Stage Directions as a Constituent Component of the Paratext of B. Shaw’s Play “Pygmalion”.

Paratext of a play denotes everything what surrounds the primary/main text (personages’ direct speech), preceding, following or inserting into it. Paratext can be created either by the author or the publisher. The publisher’s paratext of a play (a cover, opening information, endpapers, colophon and footnotes) form a frame for the main text, and can change its interpretation by the public. The author’s paratext of a play is stage directions, a list of dramatic personae and act numbers, a title, a dedication and an epigraph. The name of the author is also treated nowadays as a paratexual category

Modern Ukrainian Drama: Rapport Between Autor and Reader (Based on Sociolinguistic Survey)

The article provides results of a sociolinguistic survey conducted among students in order to determine successful or unsuccessful encoding of information by author in paratext elements of modern Ukrainian plays. The research confirmed advanced hypothesis and proved that the majority of respondents expect shock and experiments from modern dramas. 250 respondents, who are students of Oles\u27 Honchar Dnipro National University Faculty of Ukrainian and Foreign Philology and Arts, aged 19 to 23, have completed a questionnaire. These were students of philological department, whose professional qualification requires knowledge of works of art, including dramas, selected as respondents since modern Ukrainian drama tends to be rather unpopular and readers are disinterested in reading plays. Analysis of the responses to the questionnaire showed that paratext elements shape future hypothetical communication between author and reader, as well as provide the later with a certain set of expectations from reading the drama text. Genre features of drama stipulate a rich ground for reader\u27s imagination, the range of which has diametrical limits and which determines recipient\u27s personality. Association experiment proved consistency of reader\u27s perception of author\u27s intentions

Reading poetry and its paratexts model users’ rights: Mary Dalton’s Hooking, cento poetics, and copyright law

This draft paper focuses on Newfoundland poet Mary Dalton's 2013 book Hooking -- a collection of centos (poems composed only of lines from other poems) -- in order to propose a method for reading the exercise of users' rights in Canadian poetry by attending to poetry books' paratexts (front and end matter that acknowledges permissions or cites sources). This talk moves from an introductory discussion of users' rights enshrined in Canadian copyright law (e.g. fair dealing, the public domain) to a survey of poetry books, including Dalton's, and how their paratexts frame these books' transformative use of other works. The talk aims to promote a more widespread and robust exercise of users' rights in the service of cultural production and expressive freedom by showing the extent to which published authors, no less than users or readers, need fair dealing too. (Posted for open review, this is a preliminary draft of a talk to be given at a workshop on cento poetry, held at the University of Bochum, Germany, in November 2020.

Gaming capital: Rethinking literacy

This paper is part of the symposium: Gameplay, gameplayers and gaming capital: Exploring intersections between games, education and adolescent subjectivities in virtual worlds PEER REFEREEING REQUIRED In rethinking literacy education in light of unprecedented technological change, this paper reports on adolescent gamers and their accumulation of gaming capital. This is in opposition to more pervasive assumptions about gaming as mindless entertainment, learning simulations, ideological tools and interactive mediums for the masses. We see the need to research the medium of games in their entirety, exploring their uniqueness as a medium--while at the same time--making connections to a wider media ecology (Fuller, 2005) that includes more than the games themselves. This media ecology of videogames is demonstrated in part by the 'paratextual' (Consalvo, 2007) industries that support game play, production and design. The 'paratext' is central to gaming capital in creating individual and group systems of distinction within gaming culture. Because we understand videogames as actions across social fields enacted through the actions of players or 'operators' on software, we also deem it necessary to understand both the operator and machines' diegetic and non-diegetic actions (Galloway, 2006). This distinction allows us to think about games as more than texts, literacy practices and narratives, which highlights games' significance in technoclture as systems (Salen, 2008), procedures (Bogost, 2007), algorithms (Galloway, 2006; Wark, 2007), configurations and code (Lessig, 1999; Manovich, 2001). In conclusion we provide a series of interview questions developed to uncover adolescents' gaming capital. We also propose a heuristic to map a players' total volume of gaming capital to better understand how gaming capital establishes trajectories of exchange between cultural and economic capitals and its implications for literacy education

Forms of World Literature and the Taipei Poetry Festival

In poetry anthologies and works of literary criticism, the authority to select which literature can become “world” literature often lies with a single editor or theorist. This essay contrasts those centralizations of authority with the more egalitarian structure of international poetry festivals. Using the 2016 Taipei Poetry Festival as an example, the essay reads the impact of the form of the festival on its audience’s experience of translation, the local in the transnational, and intercultural solidarity. The essay then argues that boredom is a formal flaw in contemporary festivals, and advocates that translations be performed in local vernaculars

The rise of social ereading : interactive ebook platforms and the development of online reading communities : a thesis presented in partial fulfilment of the requirements for the degree of Master of Arts in English at Massey University, Manawatū, New Zealand

Ebooks have caused a revolution in how people read fiction. Ereading devices and apps now integrate interactive features which have led to the development of digital reading communities populated by millions of readers from around the world, with a resurgence of social reading practices in new forms. Two of the biggest social reading communities in existence today are hosted by Amazon’s Kindle and Wattpad. This thesis offers an analysis of how these platforms’ readers are using the interactive technology within the pages of their ebooks to participate in these online reading communities. Original research into popular texts on Wattpad reveals that while only a small percentage of users are actively engaging with the ebooks and other readers during the process of reading, all active and passive interactions have a significant influence on the reading experience. Thus, the infrastructure of such communities ‘rewards’ serialised books which encourage higher levels of reader interactivity with greater recognition within the community, but this reward is short-lived. The application of Genette’s paratextual theory to the interactive features of these ereading platforms reveals new processes of authorisation and readers-as-writers. New paths for the evolution of digital paratextual theory see paratexts developing from ‘thresholds’ into ‘vectors’. The statistical notations of reader interactions are now informational paratexts attached to each ebook, and these online reading communities may be considered paratexts themselves, operating through the new paratextual phenomenon of digital marginalia. Furthermore, the existence of these reading communities on free platforms such as Wattpad is supported by commercial paratexts found within the ebook pages. These new paratexts are iii having a significant impact on social ereading and reading communities - such as how they operate and judge the ‘value’ of ebooks - but historical precedents suggest these paratexts will be readily accepted by most readers, leading to an increase in the incidence and influence of such digital paratexts. These new interactive technologies and paratexts will potentially lead to significant changes in how fiction is read. Exactly how these technologies may develop, and how public, industrial, and academic stakeholders might take advantage of these opportunities, requires further research

Venuto al mondo di Margaret Mazzantini: dal testo al paratesto, e ritorno

The paratext on the back cover of Margaret Mazzantini's Venuto al mondo (published in 2008, winner of Campiello Award 2009, a film in 2012, a serial tv in 2014) reports the 'prize motivation' written by the jury of Campiello, formed by important professors and literary critics. Comparing the text of the novel with the paratext of the book, the article analyses some sure results of the paratext, and also some strategic gaps and reticences

Evidence of Hypertext in the Scholarly Archive

Quantitative studies of archive use by researcher

‘My printer must, haue somwhat to his share’: Isabella Whitney, Richard Jones, and crafting books

Given Isabella Whitney’s reputation as the first English professional woman writer, her books are fertile ground for the recent material turn in the study of early modern women’s writing. Women’s engagement in book production meant that their texts were mediated through the work of booksellers, printers, and other agents in the print trade. We need to remember that writers make texts, but books are made by publishers and printers. Whitney’s own working relationship with her printer-publisher, Richard Jones, is well-known. Yet, the precise nature of Jones’s role in the production of Whitney’s books and her fashioning as an “Auctor” remains shadowy, largely because questions of agency have not been explored through the technologies of book production. To understand the ways in which Whitney’s texts were mediated through print, and her participation in this process, this essay will focus on how her books of poetry were made, starting with the role of her printer-publisher, Richard Jones