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Summary This study offers a comprehensive comparative analysis between F. M. Dostoevskij’s classic Prestuplenie i nakazanie (PSS 6, 1973) and the black-and-white adaptation Crime and Punishment created by Alain Korkos and David Zane Mairowitz (2008). According to author and artist, the adaptation is meant for recipients acquainted with the novel and first readers of the graphic novel alike. With 417 pages of close-printed canonic text turned into a picture-dominated graphic novel of 118 pages, the adaptation – paying attention to the sequence of crucial fictional scenes – follows the storyline from the beginning of the canonic text to the Epilogue. About 95 % of the precisely and densely formulated verbal material contained in captions can easily be traced back to Dostoevskij’s classic. In this respect, the adaptation is „true to the source material“ (Kick 2012). However, as large portions of text concerning Sonja or Sonja and Raskol’nikov are – discernibly purposefully – eliminated, the adaptation turns out to be a revised version of the canonic novel. E.g., Sonja neither reads the Lazarus-chapter to Raskol’nikov nor follows him to Siberia. In contrast to Sonja, Raskol’nikov – with his emotional-mental instability, rebellion against the state of the world, self-authorization to commit crimes – is represented in accordance with the source text. The hermeneutic gain caused through verbal-pictorial reproduction of the classic text – i. e. through meaningful handling of panels and graphic design within the panels – is significantly enlarged through verbal-pictorial material not inspired by the classic text, e. g. a poster showing Edvard Munch’s graphics The Cry. In view of the 21st century’s preference for visual and multimedial presentation, the study encourages the coexistence and ‚co-reception‘ of the literary classic and the graphic novel as well as further forms of cultural processing.

Building on Genette’s work on the paratext as a liminal space between the text(s) and the world, where a hybrid discourse – at once social and literary – unfolds, the aim of this paper is to read A...

Desde los bustos de mármol de la Antigüedad que custodian sus libros en las bibliotecas, la práctica de incluir retratos autorales al lado de las obras literarias sigue vigente. Con el advenimiento del libro impreso, el uso de la efigie cobró mayor importancia hasta convertirse en un paratexto a veces obligado para la interpretación de la obra literaria. Los retratos autorales se basan en procesos de ethopoiesis, o de construcción de carácter, que obedecen a los valores imperantes en el contexto en el que se producen. Algunos modelos típicos de la persona autoral son el poeta laureado, el genio romántico, la monja letrada, la cortesana y la autora exótica; una de las poses adoptadas con mayor frecuencia es la pose melancólica. En este artículo se presentan algunos ejemplos significativos.

Throughout his literary career, which spanned over sixty years, Avot Yeshurun responded to readers’ dismay at his poems’ hermeticism by attempting to explain the logic of his writing. Although crit...

Drawing on André Lefevere's rewriting theory, this paper endeavours to explore how Howard Goldblatt translates Mo Yan's novel Life and Death Are Wearing Me Out (hereafter referred to as L&D) with regard to patronage control by way of paratext analysis. Seven categories of patronage factors, including original author, translator, literary cooperative, publisher and editor, market expectancy, literary agent, and target reader, are identified as the objective of paratext analysis. Paratext analysis of these patronage factors provides greater insights into the unique attributes of Goldblatt's translation. The results show that apart from adhering to the target ideological and poetological currents in his translation, Goldblatt also excels in mediating between various patronage factors, striving to seek a balance among external power constraints, and finally producing a translation geared to the reader's expectation.

EnglishThe 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 Pepin and Maryse Conde. 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. francaisLes traducteurs de romans caribeens sont confrontes a la delicate question de la transposition d’un contenu plurilingue. Ils ont pour tâche de rendre accessible a un public eloigne une oeuvre decrivant un univers referentiel multiple tant sur le plan culturel que linguistique. Nous observerons ici les complications inherentes a la traduction de romans de trois auteurs guadeloupeens contemporains : Daniel Maximin, Ernest Pepin et Maryse Conde. Nous analyserons egalement les differentes strategies mises en place par les traducteurs pour transposer au mieux l’univers depeint par ces trois romanciers. Il s’agira ainsi de determiner les enjeux, les possibles et les limites de la traduction de romans plurilingues caribeens.

When creating fanfics, fans develop writing and communication strategies related to multimodal and multimedia content, in addition to new textual forms of network conversation. This textual and intertextual reading of the avid audience establishes a clear dialogue with the concept of semiotic / aesthetic reader by Eco, in which the plots explore various interpretive layers and go beyond the paratext. Based on this theoretical contribution, this article aims to analyze the dimensions of media competence, proposed by Ferres and Piscitelli, which are part of the fanfic Oitavo B. Published on the Spirit fanfics e historias platform, the story resignifies the characters' narrative arc Lica (Manoela Aliperti) and Samantha (Giovanna Grigio), from Malhacao - viva a diferenca (2017-2018, Rede Globo). It is concluded that the fanfic not only reinforces and expands the children's soap opera, but establishes new interpretive ties.

This article discusses the rubrics introducing the characters in the incunables of the middle French Danse Macabre. These rubrics are not a part of the original text, but of a paratext added later during the transmission of the originally hybrid work of art, which was based on the fusion of text and image. This study shows that the distribution of the variants in the rubrics is strictly related to the particularities of the dissemination of the Danse Macabre. The rubrics in the printed tradition are compared to those in the extant manuscripts transmitting the same text; text-image relations are also taken into account. In particular, the study of the rubrics allows to see that the influence of the iconographic elements on the text changes significantly with the passage of the Danse Macabre from manuscript to print.

Once a staple of game design, linear game spaces and play have slowly been pushed aside by open-world and sandbox mechanics in the AAA game industry. Most adventure games now have a duty to give vi...

RESUMO A interdisciplinaridade que existe nos Estudos da Tradução permite vislumbrar e consolidar a ideia de paratradução e paratexto audiovisual. Ao saber que os paratextos são essenciais para a tradução e a interpretação, aborda-se aqui, sob os auspícios da paratradução, a relevância dos estudos das imagens apresentadas em tela. A cor vermelha predominante na série televisiva La Casa de Papel, da Netflix, conflui uma imagem subjetiva que corrobora com a compreensão do enredo. Assim, este artigo tem o objetivo de apresentar os caminhos necessários para conformar o estudo das cores - o vermelho especificamente - na paratradução de imagens. A confluência metodológica paratradutiva auxilia na busca de informações, as quais acabam por explicitar os adjetivos que descrevem as sensações do simbolismo da cor, vindouras e perpetuadas na compreensão geral da série que, de forma criativa e aculturada, foram apresentadas nos paratextos audiovisuais estudados.

Although the genres assembled in Ivan Vladislavic’s The Loss Library and Other Unfinished Stories have been discussed more than once, the collection encourages further enquiry and diverse compariso...

In this paper, I investigate the speech captions (the so-called ‘Reden und Rufe’) in the private tombs from the Old Kingdom to the Late Period. I aim to show some of the ways used by the Egyptian scribes and/or artists to formally distinguish these speeches from other captions and inscriptions displayed in private tombs. After presenting the text- image interrelation and the most common speech caption layouts, I turn my attention to the form(s) of these captions and trace back the appearance of discursive marks in Old Kingdom mastaba as first evidence of paratextuality. I then offer a diachronic overview of the other paratextual means used to categorize a caption as a speech or a song: Dd-formulas, the parenthetic in indicating a direct quotation as well as the expression xn n wSb and xn n nhm.

This article uses the theory of collaborative authorship to evaluate the ways in which multiple authorities operate within the pages of sixteenth-century editions of Petrarch’s Rerum vulgarium fragmenta (Rvf) and Triumphi printed by Gabriele Giolito. These authorities include Petrarch as author of the poems, Vellutello as author of the commentary, and the printer-publisher Giolito, whose publishing enterprise creates additional paratexts and frames the project through its visual-material design decisions. I argue that the dynamics of textual design demonstrate that the authority vested in the edition rests on the role played by Giolito, as much as on that of Vellutello or Petrarch. The making of a text-object is a collective enterprise that encourages us to look beyond the figures of canonical individuals and attribute creative agency to aspects of the publishing industry which are often less visible to the critical gaze.

This article brings to light the significance of a previously unexplored encounter between theatrical creation and knowledge of the North in the Romantic era. In 1824, the tragedy Harald, ou les Scandinaves proposed, for the first time on a French stage, a subject drawn from Viking history. The play was accompanied by an extensive paratext (preface and endnotes) that was widely discussed at the time but has since been forgotten. With the benefit of hindsight, this published play now appears to be a major document in the history of theatrical Romanticism and in the history of knowledge transmission concerning the North. The author of the work, the actor Pierre Victor Lerebours, offers a body of useful reflections for a better understanding of the intermediate solutions that were proposed in the debate between Neoclassicists and Romantics – thoughts that are even more enlightening today for being grounded in the experience of the performance at the time. Decried by fervent apologists for the traditional aesthetics (logocentric, Aristotelian) that often went along with greco-latin subjects and backgrounds, the North as the backdrop for tragedy disrupted this genre by legitimating a spectacular staging. Well versed in Scandinavian culture, Lerebours draws upon that knowledge to support his theory of a revived dramatic art, although divorced from the Romantics’ preoccupation with medievalism. While allowing for the preservation of some neoclassical values, Nordic “local colour” also allows him to assert a need for boldness and daring in dialogical and scenic composition. Via the study of this exceptional publication, we seek to refine and supplement our knowledge of the history and chronology of theatrical Romanticism. The rediscovery of this text also offers us an invaluable means to measure Nordic imagination and scholarship during the French Restoration. Resume L’article met au jour les enjeux d’une rencontre inedite entre creation theâtrale et episteme nordique au temps du romantisme. En 1824, la tragedie Harald, ou les Scandinaves propose pour la premiere fois sur la scene francaise un sujet puise dans l’histoire viking. Elle s’accompagne d’un important paratexte prefaciel et notologique remarque a sa sortie en 1825, oublie depuis lors, et qui s’impose a posteriori comme un texte substantiel dans l’histoire du romantisme theâtral et dans celle de la transmission des savoirs sur le Nord. Son auteur, l’acteur Pierre Victor Lerebours, livre un ensemble de reflexions utiles a la comprehension des voies intermediaires qui s’offraient dans le debat entre classiques et romantiques, reflexions d’autant plus eclairantes qu’elles se fondent sur l’experience de la representation. Decrie par les critiques fervents du sacro-saint modele greco-romain, le Nord comme toile de fond vient bousculer le genre tragique en legitimant une mise en scene ou le spectacle a la meilleure part. Feru de culture scandinave, Lerebours y puise pour etayer sa theorie d’un renouveau dramatico-scenique dissocie du medievalisme des romantiques. Tout en lui permettant de preserver certaines valeurs classiques, la couleur locale nordique l’autorise a revendiquer des audaces d’ecriture dialogale ou scenique. Il s’agit donc, a travers l’etude de cette publication hors norme, de completer les savoirs sur l’histoire et la periodisation du romantisme theâtral. La redecouverte de ce texte en fait aussi un document precieux pour evaluer l’imaginaire et l’erudition nordiques sous la Restauration. Mots-cles: Couleur locale nordique; Histoire viking; Mise en scene au XIXe siecle; Preface; Theâtre romantique; Tragedie

Este estudo teve por objetivo investigar a figuração da personagem Lolita, no romance de Nabokov, bem como em quatro de suas capas. As personagens vêm sendo objeto de estudo no âmbito literário por muito tempo; contudo, vem ocorrendo uma transcendência delas para outros meios, inclusive nas capas de livros, o que desperta interesse de estudos mais amplos. A capa, além de paratexto do livro, é usada amplamente pelo mercado editorial como elemento de marketing da obra. Em muitos casos, essas duas funções entram em atrito. A hipótese, neste texto, é de que os aspectos publicitários da obra acabam se tornando tão importantes que as editoras muitas vezes privilegiam alguns elementos do romance em detrimento de outros, tais como a femme fatale e a ninfeta, Como base para análise, foram utilizados os estudos de Reis (2014), Eder, Jannidis e Schneider (2010) e Sonzogni (2011).

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.

This work consists of a critique publication of the colophon text in verse form, which was written in 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 paid to the discourse characteristics, as determined by the author’s claim to the right of remuneration for his scribal work.

espanolLangue/parole (2019) es un proyecto fotografico en proceso de desarrollo paralelamente a otros con los que se complementa conceptualmente. Forma parte de una investigacion en torno a los elementos verbales del paratexto y sus relaciones entre si, destacando en este caso el elemento fotografico en adopcion de un supuesto papel de «figura». EnglishLangue/parole (2019) is a photographic project being developed in parallel with others that are conceptually complementary. It is part of an investigation into the verbal elements of the paratext and their relationships with each other, highlighting in this case the photographic element in adoption of a supposed "figure" role.

This article is a presentation of the generic and narrative challenges in L’Odeur du cafe of Dany Laferriere. It proposes to show that this text’s generic status and paratext are obstacles to its r...

In attempting to determine how Johann Sebastian Bach taught composition, this article draws on recent archival discoveries to claim that it was not the ornamented, vocal Choralgesange, but the simpler, thoroughbass-centered Choralbuch style that played a central role in Bach’s pedagogy. Fascinatingly, many newly-rediscovered chorale books from Bach’s milieu contain multiple basses under each melody, suggesting that Bach too may have employed this technique. What theoretical perspectives shall we bring to bear on this long-lost multiple-bass chorale tradition? This article asserts that it is a fallacy to assume that any pattern-yielding methodology offers a valid window into Bach’s teaching. Rather, an attempt is made to recover modes of music-theoretical understanding that existed contemporaneously with Bach. Such a coterminous theoretical “paratext” potentially offers more insight into Bach’s pedagogy because it establishes a horizon of possibilities from which we can draw when examining multiple-bass composition. Foremost within this paratextual horizon is the centrality of thoroughbass for Bach’s understanding of composition. In particular, Bach was immersed in the pre-Rameau thoroughbass tradition as represented by the writings of Johann David Heinichen. In contrast to many modern harmonic perspectives, chordal roots and root progressions played little to no role in the pre-Rameau thoroughbass tradition. Dissonance was understood not harmonically, but dyadically in terms of syncopatio (suspension) and transitus (passing and neighbor) figures. Drawing from a variety of sources from Bach’s circle, particularly those of his pupil, Johann Christian Kittel, this article posits that Bach may have understood multiple-bass chorale harmonization in terms of interlocking clausulae – that is, as a series of overlapping cadential modules. In sum, this article contributes to an ongoing revisionist project of recent years that aims to elevate early eighteenth-century thoroughbass from mere “pre-theoretical” accompaniment practice to its true place as the theoretical and practical basis of compositional understanding in Bach’s day. In der Absicht zu rekonstruieren, wie Johann Sebastian Bach Komposition unterrichtete, und ausgehend von Archivfunden aus jungster Zeit stellt dieser Artikel die Behauptung auf, dass nicht die reich ausgestalteten, vokalen Choralgesange, sondern der einfachere, generalbassbasierte Choralbuch-Stil in Bachs Padagogik eine zentrale Rolle spielte. Faszinierenderweise enthalten viele neu aufgefundene Choralbucher aus Bachs Umfeld mehrere Bassstimmen unter jeder Melodie, was nahelegt, dass auch Bach diese Technik angewandt haben konnte. Welche theoretischen Perspektiven sind aus dieser lange Zeit aus dem Blick geratenen Tradition des Choralsatzes mit multiplen Bassen abzuleiten? Dieser Artikel bezweifelt, dass eine auf historisch spateren Denkweisen basierende Methodik tragfahige Perspektiven auf Bachs Unterricht gewahren kann. Stattdessen wird versucht, musiktheoretische Konzepte nutzbar zu machen, die aus Bachs Zeit stammen. Solch zeitgenossischer theoretischer »Paratext« bietet moglicherweise einen besseren Einblick in Bachs Padagogik, da er einen Horizont von Moglichkeiten bietet, auf die man sich bei der Betrachtung der Komposition mit multiplen Bassen beziehen kann. Besonders wichtig ist die zentrale Rolle, die innerhalb dieses paratextuellen Horizonts der Generalbass fur Bachs Verstandnis von Komposition spielt. Insbesondere war Bach von der vor-Rameau’schen Generalbasstradition gepragt, wie sie in den Schriften Johann David Heinichens reprasentiert ist. Anders als viele moderne, von der Harmonielehre informierte Zugange spielten Akkordgrundtone und Grundtonfortschreitungen in der vor-Rameau’schen Generalbasstradition kaum eine bzw. gar keine Rolle. Die Dissonanz wurde nicht harmonisch, sondern als zweistimmiges Phanomen, als syncopatio (Vorhalt) oder transitus (Durchgang oder Nebennote) verstanden. Auf der Grundlage einer Auswahl von Quellen aus Bachs Umkreis, besonders denen seines Schulers Johann Christian Kittel, postuliert dieser Artikel, dass Bach die auf multiplen Bassstimmen basierende Choralharmonisierung im Sinne ineinandergreifender Klauselkombinationen, also als eine Folge einander uberlappender Kadenzmodule verstanden haben konnte. Im Ergebnis tragt dieser Artikel zu einem seit einigen Jahren laufenden Projekt bei, das darauf abzielt, den Generalbass des fruhen 18. Jahrhunderts vom Status einer blosen ‚vor-theoretischen‘ Begleitpraxis zu befreien und ihn in seiner wahren Bedeutung zu wurdigen, die ihm als der theoretischen und praktischen Grundlage des Verstandnisses von Komposition zur Bach-Zeit zukommt.

For the first half of the nineteenth century, objects in the British Museum were largely unlabeled, uncatalogued, and unexplained. Nevertheless, the idea that the object could evoke a ‘larger world’ was current in discussions of the pedagogical use of the museum. The popular understanding of the museum as a place of education foregrounded the idea that engagement with the thing itself, rather than any wider context or paratext, was enough to allow access to an object’s ‘realm of significance’ (Bennett, 1994), which was figured as Absolute Truth in Kantian terms embedded within each museum object. The fantasy of knowledge that could be gained from a mere glimpse reached its heights in the feats of identification and reconstruction performed by naturalists of the period like Georges Cuvier or Richard Owen. It encouraged the conception of the museum encounter as an act of instantaneous imaginative reconstruction, in which the fragmentary or uncontextualized part could be reassembled into an ideal, accurate whole. This attitude can still be seen in today’s responses to palaeoart, a discipline heavily associated with the experience of natural history museums which proposes to evoke a world to which its practitioners have only very partial access. With dinosaur palaeoart as its chief case study, thinking in particular about Owen and Waterhouse Hawkins's famous Crystal Palace dinosaurs (1854) and Ann Coates's rather less famous children's book about them (1970), this essay stresses the tenuous relationship between interpretation and reality. It argues that the universal truth implicitly promised by the museum encounter is deceptive, but also that there is a virtue in acknowledging the creativity which underpins these impressions of a world beyond the self.

The production and reception of early modern vernacular Bibles was not a uniform enterprise: printed scripture appeared in different sizes, translations, confessional colours, layout, and content. Through the analysis of the paratextual material in several Dutch Bible editions, this paper aims to determine whether different editions stimulated and framed different biblical reading practices, with a focus on complete Bibles and New Testaments published between 1522 and 1544 by the Antwerp printer Jacob van Liesvelt. The comparison of the paratextual features of Van Liesvelt’s complete Bibles and his other, smaller editions, shows that both types animated non-canonical, discontinuous and essentially active reading. However, whereas Van Liesvelt’s New Testaments seemed to encourage the reader to approach the book as a practical tool in his or her daily life, shaped by the rhythm of the zodiac and liturgy, the paratextual features of the complete Bibles facilitate a studious, almost encyclopaedic reading of the book.

Anthony Marra uses the genre of a short story cycle to create a collection expressing repressed emotions under various forms of censorship spanning over seventy years, from the era of the USSR to contemporary Russia and Chechnya. The literary techniques he uses to achieve this end are the object of this study, ranging from his use of paratext, his irony, his network of images or screen memories, among other means to express taboo emotions. These processes all enhance the combinatory activity of readers, who participate in orchestrating the repressed humanity of characters surviving, or not, in the midst of the general absurdity of their times.

In 1498, artist Albrecht Dürer published a series of woodcuts depicting scenes from the Book of Revelation, entitled Apocalypse. The impact and reach of Dürer’s work has been widely acknowledged by scholars, and its importance is difficult to overstate. Sixteen images were produced, each depicting scenes from the text of Revelation. This was a remarkable achievement, given the complexity and difficulty of the source material, and has influenced all subsequent depictions of the Apocalypse in the Western tradition. Apocalypse is therefore defined as a paratext, an artifact that affects the reading or interpretation of the original text, in this case the Book of Revelation. This essay will briefly discuss both the origins of Apocalypse and its paratextual influence, particularly with regards to Lucas Cranach’s illustrations for the Luther Bible. This essay will also briefly visually exegete selected Apocalypse illustrations and their engagement with the text of the Book of Revelation.

Yann Martel expresses his Orientalism and describes Pi’s Re-Orientalism in Life of Pi. Martel’s Orientalism presents the typical postcolonial writing model, which constructs a postcolonial exotic. Pi’s Re-Orientalism reflects a diasporic Eastern boy’s desire and identity in the West. The survival story for Pi and the Bengal tiger is a metaphor for Pi to grow up to be a true western man. Martel uses paratexts such as the author’s note, author’s interview with the protagonist Pi, records for a Japanese investigation on the truth, and inserts into the protagonist Pi’s narration, which expose the hidden intention for latent cultural hegemony. The departure of Richard Parker represents Pi’s final conforming to Western culture.

This essay incorporates both images and text in order to examine how the concept of "juvenilia" applies to a visual artist. The author, a practising artist, revisits her own childhood drawings as a means of considering what it is to make images, to think and feel through picturing, and as a means of reflecting on her visual practice in relation to narrative, performance and archaeological process. Readers are offered here a paratext, that is, a text-with-image piece that draws out subject matter through pairings or clusters of text with text, image with image, or text with image.

The analogy of aréseauor network is one of the most powerful of our age and, while often represented as a neat set of interconnections with all points linked to others in geometrical patterns, the reality can be quite different: more useful is the Rhizome analogy, modelled on plants such as orchids and bamboo, with no centres and no defined boundaries; the Internet, for example, is a profoundly rhizomatic structure.The analysis presented is that of a ‘traditional’ printed text, Raymond Queneau’sExercices de style, itself a study in rewriting, and examines the ST within its intertextual web, touching on its interlingual translations into English and Italian, its intersemiotic translations into song, comic book and theatre work, and some of the countless paratextual elements surrounding theExercices, with the ultimate objective of analysing how all these elements cannot but now influence our reception of the original source text.

espanolFrances Burney (1752-1840) fue una de las principales escritoras del siglo dieciocho en Gran Bretana, donde cultivo la llamada “novel of manners” e influyo en Jane Austen. La obra de Burney incluye temas que han atraido la atencion de los estudios de genero y estudios culturales desde los anos ochenta. Este articulo se centra en la recepcion de las novelas de Burney en Francia. Tras una contextualizacion de la vida de Burney y Francia en su obra, se recurre a los Estudios Descriptivos de Traduccion (EDT) y a las ideas del frances Gerard Genette sobre el paratexto, junto con las contribuciones de especialistas del siglo dieciocho en el campo de los “Burney Studies.” Se analizan los prefacios presentando las primeras traducciones de las cuatro novelas de Burney al frances y las resenas publicadas en las revistas francesas teniendo en cuenta la poetica francesa y la forma concreta de traducir estas obras en Francia EnglishFrances Burney (1752-1840) was one of the main women writers in eighteenth-century Britain, where she cultivated the novel of manners and influenced Jane Austen herself. Burney’s works deal with topics that have attracted the attention of gender and cultural studies from the 1980s onwards. This paper focuses on the reception of Burney’s novels in France. After a proper contextualization of Burney’s life and France in her oeuvre, I resort to Descriptive Translation Studies (DTS), and the ideas of French scholar Gerard Genette on the paratext, as well as the contributions of eighteenth-century scholars in the field of Burney Studies. I analyze the prefaces introducing the first translations of Burney’s four novels into French and the reviews published in French newspapers at that time taking into account French poetics and the particular way in which Burney’s works were versioned in France

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.

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.

O fogo e suas derivações, fumaça, cinza, é costumeiramente utilizado na literatura de forma literal ou metafórica. Pensando nas diversas funções de um prefácio em relação a obra literária que ele apresenta, pretendemos com este artigo entender esse paratexto sob a ótica do fogo e seus efeitos. Ou seja, quando o prefácio pode ser para um livro o fogo que o projeta para a história ou a fumaça que o coloca no esquecimento. Para tal intento utilizaremos como base os teóricos Gérard Genette e seus conceitos sobre paratexto e prefácio. Didi-Hubermann e suas reflexões acerca da queima da imagem. E como exemplos de prefácios, em particular, aqueles referentes as traduções, para o português no século XX, da Commedia de Dante.