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Copyright of Journal of Soochow University Philosophy & Social Sciences Edition is the property of Soochow University and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Revista Eletrônica de Ciência Administrativa is the property of Instituto Brasileiro de Estudos e Pesquisas Sociais and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Pensares em Revista is the property of Editora da Universidade do Estado do Rio de Janeiro (EdUERJ) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

An active supporter of the theatre in Edinburgh and London, Walter Scott also extensively edited and commented on plays both ancient and modern. As a dramatist he wrote five original works, though he never achieved anything like the success he found with poetry and fiction. Only The House of Aspen, a Tragedy and Auchindrane; or, The Ayrshire Tragedy were staged, briefly, during the author's lifetime. Written in collaboration with the actor Daniel Terry in 1817–1818, The Doom of Devorgoil, a Melo-drama was eventually rejected. Seemingly not even offered to theatres, Halidon Hill was published as a standalone work in 1822. A single-scene piece, Macduff's Cross , appeared in a miscellany to fulfil an obligation to Joanna Baillie. Against the backdrop of Scott's admitted failures as a dramatist, this essay examines the five playtexts in print, paying particular attention to different forms of residual theatricality still traceable in the works. Reading the plays entails due consideration of performance-focused paratexts, as well as scene divisions and speech prefixes, alongside a range of textual interruptions, emotionally descriptive stage directions, bookish motifs, and other print-centric devices. [ABSTRACT FROM AUTHOR]

Because Gorboduc , or The Tragedie of Ferrex and Porrex (1561) sees a king divide his kingdom between his two sons while he still lives, much scholarship discusses the play as an Elizabeth succession parable. However, the printer John Day's prefatory letter to his 1570 octavo (O2) provides a different frame, documenting an instance of Gorboduc' s later reception that scholarship has not yet recognized. This article argues that by comparing the playtext to a sexually assaulted woman Day does not merely advertise his edition's supposed superiority to O1, as some have claimed. Considering Day's reformist network, his investment in preserving Protestantism in England, and his output in 1570—including the massive second edition of Foxe's Actes and Monuments and political treatises by Gorboduc 's co-author Thomas Norton—Day's 'better forme' of Gorboduc becomes newly legible within histories of reading. For by claiming O2 will 'play Lucreces part', Day reads Gorboduc 's materialization of misrule's effects through violence against 'Mother Brittaine' as anti-tyranny polemic—and asks book buyers to read it this way as well. Synthesizing historicist and feminist literary approaches with recent book historical work on paratexts, this article demonstrates how O2's prefatory letter figures gender violence to justify resistance to tyranny. [ABSTRACT FROM AUTHOR]

The argument draws upon literary theory to revisit the two clauses that, traditionally, make up Song 1:1. (1) The title evaluates the work as the song-most of songs. I argue that the evaluation refers to the work's manifold form of simulation—a literary work representing the speech of a dreamer, who speaks from both inside and outside the dream. (2) The scoring in MT, the rubric in LXX (Sinaiticus, Alexandrinus), ancient interpreters and modern all take the first words of the Song of Songs to be a heading, comprising title (שִׁיר הַשִּׁירִים) and attribution (אֲשֶׁר לִשְׁלֹמֹה). I argue that the clause marked and understood as an attribution may be the beginning of the character's speech. [ABSTRACT FROM AUTHOR]

The title of this paper is taken from a chapter in Roberto Calasso's The Art of the Publisher , in which the Italian publisher and writer notes a historical shift in contemporary publishing away from publishing as 'form', supposedly a publishing innovation of the first decade of the 20th century. Since Calasso never elaborated on his notion of publishing as form, this paper attempts to sketch the most important facets of this notion, embed it in the context of publishing theory, and suggest that it bears considerable similarities to auteur theory in cinema. After identifying three layers of publishing form, the author analyses how recent developments in contemporary publishing might relate to Calasso's concern about the blurring of distinctions between publishers. [ABSTRACT FROM AUTHOR]

Given the growing expansion in the development and use of computational methods in humanities research, it is necessary to propose methodologies that properly explore the questions posed by different disciplines, considering the locality of both data and the process behind its generation. In the present work, we explore the problem of automatically identifying the main topics in collections of Nahua discourses known as huehuetlahtollis. Each document in the collections is introduced through an extended title, and it is a natural question if enhancing the role of title terms during the unsupervised learning process could enrich results. Aiming at explainability, we consider a model based on nonnegative matrix factorizations (NMF). An overview of the historical process behind the composition of the explored corpora suggests that titles reflect the point of view of the collection's compiler in manners that justify viewing the paratext as a supplementary source on the material. Therefore, we propose a bi-objective NMF scheme that appropriately reflects the a priori knowledge on the corpus, linking and combining the information of titles and content to improve the accuracy in identifying topic groups and relevant terms within a corpus. By comparing three different schemes against the labels assigned by an expert, we show that our model better reflects the nature of data, translating into higher accuracy. Finally, we present some insights on the studied corpora derived from our analysis of identified relevant terms. [ABSTRACT FROM AUTHOR]

This article examines the reception of popular serial narratives. Starting from the assumption that this reception presents both a challenge (how to study the vast and heterogeneous readerly engagement with these texts?) and a chance (readers of such texts tend to comment profusely about the reception process), we identify the paratext as a privileged space of readerly communication on, and serial engagement with, popular storytelling. We develop the concept of "paratextual negotiation" as a means of understanding letter columns and fan forums as (now mostly) digital epitexts that shape the evolution of particularly popular—widely noticed, commercially successful, long-running—narratives, with a focus on the German science fiction pulp novel series Perry Rhodan (1961–) and additional thoughts on the US American comic book superhero Captain America (1941–). Taking the quantitative-empirical metrics of attention measurement and their public display seriously by identifying and close-reading the most popular forum threads and the most broadly recognized commentary about these narratives, we argue that the participatory element of popular culture can be reconstructed in the interplay between series text and serial paratext and can be described as a force in serial evolution that thrives on a combination of variation and redundancy and of selection and adaptation. [ABSTRACT FROM AUTHOR]

The Council of Europe has been promoting pluralistic approaches for more than 20 years, considering them as an effective tool for the development of plurilingual competence, regarded as indispensable in multilingual Europe. The aim of the article is to determine the place of the first language and pluralistic approaches in the latest (published after 2018) French textbooks for high schools. The analysis shows that elements characteristic of pluralistic approaches are present in varying degrees in the textbooks analysed, both at the textual and paratextual level. Textbook authors use pluralistic approaches in a variety of ways, for example by referencing the knowledge of Polish, English as well as non-verbal language. [ABSTRACT FROM AUTHOR]

Copyright of Bamboo & Silk is the property of Brill Academic Publishers and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Bamboo & Silk is the property of Brill Academic Publishers and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This study explores the use of paratexts as a means of translator's agency and queer pedagogy in the translations made by Javier Sáez del Álamo, a Spanish sociologist who has translated authors such as Judith Butler, Jack Halberstam, and Lee Edelman. Translator's notes are generally understood as a strategy which connects the target text to the reference framework provided by the source text. Yet, translator's notes also make up a textual or paratextual dimension with its own functions and effects regarding the core contents of the text. Translator's notes may have a considerable influence on the reception of a text, guiding the readers in representing alterity, promoting a particular understanding or reception of translation, or representing the values, ideas, and attitudes of the translator, be it explicitly or implicitly. This article analyses Sáez del Álamo's Spanish translations of three books by Jack Halberstam – Female Masculinity (1998), The Queer Art of Failure (2011) and Trans* (2018a) – and considers to what extent Saez del Álamo's notes become effective micro-political actions of queer pedagogy. [ABSTRACT FROM AUTHOR]

The coming-of-age of digital media has transformed the translation landscape, (con)fusing to a certain extent the Source and the Target. Not only has there been a shift in the way the agents of a translation interact with the text, but source text readers have also been brought into the picture as potentially important players in the (co)production of the target text. Using the controversial Wuhan Diary about the Covid-19 crisis in China as a case study, this paper examines the role of source text readers as censors of the paratexts of the Diary's English translation. The active participation of source text readers created much tension with the source text author, and also gave rise to conflicts with other agents such as the translator and publisher. The resolution of what were often ideological conflicts was reflected in the fluidity of the paratexts of the target text, a fluidity facilitated and enabled by digital media. [ABSTRACT FROM AUTHOR]

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. [ABSTRACT FROM AUTHOR]

It is ancient readers rather than the biblical authors who are responsible for the order of the books in the NT canon. The authors of Acts, Romans, 2 Peter, and James did not intend their compositions to play a specific canonical role or to occupy a set position in the lineup of NT books. By putting the books of the NT canon in a certain order, early readers provided a paratextual frame for the biblical text, reflecting a certain way of understanding the text. The placing of books in order puts an external constraint on the text of Scripture, albeit an inescapable one when texts of diverse origin are collected in a literary corpus, but the processes of composition and compilation are separate in origin and function. [ABSTRACT FROM AUTHOR]

According to Hermans (1999:42), the polysystem theory approach (hereafter PST) promotes the functional and goal-oriented approach to translation. Such an approach means that the emphasis is on the search for explanations that are primarily aimed at the target culture. Shuttleworth (2009:200) explains that PST (as set out by Even-Zohar and other experts) is not a complete, waterproof package, but rather a starting point for further study. If the model is approached in this way, it will constantly add value to investigations of a theoretical as well as a descriptive nature. When looking at crime fiction, the impact of translations can be examined as part of the suspense fiction/thriller subsystem, especially in the case of Deon Meyer whose works have been translated into more than 27 different languages. For purposes of this article, we have made use of Deon Meyer's Koors and Fever to illustrate the value and importance of text positioning within a larger system -- more specifically, the American literary polysystem and the South African (Afrikaans) literary polysystem. Thus, the larger social context within which both these texts were created, but also received, is unlocked. The primary research method in this study is a systems theory analysis. Considering the data used, it is also deemed a reception study and uses a paratextual analysis to analyse the data. Fever's position in the American literary polysystem is determined using the paratext, namely reviews by literary critics and online reviews by the public, as well as examining aspects in and around the novels. Looking at Fever's paratext, the novel functions as translated suspense fiction within the American suspense fiction subsystem. Fever has been received mostly positively according to the online reviews by critics and the general readership, and the position that Fever subsequently occupies in this system is mainly due to its positive reception. Furthermore, the reason why Fever is accepted into this particular system may most possibly be due to the fact that Meyer won one of the USA's top book prizes, the American Barry Prize for Best Thriller for Thirteen Hours (Malan, 2011; also Meyer, 2019) already in 2011, and has therefore already entered the American literary polysystem. Awarding Meyer with this prize shows that Meyer's translated English novels also form part of the American suspense fiction polysystem and serve as a good indication that his novels are no longer on the periphery of this system, but that his work is increasingly becoming part of the American context and that it also enjoys international recognition. The preceding points do not yet include the aspects of the discussion related to the peritext. What is important here is the quote from Stephen King that is used on the front page, namely "Reminiscent of The Stand and The Passage. Great stuff." However, there is no indication (on the cover at least) that this novel is a type of post-apocalyptic novel and if the reader knows Meyer's other works, they may expect a typical crime novel. The American publishers decided to put Stephen King's quote on the front page and it is placed there strategically, because it gives the reader an indication of what they can expect. The Passage by Justin Cronin is described by The Guardian (2010) as a post-apocalyptic vampire story and The Stand by Stephen King is described by Amazon (2011) as Stephen King's apocalyptic outlook on a world overwhelmed by a plague. If the reader is acquainted with these books, this quote will provide him with some insight into what to expect in Meyer's Fever. The information provided by the paratext of the novel, Fever, is twofold. The first is that the novel is a translation (although it is not explicitly mentioned) and that the polysystem is receptive to translations from the source language, which is Afrikaans. The second is that, although Meyer is a crime fiction writer, this novel is also part of the literary polysystem that includes apocalyptic / post-apocalyptic novels. In the discussion of the findings, it is shown that Meyer's novel occupies a central position in the aforementioned subsystem and may be an indication of the type of translation strategies used. The discussion of "repertoremes" and "textemes" emphasises the repertoire of a specific author or text. These repertoremes form a unique network of relationships in a text (Toury, 2012:304). The unique network of relationships can be seen in the way a novel is classified according to genre, but also includes typical linguistic and narrative elements and the process of translation can influence this network of relationships. The translator may decide to use more conventional repertoires, or more innovative repertoires -- especially if these texts are closer to the centre of the literary system (Even-Zohar, 1990). When the genre or structure of Fever is considered, it seems that a more conventional repertoire was used (possibly the strong memory of The Stand), but when the text's narrative and linguistic elements are considered, a more innovative repertoire was used. The choices made by the translator about certain (South) African words that are included in the translation (and for which a glossary is provided), are relevant here, but also the fact that the translated novel takes place in South Africa, and not, for example, in America. It seems that, although crime fiction is typically not considered as "canonised literature", it can indeed be considered that it takes a more central position in the literary system and change current schools of thought regarding crime fiction. [ABSTRACT FROM AUTHOR]

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

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

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

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

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

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

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

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

In early Christian literary production, Peter emerges as an early apostolic figure of prominence ripe for a prolific textual afterlife, lending his name to a wide range of literature. These works include 2 Peter, which is widely recognized as a pseudepigraphal writing. Here, the author argues that pseudepigraphy is a form of exemplarity—the constructive and strategic usage of a figure from the past as a model for the present and future. Within this model, 2 Peter is read as a pseudepigraphon styled and traditioned as a second, testamentary epistle of Peter, the leader of the apostles. Second Peter's authoritative status is doubted in the early stages of the canonical process. But the ongoing transmission of the reputation of Peter, attested for example by the manuscript tradition, aids this work's establishment as a Petrine text. [ABSTRACT FROM AUTHOR]

This article presents the emergent findings of research conducted in Iran. It's main objective was to investigate whether adolescents' thinking could turn polyphonic in CPI and what processes, thinking would go through to achieve this objective. Seventeen adolescents, ten girls, and seven boys participated in fourteen sessions with three iranian and three foreign novels as the materials of inquiry. The sessions were videotaped and analyzed by the researchers. The findings discovered out of pre-determined objectives revealed that CPI was effective in developing adolescents' polyphonic thinking, and polyphonic thinking processes at work were also revealed. At the same time, some unexpected data emerged which gave rise to some emergent findings, among which was that meaning-making is not limited to what happens "inside" the CPI, but some events before, after, and during the sessions are decisive in meaning-making within this communal circle and formation of CPI. We named them 'paratexts' of CPI that included WhatsApp chats, religious, educational, scientific, and gender discourses, the extension of issues discussed at CPI to school and home, adolescent dialogues before and after the sessions, and their reading of philosophical ideas and literary commentaries on the materials of inquiry. Gérard Genette, giving currency to the term 'paratext', conceives of it as an undefined zone between the inside and the outside of a printed work that forms the complex mediation between book, author, publisher, and reader. It is a border zone in which text and off-text enter dialogue the paratexts associated with CPI directed us to reconfigure the practice in reconsideration of the facilitator's roles and positions. On this account, the facilitator is someone who needs to be able to actively listen both to the voices of the group members and the voices of existing paratexts, and to manoeuvre between multiple roles and positions as the situation demands. [ABSTRACT FROM AUTHOR]

This article studies the pictural manuscript of the unfinished novel Vadim, that Mikhail Lermontov (1814-1841) composed between 1832 and 1834. Lermontov's archive, as a material testimony of literary creation, offers a possibility to access the author's work without an editorial intermediary. The page full of drawings and sketches, that we can call the paratext of a manuscript, accompanies Vadim's text and characterizes Lermontov as a producer of text's imaginary. By investigating through a comparative analysis of text and image how Lermontov draws a portrait of a generation, this article shows that the pictorial paratext of the manuscript does not illustrate a concrete work, but the creative process and Lermontov's aesthetic research. [ABSTRACT FROM AUTHOR]

The article is a bibliographic review of the book "La gramatización del español en el Perú del Siglo XIX" written by Alfonso Zamorano Aguilar. The book aims to expand knowledge about the history of the grammaticalization of Spanish in America through the study of works published in Peru during the 19th century. The author uses methodological and theoretical principles, as well as theories of communication, textual series, canon, and grammaticalization for his analysis. The sociopolitical, educational, religious, literary, and philosophical context of Peru in that century is examined, highlighting the influence of religion on education and Peruvian society. The canon of Peruvian literature and the philosophical currents of the time are also analyzed. The text studies the theoretical currents in philosophy in 19th century Peru and their relationship with grammatical models. The authors and recipients of the grammatical works are analyzed, providing biographical profiles and analyzing the paratexts of the works. The channel and code used in the works are also analyzed, including the treatment of the Spanish language and the literary authorities used. Finally, the concept of grammar and its divisions are examined, as well as other grammatical contents such as analogy, syntax, spelling, and prosody. The text analyzes the terminological and conceptual changes in the grammar of Spanish in 19th century Peru, studying aspects of syntax, spelling, prosody, and classes of inflected and non-inflected words. The proposed models and classifications are described, as well as the influences and trends present in the analyzed corpus. The author highlights the importance of this research for expanding knowledge about the history of Hispanic grammar and points out that it is a starting point for future investigations. [Extracted from the article]

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Copyright of Acta Neophilologica is the property of Acta Neophilologica and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The reception of literature written in German in Czechoslovakia after the Second World War was (and still is) in a hybrid position, oscillating between aversion to historical events that still resonate in Czech culture and society, and interest due to intensive cultural contacts and exchange projects between Germany and the Czech Republic. The reception of works by Paul Celan was all the more complicated because Jewish issues were by and large considered undesirable by the communist regime. The regime was officially only anti-Zionist, but de facto, as is well known, this meant anti-Semitic. In this article, attention is drawn to a neglected aspect of the surprising history of the reception of Celan’s poems in Czechoslovakia between 1945 and 1989 (with a brief excursion into the period 1990–2020) – namely, the “mediating function” of paratexts in the totalitarian regime. The first part briefly presents a definition of the term “paratext” and outlines the function of this type of text (taking into account the specific situation in which literature found itself in socialist Czechoslovakia). The following part illustrates the “mediating function” of paratexts in the Czechoslovak and the Czech editions of Celan’s poems. [ABSTRACT FROM AUTHOR]

J.K. Rowling's The Tales of Beedle the Bard (2008) uses paratext to align Harry Potter's Wizarding world with the extradiegtetic readers' world. Doing so may aim at extending the novels' theme of connection, but it complicates that theme by emphasizing readers' status as marginalized from the magical realm. [ABSTRACT FROM AUTHOR]

Copyright of Acta Universitatis Carolinae Historia Universitatis Carolinae Pragensis is the property of Charles University Prague, Karolinum Press and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This paper analyses Joseph Blanco White's English translations of tales XI and XLIV of Don Juan Manuel's El conde Lucanor (c. 1331-1335), which were published in the New Monthly Magazine in 1824. In these fairly free translations, Blanco rewrites and recontextualises the tales by updating and adapting them to the knowledge and expectations of the target readership. His translation decisions, paratexts and the articles on El conde Lucanor that he also published in Variedades; o Mensajero de Londres in 1824 shed light on his ideas on Spanish literature and national identity as well as on his role as commentator and disseminator of Spanish culture in Britain. His translations construct a particular representation of Spain where he underlines those aspects that he believes to be genuinely Spanish, while also including some stereotypical elements of the Romantic image of Spain in Britain. [ABSTRACT FROM AUTHOR]

Although scholars have explored the meaning-making affordances of peritextual features such as dust jackets, case covers, beginning and final endpapers, frontispieces, title pages and imprint pages in picturebooks, limited research has focused on the peritextual elements of graphic novels. Purposive sampling was used to select a data set of 30 graphic novels, and the functions and examples of the Peritextual Literacy Framework (PLF) were used as a structure to analyze the books. As the content analysis proceeded, revisions were made to the original PLF due to the nature of the peritexual elements featured in the graphic novels. Analysis of the data set revealed the following: although all six functions of the PLF were realized in the graphic novels, the production and promotional functions were the most predominant functions of the peritetxual elements; substantial variation was evident with respect to the presence of peritextual elements associated with each function; and the types of peritextual elements in the graphic novels required the addition of multiple features, especially to the production and promotion functions. Overall, the findings showed how the publishers and creators of the graphic novels included diverse peritextual elements in various locations in the books and that these features fulfilled multiple functions, at times simultaneously. The complex and rich nature of the peritextual elements featured in graphic novels requires readers to engage in careful looking and deep thinking in order to understand, appreciate and critically consider the functions, and information and aesthetic value of peritextual elements. [ABSTRACT FROM AUTHOR]

Copyright of RumeliDE Journal of Language & Literature Research / RumeliDE Dil ve Edebiyat Araştırmaları Dergisi is the property of RumeliDE Uluslararasi Hakemli Dil & Edebiyat Arastirmalari Dergisi and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

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