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Rarely are cookbooks simply collections of recipes; frequently, they offer a wealth of additional cultural and historical information. They serve as a medium for sharing ideas and memories; and thus operate rhetorically. Similarly, a recipe is not simply a set of instructions; it is a text embedded within and reflecting cultural, social, and historical contexts. Recipes act as rhetorical tools that foster communal continuity and cohesion. Cookbooks create a rhetorical space, engaging readers through both the main text and supplementary elements, or “paratexts,” as termed by Gérard Genette. This study examines the rhetorical function of Emily Meggett’s bestselling cookbook, Gullah Geechee Home Cooking, with a focus on her “Fried Okra” recipe and its accompanying paratexts. Analyzing these elements enhances our understanding of and appreciation for the cultural and rhetorical dimensions embedded within her cookbook.

Copyright of Res Historica is the property of Maria Curie-Sklodowska University in Lublin 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 article presents the context of the Spanish edition of the Ksawery Pruszyński’s collection of reportages, En la España roja, written during the writer’s trip to Spain as a press correspondent in 1936, in the early months of the civil war. Despite the passage of time, Pruszyński’s observations still hold interest and offer insight to the Spanish reading public. The aim of the article is to examine how the ongoing debates surrounding the Spanish Civil War, intertwined with postmemorial discourses, influence both the publisher’s presentation of the book and its reception by critics. To accomplish this, the paratexts of the Spanish edition of Pruszyński’s work will be discussed. [ABSTRACT FROM AUTHOR]

The article addresses the issue of the gamer-tourist. The author discusses it from the perspective of a specific reception attitude, consisting in transferring behaviours and expectations typical of virtual tourism to gameplay. The article also takes a closer look at the issue of guides targeted at gamers, specific paratexts that can shape the user experience by formatting the vision of gameplay. [ABSTRACT FROM AUTHOR]

KRZYSZTOF JAROSZ – A MULTIFUNCTIONAL TRANSLATOR: ABOUT THE FRANKOFONIA LITERARIA COLLECTION This article focuses on the translator’s roles that go beyond the traditional functions of the literary translator. Based on the example of the Frankofonia Literaria series and the works of Ananda Devi published in Polish in Krzysztof Jarosz’s translation, the author of the article demonstrates how the translator “comes out of the shadows,” in particular by serving as an exegete-interpreter and researcher. The translator makes himself visible in paratexts, such as footnotes or an afterword, which constitute a space where he presents himself and allows himself to be seen and read alongside the literary text.

KRZYSZTOF JAROSZ – A MULTIFUNCTIONAL TRANSLATOR: ABOUT THE FRANKOFONIA LITERARIA COLLECTION This article focuses on the translator’s roles that go beyond the traditional functions of the literary translator. Based on the example of the Frankofonia Literaria series and the works of Ananda Devi published in Polish in Krzysztof Jarosz’s translation, the author of the article demonstrates how the translator “comes out of the shadows,” in particular by serving as an exegete-interpreter and researcher. The translator makes himself visible in paratexts, such as footnotes or an afterword, which constitute a space where he presents himself and allows himself to be seen and read alongside the literary text.

Varied were the vicissitudes of Maximianus, whose unique opus elegiacum marks a swan song of sorts of the Roman elegy. No less interesting, however, are the changes in the reception of this text, i.e., following H.R. Jauss's understanding of the term, in the modes of its interpretation by readers through the centuries. They can be efficiently traced by analyzing varied codicological data and, in particular, some paratexts (introductory notes/accessus, marginal notations, tituli, subscriptiones etc.) accompanying the author and his work as transmitted in a manuscript or an early printed book. Such data provide also us with a great deal of information concerning the generic classification of a text, as based on the Erwartungshorizont, or the horizon of expectations of its literary audience at a certain moment in history. As I demonstrate throughout my article, the historical flexibility of the interpretations of Maximianus's opus is an excellent example of the above-mentioned phenomenon. [ABSTRACT FROM AUTHOR]

Copyright of Studia Jezykoznawcze: Synchroniczne i diachroniczne aspekty badan polszczyzny is the property of Wydawnictwo Naukowe Uniwersytetu Szczecinskiego / University of Szczecin 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.)

In this paper we elaborate on the educational use of film posters understood as film paratexts in Gérard Genette's theory as well as in later media research. The subject of our research is cinéma de banlieue - a French film movement that situates the protagonists not only spatially, but also socially (such as La Haine, dir. M. Kassovitz, 1995, Entre les murs, dir. L. Cantet, 2008, Peur de rien, dir. D. Arbid, 2015, and Dheepan, dir. J. Audiard, 2015). By analyzing film paratexts, we include these materials in the context of cultural representations of the Parisian suburbs. Our research is established in educational and academic practice whose essential part is the in-depth work with the paratexts conducted by students and facilitated by the lecturer. [ABSTRACT FROM AUTHOR]

Trailers are the theatre of the good things coming soon. Since the status of the trailer in the media and cultural space is constantly changing, the question can be asked: What is a trailer in the era of media convergence? It seems to exist somewhere between cinema and advertising, in a wide range of art and commerce, but in a situation where fan trailers and parody trailers are becoming more and more sophisticated and imitative of the real thing, even these criteria are losing their usefulness, and all the more so if you point out advertisements that, conversely, pretend to be film trailers. The first part of the article will determine how important the trailers are in the marketing strategy of a film. The production of trailers is an important segment of the advertising industry. It is crucial to construct the trailer in such a way as to attract the audience's attention and convince them that the film being advertised is the one they should see. To achieve this, the creators of trailers use similar strategies, conventions and tools. This article will set out to present views of the leading trailer makers: Andrew J. Kuehn, Shaun Farrington, Mark Woollen and Anthony Sloman. In the latter part of the text, the issues of the film trailer will be placed in the broader context of the cultural space in which it exists and functions. The main areas of research on trailers will be presented (featuring Lisa Kernan, Keith M. Johnston, Jonathan Gray, Daniel Hesford, Barbara Klinger, Kathleen Williams, among others), consistently leading to reflection on the paratextual nature of the trailers, embedded in contemporary theoretical discourse and in the screen practices themselves. [ABSTRACT FROM AUTHOR]

The characteristics of specialized text titles The paper presents the characteristics of specialized text titles by comparing three English sets of such titles concerning two different subject fields: horse riding (classical and Western) and LSP (specialized linguistics). The analysis consists of three parts: statistical, structural (grammatical) and semantic. The statistical survey reveals that high word count does not always equal accuracy, even in the case of theoretical texts of scientific subject fields such as LSP. Regarding the grammatical structure, one discovers the domination of noun phrases as well as numerous questions and imperatives addressing the readers in order to attract their attention and keep them sufficiently interested to start reading the text itself. Semantically, the titles utilize various rhetorical structures such as wordplay and metaphors. Although frequently compromising precision, which is usually associated with specialized discourse, these phenomena draw the readers and distinguish the authors. Owing to the comparison of two different subject fields, the paper also proves that scientific discourse possesses a higher degree of formality, while knowledgepopularizing texts can afford a more attractive style.