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The current paper aims to present linguistic, pragmatic, and sociocultural features of the paratexts of the Peresopnytsia Gospel and five complete Ukrainian translations of the Holy Scriptures. The ultimate goal of the study is to highlight the peritextual and epitextual dimensions of these translations and to classify translation paratexts, whose characteristics are determined by both the translator’s strategy and the mono-confessional or interconfessional requirements of translation commissioners. The article’s assumptions are grounded in the interdisciplinary approach at the interface of translation studies, biblical studies, religious studies, and historiography. The objective of developing a classification of paratexts in Bible translations within historical, theoretical, and critical contexts is accomplished via the methods of analysis, synthesis, induction, and modelling. The interpretive textual and cultural analysis methods are applied to identify and explain cultural, national, and religiously determined connotations of the paratexts. The comparative translation analysis provides a historically based translation quality assessment. As a result, paratexts of Ukrainian Bible translations have been classified according to thematic and pragmatic criteria. The paratextual dimensions of Bible translation are marked with 1) blurred agency (in many cases, it is difficult to determine the contribution of the translator or theological and literary editors), 2) restrictive requirements of the commissioner, 3) the impact of the overall translation strategy on the nature, type, and content of paratexts. However, no restrictions can conceal the implicit reader of each of these translations, to whom the paratexts appeal as a “second voice” of the main text. Paratexts of the first partial Ukrainian translations of the Holy Scriptures of the Confessionalism period (second half of the 16th century) are characterised by didacticism and a mono-confessional political orientation. The most important translation of that time, the Peresopnytsia Gospel, is analysed to specify the following types of verbal paratexts: 1) identification, containing data on the commissioner/publisher and the translators, as well as the date and place of its creation; 2) informative, providing all additional information not found in the prototext, including brief paraphrases of the main text, dates of the church calendar, and information on the structure of the book; they are often mono-confessional and polemical; 3) meta-lingual, explaining Church Slavonic vocabulary in glosses with Ukrainian equivalents or providing Ukrainian synonyms for Ukrainian words. The findings of the study prove that all complete translations of the Holy Scriptures into Ukrainian, both at the textual and paratextual levels, adhered to the principles of interconfessionality, accessibility for all Christians, and “functional loyalty”. The footnotes were the most important paratexts of the Ukrainian Bible translations made under the auspices of Bible Societies. Only in translations of the Bible of the 21st century does a preface appear, either a short one with general information about the translation strategy (Modern Translation, 2020) or a lengthy one with a detailed justification for the choice of the prototext’s language, a comparative table of the canons of the Old and New Testaments in different translations, and general information about the content of the Bible (New Translation, 2011). The footnotes in all Ukrainian translations done under the auspices of Bible Societies are divided into: explanations of biblical metaphor; explanations of the etymology of proper names; explanations of biblical traditions; alternative readings; foreign language equivalents; and meta-lingual explanations. The prevalence and peculiarities of footnotes depend upon the translation strategy. Thus, only among the footnotes in Ohiyenko’s translation can we trace such types as literal translations of complicated biblical metaphors and explanations of etymological wordplay. In addition, explanations of biblical metaphors are quantitatively prevalent in this translation. Such paratextual features are explained by the principle of foreignization, on which this translation is based. The Modern Translation by R. Turkoniak, in tandem with the Revising Committee of the Ukrainian Bible Society, aims to bring the Scriptures closer to the modern believer, not least through its footnotes. While Ohiyenko’s footnotes offer an alternative reading of some verses in “sacred” languages (Latin, Greek, and Church Slavonic), Turkoniak provides equivalents from translations into modern European languages and previous Ukrainian translations. The elements of “modernization” in the footnotes include vernacular vocabulary and associations with the realities and values of today. The interconfessional nature of Ukrainian translations of the Bible becomes visible in the church affiliations of the agents, such as the tandem of Orthodox Kulish and Greek Catholic Puluj, the cooperation of Ohiyenko, the Metropolitan of the Ukrainian Autocephalous Orthodox Church and Protestant pastors Kuziv and Zhabko-Potapovych, the New (2011) and Modern (2020) translations as part of the project of the Ukrainian Bible Society, which brought together representatives of all denominations of independent Ukraine.

The current paper aims to present linguistic, pragmatic, and sociocultural features of the paratexts of the Peresopnytsia Gospel and five complete Ukrainian translations of the Holy Scriptures. The ultimate goal of the study is to highlight the peritextual and epitextual dimensions of these translations and to classify translation paratexts, whose characteristics are determined by both the translator’s strategy and the mono-confessional or interconfessional requirements of translation commissioners. The article’s assumptions are grounded in the interdisciplinary approach at the interface of translation studies, biblical studies, religious studies, and historiography. The objective of developing a classification of paratexts in Bible translations within historical, theoretical, and critical contexts is accomplished via the methods of analysis, synthesis, induction, and modelling. The interpretive textual and cultural analysis methods are applied to identify and explain cultural, national, and religiously determined connotations of the paratexts. The comparative translation analysis provides a historically based translation quality assessment. As a result, paratexts of Ukrainian Bible translations have been classified according to thematic and pragmatic criteria. The paratextual dimensions of Bible translation are marked with 1) blurred agency (in many cases, it is difficult to determine the contribution of the translator or theological and literary editors), 2) restrictive requirements of the commissioner, 3) the impact of the overall translation strategy on the nature, type, and content of paratexts. However, no restrictions can conceal the implicit reader of each of these translations, to whom the paratexts appeal as a “second voice” of the main text. Paratexts of the first partial Ukrainian translations of the Holy Scriptures of the Confessionalism period (second half of the 16th century) are characterised by didacticism and a mono-confessional political orientation. The most important translation of that time, the Peresopnytsia Gospel, is analysed to specify the following types of verbal paratexts: 1) identification, containing data on the commissioner/publisher and the translators, as well as the date and place of its creation; 2) informative, providing all additional information not found in the prototext, including brief paraphrases of the main text, dates of the church calendar, and information on the structure of the book; they are often mono-confessional and polemical; 3) meta-lingual, explaining Church Slavonic vocabulary in glosses with Ukrainian equivalents or providing Ukrainian synonyms for Ukrainian words. The findings of the study prove that all complete translations of the Holy Scriptures into Ukrainian, both at the textual and paratextual levels, adhered to the principles of interconfessionality, accessibility for all Christians, and “functional loyalty”. The footnotes were the most important paratexts of the Ukrainian Bible translations made under the auspices of Bible Societies. Only in translations of the Bible of the 21st century does a preface appear, either a short one with general information about the translation strategy (Modern Translation, 2020) or a lengthy one with a detailed justification for the choice of the prototext’s language, a comparative table of the canons of the Old and New Testaments in different translations, and general information about the content of the Bible (New Translation, 2011). The footnotes in all Ukrainian translations done under the auspices of Bible Societies are divided into: explanations of biblical metaphor; explanations of the etymology of proper names; explanations of biblical traditions; alternative readings; foreign language equivalents; and meta-lingual explanations. The prevalence and peculiarities of footnotes depend upon the translation strategy. Thus, only among the footnotes in Ohiyenko’s translation can we trace such types as literal translations of complicated biblical metaphors and explanations of etymological wordplay. In addition, explanations of biblical metaphors are quantitatively prevalent in this translation. Such paratextual features are explained by the principle of foreignization, on which this translation is based. The Modern Translation by R. Turkoniak, in tandem with the Revising Committee of the Ukrainian Bible Society, aims to bring the Scriptures closer to the modern believer, not least through its footnotes. While Ohiyenko’s footnotes offer an alternative reading of some verses in “sacred” languages (Latin, Greek, and Church Slavonic), Turkoniak provides equivalents from translations into modern European languages and previous Ukrainian translations. The elements of “modernization” in the footnotes include vernacular vocabulary and associations with the realities and values of today. The interconfessional nature of Ukrainian translations of the Bible becomes visible in the church affiliations of the agents, such as the tandem of Orthodox Kulish and Greek Catholic Puluj, the cooperation of Ohiyenko, the Metropolitan of the Ukrainian Autocephalous Orthodox Church and Protestant pastors Kuziv and Zhabko-Potapovych, the New (2011) and Modern (2020) translations as part of the project of the Ukrainian Bible Society, which brought together representatives of all denominations of independent Ukraine. “The Roman Bible” of 1963, the only mono-confessional complete Ukrainian translation of the Holy Scriptures, contains some doctrinal and numerous national paratexts, which were highly topical during the Soviet occupation of Ukraine. Besides, the literary editors of this translation, prominent Ukrainian writers Kostetskyi, Barka, and Orest-Zerov, professed Orthodoxy. As a result of their controversial tandem with the translator, Greek-Catholic priest Khomenko, the translation text alludes to the works of the classics of Ukrainian literature, especially Taras Shevchenko. Ukrainian translations of the Bible, published under the auspices of Bible societies or churches, resulted from the ascetic work of charismatic individuals who devoted their entire lives to this project. This enhances the importance of studying epitextual materials, especially the translators’ correspondence and research profiles. [ABSTRACT FROM AUTHOR]

This article discusses how the earliest known interpreting event in Sinitic China was chronicled and recapped in political and literary writings across different dynasties, in an intertextual process comparable with metamorphosis. This event has continued to shapeshift in writings because of its symbolic importance in promoting Sinocentric sentiments and Confucian ideals. This interpreting record was, unusually, from a comparative perspective, elevated to embody ideological functions largely detached from inter-lingual communication. For millennia, this interpreting "legend" has been intertextually alluded to in numerous writings to connote auspiciousness, to extol Sinitic governance and civilisation, and to champion specific cultural values or political philosophies. This article aims at identifying and examining the symbolic and ideological significances of the conceptual link between the alpha interpreting record and complimentary Sinitic governance and virtues, so consciously drawn in theses of some archival texts. It is significant in two regards. First, it initiates an analysis of a classical reference to interpreting, which has escaped research attention in humanities. Second, it explores an unorthodox angle by analysing the discourse of interpreting in ancient China. The results of this analysis could serve as reference points for cross-cultural comparison of conceptualisations of "interpreting." [ABSTRACT FROM AUTHOR]

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. [ABSTRACT FROM AUTHOR]

Copyright of French Language & Translation Research is the property of Ferdowsi University of Mashhad 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.)

This paper offers a survey of the presence of living Catalan female writers in the blogosphere and especially describes Anna Manso´s blog thoroughly. We understand her blog as a public virtual epitext which is aimed at reading promotion. In this regard, the paper focus on her virtual identity on the web, her communicative speech in relation to reading promotion, as well as the formal features of access and retrieval of information in her blog.

This article examines Swiss author Christian Kracht's visual and performative strategies of authorial self-staging. It shows how his portraits and performances consistently link the author to the narrators and protagonists of his novels. Examining photographs, television performances, and the lecture he gave in May 2018 in Frankfurt, the article traces the development of Kracht's self-positioning in the literary field, arguing that the self-staging aims to distance himself from the pop author label assigned to him in the 1990s and to transform his image into that of a culturally authoritative author. [ABSTRACT FROM AUTHOR]

This paper is premised on the assumption that Young Adult Literature (YAL) is a relatively new development in Kenya, having been neglected both in research and production of books that promote the Young Adult Fiction (YAF) genre. The genre has been overshadowed by adult literature and, often, submerged in and or mistaken for children literature, thus denying its existence. I argue that the book as a material object, invites a symbiotic relationship between itself and all other discourses surrounding the text. With reference to Gerard Genette's paratextual model, I examine how repoussoir, an element of paratext at the epitextual zone, has been exploited in selected YAF produced from 2005 to 2015 to evince YAL in Kenya. Repoussoir demonstrates its significance as a functional tool that aids in the texts' identification, definition and presentation. It mediates between the eye of a book's customer and the internal text that the entire book purposes to deliver. Consequently, repoussoir stands out as a cardinal material parameter that contributes to the formation of the text, advertising it, masking and / or cueing its meaning. [ABSTRACT FROM AUTHOR]

An inherent component of relocation narratives is the description of the protagonists’ process of building up their intercultural competence - whose range will vary from one expatriate narrator to another. Closely connected to all the four types of cultural intelligence (CQ), in general, and to the metacognitive CQ, in particular, the account of the sojourn in foreign lands conjures up a raft of reflections on what exactly gives one the sense of cultural belonging. Noticing the difference, analysing it, integrating or dismissing it are as many steps taken during/after cross-cultural interactions. This paper addresses the verbalisation of the cultural differences in accounts that sometimes embrace and other times reject them, by resorting to risqué language in snide remarks meant to perform an evaluation of the received ideas in relation to both the native and the host country of the expatriate. The corpus examined is the construction of the paratext prefiguring the spot-on satire comprised by the text.

Abstract Persian literature is replete with pseudo-translations to the extent that if one tried to compile a complete bibliography, it would turn into an unwieldy book. Most Persian pseudo-translations belong to Iranian political literature (Okhovat, 2006). As could be guessed, identifying pseudo-translations is not a simple task as their authors want readers to believe in the ‘translationness’ of these works for various reasons. One of the most famous Iranian pieces of pseudo-translations, whose original writer has recently claimed its authorship, is the famous (in Iran) Letter of Charlie Chaplin to his daughter Geraldine. The present article examines diverse aspects of this text, including its political, historical, cultural, and literary milieu of production, and provides a critical discourse analysis of this text and highlights the original author’s ideological stance as it is embedded in this purported foreign letter. The article concludes by surmising the reasons why this famous work was published as a translation, and how it is, that the original writer has claimed authorship after more than 30 years.

Preserving a historically significant video game frequently requires either preserving or adapting a touchable interface for contemporary use. While control techniques are often evaluated in terms of fidelity between in- and out-of-game actions, this essay emphasizes several ways that fidelity must be actively constructed. Bringing a haptic perspective on video gaming into conversation with game history and preservation, this essay examines ways that textual materials surrounding and supplementing a work can be used to construct haptic fidelity. The video game Q*bert is selected as a case study both because of its historical and cultural significance and because it makes idiosyncratic use of controller and force-feedback technologies. The essay concludes that playing Q*bert in a preservation setting requires several unique accommodations at the level of touchable interface, and each accommodation illustrates another way that supplementary texts help construct historical haptic fidelity. [ABSTRACT FROM AUTHOR]

The novel I confess to the tombstone of Agron Tufa, as a fictional hypertext written on documentary hypotexts, is a novel with two narrative lines that contain stories by and about two raped women in two systems: communism and democracy. The story of the novel narrated by the female perspective turns the narrative into gynocentric discourse. The stories of raped females are given as facts, documents and recordings, as they are also taken from real files and then modified by the author. Agron Tufa with this novel turns the confessions founded in archive into a thrilling art that penetrates deep into the psychology of abusers and victims. The novel can also be read as a complaint and as a tribute: as a complaint of two women about their fates in two political systems and as an author's tribute for the victims. The novel I confess to the tombstone of Agron Tufa combines the documents with the fabrications and the individual anamnesis with the collective amnesia, to articulate an aesthetic denunciation which is not meant to lynch, but to make a national catharsis. [ABSTRACT FROM AUTHOR]

The novel I confess to the tombstone of Agron Tufa, as a fictional hypertext written on documentary hypotexts, is a novel with two narrative lines that contain stories by and about two raped women in two systems: communism and democracy. The story of the novel narrated by the female perspective turns the narrative into gynocentric discourse. The stories of raped females are given as facts, documents and recordings, as they are also taken from real files and then modified by the author. Agron Tufa with this novel turns the confessions founded in archive into a thrilling art that penetrates deep into the psychology of abusers and victims. The novel can also be read as a complaint and as a tribute: as a complaint of two women about their fates in two political systems and as an author's tribute for the victims. The novel I confess to the tombstone of Agron Tufa combines the documents with the fabrications and the individual anamnesis with the collective amnesia, to articulate an aesthetic denunciation which is not meant to lynch, but to make a national catharsis. [ABSTRACT FROM AUTHOR]

This paper explains the changes that the Internet has introduced in the reading of juvenile texts and in the promotion of these from virtual public epitexts or online sources as blogs, reading forums and Booktrailers. These new forms of reading assume a new type of interaction between the author of the text and its reader, in which both share the information in reading digital spaces on the content and interpretation of the literary work. A specific example of this new type of reading interaction is the literary work The Uprise of the Satyrs (2014), by Ana Soares and Barbara Wong, published in Portugal. Using a password, the reader of this juvenile text can access a virtual space in which he or she can find out its development, come in contact with diverse information about the literary work, and can interact with the author and other readers of this young adult text. [ABSTRACT FROM AUTHOR]

This research report seeks to give an overview of decisive studies in the field of paratextual elements in film. As the question of paratextuality originated in literary studies, Gérard Genette’s crucial and highly influential analysis will be briefly recapitulated and its shortcomings, particularly in terms of its transference to film, will be discussed. After an account of the main contributions and tendencies in the area of paratexts in film in general, research on two particular paratextual elements will be sketched out, namely title credits and film trailers. Of course, this report cannot and does not even desire to make claim to be complete but aims to give a general idea about a relatively new and very diverse field of studies. The individual works selected are mostly restricted to analyses exclusively and explicitly dealing with paratextual phenomena (as opposed to treating them as a marginal aspect). In this sense, the studies discussed are the most noteworthy in this field and the theories condensed to their key elements and ‘highlights’. Perhaps, it is best to consider this article a trailer…. [ABSTRACT FROM PUBLISHER]

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Copyright of Acta Litteraria Comparativa is the property of Acta Litteraria Comparativa 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.)

Publishers have always been keen to maximize the multimedia potential of their products, and are increasingly eager to make the most of the opportunities afforded to them by digital platforms and technologies. While this sort of treatment is ubiquitous for those intellectual properties belonging to industry behemoths Marvel and DC, it is unusual for those published by smaller independent presses to receive similar consideration. However, Bryan Lee O'Malley's comic book series Scott Pilgrim despite its modest, independently published beginnings, was bought by Fourth Estate and then made into a major motion picture in 2010, the release of which was accompanied by a mobile phone app. This article will explore how the consequences of commercial decisions taken by Fourth Estate and the creators of the app affect the reception of the comic, and is informed by original interviews with the publisher and app creator. It will pay particular attention to the significance of content contained within the print comics that is not contained within the app. My examination will draw on Gerard Genette's definition of the paratext and how it locates the print comic within a creative economy that privileges a DIY practice - demonstrating an allegiance, for example, to webcomic creation, a direct transaction between creator and consumer that bypasses the producer entirely. This analysis will be coupled with an investigation of how the migration of print content to app affects the reading of the comic, and is augmented by a survey of comics readers who are used to reading digital content on-screen. I argue that not only does the intervention of digital technology transform the aesthetic product, the commercial motivations of the publisher/producer are inextricable from our understanding of the comic as artefact, thus emphasizing the need for a more cultural materialist approach in comics studies as a discipline. [ABSTRACT FROM AUTHOR]

“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. [ABSTRACT FROM AUTHOR]