Paratexts are those liminal devices and conventions, both within and outside the book, that mediate between book, author and reader: titles, forewords and publishers' jacket copy form part of a book's private and public history. In this first English translation of Paratexts, Gérard Genette offers a global view of these liminal mediations and their relation to the reading public. With precision, clarity and through wide reference, he shows how paratexts interact with general questions of literature as a cultural institution. Richard Macksey's foreword situates Genette in contemporary literary theory.
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In his 1987 work Paratexts, the theorist Gérard Genette established physical form as crucial to the production of meaning. Here, experts in early modern book history, materiality and rhetorical culture present a series of compelling explorations of the architecture of early modern books. The essays challenge and extend Genette's taxonomy, exploring the paratext as both a material and a conceptual category. Renaissance Paratexts takes a fresh look at neglected sites, from imprints to endings, and from running titles to printers' flowers. Contributors' accounts of the making and circulation of books open up questions of the marking of gender, the politics of translation, geographies of the text and the interplay between reading and seeing. As much a history of misreading as of interpretation, the collection provides novel perspectives on the technologies of reading and exposes the complexity of the playful, proliferating and self-aware paratexts of English Renaissance books.
It is virtually impossible to watch a movie or TV show without preconceived notions because of the hype that precedes them, while a host of media extensions guarantees them a life long past their air dates. An onslaught of information from print media, trailers, internet discussion, merchandising, podcasts, and guerilla marketing, we generally know something about upcoming movies and TV shows well before they are even released or aired. The extras, or “paratexts,” that surround viewing experiences are far from peripheral, shaping our understanding of them and informing our decisions about what to watch or not watch and even how to watch before we even sit down for a show. Show Sold Separately gives critical attention to this ubiquitous but often overlooked phenomenon, examining paratexts like DVD bonus materials for The Lord of the Rings, spoilers for Lost, the opening credits of The Simpsons, Star Wars actions figures, press reviews for Friday Night Lights, the framing of Batman Begins, the videogame of The Thing, and the trailers for The Sweet Hereafter. Plucking these extra materials from the wings and giving them the spotlight they deserve, Jonathan Gray examines the world of film and television that exists before and after the show.
In the mid-1980s, Easton Press began publishing a series of leather-bound collector editions called “Masterpieces of Science Fiction,” and “Masterpieces of Fantasy,” which featured some of the most important works in these genres. Author James Gunn was commissioned to write introductions to these works, which allowed him to pay tribute to many authors who inspired and influenced him. In Paratexts: Introductions to Science Fiction and Fantasy, Gunn has collected the most significant essays produced for the Easton series, along with prefaces he wrote for reprints of his own novels. Drawing upon Gunn’s lifetime of work in the field, these introductions include analyses of the individual works and the fields in which they were written. Gunn also briefly discusses each novel’s significance in the science fiction canon. Collected here for the first time, these prefaces and introductions provide readers with insight into more than seventy novels, making Paratexts a must read for science fiction and fantasy aficionados.
As records of the link between a manuscript and the texts it contains, paratexts document many aspects of a manuscript’s life: production, transmission, usage, and reception. Comprehensive studies of paratexts are still rare in the field of manuscript studies, and the universal categories of time and space are used to create a common frame for research and comparisons. Contributions in this volume span over three continents and one millennium.
As the 'thresholds' through which readers and viewers access texts, paratexts have already sparked important scholarship in literary theory, digital studies and media studies. Translation and Paratexts explores the relevance of paratexts for translation studies and provides a framework for further research. Writing in three parts, Kathryn Batchelor first offers a critical overview of recent scholarship, and in the second part introduces three original case studies to demonstrate the importance of paratextual theory. Batchelor interrogates English versions of Nietzsche, Chinese editions of Western translation theory, and examples of subtitled drama in the UK, before concluding with a final part outlining a theory of paratextuality for translation research, addressing questions of terminology and methodology. Translation and Paratexts is essential reading for students and researchers in translation studies, interpreting studies and literary translation.
Research Paper (undergraduate) from the year 2012 in the subject English - Literature, Works, University of Burdwan, course: MA, language: English, abstract: John Fowles’ The French Lieutenant’s Woman (1969), a Victorian novel with 20th century outlook, is a wonder of contemporary fiction where Fowles has introduced novel techniques of experimentation and versatility of style making it a postmodern text. Fowles has woven in his oeuvre novel techniques like epigraphs, intertextual echoes, authorial digressions, intrusions etc through which the conflict between the Victorian and the Modern world is dexterously given expression. The present paper proposes to establish a link between the text and the epigraphs, and show thereby their interplay.
This collection establishes the term ‘medical paratexts’ as a useful addition to medical humanities, book history, and literary studies research. As a relatively new field of study, little critical attention has been paid to medical paratexts. We understand paratext as the apparatus of graphic communication: title pages, prefaces, illustrations, marginalia, and publishing details which act as mediators between text and reader. Discussing the development of medical paratexts across scribal, print and digital media, the collection spans the medieval period to the twenty-first century. Dissecting the Page is structured in two thematic sections, underpinned by a shared examination of ideas of medical and lay readership and a history of reader response. The first section focuses on the production, reception, and use of medical texts. The second section analyses the role and significance of authority, access, and dissemination in discussions of health, medicine, and illness, for both lay and medical readerships.
This volume revisits Genette’s definition of the printed book’s liminal devices, or paratexts, as ‘thresholds of interpretation’ by focussing specifically on translations produced in Britain in the early age of print (1473-1660). At a time when translation played a major role in shaping English and Scottish literary culture, paratexts afforded translators and their printers a privileged space in which to advertise their activities, display their social and ideological affiliations, influence literary tastes, and fashion Britain’s representations of the cultural ‘other’. Written by an international team of scholars of translation and material culture, the ten essays in the volume examine the various material shapes, textual forms, and cultural uses of paratexts as markers (and makers) of cultural exchange in early modern Britain. The collection will be of interest to scholars of early modern translation, print, and literary culture, and, more broadly, to those studying the material and cultural aspects of text production and circulation in early modern Europe.
The book explores the discursive and theoretical conditions for conceptualizing the postethnic literary. It historicizes US multicultural and postcolonial studies as institutionalized discursive formations, which constitute a paratext that regulates the reception of literary texts according to the paradigm of representativeness. Rather than following that paradigm, the study offers an alternative framework by rereading contemporary literary texts for their investment in literary form. By means of self-reflective intermedial transpositions, the writings of Sherman Alexie, Chang-rae Lee, and Jamaica Kincaid insist upon a differentiation between the representation of cultural sign systems or subject positions and the dramatization of individual gestures of authorship. As such, they form a postethnic literary constellation, further probed in the epilogue of the study focused on Dave Eggers.