The objective of this paper is to create a corpus of translations of Czech literature published in the form of book in Mexico until 2019 included and to describe how they were received. The aim of the paper is to answer questions about which Czech literature was published in Mexico, when and where it was translated, and who originated the translations. The theoretical part of the paper presents Czech-Mexican relations as they evolved in the sociocultural polysystem of the 20th century. The paper further uses the theoretical framework of the praxeology of translation and the translator's role, it explains the phenomenon of direct and indirect translation, it discusses the importance of paratexts for the study of translations, it explains the specificity of producing translations for the Spanish-speaking countries as well as it outlines the issue of translating from small cultures. Historiographical research, paratextual discourse analysis and oral history were used as the methodological core of this paper. Using these methods, the paper presents a corpus of 39 translated Czech literary works published in Mexico, including "imported" translations and re-editions, supplying comprehensive details on every one of them. At the end, the paper updates the corpus of Mexican literature translated into Czech...

Zugl.: Kiel, Universiẗat, Diss., 2005.

Notre recherche a pour objet l’analyse du discours préfaciel des dictionnaires bilingues italien-français français-italien depuis les origines jusqu’à nos jours (du XVIe au XXe siècle). À partir de l’analyse approfondie des principaux dictionnaires bilingues italien-français français-italien diffusés sur le marché international depuis le XVIe siècle jusqu’au début du XXIe siècle, notre recherche vise à atteindre plusieurs objectifs :• Pallier une lacune de la recherche lexicographique et métalexicographique, où l’on observe un manque d’études d’ensemble sur les préfaces des dictionnaires bilingues I-F F-I.• Comprendre le rôle et la fonction du discours préfaciel relativement aux dictionnaires bilingues français-italien / italien/français.• Établir une typologie de thèmes récurrents abordés au sein du discours préfaciel des dictionnaires franco-italiens.• Comprendre les intentions du préfacier et les circonstances qui l’incitent à s’exprimer.• Déterminer les objectifs annoncés dans la préface et vérifier l’écart éventuel entre le programme et la réalisation concrète du projet.• Vérifier la présence de constantes et de variables par rapport aux choix lexicologiques et lexicographiques.• Identifier et décrire le parcours évolutif du genre « préfaces des dictionnaires bilingues I-F F-I ».• Comparer les discours préfaciels des dictionnaires bilingues I-F F-I avec ceux appartenant aux dictionnaires unilingues français, de manière à mettre en relief les similitudes et les dissemblances entre ces deux types de discours d’introduction dictionnairique.Notre recherche est organisée en deux parties. Dans un premier temps, on a analysé les sources bibliographiques disponibles et on a sélectionné le corpus, constitué des principaux dictionnaires bilingues italien-français français-italien publiés entre la fin du XVIe siècle et le début du XXIe siècle.Dans un deuxième temps, nous avons analysé les préfaces ainsi que les textes qui les complètent ou les remplacent : Avis au lecteur, Avant-propos, Éclaircissement, Avertissement, Discours Préliminaire, Note de l'Éditeur, Présentation, etc. On a essayé, dans cette phase, d’identifier les stratégies discursives du préfacier à travers une analyse méthodique de ses procédés et de son vocabulaire. Notre méthodologie de recherche se base sur la recension et les commentaires des préfaces dans leur intégralité, dans le but d'identifier les sujets les plus récurrents abordés par les préfaciers. Cela nous a permis, deuxièmement, de mettre en lumière toutes les fonctions qui particularisent l'appareil préfaciel au sein des dictionnaires bilingues franco-italiens. On a employé à la fois une perspective diachronique (analyse au fil du temps des différentes éditions du même dictionnaire) et transversale (comparaison des différents dictionnaires entre eux en vue de comprendre les stratégies adoptées par les auteurs relativement à certaines thématiques). Cette approche nous a permis de suivre l'évolution de l'appareil préfaciel au fil des siècles et d'effectuer des parallèles entre des discours de présentation tirés de différents dictionnaires.En définitive, notre recherche vise à identifier et à examiner les divers types de renseignements contenus au sein des préfaces des dictionnaires bilingues italien-français français-italien, dont on fournira également une description formelle générale. Nous allons détailler, en employant une perspective diachronique, les principales étapes évolutives des discours introductifs dictionnairiques et les caractéristiques qui particularisent le discours préfaciel des dictionnaires bilingues F/I – I/F par rapport à celui des dictionnaires unilingues. / Our thesis aims at analysing the prefaces of bilingual dictionaries italian-french french-italian (XVI-XXI century). In our corpus we selected the mains bilingual I/F F/I dictionaries in the international market in order to have at our disposal the prefaces written by the most important authors in the franch-italian lexicography. Our purpose is to underline the recurrent topics mentioned by the lexicographers in their introduction texts as well as the differences concerning the monolinguals and bilingual prefaces. We will adopt a diachronic and transversal perspective of analysis, in order to identify and examine the different types of prefaces of the I/F F/I dictionaries. We will provide a general description of bilingual dictionaries I/F F/I prefaces, describing their origins as well as their evolution in order to increase the knowledge of a not enough explored field in the bilingual lexicography research.

In the existing scholarship on Chinese translation history, the shifting conceptualizations of translation from the 1890s to the 1920s have been presented as a teleological evolution from 'traditional', target-oriented translation norms to 'modern', source-oriented norms. In response to this virtually unchallenged grand narrative, the dissertation presents a more nuanced and complex picture of the changing conceptualizations of translation in China during this period. Using New Historicism to engage with Roland Barthes's theory of intertextuality and Gérard Genette's framework of paratextuality, the study builds an integrated theoretical framework for examining how the conceptual relationships between translating, writing, commenting, and editing (among a variety of other textual activities) changed during this period. Adopting Microhistory principles, the dissertation conducts three case studies of marginalized figures - Zhong Junwen (1865-1908), Zhou Shoujuan (1895-1968), and Wu Mi (1894-1978) - from Chinese translation history: by analyzing their translations and/or writings about translation in a range of textual forms such as translation reviews, prefaces, diaries, and pingdian commentaries, the dissertation reveals how these cultural actors blurred the boundaries between translating, writing, commenting, and editing within China's rapidly evolving publishing context and how their conceptualizations of translation were deeply grounded in the traditional Chinese notions of authorship. The results of the three case studies demonstrate how the conceptual boundaries between various textual activities were in flux during these four decades and that the shifts in the conceptualizations of translation were not a simple, linear development from 'traditional' to 'modern'. Apart from contributing to a better knowledge of Chinese conceptualizations of translation in a key period of Chinese translation history, the dissertation challenges the validity of adopting the theoretical models of intertextuality and paratextuality as universally applicable frameworks in translation studies.

The Beating of Wings is a polyphonic novel comprised of multiple interior monologues, inspired by the historical development of the fairy tale as a literary genre. Characters are based upon key writers within this movement: Charles Perrault, Rabbi Nachman, Flora Annie Steel, and J M Barrie; as well as associated figures, including the Franco-Scottish miniaturist and calligrapher, Esther Inglis, the Duchess of Polignac, and Edwina Mountbatten. The subject of this vocal fugue is an ostensibly authorless fairy tale, The Golden Tree and the Moth, handwritten in a seventeenth-century miniature manuscript. Within an omniscient frame modelled after the ancient Indian collection of fables, the Panchatantra (circa 200 B.C.), a succession of first-person narrators chronicle the passage of the fairy tale through time, via the 'beating wings' of its woven narrative threads, back to its source. As each narrator ventriloquises the voice of a previous owner, the matryoshka doll narratives engage concurrently with questions of adaptation and appropriation, narratology, paratext, the Barthesian concept of the 'death of the author', and literary ventriloquism. Ultimately, the novel aspires to culminate in a fictional rebirth of a defining voice, founded upon gynocritical theory and the silencing of women within the patriarchal canon during the early modern period. This origin of the tale that was neither 'already written', nor 'already read', is borne of Esther Inglis (1571-1624). My critical essay considers specific theoretical influences of the novel: predominantly literary ventriloquism, as well as Inglis's corpus. A marginalised figure in the context of early modern women's writing, prior to recent academic enquiry Inglis was dismissed as a skilled copyist, whose manuscripts were notable only for her virtuoso calligraphic replication of religious verse in miniature. To this discussion, I introduce Gérard Genette's concept of paratext as a viable means of interpretation. I argue that this strand of literary analysis is imperative to our understanding of how Inglis sought to materialise an authentic authorial voice through the paratextual space of her manuscripts, mobilising the trope of literary ventriloquism to facilitate her complex construction as a literary icon. By applying Genette's taxonomy, I suggest that Inglis emerges as an incisive, progressive, and ingenious publisher and author, who successfully manifested Her word upon the patriarchal page during an era when women writers were silenced or forced to write anonymously.

I denna uppsats undersöker jag användbarheten i SKL:s prenumerationsutskick utifrån grund- antagandet att man behöver veta vad man ska ha texterna till för att förstå dem. Jag fokuserar på tre faktorer som kan påverka texternas användbarhet: den närmaste kontexten; vilka genrer SKL skickar ut; samt vilka läsmål och förväntningar på innehåll som texternas framställning gynnar. Resultatet visar att texternas förutsättningar att bli lästa och använda inte är optimala. Detta beror bl.a. på att det är otydligt att SKL skickar ut texter som tillhör olika genrer, och på att texterna ibland genererar missvisande förväntningar på innehållet. Detta ger läsaren mindre goda möjligheter att skapa sig en bild av texternas syften, vilket kan tolkas som att texterna inte är så användbara som de kunde vara.

This thesis draws upon the literatures of historical geography, book history, and archival theory to investigate the production of travel narratives by the London publisher John Murray during the second half of the nineteenth century. It traces the processes by which in-the-field experiences of explorers and travellers were translated into a textual and physical object: the published book. By interrogating the practicalities and technicalities of geographical publishing, particularly in relation to travellers’ paratexts, the thesis draws attention to the need for geographers to consider the literary commercialisation of geographical knowledge. The John Murray Archive provides an unusual opportunity to examine geographical publishing across 33 years, 138 titles, and 102 authors. Murray’s extensive correspondence and detailed financial records provide source material for the first comparative study of these books. The structure of the thesis follows Murray’s publication process, from accepting or rejecting manuscripts to textual editing, the shaping of paratexts, production of illustrations, and, ultimately, sales, translations, and further editions of later nineteenth-century books of travel. It places remarkable works of travel Murray published in the later nineteenth century — books by authors including David Livingstone, Paul Du Chaillu, Heinrich Schliemann, and Isabella Bird — in the context of the unexceptional. In conclusion, this thesis furthers academic understanding of a nationally important archival resource, demonstrating the value of a longitudinal survey which accounts for economic as well as epistemic influences upon geographical publishing.

Denna uppsats har en deskriptiv intention och syftar till att verka som stöd förformgivare och förläggare genom att bidra med kunskap om hur olika visuella strategierkan användas i arbetet med e-publicering. För att genomföra undersökningen harbokomslag till två romaner från två olika förlag valts ut för att representera olikaförhållningssätt till formgivningen: Malin på Granlunda av Anne-Lise Boge utgiven avSaga Egmont och Serien om Stina Pihlgren av Alice Lyttkens, utgiven för Bonniers5000-projekt. Materialet analyseras genom en semiotisk analys samt i en paratextanalys.Resultatet analyseras med grund i teoretiska perspektiv inom semiotik, representation,paratext och materialitet. Teori används också till viss del för att beskriva relationermellan en huvudtext och dess paratext. Resultatet visar på två visuella strategier sompåverkas av förlagens uppfattning om böckernas målgrupp. I Serien om Stina Pihlgrenanvänds formgivningen för att framställa författaren som en feministisk pionjär och iMalin på Granlunda används formgivningen för att boken enkelt ska kunna identifieras avpotentiella läsare i ett flöde av bilder på Storytel.

<p>Godkänt datum 2020-01-09</p>

“Southern Fringes: Little Magazines and Larry Brown’s Early Short Fiction” seeks to revitalize and expand the scholarly field of the New Southern Studies, employing textuality, book history, and postcritique perspectives towards the study of literary events and objects. Whereas the New Southern Studies rightly problematizes and dismantles notions of the signifier southern named in connection with literary works, such approaches often ignore paratextual elements, including material and sociological features, that work to frame and support these narratives. This dissertation addresses such shortcomings, arguing that paratextual formations function as vital spaces for constructing senses of southernness in service of both bibliographic identity and readers’ literary discernments. Exploring public epitext in a variety of locations, as well as four cases of Larry Brown’s short stories appearing in Mississippi Review, The Greensboro Review, and The Chattahoochee Review, this dissertation demonstrates how Brown’s writing emerges as southern fringe: a joint presence of autobiographic, material, perceptual, and other paratextual elements that frame Brown’s writing in unique locales outside of the literary mainstream. This dissertation's implications include adopting a mode of reading and analysis, focusing on case studies and surface readings of paratext serving specific bibliographic documents, as a way to move beyond generalizing and broad claims about the nature, function, and interpretation of literature. Additionally, this dissertation focuses on little magazines, materiality, and paratext as expanded sites and perspectives for the continued growth and development of interdisciplinary humanities fields such as the New Southern Studies. / Includes bibliography. / Dissertation (Ph.D.)--Florida Atlantic University, 2021. / FAU Electronic Theses and Dissertations Collection