This study examines the Korean translations of a Japanese work Joshi no rongo [女子の論語/Women’s Analects] (Yuki, Ako [祐木亜子]. 2011. 女子の論語. Tokyo: Sunmark Publishing House), a modern interpretation of the Chinese classic The Analects, with a view to identifying how the paratexts of a translated text contributed, or hindered the reception of the work in the target culture. By drawing on Gérard Genette’s (1997 [1987]. Paratexts: Threshold of interpretation, Jane E. Lewin (trans.). Cambridge: Cambridge University Press) concept of “paratexts,” this study (...) both analyses translation shifts in the peritexts (e.g., cover, foreword, table of contents) and the epitexts (reviews) of the Korean translations. The analysis shows that the additions and rearrangements of some paratextual elements in the Korean translation further reinforced the traditional view presented in the source text, which ironically brought about heavy criticisms of the original Japanese text and resulted in the Korean retranslation of the work. The scrutiny of peritexts and epitexts in this article will enhance our understanding of the interactions between the translator, the publisher, and the public readers, which jointly contextualize the production and reception of a translated work in a given culture. (shrink)

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. (shrink)

"Cover"--"Title" -- "Copyright" -- "Dedication" -- "Contents" -- "List of Figures" -- "Acknowledgements" -- "1 Introduction" -- "Limina" -- "Anticipation and Recapitulation" -- "Problems of Cinematic Paratext" -- "2 Narrative Exposition" -- "Pseudo-independence" -- "Intratextuality" -- "3 Expositional Modes" -- "The Allegory Mode" -- "Lexical Expertise" -- "4 The Comment Mode" -- "Narrative Futurity" -- "Intertextuality and Quotation" -- "5 The Summary Mode" -- "Complex Summary" -- "Narrative Restatement" -- "6 The Prologue Mode" -- "Realist Integration" -- "Expository Texts" (...) -- "7 Conclusions" -- "The Paradoxes of Cinematic Paratext" -- "Typography and Pseudo-independence" -- "The Ideology of Naturalism::Stylization. (shrink)

The Supreme Court”, first published in 1987, is a concise and informative narrative of the highest court in the USA. It contains much that is of interest and probing about the court and the intrigues of its decision-making. Moments abound when the reader is taken on a journey through the humanity of the cases, the erudite corridors of high-law and into the intensely high-strung but level-headed hallowed chambers of the Justices and Justice. What is revealed is the exacting mask of (...) law, the humanity and affectations of those whose burden it is to deliver far-reaching judgment on the American people. However, more revealing of the storyline is, perhaps, not so much the woven narratives contained within the three pages of text as it is the peripheral story (what Gerard Genette called the ‘paratext’) unfolded in the cover wraps, what they contain and the stories they weave. In this paper, I examine the liminal devices of ‘The Supreme Court’. I argue that much of the systemic cognition of the legal system can be divined from a scholarly encounter with these elements. Furthermore, the paratexts of two editions of the book indicate a paradigmatic shift in the legal perception of both the Supreme Court and the author between the periods of publication. This underscores the law not only in its reactive form but also in its dexterity in shifting its position to reflect the reality of its time. On each occasion, it alters the legal consciousness of a nation. Yet, it stays remarkably stable and self-effacing. The essential question is one of deference. It is of great interest that the Chief Justice targets the informed and the interested as opposed to the ignorant and ambivalent. The liminal devices, I observe, are probably as eloquent with this message as the text within. The paratext bears testimony to this. -/- Keywords. (shrink)

When Johannes Hevelius’ Selenographia, sive Lunae descriptio (Selenography, or A Description of The Moon) was printed in 1647, its rich paratext featured a portrait epigram and a collection of nine Neo-Latin poems praising the first book of the Danzig (Gdańsk) astronomer. The present article examines these ten poems as a place where Hevelius’ authority as an author and astronomer is being constructed, focusing on the fictionalized and fictional relationships between Hevelius and other authorities depicted in the text. In a (...) sort of kaleidoscope, the poems relate Hevelius to prominent astronomers like Galileo and Copernicus, to Columbus, the paragon of the discoverer, to figures from ancient myth, and even, in the form of anagrams, to his own name. Moreover, they highlight Hevelius’ personal qualities as an astronomer, as a member of the realm of literature, and as a citizen of Danzig. The image of the author that emerges from the poems asserts Hevelius’ place in the public space of literature and fashions him into an authoritative figure at the threshold of his text. (shrink)

The mythological Yellow Emperor has long been familiar to students of early Chinese literature as the patron or alleged author of texts and thus as the origin of important knowledge. This article explores how the Yellow Emperor could be used to organize information in the compilation of heterogeneous texts. I argue that the manuscript text Shiliu jing from the early Han tomb three at Mawangdui derives chronological order from the narrative framing as dialogues between the Yellow Emperor and his interlocuters. (...) The chronological order becomes visible in part through the different titles used for the Yellow Emperor. The recognition of the paratextual function of the Yellow Emperor narrative not only orders the heterogeneous material compiled in the text but also provides additional interpretive cues. (shrink)

In the wake of the digital, some have recommended that we abandon the tedium of teaching handwriting to children in service of promoting “more creative” digital literacies. Others worry that an early diet of keyboard and screen may have deleterious effects on children's social, emotional, and cognitive development, as well as their physical well-being. Yet in this debate, the algorithmic scripts and digital surfaces underwriting these new reading, writing, and mathematical practices are, with a few notable exceptions, almost exclusively ignored. (...) In this essay, Catherine Adams asks whether the digital, and the reading and writing spaces it affords, are of consequence to our habits of thinking and ways of being, particularly in light of the possible obsolescence of pen and paper in schools. She shows that writing using a word processor is no mere mechanical pressing of keys, but an intricate ballet of writerly reading eyes and readerly writing hands, caught up in a dynamic environment of algorithmic paratexts and copy-cut-paste thinking. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:diacritics 35.1 (2005) 136-146MuseSearchJournalsThis JournalContents[Access article in PDF]The Christian Bain de Diane, or the Stakes of an Ambiguous ParatextPatrick AmstutzTranslated by Gerald MooreUpon its publication, Le bain de Diane elicited few reactions on the part of criticism. Klossowski's name was still a secret and, despite its note among writers such as Bataille, Beauvoir, Camus, Parain, and Sartre and their public following, the number of readers to have read this (...) fifth work remained confined to those already familiar with Klossow-ski the essayist (Sade mon prochain, Méditations bibliques de Hamann), or the novelist (La vocation suspendue, Roberte, ce soir). The discreet silence that characterized the first reception of Le bain de Diane would last until the end of the seventies, despite a reedition in 1972 by the same publisher. During this time three important moments made Le bain de Diane resurface at the heart of the literary world: first, in fictional form, thanks to a subtle but explicit homage paid by Henri Thomas [Le promontoire]; second, in the form of a penetrating commentary article by Michel Foucault ["La prose d'Actéon"], and finally, at the hands of René Micha and Catherine Backès-Clément, key contributors to the issue that the review L'Arc dedicated to the writer. The reedition of Le bain de Diane by Gallimard1 would significantly relaunch interest in this work which, one comes increasingly to realize, is a major text in the Klossowskian oeuvre: offering a reflection on the image and writing, it was Gilles Quinsat who would open this new period of critical reception.An Uncertain IdentityQuinsat emphasizes the "series of 'tableaux' that glazes Le Bain de Diane" in accordance with a "circular" descriptive movement, he says, "from vision to commentary, attributed to the deferral without end of signs, and which feeds the entire work of Pierre Klossowski" [95]. And if he borrows the term "exegesis" from Foucault to describe the genre of the work, he immediately associates it with that of "narrative." A quarter of a century earlier, a commentary in the new Nouvelle revue française had already underlined the "disconcerting" character of Klossowski's book, by accentuating not only the strangeness of its thematic, but also the difficulties posed by the uncertainty of its generic belonging (which is echoed by the absent mention of a paratext): the critic, hesitating, suggested somewhat confusedly a typological kinship with philosophical commentary, theological scholasticism, prose poetry, series of paintings, historical narrative and even the analysis of myths [Amer 144]. In fact, this mythological "reverie," neither an essay nor a narrative, is, from this point of view, a typically Klossowskian [End Page 136] book, as Ian James has more recently reminded us [143]. Le bain de Diane mixes erudite commentary and narrative discourse so well that it entices its commentators into the traps of scholarly, historical, and philological annotation. Yet this would be to forget, as Maurice Blanchot has observed [92–94], that the written oeuvre of Klossowski belongs fully to the field of literature, even more so than to those of philosophy, theology, or psychoanalysis.When it comes to discerning the literariness of this literary object, which the different paratextual and intertextual stakes and levels underline, the principal difficulty consists in not losing oneself in a mythological labyrinth and innumerable variants of the cult of Artemis, which was one of the most significant, oldest, and popular cults of the Greco-Roman era and which plunges into a world on whose complexity historians and philologists have insisted on many occasions. The study of Klossowski's sources could lead one through multiple disciplines (philology, mythography, psychoanalysis, the history of religions, history of art, French literature—all centuries cobbled together, and so on) to overly vast inquiries: the goddess "of a thousand names" assumes a properly vertiginous semiotic richness, and the cult of Artemis, before being linked to that of Apollo, stretches back to time immemorial where, behind Artemis, can be glimpsed the Asiatic figure of a Great Mother Goddess, whose... (shrink)

Résumé Le présent article décortique, avec une approche sémiotique, l’index que l’on retrouve à la fin d’un livre. L’objectif est double : faire ressortir les processus de signification en jeu dans l’index et reconnaître la création sémiotique réalisée par l’analyste documentaire. L’index est un assemblage de signes, soit les vedettes, les localisateurs ainsi que diverses caractéristiques de la représentation spatiale ; leur signifiant renvoie à leur signifié respectif. L’index dans sa totalité représente un texte sémiotique, d’un genre spécifique, et dont (...) l’interprétation repose non seulement sur les expressions linguistiques elles-mêmes, mais aussi sur la structure des entrées et sur les liens tissés avec les passages de l’ouvrage indexé. L’index peut paraître une structure objective, proposant une version épurée et stable du contenu d’un document. Or, l’analyse sémiotique proposée ici révélera d’une part la structure malléable de l’index et d’autre part l’interprétation flexible et la subjectivité injectées dans sa construction. Après une description plus approfondie du contexte et de la problématique, nous décrivons d’abord l’aspect formel de l’index, soit les signes impliqués et la manière dont ils sont agencés. Nous abordons ensuite l’aspect interprétatif de l’index, notamment les facteurs qui influencent son interprétation. Ceci nous amène à décrire en détail la structure logique de l’index. Cet exercice un peu scolaire d’un outil qui peut sembler familier permettra de mettre en lumière des jeux de signification normalement passés sous silence. (shrink)

In the paper the fragment transmitted by Ausonius and ascribed to Quintus Cicero on the signs of the zodiac is analysed in terms of language, transmission history and intertextuality. As a result, authorship by Q. Cicero must be regarded with great scepticism.

Unter den Leitbegriffen >PluralisierungAutorit tSattelzeit.

Electronic text can be defined on two different, though interconnected, levels. On the one hand, electronic text can be defined by taking the notion of “text” or “printed text” as the point of departure. On the other hand, electronic text can be defined by taking the digital format as the point of departure, where everything is represented in the binary alphabet. While the notion of text in most cases lends itself to being independent of medium and embodiment, it is also (...) often tacitly assumed that it is in fact modeled on the print medium, instead of, for instance, on hand-written text or speech. In late 20th century, the notion of “text” was subjected to increasing criticism, as can be seen in the question that has been raised in literary text theory about whether “there is a text in this class.” At the same time, the notion was expanded by including extralinguistic sign modalities (images, videos). A basic question, therefore, is whether electronic text should be included in the enlarged notion that text is a new digital sign modality added to the repertoire of modalities or whether it should be included as a sign modality that is both an independent modality and a container that can hold other modalities. In the first case, the notion of electronic text would be paradigmatically formed around the e-book, which was conceived as a digital copy of a printed book but is now a deliberately closed work. Even closed works in digital form will need some sort of interface and hypertextual navigation that together constitute a particular kind of paratext needed for accessing any sort of digital material. In the second case, the electronic text is defined by the representation of content and (some parts of the) processing rules as binary sequences manifested in the binary alphabet. This wider notion would include, for instance, all sorts of scanning results, whether of the outer cosmos or the interior of our bodies and of digital traces of other processes in-between (machine readings included). Since other alphabets, such as the genetic alphabet and all sorts of images may also be represented in the binary alphabet, such materials will also belong to the textual universe within this definition. A more intriguing implication is that born-digital materials may also include scripts and interactive features as intrinsic parts of the text. The two notions define the text on different levels: one is centered on the Latin, the other on the binary alphabet, and both definitions include hypertext, interactivity, and multimodality as constituent parameters. In the first case, hypertext is included as a navigational, paratextual device; whereas in the second case, hypertext is also incorporated in the narrative within an otherwise closed work or as a constituent element on the textual universe of the web, where it serves the ongoing production of (possibly scripted) connections and disconnections between blocks of textual content. Since the early decades of early 21st century still represent only the very early stages of the globally distributed universe of web texts, this is also a history of the gradual unfolding of the dimensions of these three constituencies—hypertext, interactivity, and multimodality. The result is a still-expanding repertoire of genres, including some that are emerging via path dependency; some via remediation; and some as new genres that are unique for networked digital media, including “social media texts” and a growing variety of narrative and discursive multiple-source systems. (shrink)

SUMMARYEighteenth-century scientific translation was not just a linguistic or intellectual affair. It included numerous material aspects requiring a social organization to marshal the indispensable human and non-human actors. Paratexts and actors' correspondences provide a good observatory to get information about aspects such as shipments and routes, processes of translation and language acquisition, texts acquisition and dissemination.The nature of scientific translation changed in France during the second half of the eighteenth century. Beside solitary translators, it also happened to become a collective (...) enterprise, dedicated to providing abridgements or enriching the learned journals with full translations of the most recent foreign texts. That new trend clearly had a decisive influence on the nature of the scientific press itself. A way to set up science as a social activity in the provincial capital of Dijon, translation required a local and international network for acquiring the linguistic and scientific expertise, along with the original texts, as quickly as possible. Laboratory results and mineralogical observations were used to compare material facts with those described in the original text. By providing a double kind of validation – with both the experiments and the translations – the laboratory thus happened to play a major role in translation. (shrink)

The metaphor of parasites or parasitism has dominated literary critical discourse since the 1970s, prominent examples being Michel Serres in France and J. Hillis Miller in America. In their writings the relationship between text and paratext, literature and criticism, is often likened to that between host and parasite, and can be therefore deconstructed. Their writings, along with those by Derrida, Barthes, and Thom, seem to be suggesting the possibility of a semiotics of parasitism. Unfortunately, none of these writers has (...) drawn enough on the biological foundation of parasitism. Curiously, even in biology, parasitism is already a metaphor through which the signified of an ecological phenomenon involving two organisms is expressed by the signifier of “[eating] food at another’s [side] table”. This paper will make some preliminary remarks on semiotics of parasitism, based on the notions of Umwelt (Jakob von Uexküll) and structural coupling (Maturana and Varela). It will look into the phenomenon of co-evolutionary process in community ecology. With reference to empirical history, the project will briefly surveythe literary and medical praxis of the 17th century England where large number of creative writings referred to the phenomenon of parasitism, which was deeply embedded in religious practice (e.g., the Eucharist) and political life (e.g., the courtier ecology in monarchy) of the times. Finally, it will touch upon the possible ‘parasitic’ relationship between language and biology. (shrink)

This paper surveys the rhetorical works of the so-called School of Gaza of the late fifth and early sixth centuries in light of the recent wave of scholarship on the School. It focuses on themes, rhetorical genres, and structural features. The Gazan repertoire includes “real life” orations, declamations, dialexeis, progymnasmatic pieces, and oratorical paratexts such as preliminary dialexeis and protheōriai. The paper seeks to provide a map to this important but neglected body of texts, synthesizing recent scholarship and adding some (...) of the author’s own observations along the way. (shrink)

Die vorliegende Studie fragt nach der Relevanz, mittelalterlicher' Sujets in der Oper der frühen Neuzeit und versucht mithin den Beitrag des Genres, das sich mit Blick auf seine humanistisch-renaissancezeitlichen Wurzeln gemeinhin eher als Sachwalter und Vermittler antiker (Stoff-)Traditionen darstellt, für eine Rezeption des, Mittelalters' als einer historischen Periode an der Wende vom 17. zum 18. Jahrhundert zu bestimmen. Ihren Ausgangspunkt nimmt die interdisziplinär angelegte Untersuchung von einer ausgreifenden heuristischen Erschließung entsprechender Stoffe und Werke an 15 bedeutenden Opernzentren im Reich, in (...) Italien, Frankreich und England. Ein signifikantes Resultat dieser Bestandsaufnahme ist der speziell für das norddeutsche Musiktheater um 1700 charakteristische Typus der, dynastischen Mittelalteroper', der sich für die Fragestellung und Perspektive der Arbeit als überaus fruchtbar erweist und dem sich die detaillierten Analysen des Hauptteils in ihrer jeweiligen Zusammenschau von konkretem Libretto (Haupt- und Paratexte), Partitur, zeitgenössischer Inszenierungspraxis und kulturgeschichtlichen Kon-texten eingehend widmen. Dabei werden nicht nur die Verschiebungen aufgezeigt, die zwischen höfischer (Braunschweig, Hannover) und städtischer bzw. stadtrepublikanischer (Hamburg) Repräsentations- und Memorialkultur zu Tage treten, sondern auch Spielräume des Dramma per musica - das im Anschluss an den aktuellen historisch-wissenschaftlichen Diskurs der Zeit auf das, Mittelalter'als Ursprungs- oder Frühraum der je eigenen Geschichte rekurriert - zwischen politisch motivierter Funktionsoper einerseits und genuiner Historienoper andererseits offengelegt. (shrink)

Andrea Bréard Même si aucune source métadiscursive sur les mathématiques elles-mêmes n’a été transmise de la Chine ancienne et prémoderne, des réflexions ont été menées sur les objets mathématiques et sur la boîte à outils des praticiens. Cet article montre comment elles sont insérées dans les traités mêmes en prenant en particulier l’exemple d’un domaine de la théorie des nombres qui a évolué en Chine du premier à la fin du xixe siècle. Ces réflexions sont dispersées entre textes, paratextes et (...) diagrammes tout en empruntant des concepts et des figures iconiques d’autres contextes de nature philosophique. (shrink)

Introduction: Time travel and the mechanics of narrative -- Macrological fictions: evolutionary utopia and time travel (1887-1905) -- Historical interval I: the first time travel story -- Relativity, psychology, paradox: Wertenbaker to Heinlein (1923-1941) -- Historical interval II: three phases of time travel--the time machine -- The big time: multiple worlds, narrative viewpoint, and superspace -- Paradox and paratext: picturing narrative theory -- Theoretical interval: the primacy of the visual in time travel narrative -- Viewpoint-over-histories: narrative conservation in Star (...) Trek -- Oedipus multiplex, or, the subject as a time travel film: Back to the future -- Conclusion: The last time travel story. (shrink)

In order to understand why Orlando was not published in Spain until 1977, almost forty years after the original publication in England, the Francoist regime context is analyzed in this reflection paper, as well as the editorial censorship and self-censorship procedures. It is assumed that this novel by Virginia Woolf is an example of the latter, based on the censorship criteria established by Abellán, since the text transgressed at least three of them. Moreover, the first translation of Orlando in Spain, (...) carried out by Enrique Ortenbach, is analyzed and compared to the one by Borges, not only the first translation of this novel to Spanish, but also the most popular and commercial to date, in order to determine the motivations to commission this retranslation to Ortenbach and the features of this text, in the light of the changes in the Spanish social context. To this end, the paper also draws from the concepts and practices of paratexts, retranslation, and translation criticism. It is concluded that the retranslation by Ortenbach is active, according to Pym’s proposal, and that it could have been dictated by the commercial success of the film adaptation of the novel in 1992. Also, although the translation decisions are not linked to the Spanish social changes, Ortenbach retrieves from the original the feature of Orlando’s gender distinction, through the use of the personal pronouns she/he when alluding to the character. (shrink)

Die "Consolatio philosophiae" von Boethius war im Mittelalter ausserordentlich verbreitet. Als eines der wichtigsten Werke der mittelalterlichen Ethik und zugleich Schullektüre wurde sie häufig kommentiert und in die Volkssprachen übertragen. Die in MS. Hamilton 46 der Bodleian Library, Oxford, überlieferte, 1465 abgefasste Übersetzung ist eine von insgesamt vier noch erhaltenen deutschsprachigen Versionen der Trostschrift, die in der 2. Hälfte des 15. Jahrhunderts unabhängig voneinander entstanden sind. Nur im Oxforder Codex wird die deutsche Übersetzung mit ihrer lateinischen Vorlage samt lateinischer Glossen (...) überliefert. Dadurch ist eine einzigartige Grundlage gegeben, von der aus die Arbeitsweise und Intention des Übersetzers genau untersucht werden kann. In der vorliegenden Publikation wird der Boethius-Text der Hamiltoner Handschrift, der sich aus Grund-, Paratext und deutscher Übersetzung zusammensetzt und im Original nur sehr schwer zu lesen ist, zum ersten Mal in Form einer wissenschaftlichen Edition und Studie zugänglich gemacht. Der synoptischen Edition des lateinischen Basistextes samt vielschichtiger Glossen und der deutschen Fassung folgen ein vergleichender Kommentar und zwei Glossare, welche jeweils Übersetzungstechniken und Wortschatz eingehend erschliessen. Der Edition vorausgeschickt ist eine Studie, die sich mit der Sprache und Provenienz der Übertragung, ihrem Entstehungs- und Verwendungskontext, ihrer Stellung innerhalb der deutschen "Consolatio"-Tradition, ihrer Abhängigkeit vom lateinischen Text und den Glossen, mit dem lateinischen Grund- und Paratext sowie den unterschiedlichen Textherstellungsphasen detailliert befasst."--Page 4 of cover. (shrink)

John Kinsella is an important literary witness to the acknowledgement of native title in Australia, and Indigenous rights more generally. His writings also bear witness to continuing forces of resistance to those rights in Australian society. This paper traces Kinsella’s engagement with the Mabo case, the 1992 legal decision that recognised native title as part of Australian law, and rejected the fiction that Australia was terra nullius at the time of British colonisation. Focusing on “Graphology: Canto 5” and other texts, (...) it argues that Kinsella presents a sustained reflection on the implications and the limits of this decision, in law and in wider cultural understandings and practices, through poetic allusions, paratexts and personal commentary. His writing since the mid-1990s reveals an acute awareness of how imported concepts of property and law are concealed within Western poetic traditions such as pastoral. To counter the effects of this ideology, Kinsella interpolates and appropriates terms from the discourse of property law, juxtaposing them against other ways of understanding and living in the land. In several collections, but especially in Jam Tree Gully, he seeks to develop an ethically reflective account of ownership of land taken from others, critiquing the dominant idea of property and articulating an alternative way of living in the land based on co-existence. The rights of the dispossessed traditional owners are central to a new mode of “writing the land.”. (shrink)

Marsilio Ficino’s fame as a translator, not least due to his contributions to theology and the development of hermeticism, has already been established by Frances Yates and debated by Wouter Hanegraaff. For each of his translations of Greek texts, Ficino wrote a preface to guide and to manipulate the reader. This paper presents an analysis of the auctoritas in the paratext of the Corpus Hermeticum, analyzing it as a rhetorical device used by Ficino to express his ideas, particularly the (...) role of Hermes Trismegistus. Ficino used his rhetorical skill not only to translate from Greek to Latin but also to support his theories in commentaries, letters, or, in this case, prefaces. (shrink)

In 1611 the King James Bible was printed with minimal annotations, as requested by King James. It was another of his attempts at political and religious reconciliation. Smaller, more affordable, versions quickly followed that competed with the highly popular and copiously annotated Bibles based on the 1560 Geneva version by the Marian exiles. By the nineteenth century the King James Bible had become very popular and innumerable editions were published, often with emendations, long prefaces, illustrations and, most importantly, copious annotations. (...) Annotated King James Bibles appeared to offer the best of both the Reformation Geneva and King James Bible in a Victorian context, but they also reignited old controversies about the use and abuse of paratext. Amid the numerous competing versions stood a group of Victorian scholars, theologians and translators, who understood the need to reclaim the King James Bible through its Reformation heritage; they monumentalized it. (shrink)

This paper considers how players of Magic: The Gathering (MTG) limited draft turn their acquired gameplay style or disposition (their MTG “gamer habitus”), with respect to drafting, into an object of knowledge. This is done in order to then consciously rework it, to respond to new formats and to the changing metagame. I will focus on a particular case study: how streamer Chord_O_Calls' instructional video shows his own re-evaluation of certain cards. Evidently, it is a process requiring reflexivity, although I (...) aim to be specific with regard to the particular “form of reflexivity” involved. I distribute this outward to the MTG “habit assemblage” (an ensemble of techniques, things, relations) and argue that any individual player's instantiation of this reflexivity involves a practice-based synthesis of paratexts from the MTG habit assemblage that is not codified but is shaped by the assemblage. This leads to a consideration of the “intelligence” and limits of not only particular habits but that of the MTG “habit assemblage” itself. I argue that the broader socio-technical significance of the form of reflexivity that is being proliferated here is one which is defined by its flexibility, by an attentional style of delayed and shifting categorization. (shrink)

Although Sartre denounces Descartes' two principles, he nevertheless draws inspiration from him. No doubt this is close to being paradoxical; we shall have to be no less paradoxical in our explanation. For although the text entitled “Cartesian Freedom,” which introduces a volume of selections from Descartes, , confers some coherence on this apparent non-sense, once the texts surrounding this work have been taken into account, we have to conclude not only that this text predates , even though it was published (...) afterwards, but that it is a collection of Descartes' writings on Sartre, even though it is a writing by Sartre on Descartes. For beyond the Sartrean analysis of the Cartesian analyses of the , we find Sartre's existential psychoanalysis of his predecessor, in which takes place not a transference, but a counter-transference. French S'il déclame contre les deux principes qui sont ceux de Descartes, Sartre se réclame pourtant de lui. Sans doute n'est-il pas à un paradoxe près. Reste qu'il nous faudra ne pas l'être moins pour expliquer le sien. Car certes, le sens du texte qu'il intitule « La li berté cartésienne » et qui articule ce volume de morceaux choisis qu'est Descartes 1596-1650 confère quelque cohérence à cet apparent non-sens. Mais une fois présenté de cette œuvre le paratexte, il nous faudra affirmer non seulement que celle-ci se lit avant L'être et le néant quoiqu'elle ait été publiée après, mais, plus encore, qu'elle est un ensemble d'écrits de Descartes sur Sartre quoiqu'elle soit un écrit de Sartre sur Descartes. C'est qu'outre l'analyse sartrienne des analyses cartésiennes de la Méditation quatrième , on y trouve une psychanalyse existentielle par l'auteur de son devancier, à l'occasion de laquelle a lieu non pas un transfert, mais un contre-transfert. (shrink)

A table of contents is a kind of document representation as well as a paratext and a kind of finding device to the document it represents. TOCs are very common in books and some other kinds of documents, but not in all kinds. This article discusses the definition and functions of ToC, normative guidelines for their design, and the history and forms of ToC in different kinds of documents and media. A main part of the article is about the (...) role of ToC in information searching, in current awareness services and as items added to bibliographical records. The introduction and the conclusion focus on the core theoretical issues concerning ToCs. Should they be document-oriented or request-oriented, neutral, or policy-oriented, objective, or subjective? It is concluded that because of the special functions of ToCs, the arguments for the request-oriented view are weaker than they are in relation to indexing and knowledge organization in general. Apart from level of granularity, the evaluation of a ToC is difficult to separate from the evaluation of the structuring and naming of the elements of the structure of the document it represents. (shrink)

Abstract:This article analyzes the use of classical references in Monica Youn's collection Blackacre. Inspired by rhizomatic models of classical reception studies, my reading focuses on the relationship between classical references in the body of the poems, on the one hand, and classical references in the paratexts on the other hand. I argue that Youn's oblique engagement with classical material exposes the limitations of an arborescent or genealogical model of reception and, on a related note, the constraints imposed by the construct (...) of the canon as Youn leverages the heterogeneity of Asian American literature to resist the idea of a simple, hierarchical, one-way classical canon. (shrink)

The name heading a text signifies a pledge of responsibility for the content. Even when the author is not part of the narrative proper, references to his/her name do more than supply factual information. Though ultimately the author is only what readers make him/her to be, s/he is nevertheless a powerful and important figure of reading or understanding that is activated to some extent in all texts. Thus the author’s name is as much part of a text and of our (...) understanding of it as the content itself and yet it is strangely ‘paratextual’, straddling the text and the world outside it. This chapter looks at how ancient authorial ascriptions function as paratexts—focussing on the kind of authority they claim for the text, and how that authority may in some cases be faked. The chapters considers, in particular, sphragides—closing authorial statements in Roman poets—and the authorial voices they express. (shrink)

In addition to two Czech translations of Thomas More’s Utopia—one from 1950 by Bohumil Ryba, the other from 1911 by Jiří Foustka—More’s imaginary society has been introduced into the Czech context through prefaces and afterwords that accompanied the translations, through journalistic essays, and through a number of scholarly articles and book-length studies. Drawing on several such recently published accounts of More’s life and his work, the following pages first sketch contemporary debates about Utopia in the Czech Republic. Subsequently, I devote (...) myself to the translations by Ryba and Foustka. Besides discussing them in detail, I consider the paratexts, alongside selected critical studies as well... (shrink)

Did you know that More’s Utopia was first translated into French in 1550, into Hungarian in 1910, into Mandarin in 1935, into Brazilian Portuguese in 1937, into Polish in 1947, and into Greek as late as 1970? Did you know that there were more translations of Utopia into French at the time of the Enlightenment and the French Revolution than at any other point in French history? That the readers of the second translation into Hungarian never got to know that (...) there was no private property on the island of Utopia? That there is a translation into Mandarin that, although it excludes most of the original paratexts, offers 191 individual illustrations and images? That the first direct translation into... (shrink)

The “Chu shuo” 儲說 chapters of the Hanfeizi 韓非 子, attributed to Han Fei 韓非, encompass an extensive collection of anecdotes. The jing 經 sections of these chapters are traditionally understood to be a set of “canonical” teachings, to be explicated by the anecdotes in the shuo 說 sections. Eschewing this assumption, my analysis substantiates an alternative hypothesis that sees many of the jing texts as later superimpositions intended to serve as paratexts to existing anecdotal collections. By interpreting the jing (...) and shuo sections as paratexts and main texts, respectively, this study reveals how early compilers sought to organize and inventory information, as well as to guide future users’ understanding and memorization of the anecdotal materials. This approach not only facilitates the reconstruction of early frameworks of information management and knowledge acquisition, but also places the “Chu shuo” chapters in a comparative context. It also proffers new answers to several long-standing philological debates, such as the meaning and function of the label yi yue 一曰. In its conclusion, this study draws attention to potential continuities between the pre-imperial and imperial periods’ textual and bibliographical practices. (shrink)

This work studies an artistic way of narrating an exile without having to resort to direct words such as violence or crime. Max Aub, a Spanish exile in Mexico, published his personal magazine Sala de Espera in Aztec lands. In the section called “Zarzuela,” he compiled a series of short stories entitled Crímenes, which later, for its edition in book format, he called Crímenes ejemplares. The short stories are a series of humorous confessions about various types of murders narrated by (...) the "murderers," so that they seem real testimonies. Throughout the three editions of this book, during Aub's lifetime, the author incorporated a series of "clues" in the paratexts with the aim of referring to the social phenomena of the time, especially those related to the situation with the Franco regime, the Cold War —historical context of the time of Aub's exile in Mexico— and the events that would take place in Mexico and Paris in 1968. For example, this last nod to the violent events of that summer of 68 is represented with a painting that evokes the French gang Bonnot, dedicated to bank robberies to destabilize the economy of the richest. This is an example of how the writer related the fiction of the crimes to real events, in such a way that a kind of dilution between the real and the imaginary arises. (shrink)

The shadow cast by National Socialism over the German academic world, and Koselleck’s close relations with the Nazi lawyer Carl Schmitt, constitute a challenge for a historical inquiry of Koselleck’s historiography. To address this challenge, I propose a ‘close contextual reading’ of an article published in 1965 (‘Geschichtliche Prognose in Lorenz von Steins Schrift zur preussischen Verfassung’) in which Koselleck puts forward one of his major diagnoses of how the conception of history had evolved since 1750. This article praises Lorenz (...) von Stein (1815–1890), a German public administration scholar and lauds him as a model after the French Revolution. 15 years later, Koselleck showed how much he valued this article by including it in his historiographic manifesto: Futures Past: On the Semantics of Historical Time (1979). To try to grasp the meaning and the historiographical, academic, and political issues raised by this diagnosis, I will start from the text, from the portrait that Koselleck draws of the historian in it, from its paratext, its references, its editorial history. As a result, this article proposes a specific way of contextualizing, and highlights the extent to which the label ‘theory’ represented a battleground in West Germany in the 1960s and 1970s. (shrink)