, the politics of translation, geographies of the text and the interplay between reading and seeing. As much a history of misreading as of interpretation, the collection provides novel perspectives on the technologies of reading and exposes the complexity of the playful, proliferating and self-aware paratexts of English Renaissance books.