Relevant bibliographies by topics / Paratextual theory

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Paratextual theory'

Author: Grafiati
Published: 19 February 2023

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Journal articles on the topic "Paratextual theory"

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Brombley, Katharine. "Escaping the Strand : the paratextual Sherlock Holmes." Critical Quarterly 60, no. 3 (October 2018): 49–65. http://dx.doi.org/10.1111/criq.12421.

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Brown, E. "Paratextual Communities: American Avant-Garde Poetry since 1950." American Literature 75, no. 1 (March 1, 2003): 205–7. http://dx.doi.org/10.1215/00029831-75-1-205.

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Kumara Sethupathi, R., and G. Vinothkumar. "Fictionalising Trauma: Paratextual Analysis of Select Tamil Novels." Shanlax International Journal of English 9, S1-Dec2020 (December 22, 2020): 55–57. http://dx.doi.org/10.34293/english.v9is1-dec2020.3618.

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Gerald Genette’s concept of paratext widens the horizons of literary canon in multidimensional approaches through textual materials that includes pictorial, title, author, font etc that acknowledges its key notions. In such context, innumerable modes of medium acts as a interlink to highlight the critical concept irrespective of prefixed protocols or notions embedded to the theory. On basis of such interpretation this paper attempts to relocate and redefine the projected idea through the layers of select Tamil novels and their Symbolic connectivity in conflicts of war, trauma, diasporic consciousness, photo realism, expressive images etc. Interpretation of parthenium plant with Srilankan war conflicts and its invisible political sketches through several imagery serves the primary essence of the paratextual sequence in Thamizhnadhi’s Parthenium. A thematic representation of carnatic music to project the cultural and geographical back ground of the protagonists embark on a journey to Paris and the quest for life well characterized in the novel Paris’ukku Po by Jeyakanthan. Vaikom Muhammad Basheer’s Tamil translation work of Balyakalasakhi gives the classic touch of artistic portrait through the brush strokes of certain unhappy occurrence in protagonist’s life. All the descriptions are analytically evolved and careful observations are systematically carried out in elitist view. Moreover the mere study of this paper well clarifies and serves the rich flavours of paratextual elements and traumatic factors that provides valuable and rich essence to the texts as well as clear understanding of the theory.
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Nishikawa, Kinohi. "Mumbo Jumbo’s Paratextual Condition." Papers of the Bibliographical Society of America 116, no. 2 (June 1, 2022): 215–54. http://dx.doi.org/10.1086/720012.

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Howard, Alex. "The Pains of Attention." Nineteenth-Century Literature 69, no. 3 (December 1, 2014): 293–318. http://dx.doi.org/10.1525/ncl.2014.69.3.293.

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Alex Howard, “The Pains of Attention: Paratextual Reading in Practical Education and Castle Rackrent” (pp. 293–318) In Practical Education (1798), Maria Edgeworth and Richard Lovell Edgeworth’s treatise on rationalist pedagogy, the authors define attention as a form of painful “mental labour.” The habit of concentrating, they suggest, must be carefully cultivated before the intellectual pleasure can outweigh the “fatigue” of thinking—and to do so, “those who expect to succeed in the art of teaching” must always remember “that we can attend to but one thing at a time.” Edgeworth’s ironic annotations to Castle Rackrent (1800), however, gleefully flout these rules. By formalizing the separation between narrative and contextual material, the Editor’s footnotes diversify—and intensify—the annotated novel’s claims on its reader’s attention. This essay reframes the Editor’s paratextual interruptions as deliberate pedagogical challenges to the “lazy” adult reader’s stunted faculty of attention. Investigating the phenomenology of paratextual reading, I argue that Edgeworth’s novel aims to empower its readers to gather, to process, and to retain the information that will guide them toward more responsible political judgments and more nuanced methods of knowledge production. Ultimately, by juxtaposing the habits of pleasurable attention required of responsible intellectual laborers with the realities of labor relations on the Irish estate, Edgeworth presents the novel’s pedagogy as a necessary intervention into Anglo-Irish labor relations at the critical moment of Union.
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Ayoub, Dima. "Politics of Paratextuality: The Glossary between Translation and the Translational." Journal of Arabic Literature 51, no. 1-2 (April 6, 2020): 27–52. http://dx.doi.org/10.1163/1570064x-12341399.

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Abstract This article considers the role of the glossary and related paratextual forms, such as introductions and notes, against the backdrop of an expanding corpus of translated Arabic fiction and fiction written in English by Arab authors, arguing that these paratextual elements have become mainstays of the translation industry. Through an analysis of the glossary in particular, this article considers how paratexts disrupt the impasse between translatability and untranslatability. It further examines the glossary beyond its functionality, even utility as a taxonomomical force, and argues that paratexts are a technology wielded by a complex mediating network that produces literary effects and further, a technology that functions in process alongside translation.
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Coldiron, A. E. B. (Anne E. B. ). "Paratextual Chaucerianism: Naturalizing French Texts in Early Printed Verse." Chaucer Review 38, no. 1 (2003): 1–15. http://dx.doi.org/10.1353/cr.2003.0017.

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Hackley, Chris, and Amy Rungpaka Hackley. "Advertising at the threshold: Paratextual promotion in the era of media convergence." Marketing Theory 19, no. 2 (July 15, 2018): 195–215. http://dx.doi.org/10.1177/1470593118787581.

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In the media convergence era, brands are embracing hybrid forms of advertising communication such as branded content, product placement and sponsored TV ‘pods’, brand blogs, shareable video, programmatic advertising, ‘native’ advertising and more, as alternatives to, and extensions of, traditional mass media advertising campaigns. In this article, we draw on Genette’s theory of transtextuality to reframe this phenomenon from a paratextual purview. We suggest that the analogy of the paratext articulates the iterative, ambiguous, participative and intertextual character of much contemporary brand communication. We describe extended examples of paratextual advertising and promotion that illustrate the fluid and mutually contingent relation of advertising text to paratext, and we outline an analytical framework for future research and practice.
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Schachter, Bony B. "Material Apotheosis: The Editions of the Divine Pivot Ready to Hand and the Ritual Underpinnings of Zhu Quan’s Divine Authorship." Acta Orientalia Academiae Scientiarum Hungaricae 73, no. 3 (October 31, 2020): 467–99. http://dx.doi.org/10.1556/062.2020.00021.

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ABSTRACTThis contribution argues that Zhu Quan’s (1378–1448) apotheosis must be interpreted as a paratextual discourse on authorship. Substantiating this claim, this article discusses how the extant editions of the Divine Pivot Ready to Hand construct the king’s divine authorship. In its three sections, the article examines the physical, paratextual and ritual dimensions of his apotheosis. Focusing on the last chapter of the Pivot, it demonstrates that calendars serve as a material cum textual media through which to posit Zhu Quan’s divine status. In a dialogue with the field of ritual studies, the article explains to what degree Zhu Quan’s calendars may be interpreted as an act of ritual textualisation.
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Raine, Sophie. "“Founded on Fact”: Paratextual Politics in Penny Fiction." Victorian Popular Fictions Journal 4, no. 2 (2023): 18–31. http://dx.doi.org/10.46911/cxkv6018.

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In the preface of James Malcolm Rymer’s The Night Adventurer (1846), the writer claims that, contrary to popular opinion, the “masses” were attracted to stories on “account of their truthfulness” rather than “wild, romantic literature” (1846: Preface). Indeed, the ‘factual’ basis for penny serials was so marketable that numerous prefaces, author notes and newspaper advertisements emphasised how these serials were “founded on fact.” While there were sensationalist purposes for using factual biographies of criminals, the use of non-fictional sources has, I argue, a far more philanthropic social purpose which outlines the radical politics of the authors. For penny fiction, which was often deemed as harmless and derivative content, the authority the paratext proffered was vital in demonstrating its active engagement with social and political issues. Penny fiction authors used paratextual space to create authority, establishing affinity between author and reader in order to disseminate and support the moral of the fictional narrative in a more effective way. Writers exploited the unique, composite style of penny fiction, pioneered by George W. M Reynolds in The Mysteries of London (1844–6), to disseminate their political agendas, educate their readership and assert themselves as writers of serious literature.
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Dissertations / Theses on the topic "Paratextual theory"

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Benson, Chloe. "Bi what means : Paratextual and filmic representations of bisexuality in contemporary cinema." Thesis, Federation University Australia, 2016. http://researchonline.federation.edu.au/vital/access/HandleResolver/1959.17/160433.

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The question of how bisexuality, which is predominantly nonvisual and lacks a coherent cinematic code, can be represented in film remains a consistent concern within bisexual cinema studies. Scholars have tended to approach this problem by concentrating on the ways that the film text itself codes bisexuality or encourages a bisexual reading. This approach can offer important insights into the potential for and problems of screening bisexuality. However, this thesis argues that in order to more fully explore how bisexual meaning is constructed, critical attention must extend beyond the confines of the film text to engage in what Jonathon Gray describes as a form of “off-screen studies” (7). By developing a sustained engagement between paratextual theory and bisexual cinema studies this project develops a new methodological approach to filmic representations of bisexuality. Two samples of bisexual films and the official entryway paratexts - such as posters, trailers, and festival program notes - used to promote them are examined. These samples comprise films screened in the period from 2012-2014 on either the Melbourne general release circuit or at the Melbourne Queer Film Festival that have been identified online by viewers as incorporating bisexual meanings. Considering these texts in relation to their exhibition contexts, the thesis demonstrates that bisexual films can be found in diverse settings. It also establishes the impact that these settings have on the ways the films are framed paratextually. Close textual readings illustrate that paratexts can function as discrete texts that circulate bisexual meanings, as well as framings with the potential to prime viewers’ receptivity to onscreen bisexuality. The thesis reveals that the promotional impetus of paratexts can lead to the amplifying or subduing of bisexual readings across exhibition contexts and argues that an understanding of filmic bisexuality must acknowledge this. In sum, the thesis proposes that paratexts play a formative role in the production and circulation of bisexual meanings both on screen and off, within the niche realm of the queer film festival and on the general release circuit.
Doctor of Philosophy
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Books on the topic "Paratextual theory"

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Desrochers, Nadine, and Daniel Apollon. Examining paratextual theory and its applications in digital culture. Hershey, PA: Information Science Reference, an imprint of IGI Global, 2014.

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Paratextual communities: American avant-garde poetry since 1950. Carbondale: Southern Illinois University Press, 2001.

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Beil, Benjamin, Gundolf S. Freyermuth, Hanns Christian Schmidt, and Raven Rusch, eds. Playful Materialities. Bielefeld, Germany: transcript Verlag, 2022. http://dx.doi.org/10.14361/9783839462003.

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Game culture and material culture have always been closely linked. Analog forms of rule-based play (ludus) would hardly be conceivable without dice, cards, and game boards. In the act of free play (paidia), children as well as adults transform simple objects into multifaceted toys in an almost magical way. Even digital play is suffused with material culture: Games are not only mediated by technical interfaces, which we access via hardware and tangible peripherals. They are also subject to material hybridization, paratextual framing, and processes of de-, and re-materialization.
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Ferguson, Sam. The Journal 1889–1939. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198814535.003.0005.

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This chapter addresses the place of Gide’s Journal 1889–1939 in the development of his diary-writing, a work which has long been considered a landmark in the history of the journal intime. Its importance is strange, since most of its contents had already been published in earlier volumes, especially in Gide’s Œuvres complètes (1932–1939). Compared with these earlier publications, the paratextual presentation of the Journal 1889–1939 emphasizes its unity and independence, and makes an unprecedented claim for the diary to constitute a literary œuvre in its own right. In different ways, this publication builds on all Gide’s earlier experimentation with the diary. It provided a model for later diarists to present their diaries as a literary œuvre, and its legacy can be seen in the work of Roland Barthes and Jean-Paul Sartre (both discussed here), who draw on its refashioning of the literary œuvre and author-figure.
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Estienne, Henri. On Books. Edited by Jeroen De Keyser, Noreen Humble, and Keith Sidwell. LYSA Publishers, 2022. http://dx.doi.org/10.54179/2202.

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Henri II Estienne (1531-98) was the most outstanding member of his family’s long-lived publishing dynasty. He continued the work of his father, Robert, by publishing many unedited Greek texts and completing the Thesaurus linguae Graecae (1572), an expensive venture from which his business never fully recovered. His versatility– as publisher, scholar, corrector, lexicographer and poet – can be seen in the paratextual material in his many editions, and in his own original works. This anthology presents a sample from Henri Estienne’s writings across his career and from different genres. These range from letters, to poetry, to essays, to his Encomium of the Frankfurt Fair. They reveal him as a remarkable scholar with an astonishing grasp of Latin and Greek literature, while highlighting also his problems both as a publisher and as a scholar. Estienne’s elaborate essays on the ancient Greek historians Xenophon and Herodotus use ancient examples to support contemporary arguments. His verses preserve a strong sense of the life of a scholar turned businessman, both at work and at play. In remarkably fluid Latin, Estienne reveals in these writings his aspiration to be worthy of his father’s legacy, his affection for family and friends, his humour, and his gripes with other scholars and publishers.
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Shippey, Tom. Hard Reading. Liverpool University Press, 2016. http://dx.doi.org/10.5949/liverpool/9781781382615.001.0001.

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This book makes an argument for the intellectual ambition and intellectual achievement of science fiction, a genre consistently undervalued by professional literary critics. It is pointed out repeatedly how much the genre owes to developments in anthropology, history, and other “soft sciences”; how the authority of the hard sciences is both asserted and challenged; and how the authority of ancient myths and modern values are likewise interrogated, with widely variant results. Science fiction, it is argued, has been a collective “thinking machine” for authors and readers alike, often (and especially in its early years) people without academic experience or intellectual support. It has been (but increasingly less so) a genre for autodidacts. Reading and writing it is nevertheless an education in itself, as the author shows with repeated personal prefaces both to the book as a whole and to each chapter. Science fiction, finally, has its own rhetoric, seen in neologisms, paratextual devices, anachronisms, breaches of stylistic decorum, and the manipulation of degraded information, techniques little understood by and often incomprehensible to critics used only to the conventions of mainstream literature. All these features contribute to the description of science fiction as hard reading, but correspondingly rewarding reading. They have made science fiction the most characteristic literary genre of the twentieth and now the twenty-first centuries.
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O'Sullivan, Carol, and Jean-François Cornu, eds. The Translation of Films, 1900-1950. British Academy, 2019. http://dx.doi.org/10.5871/bacad/9780197266434.001.0001.

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This rich collection of essays by film historians, translation scholars, archivists, and curators presents film translation history as an exciting and timely area of research. It builds on the last 20 years of research into the history of dubbing and subtitling, but goes further, by showing how subtitling, dubbing, and other forms of audiovisual translation developed over the first 50 years of the 20th century. This is the first book-length study, in any language, of the international history of audiovisual translation to include silent cinema. Its scope covers national contexts both within Europe and beyond. It shows how audiovisual translation practices were closely tied to their commercial, technological, and industrial contexts. The Translation of Films, 1900–1950 draws extensively on archival sources and expertise, and revisits and challenges some of the established narratives around film languages and the coming of sound. For instance, the volume shows how silent films, far from being straightforward to translate, went through a complex process of editing for international distribution. It also closely tracks the ferment of experiments in film translation during the transition to sound from 1927 to 1934 and later, as markets adjusted to the demands of synchronised film. The Translation of Films, 1900–1950 argues for a broader understanding of film translation: far from being limited to language transfer, it encompasses editing, localisation, censorship, paratextual framing, and other factors. It advocates for film translation to be considered as a crucial contribution not only to the worldwide circulation of films, but also to the art of cinema.
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Book chapters on the topic "Paratextual theory"

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Markocki, Milosz. "Fame or Infamy: The Influence of Let's Plays on Independent Game Developers." In Paratextualizing Games, 237–56. Bielefeld, Germany: transcript Verlag, 2021. http://dx.doi.org/10.14361/9783839454213-010.

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In Miłosz Markocki's contribution investigates Let's Play Videos and their influence on the development of independent digital games. In two case studies, »Fame or Infamy: The Influence of Let's Plays on Independent Game Developers« tracks whether creative individuals grow artistically as a result ofá paratextual criticism and encouragement, thereby establishing that »Let's Plays of independent games can be treated as a proper communication channel between players and game developers.«
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Marak, Katarzyna. "Benefits of Including Let's Play Recordings in Close Readings of Digital Game Texts." In Paratextualizing Games, 213–36. Bielefeld, Germany: transcript Verlag, 2021. http://dx.doi.org/10.14361/9783839454213-009.

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Katarzyna Marak's chapter focuses on the manner in which performative play-paratextual Let's Play videos-can contribute to a better understanding of digital games in scholarly research and attempts at close reading of the given game text. Using selected examples, the paper demonstrates how a scholar, using Let's Plays, can expand their knowledge concerning possible gameplay experiences of other players, as well as explore the relevant cultural and linguistic limitations of the analyzed game.
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Parina, Elena, and Erich Poppe. "“In the Most Common and Familiar Speech among the Welsh”." In Übersetzungskulturen der Frühen Neuzeit, 79–100. Berlin, Heidelberg: Springer Berlin Heidelberg, 2021. http://dx.doi.org/10.1007/978-3-662-62562-0_5.

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AbstractThis paper presents and analyses the approach of the Welsh recusant author and translator Robert Gwyn (c.1545–c.1600) to the translation of quotations from the Bible and the Church Fathers as it is reflected in both his paratextual comments on translating and in regularities of his translational practice. Gwyn locates his literary work in the larger context of Counter-Reformation activities in Wales for an “unlearned” audience and therefore forcefully argues for the primacy of comprehensibility over strict adherence to the words of the source text. A brief detour for the purpose of contextualization looks at the paratexts of other contemporaneous Catholic and Protestant Welsh translators and at their aims in relation to their projected audiences. Since English loanwords were a feature of spoken Welsh and their use in translations was explicitly vindicated by Gwyn, lexical choices in a range of his versions of Biblical verses are compared with the translation of the same verses in the Protestant Welsh translations of the New Testament dating between 1567 and 1588.
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"Generic Titles: On Paratextual Metareference in Music." In Metareference across Media: Theory and Case Studies, 189–210. Brill | Rodopi, 2009. http://dx.doi.org/10.1163/9789042026711_007.

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Desrochers, Nadine, and Patricia Tomaszek. "Bridging The Unknown." In Advances in Human and Social Aspects of Technology, 160–89. IGI Global, 2014. http://dx.doi.org/10.4018/978-1-4666-6002-1.ch009.

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This chapter presents a dual perspective on the paratextual apparatus of a work of electronic literature, The Unknown: The Original Great American Hypertext Novel by William Gillespie, Scott Rettberg, Dirk Stratton, and Frank Marquardt. Approaches from literature studies and information science are combined to offer qualitative content analyses and close readings of the table of contents, titular apparatus, comments hidden in the source code, and other paratextual elements, in relation to the narrative. Findings indicate that the work's paratextual content presents inconsistencies and contradictions, both in terms of the use of the paratextual structure and of the information conveyed. The paratextual elements are analyzed through the lens of Gérard Genette's theory, as outlined in Paratexts: Thresholds of Interpretation, in order to gauge their role and efficiency as identifiers, organizational components, and information providers, as well as their literary effect. The value of the theory as an interdisciplinary tool is also discussed.
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Saunders, Rebecca Inez. "The Pornographic Paratexts of Pornhub." In Advances in Human and Social Aspects of Technology, 235–51. IGI Global, 2014. http://dx.doi.org/10.4018/978-1-4666-6002-1.ch012.

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“The Pornographic Paratexts of Pornhub” analyses the evolving paratextual elements of the popular porn site Pornhub and considers how its evolving virtual frames interact with the visual texts it displays—online porn films. Engaging with Gérard Genette's Paratexts, some fundamental aspects of this late-twentieth-century paratextual theory are reconceptualised in this contemporary, sexually explicit digital environment. Pornhub is considered in relation to its maturing paratextual elements. Despite the virtual amorphousness and (para)textual porousness of the digital environment—the relevant relationships between text, epitext, peritext and intertext, though clearly delineated with regard to the printed book, become more blurred in a virtual space of infinite, hyperlinked pages—Pornhub has developed numerous tangible frames and stable paratextual features since its emergence in 2007. Given the rigid political, judicial and media conception of what online porn films constitute, it is important to consider the possibility that monolithically negative definitions of filmic pornography may derive not from the hardcore content itself, but from the way in which the films are framed online. How, then, do the paratexts of Pornhub interact with and affect users' reading of the films displayed? In this chapter, individual films from the site are descriptively analysed in relation both to how these visual pornographic texts are influenced by their paratext and how paratextual theory is complicated and renewed through this application.
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Fisher, Anne O. "9. Adapting Paratextual Theory to the Soviet Context: Publishing Practices and the Readers of Il’f and Petrov’s Ostap Bender Novels." In The Space of the Book, edited by Miranda Remnek. Toronto: University of Toronto Press, 2010. http://dx.doi.org/10.3138/9781442686441-013.

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Hobbs, Simon. "Introduction." In Cultivating Extreme Art Cinema, 1–17. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474427371.003.0001.

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This chapter outlines the approaches, definitions, and theories used throughout the book, before giving a structural overview of each chapter. Firstly, the chapter directly addresses the accusations of gimmickry that have been directed towards extreme art film, mapping the reception climate and evaluating the most popular and widespread responses. From this, it becomes clear that a lack of attention has been paid to the commercial identity of the film, and the way extremity informs its commercial persona. Thereafter, the chapter historicises extreme art cinema, positioning it as an outcome of taste slippage, and the blurring of boundaries between art cinema and exploitation cinema. By paying particular attention to representations of the body within both highbrow and lowbrow cinema, the chapter argues that convincing similarities exist between the cinematic traditions. Additionally, the chapter challenges the popular Francophile definition of extreme art cinema, broadening the geographic scope of the field by looking at films from Denmark, Sweden, Spain, Italy and Belgium. Finally, the chapter introduces paratextual theory, and details the way the preeminent ideas will be applied to the discussion of extreme art film paratexts.
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"Reading Trench reading Richardson." In Historical Dictionaries in their Paratextual Context, 1–22. De Gruyter, 2018. http://dx.doi.org/10.1515/9783110574975-001.

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"Did Anne Maxwell print John Wilkins’s An essay towards a real character and a philosophical language (1668)?" In Historical Dictionaries in their Paratextual Context, 23–56. De Gruyter, 2018. http://dx.doi.org/10.1515/9783110574975-002.

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