Search

As a testimony to the lockdown life in Wuhan caused by the COVID-19 pandemic, Fang Fang’s Wuhan Diary received worldwide attention while triggering extensive controversies in China. Drawing on the concepts of agent and voice in translation studies, this article explores the contextual, paratextual and textual voices of translation agents in the English translation of Wuhan Diary (2020) and their power negotiations, to reveal who has the final say in positioning and rendering the text for an Anglophone readership. In so doing, the article shows that the author rather than the publisher plays a decisive role in producing the paratextual materials for the translation, and that the translator tend to employ the translation technique of omission to protect the author and himself. Furthermore, it finds that the author’s request for the revision of such paratexts as the title and blurb, in conjunction with the translator’s technique of omission in the translated text, boil down to responses to the critical voices from Chinese readers. Therefore, this article argues that the critical voices from Chinese readers have had the final say in the production and presentation of the English translation of Wuhan Diary. © 2021 Informa UK Limited, trading as Taylor & Francis Group.

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

The content of this article falls within the textual and generic trend of research on paratext. The author describes the meaning of paratexts in fantasy literature via the example of glossaries, which fulfill a special role in the process of creating and perceiving this type of literary text. The argumentation process is subordinated to two perspectives. The first involves the sub-creation of a secondary reality — the Second World in fantasy, which from the beginning to the end grows out of the imagination of the writer and which is complete and internally consistent. In the course of reading, the reader “enters” into a completely different world from that experienced every day. What is needed, therefore, is a kind of guide that allows him to “move around” without disturbing the created universe. Paratext fulfills this function. Hence the second perspective is Gérard Genette’s thesis, according to which the paratext is identified with the text surrounding the proper text, coming from the author and remaining within the same volume (peritext), and one of its basic roles is to help in the interpretation and proper decryption of the creator’s (author’s) intentions. On the basis of the glossaries studied in fantasy texts, it can be concluded that structurally they constitute the determinants of a textual frame, and although there is no linear continuity between the main text and the glossary, considering the content that is contained in it, they serve to strengthen the coherence of the main text. In general, the presence of glossaries facilitates reading the text, allows “unmasking” the intentions of the author and categorizing elements of the plot of a specific work, a given part of the cycle or saga against the background of the whole universe.

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., 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 existence of manuscripts in the Minangkabau area has undergone a development that is not only in certain surau but can even be found in various places in Minangkabau. The text of the manuscript is generally related to Islamic studies, so that the direction of the scientific field of study will support scientific development in the fields of ḥadīth, shari‘a, history, Islamic education and the development of thought, philosophy (manṭīq), and Sufism. This study uses primary data derived from existing manuscripts with philology and codicology approaches. This approach uses manuscripts as research sources to be presented in a mapping which has been identified that philology, codicology, and paratext studies are the initial bases in studying aspects of the text in Minangkabau manuscripts. On this basis, Islamic studies institutions have a great opportunity to study the most important aspects of the manuscript or to use the manuscript as the main source. This is related to the study of manuscripts in the development of ḥadīth studies, development of shari‘a studies, development of historical studies, development of Islamic education and thought, philosophy (manṭīq), and Sufism.

Artykuł jest próbą odczytania powieści "Delhi: A Novel" Khushwanta Singha, współczesnego indyjskiego pisarza tworzącego w języku angielskim, jako utworu w którym topografia ("opis miejsca") i rzeczywiste istnienie, życie i literatura splatają się ze sobą. Artykuł jest trójdzielny. Część pierwsza, zatytułowana "Strefa nieokreślona" (Indeterminate Zone) dotyczy paratekstu jako obszaru kształtującego oczekiwania czytelnika co do zawartości samej książki. W części drugiej, o podtytule: "Strefa miasta" (Zone of the City) przedstawiono Delhi-miasto w jego wybranych literackich (od)tworzeniach w obrębie powieści. W tej części artykułu szczególną uwage zwrócono na powieściowe (re)konstrukcje czasu i przestrzeni. Część trzecią i ostatnią pt. "Strefa ciała" (Zone of the Body) poświęcono symbolizmowi ciała w powieści. The essay is an attempt to analyse Khushwant Singh’s Delhi: A Novel as a literary work in which topography and existence, life and literature entwine. The essay is divided into three parts, each part has a particular focus. The part entitled Indeterminate Zone concentrates on the paratext in an attempt to see how it channels reader’s anticipation with regard to the content of the book. In the second part: Zone of the City: the image of Delhi in its chosen (re)constructions within the novel is examined. Here, particular attention is paid to the reconstruction of space and time within the novel. The last section of the paper, Zone of the Body speaks of the body and the symbolic roles it plays within the novel.

Children’s and Young Adult books are an anomaly in many academic libraries and their presence is often overlooked or ignored. In particular, the dust jackets and other paratextual elements are ofte...

Объект исследования данной статьи – литературная карта как визуальный элемент детской книги на рубеже XIX–XX веков – малоизученная область визуальной культуры детства. Карта становится важной составляющей визуальной культуры детства во второй половине XIX века. Целью исследования было проследить становление картографической традиции в детской литературе Великобритании. Для достижения поставленной цели потребовалось, во-первых, изучить ведущие современные направления в изучении литературной карты. Во-вторых, сформировать терминологический аппарат для описания карты как документального и эстетического объекта в рамках литературного произведения, который в силу малой изученности отсутствует в русском языке. В-третьих, описать пять литературных карт из классических произведений британской детской литературы Золотого периода в их взаимодействии с текстом. В результате работы автор приходит к выводу, что, являясь важным паратекстуальным элементом детской книги, эти карты представляют различные типы взаимодействия с основным текстом: карта-сюжет, карта-документ эпохи, карта-рассказчик, карта-память. Since one of the first representations of the Earth in “The Map Psalter”, marine maps from the Age of Discovery and the first literary atlases, maps have held a special place in British culture. Since the map of the Treasure Island, which is considered to be a pioneer of the kind, from Robert Louis Stevenson’s novel of the same name, maps have always played a significant role in British children’s literature. A literary map, especially a map in children’s books, is an important paratextual element. Although the roles and functions of maps may vary greatly, the place of a map (most frequently it is an endpaper or a frontispiece) makes literary cartography the first visual element for the reader, which enables a map to set the setting, genre, and particular audience expectations. The fact that it is not an obligatory element of a book makes the presence of a map in a book an essential part of the author’s artistic vision and a key (para)textual element of the book. The five maps from the classic books written for younger readers between 1883 and 1926 may prove that maps perform multiple functions and play a greater role than that of beautiful drawings on frontispieces. The maps are the 17th-century marine map of the imaginary island from Robert Louis Stevenson’s Treasure Island; the actual map of India from Rudyard Kipling’s Kim; the map of Kensington Gardens presumably drawn by a child from James M. Barrie’s Peter Pan in Kensington Gardens; the map of the Thames Valley inhibited by anthropomorphic animals from Kenneth Graham’s The Wind in the Willows. The analysis of these maps’ paratextual powers and textual-visual interactions leads to the conclusion that the five literary maps from the classic children’s books of the Golden Age period reveal the five potential ways of interaction between the textual and the visual: map as a plot device, map as a document, map as a narrator, map as the transcendent, and map as memory, correspondingly. The conclusion poses the following questions: What happens to maps during the act of translation from English into Russian or any other language? Is it possible to translate cartography? How crucial is the omission of a map? The answers to these questions are yet to be discovered.

This article re-evaluates the role of the manuscript tradition of the Historia Augusta in debates over the original contents and authorship of the text. Evidence for physical disruptions to the text before our oldest surviving manuscripts points to an earlier manuscript distributed across multiple codices. A multi-volume archetype eliminates critical arguments against the author's claims about lives missing before the Life of Hadrian as well as in the lacuna for the years a.d. 244–260. Other multi-volume codices of the eighth and ninth centuries show that loss of an initial volume would have disrupted the textual tradition for the index, titles and authorial attributions. Comparison of our most complete early witness, Pal. lat. 899, to the independent branches of the textual tradition shows discrepancies between these paratextual elements as expected in a disrupted tradition. Ultimately, this article concludes that the current debates on authorship and the original scope of the Historia Augusta rest on paratextual elements from a single branch of the manuscript tradition, raising doubts about the centrality of these controversies to understanding the work.

This article presents a descriptive study of the English translations of the classic Chinese novel Jin Ping Mei in the context of the Anglo-American literary censorship of obscenity in the twentieth century. By scrutinizing the strategies employed in the English translations of Jin Ping Mei, this article uncovers the dynamic interactions between literary translation activities and the evolving socio-historical contexts in the target culture. The resurrection of the archaic source text, particularly its erotic component, in the Anglophone world in the twentieth century was based on the (re)discovery of its value in the contemporary target context. In the case of Jin Ping Mei, equivalence at the linguistic and textual levels was simply not a concern of the translators and publishers, who had to decide how they would deal with the social reality of literary censorship, by submissively conforming to its demands, or by creatively confronting them.

This essay explores how Islamic knowledge is negotiated, recontextualised, and produced for the receiving culture, as produced in the two extant, full Korean translations of the Qur’an – Kim Yong-s...

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...

This article looks at the Portuguese translation of Patricia Grace’s Potiki, and more specifically at the paratextual elements that it contains, as a response to the linguistic hybridity of its source text. Potiki incorporates Māori elements in its mostly English-language text in a way that is common in Māori fiction writing these days, but which was groundbreaking at the time of its release, in 1986. The Portuguese translation’s decision to include paratextual information clarifying the meaning of words and expressions, which is absent from English-language publications, can be considered controversial and, moreover, runs counter to contemporary approaches to hybrid linguistic features in fictional texts. KEYWORDS: Linguistic Hybridity, Literary Translation, Paratext, New Zealand Literature

PurposeThe purpose of this study is to provide a discussion on how to apply Genette's concept of the paratext to analyze digital documents. The article argues that the concept, despite its shortcomings, is useful because it gives us the terminology to analyze elements often ignored and overlooked.Design/methodology/approachBy taking Gérard Genette's concept of the paratext as point of departure, the paper focuses on three controversial issues in the scholarly work about paratext and digital documents: the division of paratext into peritext and epitext, the explosive growth of paratext and the question of authorization of text and paratext.FindingsQuestions related to the spatial division of the paratext into peritext and epitext, the difficulty of where to draw the line between text and paratext and the question of authorization are not new for digital documents but did already occur in the analog world. Even if many decisions like what to include and what to exclude in an analysis are left to the researcher, this does not mean that Genette's concept is unsuitable for digital documents. On the contrary, the concept gives us the terminology to analyze elements of often ignored and overlooked, also for digital documents.Research limitations/implicationsAs a scholar in the humanities the author can only relate to and therefore analyze what the author can experience and observe on screen level.Originality/valueIn providing a discussion of digital documents and some of the controversial issues discussed by other researchers, this article shows the relevance of Genette's concept, also for our work with digital documents.

O presente artigo oferece um estudo de caso centrado na receção, no início do século XX, de Yoritomo-Tashi em Portugal. Trata-se de um pretenso filósofo japonês, que foi dado a conhecer através do trabalho de edição de “B. Dangennes”, um dos pseudónimos de uma escritora francesa de livros de auto-ajuda, de nome verdadeiro Berthe Blanchard (18[-]–1940). Analisa-se a receção a partir dos paratextos das traduções portuguesas, entendidos como mecanismos de (re)enquadramento que contam diferentes histórias sobre um mesmo autor e os seus livros, os quais, em última análise, constroem o sistema literário e cultural a que Yoritomo-Tashi pertence. A primeira tradução a circular em português (europeu), pela mão de Bernardo de Alcobaça em 1912, e cujo paratexto sugere um (con)texto de partida japonês, será discutida como uma tradução assumida de um original (japonês) que não existe, ilustrando um caso de pseudotradução indireta. As outras três adaptações existentes datam do final da década de 1920 e foram produzidas por um agente diferente (A. Victor Machado), que parece estar a par de que Yoritomo-Tashi é um pseudónimo, devolvendo gradualmente, por via do paratexto, Yoritomo-Tashi/Dangennes ao sistema literário francês. Os tradutores portugueses serão também questionados quanto à sua conivência com o projeto de tradução fictícia de Dangennes/Blanchard. O principal objetivo é compreender se estas traduções, de facto, circulavam em Portugal como traduções de literatura japonesa.

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.

Although the selection and publication of foreign literature in the USSR was subject to state control, many foreign works were able to reach the Soviet reader, thanks to the clever strategies employed by editors, literary advisers, critics, and translators. This was particularly true in the case of foreign literature written by Western authors, which underwent more rigorous control and often required incisive cultural and ideological domestication in order to comply with the aesthetics of the Soviet literary canon. Through the analysis of a corpus of published and unpublished Soviet critical texts, this article sheds new light on the Soviet system of cultural production by taking into account the strategies implemented, at different levels, by cultural operators, and in particular by critics. This article focuses on the Soviet reception of Western anti-mimetic novels by Italo Calvino and Kurt Vonnegut, illustrating the strategies of critical domestication to which they were subjected.

One of the most recognisable aspects of Japanese pop culture which has invaded Malaysia is the Japanese comic or manga. It appears in translation in both Malay and English in Malaysia. Taking into account its foreign origin and the fact that translated manga is targeted at a local readership, translators often resort to the use of notes in the translations in order to assist the readers. This study, thus, intends to examine the type of notes used in the Malay and English translations of Japanese manga, and to determine items in the Japanese manga which required clarification and for which notes are provided. To analyse the use of notes by the translator in the translated manga, this study adopts a qualitative content analysis approach. The analysis involves six Japanese manga and their corresponding translations in Malay and English. The findings show that the translators employ the use of three different types of notes in the translation: notes on the image, notes in the gutter and notes at the end of the text. The analysis also shows that the elements in the Japanese manga which require clarification in translation are giongo/gitaigo, inscriptions, culture-specific elements, wordplay, technical terms and honorifics. There is also a minor difference between the Malay and English translations where the use of notes is concerned. Based on the findings, it is concluded that notes are important in translated versions of the manga in Malaysia in that they provide assistance to readers in understanding certain aspects of the manga.

The historical note is a familiar device in historical fiction. While such devices have begun to attract scholarly attention, the focus has typically been on the way they signal the genre’s relationship to truth. This article proposes instead to look at how historical notes rework an understanding of the story and its source material by breaking the frame between events retold in fiction, and narrative history. Frame breaking, or metalepsis, is the preserve of experimental fiction, and usually consists of authors placing themselves in their work, or characters engaging with their author. Behind this playful inversion lies a preoccupation with the porous boundaries established between ontologically distinct worlds. I contend that the same destabilising effect can be found in the transition from story to historical note, with the reader carrying ideas from the story into the world of narrative history, and vice versa. Rather than separating the story from ‘what actually happened’, historical notes perform the opposite function. Drawing on examples from literature, film, and TV, I argue that frame breaking in historical fiction inserts the ambiguities of art into a mode of historical representation that remains a popular means of disseminating the truth.

The inclusion of paratextual apparatus within a diary, alongside attention to presentation, historical contextualisation, and the employment of textual strategies makes it clear that an audience is...

By nature, autofiction texts often present a strong connection between the story and the external context in which it has been created. This relationship is often represented through the paratext. ...

The History of Mary Prince (1831) not only recounts Prince’s experience of the brutalities of life under plantation slavery, it frames that story with an extraordinary array of authenticating parat...

Autobiographical accounts of historical violence and trauma in comics form have gained widespread recognition as valuable pedagogical tools, particularly in the wake of Art Spiegelman’s groundbreaking Maus (1980–91). These comics often draw from the conventions of text-based autobiographies to provide first-person, non-fiction narratives of historical events, contributing to their perceived legitimacy as ‘serious’ texts worthy of inclusion in the classroom. However, this narrow focus on autobiographical comics as authentic windows to history has led educators to largely overlook the unique pedagogical possibilities offered by historical fiction comics, which can use both their fictionality and the comics medium to teach young readers to critically engage with history in different and deeper ways than traditional history textbooks and single-narrator autobiographical comics. This article remedies this gap by analysing how Nathan Hale’s middle-grade historical fiction comic One Dead Spy enacts a critical pedagogy approach to teach children to challenge hegemonic historical discourses and ways of thinking. The comic centres on the Revolutionary spy Nathan Hale (no relation to the comics creator) as he attempts to delay his hanging by narrating the American Revolution to his executioners. Nathan’s purportedly true account hinders children’s critical engagement with history by perpetuating dominant historical discourses, providing readers with a whitewashed, male-centric narrative of the Revolution. By contrast, the backmatter complicates Nathan’s one-sided representation of history by featuring a mini-comic narrated by the former slave Crispus Attucks and by attributing the comic’s non-fiction bibliography to fictional Research Babies. This blending of academic citational practices with absurd metafiction, as well as the introduction of marginalized counter-narrators, teaches middle-grade readers to question the authority of history writers and destabilizes all historical narratives as artificial constructs. However, the paratext also reinforces racist and sexist paradigms by displacing black and female voices to the comic’s supplemental endpapers, underwriting the comic’s well-intentioned attempts to educate readers about important voices excluded from white-centric narratives. Thus, while One Dead Spy demonstrates how historical fiction comics can provoke much-needed discussions about the inherent biases and erasures of dominant historical discourses, it also reveals the dangers of relegating opportunities for children to learn about marginalized perspectives in history to the literal margins.

This paper presents a text still little known to Romanian researchers in translation studies and even less known to the international academia. Yet, it can be considered doubly important for the history of interpreting. Constantin Erbiceanu’s Romanian version (1897) of the Biographies of the great Greek dragomans (interpreters) of the Ottoman Empire by Epaminonda I. Stamatiades (1865) offers, on the one hand, an unprecedented perspective on the Phanariotes who took turns for almost a century as princes of the Danubian Principalities and, on the other hand, well-documented profiles, touching upon all essential aspects of the profession. With this overview of the Romanian version of the text, we want to emphasize the importance of an informed translator free to choose his texts, and to show how a translation can help a people know itself better and can consolidate a language that is still defining its identity (e.g., Romanian in the late 19th century). We also hope to convince that translating this work into a widely spoken language would benefit researchers in the history of interpreting. We tackle the subject from several perspectives. After a brief survey of the role and destiny of the original, we look at the Romanian translation by answering three main questions: Who is the translator? Why did he consider the translation necessary? How did he translate? This latter question is answered from the points of view of the translator’s paratext, of content as a useful source for the history of interpreting and of language (Romanian scientific terminology was still in its infancy at the time). In this last respect, we look at a series of borrowings from French in order to see what their fate has been in contemporary Romanian., Dans ce qui suit, nous nous proposons de présenter un texte encore peu connu dans le milieu traductologique roumain et encore moins dans celui international, mais qui peut être considéré doublement important pour l’histoire de l’interprétation. Il s’agit de la version roumaine (1897) des Biographies des grands dragomans (interprètes) grecs de l’Empire Ottoman d’Epaminonda I. Stamatiades (1865), signée par Constantin Erbiceanu. Le volume offre, d’un côté, une perspective inédite sur les Phanariotes qui se sont succédé pendant près d’un siècle à la tête des Principautés danubiennes et, de l’autre, des profils professionnels bien documentés, touchant à tous les aspects essentiels de la profession. En présentant la version roumaine du texte, nous voulons souligner l’importance d’un traducteur éclairé libre de choisir ses textes, ainsi que le rôle qu’une traduction peut jouer dans la connaissance de soi d’un peuple et à la consolidation d’une langue qui cherche ses assises, tel le roumain vers la fin du XIXe siècle. En subsidiaire, nous espérons convaincre de l’utilité de la traduction de cet ouvrage en une langue de grande circulation, au bénéfice des chercheurs en histoire de l’interprétation. Nous abordons le sujet à partir de plusieurs points de vue. Après un bref relevé du rôle et de la destinée de l’original, nous nous penchons sur la traduction en répondant à trois questions: Qui est le traducteur? Pourquoi a-t-il considéré la traduction nécessaire? Comment a-t-il traduit? La question du «comment» est nécessairement envisagée sous l’angle de l’intervention paratextuelle du traducteur, du contenu en tant que source utile à l’histoire de l’interprétation et de la langue (la terminologie roumaine scientifique étant balbutiante à l’époque). À ce dernier égard, nous nous sommes arrêtée sur quelques emprunts du français pour voir si, par la suite, le roumain les a retenus et, si oui, sous quelle forme et avec quel(s) sens., Neste trabalho, pretendemos apresentar um texto ainda pouco conhecido no âmbito da tradutologia romena e menos ainda a nível internacional, mas que pode ser considerado duplamente importante no que diz respeito à história da interpretação. Trata-se da versão romena (1897) da obra Biographies des grands dragomans (interprètes) grecs de l’Empire Ottoman de d’Epaminonda I. Stamatiades (1865), escrita por Constantin Erbiceanu. O volume oferece, por um lado, uma perspectiva inédita sobre os Fanariotas, que se sucederam durante quase um século no trono dos Principatos do Danúbio e, por outro lado, perfis profissionais bem documentados, apresentando todos os aspetos essenciais da profissão. Apresentando a versão romena do texto, queremos evidenciar a importância de um tradutor especialista que tem a liberdade de selecionar os seus textos, bem como o papel desempenhado por uma tradução no conhecimento de si de uma nação e na consolidação de uma língua literária ainda por definir, como era o romeno no fim do século XIX. Mais ainda, esperamos mostrar a utilidade da tradução desta obra numa língua de ampla difusão, beneficiando assim os investigadores em história da interpretação. A nossa abordagem parte de várias perspetivas. Depois de uma breve apresentação do papel e do destino da obra original, debruçamo-nos sobre a tradução, respondendo a três perguntas principais: Quem é o tradutor? Porque é que ele considerou necessária esta tradução? Como é que ele traduziu? A pergunta « como » da conta da intervenção paratextual do tradutor, do conteúdo enquanto fonte útil para a história da interpretação e história da língua (a terminologia científica romena era ainda hesitante naquela altura). No que diz respeito ao último ponto mencionado, debruçámo-nos sobre alguns empréstimos do francês para vermos se foram mantidos em romeno e, em caso afirmativo, em que forma e com que significado(s).

Translation rarely features in modern Irish diaspora studies, which have sometimes been accused of an Anglophone monolingual bias. This article draws attention to Irish diasporic translators in the...

Told through a series of interrelated documents (including emails, text messages, newspaper clippings and blog posts), Annabel Smith’s interactive digital novel The Ark epitomises the contemporary hybridity of the dystopian genre. Designed to be fully immersive, the story can be engaged with across media, enabling readers to ‘dive deeper into the world of the novel’ and challenge how they experience dystopian texts. Taking a Text World Theory perspective, I examine the implications of this challenge, investigating the impact of transmedial storytelling on world-building and exploring the creative evolution of dystopian epistolary more broadly. In analysing both the ebook element of The Ark and certain facets of its companion pieces (which take the form of a dynamic website and a smartphone app), I investigate the creation of the novel’s text-worlds, considering the process of multimodal meaning construction, examining the conceptual intricacies of the epistolary form and exploring the influence of paratextual matter on world-building and construal. In doing so, I offer new insights into the conceptualisation of ‘empty text-worlds’, extend Gibbons’ discussions of transmedial world-creation and argue for a more nuanced understanding of dystopian epistolary as framed within Text World Theory.

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.

The theory of intertextuality has proved to be very useful in translation studies, as it gives a more precise view of the translation process and its result. Paratexts include all the elements that surround the text – titles, prefaces, epilogue, and the like, and also include notes made by the translator. Translator’s notes play an important role in translation work. They are an indispensable means for making the translated text comprehensible for the audience belonging to a different cultural environment. Notes fulfill various functions and have significant effects. The paper studies the notes made by Ardazhabu in his translation of The Secret History of the Mongols into Chinese. The function of elucidation seems to be one of the most significant in the translator’s notes of the studied text. But the translator not only explains and clarifies some parts in the source text, but also endeavors to guide the readers’ interpretation of the contents by presenting alternative points of view on some ideas. The analysis of representative examples shows that notes can fulfill more than one function and draw on various sources of information and reasoning Переводческие примечания как один из видов паратекстов играют важную роль в переводческой работе. Примечания выполняют разнообразные функции и оказывают значительное воздействие. В данной работе исследованы примечания Ардажабу к его переводу на китайский язык эпического произведения XIII века «Тайная история монголов». Одной из основных функций примечаний в исследуемом тексте перевода является разъяснительная функция. Но переводчик не только объясняет и уточняет, он стремится направлять понимание читателями содержания, представляя альтернативные точки зрения. Анализ показывает, что примечания могут одновременно выполнять несколько функций и привлекать различные источники информации и аргументации

This article investigates a book-archeological approach to early modern Bible reading that maps the complex interactions between the substantive elements of a book (text, paratext, illustrations) on the one hand, and its historical readers and the traces they left on the other. That method is applied to all 43 extant copies of the Dutch Vorsterman Bible of 1533–1534. The editions printed by Willem Vorsterman were for a long time regarded as Protestant. However, the Bibles had the approval of the secular and ecclesiastic authorities and were intended for a Catholic public. The edition of 1533–1534 is a glossed Bible with many historicizing, chronological, linguistic and typological paratextual elements. The former owners of the 43 Bibles and their confessional background are examined. Intended and unintended traces of use give clues to the actual use of the Bible. The article turns at the end to a heavily annotated copy, examining the religious ideas of the annotator and the way in which he used the Bible.

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...

The term 'new adult' was coined in 2009 by St Martin's Press, when they sought submissions for a contest for 'fiction similar to YA that can be published and marketed as adult – a sort of 'older YA' or 'new adult'.' However, the literary category that later emerged bore less resemblance to young adult fiction and instead became a sub-genre of another major popular genre: romance. This Element uses new adult fiction as a case study to explore how genres develop in the twenty-first-century literary marketplace. It traces new adult's evolution through three key stages in order to demonstrate the fluidity that characterises contemporary genres. It argues for greater consideration of paratextual factors in studies of genre. Using a genre worlds approach, it contends that in order to productively examine genre, we must consider industrial and social factors as well as texts.

Le Popol Vuh est une œuvre littéraire aux dimensions mythologique et historique issue de la culture maya-quichée du Guatemala. Rédigé vers 1550 en langue quichée au moyen de l’alphabet latin suivant la phonétique espagnole, le texte a connu depuis le début du XVIIIe siècle de nombreuses traductions et retraductions. Ces versions diffèrent à bien des égards : format bilingue ou unilingue, composition du paratexte, titre, découpage en chapitres, précision du transfert, style littéraire, stratégie de traduction des noms de personnages et des toponymes, etc. En outre, le paratexte de ces différentes versions suggère l’existence d’un dialogue transhistorique émulateur entre leurs traducteurs successifs, en particulier vers l’espagnol, le français et l’anglais. Afin de mieux comprendre ces phénomènes, la présente thèse propose de décrire l’histoire des traductions et des retraductions du Popol Vuh vers l’espagnol, le français et l’anglais et d’avancer une explication aux caractéristiques de cette histoire. Pour ce faire, nous avons adop-té un cadre théorique bermanien (Berman, 1990, 1995) et une méthodologie adaptée au champ d’étude de l’histoire de la traduction et à notre objet d’étude (Berman, 1995; Lépinette, 1997; Pym, 1998). Nous avons d’abord constitué un catalogue de traductions et de retraductions du Popol Vuh en espagnol, en français et en anglais comme point de départ pour retracer, grâce à leur paratexte, les grandes lignes du dialogue transhistorique entre les auteurs des différentes versions du Popol Vuh dans ces langues. Une fois les interlocuteurs principaux identifiés, nous avons procédé à une analyse descriptive et comparative des approches adoptées par les traduc-teurs des versions identifiées comme les plus pertinentes dans l’histoire des traductions et des retraductions du Popol Vuh, à savoir les versions de Ximénez (env. 1703), Brasseur (1861), Raynaud (1925), Recinos (1947), Edmonson (1971), Chávez (1978), Tedlock (1985) et Sam Colop (2008). Cette analyse comprend pour chaque version l’étude de son paratexte et d’un échantillon de traduction, en l’occurrence, l’épisode de la mort de Vucub-Caquix. Grâce à la méthodologie que nous avons adoptée, qui tient compte du profil, de l’horizon et de la position traductive du sujet traduisant, et qui éclaire l’analyse du texte traduit à la lumière de son paratexte, nous avons pu avancer des explications aux caractéristiques observées pour chaque version de notre corpus. Notre thèse permet ainsi de démontrer que les versions du Po-pol Vuh varient avec leur contexte au sens large, mais surtout avec la vision de l’œuvre quichée propre au cercle dans lequel évolue chaque traducteur, de même qu’elles varient en fonction de l’intention de chaque traducteur. Nous avons également confirmé que l’approche adoptée par les traducteurs du Popol Vuh semble être de plus en plus sourcière, même s’ils veillent, notam-ment dans le paratexte, à continuer d’accompagner le lecteur cible dans sa découverte d’un objet littéraire qui est le fruit d’un univers pour lui étranger, l’accessibilité de l’œuvre restant une priorité dans les divers projets de traduction analysés. Notre thèse constitue une étude de cas dont la méthodologie ne demande qu’à être testée dans le cadre de l’étude du cycle de retraductions d’autres textes autochtones américains anciens. Par ailleurs, elle invite aussi à interroger le rôle de la traduction dans le parcours littéraire de ce genre de textes., The Popol Vuh is a literary work with mythological and historical dimensions that comes from the Mayan-Quichean culture of Guatemala. Written around 1550 in the Quichean language using the Latin alphabet according to Spanish phonetics, the text has been translated and retranslated many times since the beginning of the 18th century. These versions differ in many ways: bilingual or unilingual edition, composition of the paratext, title, division into chapters, precision of the transfer, literary style, strategy for translating character names and toponyms, etc. Moreover, the paratext of these different versions suggests the existence of an emulating transhistorical dialogue between their successive translators, particularly into Span-ish, French and English. In order to better understand these phenomena, this dissertation intends to describe the history of translations and retranslations of the Popol Vuh into Spanish, French and English and to offer an explanation of the characteristics of this history. To do so, we have adopted a Ber-manian theoretical framework (Berman, 1990, 1995) and a methodology adapted to the field of study of the history of translation and to our object of study (Berman, 1995; Lépinette, 1997; Pym, 1998). We began by compiling a catalog of translations and retranslations of the Popol Vuh into Spanish, French, and English as a starting point for tracing, through their par-atext, the main lines of the transhistorical dialogue between the authors of the different ver-sions of the Popol Vuh in these languages. Once the main interlocutors were identified, we proceeded to a descriptive and comparative analysis of the approaches taken by the translators of the versions identified as the most relevant in the history of translations and retranslations of the Popol Vuh, namely the versions by Ximénez (c. 1703), Brasseur (1861), Raynaud (1925), Recinos (1947), Edmonson (1971), Chávez (1978), Tedlock (1985) and Sam Colop (2008). This analysis includes for each version the study of its paratext and a translation sam-ple, in this case the episode of Vucub-Caquix's death. The methodology we have adopted, which takes into account the profile, horizon and translat-ing position of the translating subject, and which sheds light on the analysis of the translated text thanks to its paratext, enables us to put forward explanations of the characteristics ob-served for each version of our corpus. Thus our dissertation reveals that the versions of the Popol Vuh vary with their context in the broadest sense, but above all with the vision of the Quichean text specific to the circle in which each translator evolves, just as they vary accord-ing to each translator's intention. We have also confirmed that the approach adopted by the translators of the Popol Vuh seems to be increasingly source-oriented, even if they are careful, particularly in the paratext, to continue to help the target readers in their discovery of a literary work that is the fruit of a universe that is foreign to them, the accessibility of the work remain-ing a priority in the various translation projects analyzed. Our dissertation is a case study whose methodology could be tested for the study of the cycle of retranslations of other ancient Native American texts. Furthermore, it also invites us to ques-tion the role of translation in the literary journey of these texts.

This essay reads French-Senegalese director Mati Diop’s 2019 film Atlantique, a Senegalese-French-Belgian coproduction, to argue that its oceanic focus gestures at the haunting histories that suture the US and Senegal. Atlantique, spoken in Wolof, explores global and local class inequalities through a romance narrative that foregrounds the lasting effects of colonialism and economic imperialism on Senegal. Despite this distinct national context, Atlantique was quickly absorbed into a global media stream, picked up by Netflix and distributed to more than one hundred and sixty-five million subscribers. While Atlantique appears to tackle the ravages of capitalism on a global scale by highlighting labor migration and the disruptive effects on the women left behind, a close reading of the film reveals a more complicated and transnational story. Atlantique forces us to also think about the United States. The American continent in the colonial era formed the tragic third corner in the triangular Atlantic economy based on the slave trade. Placing Atlantique within a Black Atlantic trajectory yields a richer, more politically invested reading of the film that simultaneously helps us to rethink the political work that film can do in a globalized world. In particular, I posit that Atlantique’s circulation to the US and Europe helps reverse the traditional patterns of flow, North to South, West to East, as such challenging limited understandings of the US's cultural and political ties to Senegal.After a discussion of production and circulation, I therefore turn to a close reading of the film and the paratext surrounding it to proffer a theory of how films like Atlantique can help us rethink the potentialities and investments of transnational American Studies as a field.

International audience; The Corpus for Idiolectal Research (CIDRE) is a collection of fiction works from 11 prolific 19th-century French authors (4 women, 7 men; 22-62 works/author; total of 37 million words). Every work is dated with the year it was written. Using programming scripts, the works have been gathered from open source platforms, for example La Bibliothèque électronique du Québec, and stripped of paratext (text not being part of the novel, e.g. prefaces). We distribute the text files, the dating, other metadata and the programming scripts under an open source license. CIDRE is the first resource of French for the study of style and idiolect in a diachronic manner (i.e. stylochronometry) on a larger scale.

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.

This article analyzes the politics of prefaces and introductions written for colonial and postcolonial novels about India. Using Gerard Genette's concept of the paratext, I compare the pref...

This article examines how printed English translations of Erasmus’ colloquies reflect the difference phases of the “Long Reformation” and the changing status and reputation of Erasmus within that as he shifts from being presented as proto-Reformer, to problematically orthodox, to irenic martyr. It traces how in the 1530s and 1540s, in the immediate aftermath of Henry VIII’s break from the Church of Rome, networks of evangelical translators, printers, and publishers used translations of Erasmus’ colloquies to advance their religious agenda, albeit – in those uncertain times – often hedging their confessionalism with anonymity or overt support for royal policy. These translations, accentuating the anti-clericalism of the Latin originals, set the tone for the Edwardian, Elizabethan, and Jacobean translations that followed. However, where Tudor translations habitually rely on paratext to shape readers’ response, those in the early Stuart period adapt the Erasmian text more freely, rewriting his orthodox soteriology along Calvinist lines, and – at the same time – reflecting fissures within the English Church: the opponents in the Jacobean versions are no longer simply “papists,” but also other, less-observant Protestants. After an apparent hiatus in English translations of Erasmus’ colloquies during the Civil War and interregnum, the Restoration and later seventeenth century saw a renewed boom. This final phase marks a retreat from harnessing Erasmus’ colloquies for sectarian purposes, as their translators variously promote Erasmus’ irenicism, or emphasise the literariness and literary antecedents of his colloquies. The article further explores a recurrent focus on reforming female behaviour as a necessary step towards achieving a godly commonweal.

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

This article analyses the semiotic construction of the Other in the peritexts of three Medieval Arabic chronicles from al-Andalus (the Arabic name for the Iberian Peninsula governed by Muslims from 711 to 1492), published under the title Andalucía contra Berbería by the outstanding Spanish Arabist Emilio García Gómez. Few studies have dealt, from a critical perspective, with the discourse (or discourses) concerning Arabic cultures and societies constructed by European academic Orientalism in general, or by the Spanish Arabism in particular. Assuming that translation, given its hybrid nature, plays a crucial role in the construction of othering discourses, this article attempts to analyse the identification and othering strategies used by García Gómez on the basis of a methodological approach that combines Genette's notion of paratext (1987), the notions of text, context and pretext proposed by Widdowson (2004 and 2007) and the "Model of semiotic construction of the Other" developed by Carbonell (2003 and 2004), all within the general framework of Critical Discourse Analysis (CDA). The results of this analysis show a significant othering of Berber and/or African references. This is further reinforced by García Gómez' identification with al-Andalus, which pivots between his own identification with the medieval authors of the three chronicles, and the parallels he establishes between medieval al-Andalus and the Spain of the first half of the 20th century. Cet article analyse la construction sémiotique de l'altéralité dans les péritextes de trois chroniques arabes médiévales d'al-Andalus (le nom arabe de la péninsule Ibérique gouvernée par les musulmans de 711 à 1492), publiées sous le titre Andalucía contra Berbería par Emilio García Gómez, éminent arabisant espagnol. Peu d'études ont traité d'un point de vue critique du ou des discours concernant les cultures et sociétés arabes, construits par l'orientalisme académique européen en général ou par l'arabisme espagnol en particulier. En supposant que la traduction, étant donné sa nature hybride, joue un rôle crucial dans la construction du discours de l'altéralité, cet article tente d'analyser l'identification et les stratégies d'altéralité utilisées par García Gómez, sur la base d'une approche méthodologique qui combine la notion de paratexte de Genette (1987), les notions de texte, contexte et prétexte proposées par Widdowson (2004 et 2007) et le modèle de construction sémiotique de l'altérité développé par Carbonell (2003 et 2004) dans le cadre général de l'analyse critique du discours. Les résultats de cette analyse montrent une altéralité significative des références berbères ou africaines. Ce point est encore renforcé par l'identification de García Gómez avec al-Andalus, qui oscille entre sa propre identification avec les auteurs médiévaux des trois chroniques et les parallèles qu'il établit entre l'al-Andalus médiéval et l'Espagne de la première moitié du XXe siècle.