Search results for "Paratext"
showing 10 items of 21 documents
El «Llibre de les Bèsties» (1287-1289) de Ramon Llull: anàlisi d'adaptacions infantils i juvenils
2020
En aquest article presentem una anàlisi de les sis adaptacions que del Llibre de les Bèsties (1287- 1289) es van publicar per al públic infantil i juvenil amb motiu de l’Any Llull (2015-2016). Després de presentar la figura de Ramon Llull com a escriptor de referència en l’època medieval i de situar Llibre de les Bèsties dins de la producció literària de Llull, analitzem els paratextos extratextuals i textuals de les sis adaptacions aquí estudiades. La presentació i l’anàlisi d’aquests paratextos ens permet determinar, d’una banda, a quin tipus de nivell lector va adreçada cada adaptació i quin treball didàctic en pot resultar; i, d’altra banda, com el missatge que Llull transmet en aquesta…
La Edad de Plata dedicada: mapas del paratexto y de las redes culturales en la obra poética de las escritoras españolas (1901–1936)
2019
La presente Tesis doctoral se propone analizar las redes de colaboración, apoyo y afecto que llevaron a cabo las poetas españolas de la Edad de Plata (1901-1936) que publicaron sus libros durante este periodo en lengua castellana, para el impulso de su personalidad autoral y la profesionalización de su escritura. Asimismo, pretendemos recuperar la memoria de estas autoras a través de la búsqueda de material histórico inédito y de sus archivos personales, en el caso de que se encuentren preservados. Para reconstruir estas relaciones entre poetas, así como con otros agentes culturales, partiremos de los elementos paratextuales que rodean al texto literario: prólogos, epílogos, dedicatorias o …
Autopsie einer Graphic Novel: Dostoevskijs Prestuplenie i nakazanie (1866) in der Adaption von Alain Korkos und David Zane Mairowitz (2008)
2021
Summary This study offers a comprehensive comparative analysis between F. M. Dostoevskij’s classic Prestuplenie i nakazanie (PSS 6, 1973) and the black-and-white adaptation Crime and Punishment created by Alain Korkos and David Zane Mairowitz (2008). According to author and artist, the adaptation is meant for recipients acquainted with the novel and first readers of the graphic novel alike. With 417 pages of close-printed canonic text turned into a picture-dominated graphic novel of 118 pages, the adaptation – paying attention to the sequence of crucial fictional scenes – follows the storyline from the beginning of the canonic text to the Epilogue. About 95 % of the precisely and densely fo…
Textual and pictorial components in the focus: paratext in translated graphic novels
2018
Summary In spite of manifold textual-pictorial make-up and remarkably varied meaning making function, paratext is one of the neglected research topics around graphic novels (graphic narrative in general). Even more so, this goes for translated graphic novels. Distinguishing between carrier media of paratext (front and back covers, blurbs) and forms of information (introduction, imprint, appendix), this study starts from describing most characteristic components of graphic novels’ paratext. Different from many articles on graphic narrative, this contribution is not only based on English, French and German, but also on Slavic (Czech, Polish, Serbian) source and target texts. All source texts …
Towards the recognitiion of the shell as a integral part of the digital text
1999
Translations, Paratextual Mediation, and Ideological Closure
1996
Abstract: This article deals with the way so-called paratexts were used, in Finland in 1890-1939, in publishing translations of Anglo-American literature, and especially with the tendencies towards ideological closure that those paratexts manifest. The dominant ideology in the material is what could be called religious-conservative ideology, emphasizing the thought content of the works and their (educative, civilizing, sometimes also entertaining) impact on readers. This is due to the ideological unification process that penetrated the cultural institutions, which were still relatively undifferentiated and non-autonomous during the period in Finland. The article emphasizes that in studying …
On the Strangeness of Pop Art Picturebooks: Pictures, Texts, Paratexts
2011
As a species of picturebook emerging around 1970, some Pop Art picturebooks were quite successful in their time, but appear strange from today's point of view. This strangeness has to do with multiple transgressions of traditional conventions restricting the notion of a “good” picturebook: transgressions regarding artistic style (influenced by the Pop Art movement), transgressions regarding the stories' content (with their emphasis on weird characters, surprising twists in narration and plot, and a fanciful combination of sceneries), and transgressions regarding the idea that politics and economic and social problems should be banned from picturebooks (displaying an anti-capitalist or anti-…
Self-Translation in the Northern Renaissance: Jan van der Noot’s French Verse
2020
The Brabantian poet Jan van der Noot (1539-95?) wrote in both Dutch and French, and composed several works in both languages. Sometimes the two versions were published separately: the Dutch collection Het Theatre and its French counterpart, Le Theatre, were each printed in London in 1568. More often, the versions appeared alongside each other in bilingual editions: Cort begryp der XII boeken Olympiados / Abregé des douze livres Olympiades (1579), Lofsang van Braband / Hymne de Braband (1580), and various short pieces reproduced in anthologies of Van der Noot’s poetry (1580-95). The present study contends that Van der Noot’s self-translations should be read as translations from Dutch to Fren…
Don't skip intro. Sigle da non perdere
2019
In recent years, TV series have gained a central role among the classic TV genres. They have become more and more elaborate, strategically edited, catching both the critics and the audiences’ eyes. Many «surrounding» texts have contributed (and contribute) in making them popular and, among these texts, the opening credits play a special part. At the beginning of television history, opening sequences were brief and marginal texts aimed at informing the viewer about the cast and the contents he was going to watch. Nowadays they are refined products, designed to present, seduce, involve and facilitate the viewer’s entry into the story. In this paper, we will focus on these brief yet rich kind …
Soglie XXL. Sigle dei programmi televisivi sul dimagrimento
2020
TV show opening credits can be considered as frames which delimit the borders of a filmic text. They aim at advising and attracting the audience by highlighting specific aspects of the program. In doing that, opening credits as well as other forms of intros activate specific styles of relationship between the instances of production and reception of texts. They can be considered acts of enunciation through which the enunciator establishes its own discourse and gives instructions to the enunciatee about the text. In this paper we will analyze these so called “paratexts”, in particular by focusing on the intro sequences of some weight loss TV programs from the Italian television schedule. The…