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Paratexts: Thresholds of Interpretation
Trans. of Genette, Gérard: Seuils. Paris: Éditions du Seuil, 1987.
Paratexts are those liminal devices and conventions, both within and outside the book, that form part of the complex mediation between book, author, publisher, and reader: titles, forewords, epigraphs, and publishers' jacket copy are part of a book's private and public history. In Paratexts, an English translation of Seuils, Gerard Genette shows how the special pragmatic status of paratextual declarations requires a carefully calibrated analysis of their illocutionary force. With clarity, precision, and an extraordinary range of reference, Paratexts constitutes an encyclopedic survey of the customs and institutions of the Republic of Letters as they are revealed in the borderlands of the text. Genette presents a global view of these liminal mediations and the logic of their relation to the reading public by studying each element as a literary function. Richard Macksey's foreword describes how the poetics of paratexts interacts with more general questions of literature as a cultural institution, and situates Genette's work in contemporary literary theory.
Jill Walker Rettberg - 17.01.2013 - 22:46
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Reader/Readers
The paper will present a percepto-cognitive theory of e-poetry. This theory uses a non-ontologic approach of literature in which the concept of "text" cannot be defined independendly from the mind representation for the system. This conception, named "theorie du texte lié à une profondeur" (theory of text linked to a deep) will be present. In this theory, the main concepts are the mind representation of the system, named the "profondeur de dispositif" (system-deep), and the set of elements which can be perceived as a classical text. This set is named the "texte-à-voir" (text-to-be-seen). The system-deep which seems to govern the real behaviour of the system in e-literature is named the procedural archetype. The paper will present the main caracteristic features of it, specially the particular position of the reader. The most important features relative to the reading are the "double reading" and the "aesthetics of frustration": to construct the sense of a work, the reader "has to read his reading", even if the work is non-interactive. This particularity is named "double reading".
Patricia Tomaszek - 28.10.2013 - 14:22
