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Re-Covered Rose: A case study in book cover design as intersemiotic translation
Abstract
When a reader picks up a book, the essence of the text has been translated into the visual space of the cover. Using Umberto Eco’s bestseller The Name of the Rose as a case study, this is the first study of book cover design as a form of intersemiotic translation based on the purposeful selection of visual signs to represent verbal signs. As an act of translation, the cover of a book ought to be an ‘equivalent representation’ of the text. But in the absence of any established interpretive criteria, how can equivalence between the visual and the verbal be determined and interpreted? Re-Covered Rose tackles this question in an original and creative way, laying the foundation for a new research trend in Translation Studies.
Marco Sonzogni is Senior Lecturer in Italian, School of Languages and Cultures, Victoria University of Wellington, New Zealand. A widely published academic and an award-winning editor, poet and literary translator, he is the Director of the New Zealand Centre for Literary Translation/Te Tumu Whakawhiti Tuhinga.
... Li et al. 2019;Sun 2020;Deng and Tang 2022;Zao et al. 2023), drawing on paratext theory, probe into book covers' function and participation in the making of translated literature, other "radical" ones (e.g. Sonzogni 2011;Furukawa 2012;Yu and Song 2017;Jiang 2021) borrow Jakobson's (2012) taxonomy of translation, straightforwardly treating covers as intersemiotic translations of the original literary works. Besides, a cohort of "neutral" researchers, exemplified by Mossop (2018), recognizes book covers as not sheer intersemiotic translations of the source texts (STs) but as freestanding art objects and marketing devices that incorporate translational elements from the STs. ...
... A book cover, according to Sonzogni (2011), has to serve three functions. It should (1) "provide visual information that will enable the potential reader to choose to read the book or discard it (typically, the time involved will be a few seconds)", (2) "inform the reader of the text by displaying the title and the author and summarizing in images and words the text", and (3) "remind the reader of what he already knows of the text" (p. ...
This article investigates the potential impact of translation covers on the acceptance of Chinese dianji (classics) in the target markets, with a particular focus on facilitating them to truly "go out" of China by capturing their prospective readers' attention through an analysis of an exemplar of the Library of Chinese Classics (LCC). The research commences with a brief introduction to dianji and their outward translation activities, highlighting the challenges they face in terms of global dissemination, and emphasizing the significant role played by book covers in enhancing the appeal of translated classics. Subsequently, it proposes a framework to examine the appeal of translation covers based on three basic functions they serve, followed by a comparative analysis of the respective cover appeals of two editions of the same dianji translation. This analysis intends to elucidate the underlying "physiognomic" reasons for the unsatisfactory reception of the LCC series, substantiated by empirical evidence from a small-scale semi-structured survey. Finally, it concludes by advocating for leveraging paratextual resources related to the translated dianji on the covers to promote their wider acceptance.
... This research is based on a theoretical framework from two main fields: translation studies and posthumanism/new materialism. Regarding translation studies, key theories are (Batchelor's 2018) exploration of the influence of paratexts on target culture images, paratranslation (Yuste Frías 2012), intersemiotic translation (Jakobson 1959;Jiang 2021;Sonzogni 2011), and Frank's patterns for translating titles (2007). The posthuman perspective on the child-environment relation builds on Jane Bennett's concept of vital materialism (Bennett 2010) and Spyros Spyrou's call for critical studies focusing on children's intra-agentic agency in relation to peers, adults and various environments and matters (2018). ...
... It is also worth pointing out that the German, Macedonian, and Swedish covers are interestingly related: boots are mentioned in the title in German, but not paid much attention to in the illustration; the Croatian cover does have boots in the illustration, although the title is about a message in a bottle; and the Swedish illustration does have a message in a bottle illustrated, even though it is not mentioned in the title. This complementarity of elements proves that these covers are intersemiotic translations, as the combination of the title and the illustration consists of a summary of the book's contents (Sonzogni 2011). The presence of some elements in the title or the illustration can be influenced by the perception that the target culture has of the source culture (Jiang 2021). ...
This article analyses the many different covers of the children’s novel Keeperen og havet (The Goalkeeper and the Sea) by Parr. It aims to determine how the child-environment relations or assemblages are represented on the source cover and its various translations. The analytical and conceptual framework applied for the visual content analysis of the covers’ designs combines intersemiotic and paratranslation theory with posthuman and new materialism perspectives and reveals that interpreting relations between the environmental setting and the characters is a complex task. The findings demonstrate that child-environment relations on the various covers are sometimes agentic, but that the agentic elements are not always the same. It is not clear whether the agentic relations are related to the target culture’s image of the source culture or whether they are influenced by how the target culture is meant to support or challenge the target readers.
... Sampul buku dapat menjadi satu pesan tersirat dari isi buku, hal itu dapat menjadi salah satu faktor yang dapat mempengaruhi keputusan target pembaca untuk melakukan pembelian (Arine & Sutanto, 2021). Sebuah sampul buku menyiratkan dua jenis interaksi: antara teks dan gambar, dan antara teks dan pembaca (Sonzogni, 2011). pembaca akan isi dari buku tersebut. ...
... Pentingnya suatu sampul buku juga kembali dinyatakan olehSonzogni (2011).Fungsi suatu sampul buku adalah untuk: (1) Menyediakan informasi visual yang mengizinkan pembaca potensial untuk memilih antara membaca atau mengabaikan buku tersebut; (2) Untuk menginformasikan kepada pembaca terhadap tulisan tertera dengan (a) Menunjukkan judul dan penulis); (b) Menyimpulkan dalam gambar dan teks; (3) Mengingatkan kembali kepada ...
Dalam era modern ini, masih didapati banyak desainer muda yang hanya mengedepankan keterampilan teknik saja sehingga keterampilan-keterampilan non teknis seperti komunikasi, project management, creative thinking, dan sebagainya. Selain itu ditemui juga bahwa sebagian desainer grafis muda masih belum memahami esensi dari karir atau profesi seorang desainer grafis. Hal ini menyebabkan kurangnya pemahaman terkait hal-hal yang dibutuhkan seorang desainer dalam berkarir, tidak tahunya nilai sebuah karya, hingga tujuan karir yang ingin dijunjung. Dari masalah tersebut Hola Grafika hadir sebagai brand edukasi yang berbasis di sosial media untuk menginformasikan serta mengedukasi desainer-desainer muda Indonesia agar dapat berkembang dalam karir serta pekerjaannya. Untuk menciptakan solusi yang informatif, menarik, serta kredibel, maka perlu merancang buku “Am I Doing It Right” sebagai buku panduan sebelum memasuki dunia desain grafis. Melalui studi literatur dan uji coba dengan metode wawancara. Buku “Am I Doing It Right” dibuat untuk menjadi solusi desain komunikasi visual bagi masalah tersebut. Dalam jurnal ini akan dibahas bagaimana cara merancang desain buku "Am I Doing It Right" dari Hola Grafika sebagai media pencarian identitas desainer muda di Indonesia. Sehingga didapati metode penciptaan produk yang tepat dan dapat menciptakan buku yang tidak hanya informatif namun komprehensif. Melalui hasil penelitian dan uji coba terhadap expert user, extreme user, dan khalayak sasaran, maka didapati bahwa buku yang dirancang sudah dinilai memiliki tampilan yang baik serta mampu mencerminkan persona yang ingin dikomunikasikan dari buku “Am I Doing It Right”. Selain itu didapati juga bahwa konten serta materi yang ditawarkan sudah memiliki kualitas yang sangat baik dan dapat diaplikasikan ke dalam pekerjaan serta proses berkarir seorang desainer. Di akhir kata, dapat disimpulkan bahwa hasil perancangan yang dilakukan berdasarkan tinjauan pustaka sudah sesuai terhadap kondisi atau situasi pasar serta target yang dituju.
... In the second part of the paper we focus on the cover design as one of the main representative paratextual elements of a book (Genette, 1997). Relying on the 'grid' developed by Sonzogni (2011), we accept the cover design as an intersemiotic translation (Jacobson, 1959) and attempt to evaluate its equivalence. We conclude that by using two different methods the cover designs create an 'oriental' image of the Turkish Literature, usually irrelevant to the content of a book. ...
... Bu noktada, başta kapak tasarımları olmak üzere çeşitli yanmetinsel öğelere bakılmıştır. Sonzogni (2011), Genette (1997, Jacobson (1959) gibi araştırmacıların tespit ve önermelerinden yola çıkarak kapak tasarımı, bir göstergelerarası çeviri çeşidi olarak ele alınmış, tasarım seçimi sürecinin arkasındaki olası ideolojik ve ekonomik etkenlere ışık tutulmuştur. ...
Bu çalışma TEDA Projesi kapsamında Rusçaya yapılan çevirilerin listesini incelemekte ve iki odak noktası içermektedir. İlk bölümde Rusça listesi, ilk önce aynı proje kapsamındaki İtalyanca ve Lehçeye çeviri listeleriyle daha sonra ise NOTOS Dergisi tarafından 2014 yılında hazırlanan ‘Türk Edebiyatının 40 Klasiği’ listesiyle karşılaştırılmıştır. Üç ülkenin diline yapılan çeviri seçkilerinin yapıt bazında birbirinden neredeyse tamamen farklı olduğu anlaşılmıştır. Rusça listesinin Türk Edebiyatının çeşitliliğini yansıtmakla birlikte klasik olarak ilk akla gelen bazı yapıtlara yer vermediği ve bu nedenle tutarlı ve eşit nitelikli olmadığı anlaşılmıştır. Kapak tasarımları ise bir yazarın ve dolaylı olarak bir ülke yazınının imgesini oluşturan önemli bir yanmetinsel öğe (Genette, 1997) olarak kabul edilmiştir. Sonzogni (2011) tarafından önerilen yaklaşımla kapak tasarımları bir göstergelerarası çeviri (Jacobson, 1959) olarak ele alınmış, yapıtın içeriğiyle oluşturduğu eşdeğerlik düzeyi açısından sorgulanmıştır. Kapaklarda iki farklı yöntemle oluşturulan ‘Doğulu’ bir imgenin kullanıldığı, bu seçimin çoğunlukta ekonomik kaygılarla yapıldığı ancak kaçınılmaz olarak ideolojik bir etki yarattığı sonucuna varılmıştır. İki ülkenin uzmanlarından oluşan bir komisyonun hazırlayacağı bir çekirdek liste ve çevirilerin görsel sunumu konusunda Türk tarafının da söz sahibi olması tespit edilen sorunların olası çözümlerden bazıları olarak önerilmiştir.
Anahtar Sözcükler
TEDA, Rusça, çeviri, kapak tasarımı
... As Frias (2012: 23) asserts, "translators being translating subjects and first pratextual agents, need to be specialists on the use of signs, marks, signals, symbols and images as social codes in human communication. " Furthermore, the cover implies two types of interactions: between text and image and between text and reader (Sonzogni 2011). According to Barthes (1977), there are two ways of looking at the relationship between text and image: (1) the image illustrates the text; (2) the text loads the image burdening it with a culture, a moral, an imagination. ...
... As a result, book covers play an important role in the introduction of newly published books to others. Therefore, the cover should engage first and foremost with the genre of the book and then with the content and with setting (Sonzogni 2011). Therefore, the publisher changed the painting of a young woman wearing a red scarf in ST to a photograph of middle -aged woman wearing chador in TT; furthermore, a narrow strip showing ordinary people going to Karbala was added near the bottom of TT cover. ...
Translation as interlingual and intercultural communication has always been subject to ideological manipulation. This is due to the fact that some Translation Studies scholars believe that translators are considered as responsible for the reception and survival of literary works among target language readers. The strategies the translators apply throughout the translation process are governed by those who wield power including political and social institutions like the government, the law and publishers. In view of this phenomenon, the current study explores the paratextual strategies applied by Paul Sprachman, an American translator, when he translated Da (2014) from Farsi into English. Using narrative theory, this study analyses how the English translation appears to reiterate notions of Iran and Shia identity as bellicose and anti-liberal by situating Iran's war literature as dramatic and fictional, rather than as a testimonial to one Iranian woman's representations of her lived experience. The findings indicate that the textual and paratextual manipulations were in line with the ideology of the receptive environment of the United States with relevance to the discourse of the war in Iran.
... Covers are examples of multimodal genres whose two basic elements are the title and the images, often designed to establish a relationship between the book and its content (Serafini et al. 2015). Covers are not disinterested processes but serve both rhetorical and commercial purposes, the main one being to capture possible readers (Stoller 1985, Martínez Lirola 2006, Moody & Matthews 2007, Sonzogni 2011, Darling 2019. As such, they generate meanings in a multimodal manner, not only through language but also through visual features and elements such as images, color, and the layout of pages (Kress & van Leeuwen 2021), making use of various semiotic resources and different modes (cf. ...
Rape remains a current and frequent topic in media products such as advertisements, films and television series, in social networks such as Twitter, Instagram and in new virtual spaces such as the metaverse. As Brownmiller (1975: 13) claimed, examining thehistory of rape may help us “learn what we need to know about our current condition”. Doing so may entail the study of representations of rape in pornographic novels published between 1970-1990, a period that partly coincided with the Second Wave of Feminism (1960-1980s) and the Golden Age of Porn (1969-1984). In such a context, book cover design was not merely an art, but a crucial factor in attracting potential customers. Building up upon Brownmiller’s assertion, this paper provides a multimodal analysis of 51 covers which contain the lemma RAPE, published between 1976 and 1990. The analysis adopted a social semiotic approach (Kress & van Leeuwen 2006) in conjunction with the principles of Feminist critical film analysis (Mulvey 1975) to document how rape scene fantasies were portrayed in the covers. Exploring these representations can help us understand many of the still prevalent myths surrounding rape nowadays, which perpetuate violent misogynistic behavior as a form of entertainment for their audience.
... Pärlog (2019) discusses the relation between intersemiotic translation and multimodality , stating that the latter is based on different types of signs and symbols and the ways in which they are intertwined , and concluding that intersemiotic translation can make knowledge more accessible to those that find it difficult to grasp it in its original form. Other applications of intersemiotic translation include audiovisual translation (Taylor 2020) and creating book illustrations (Pereira 2008) and book covers (Sonzogni 2011). O'Halloran et al. (2016 focus on the difficulties of analysing and modelling intersemiotic translation, emphasising the need for introducing various computational methods, such as multimodal annotation software, visualisation techniques or mathematical modelling, in order to tackle the issues that might arise in such procedures. ...
This study analyses visual and verbal material found in Đorđe Lobačev’s comic book Tsar Dušan’s Wedding (1938/1976) (orig. Ženidba Cara Dušana) using a set of tools coming from the domains of intersemiotic translation, intermediality, and adaptation. The comic book is based on the Serbian oral epic ballad Dušan’s Wedding (orig. Ženidba Dušanova), which focuses on the hero wedding theme. The study will try to present verbal and graphic devices used to transfer the epic narrative to the medium of comics and compare them to the ones used in the original story. It will also address the aspect of the epic ballad structure and its transposition into the realm of comics. The analysis will take into account the historical context of the comic book in question and compare the findings with some of the results of contemporary comics studies dealing with certain graphic devices employed in comics. These findings reveal that Lobačev’s comic book contains certain graphic flourishes related to describing motion, speed and spatiality, but lacks the ones used to depict affect, which is in line with basic traits of oral epic poetry.
... The transformation of the discipline has taken several different avenues. On one side, translation scholars have increasingly expanded their reach focusing on intersemiotic translations in various areas of application, such as between legal contract and comics (Pitkäsalo and Kalliomaa-Puha 2019), education (Marais 2019), photography (Mersmann 2020), book cover (Sonzogni 2011), packaging (Eker-Roditakis 2018), music (Gorlée 1997), illustration (Echauri Galván 2019), cities (Simon 2006), and different kinds of artifacts (Otsuji et al. 2021). ...
This paper introduces the concept of "interreal translations," a novel area of inquiry situated at the intersection of evolving trends in Translation Studies. Interreal translations involve the translation of objects, spaces, and subjects across media-generated virtual spaces, including virtual and augmented realities. Grounded in intersemiotic translation, the paper proposes a typology of interreal translations, categorizing them as vertical (between the primary reality and alternative realities) and horizontal (between different alternative realities). These translations play a significant role in our diverse mediascape and require a multidisciplinary approach, drawing from fields such as Human Computer Interaction, Games Research, Semiotics, Anthropology, and Translation Studies. This exploration of interreal translations offers a promising avenue for future research, reflecting the dynamic evolution of the discipline and the growing importance of digital and virtual contexts.
... The present article seeks to further the analysis by examining the epitext employed by the press seeing as the epitext in the digital spaces might have given Animal Farm and its Thai retranslations a new lease on life. The interest in the study of translation and paratext has primarily been in analysing peritextual material of translated texts, such as covers and prefaces (Harvey, 2003;Sonzogni, 2011;Gerber, 2012;Haddadian-Moghaddam, 2014;Thareekittikul, 2018), not on the epitext, the distanced elements located outside the book, including interviews and advertisements amongst others (Genette, 1997, p. 1). Before the publication of the special issue of Translation Studies "Media Paratexts and Translation" in which digital media products were researched into, previous studies on epitextual materials delve into translators' memoirs (Kellman, 2010) and author-translator dialogue (Jansen, 2013). ...
Purpose
The present article seeks to further the analysis by examining the epitext employed by the press seeing as the epitext in the digital spaces might have given Animal Farm and its Thai re-translations a new lease on life.
Design/methodology/approach
The interest in the study of translation and paratext has primarily been in analysing peritextual material of translated texts, not on the epitext, the distanced elements located outside the book. To add to a limited amount of research into epitext, this study focusses on the element that is external to the published re-translations: the news items published by the media in the Thai and English languages from May–June 2019, immediately after the Thai PM’s book recommendation.
Findings
These news items, as an epitextual element, primed, explained, contextualised, justified and tempted readers. The “Afterlife” of Animal Farm in Thailand is sustained by political upheavals and re-translations. Rather than through their textual qualities, the re-translations of Animal Farm compete with each other through epitext.
Originality/value
In discussing literary re-translation of Animal Farm in the digital age, Genette’s categories of paratextual field are not without their merits. The materials examined in this article are posted by web administrators with collective identity or institutional affiliation. In some of these news items or articles, materials created by different paratextual creators are selectively coalesced within a singular textual space. The site users or news readers encounter various elements in the texts that had been curated by journalists. In other words, these elements had been consciously crafted.
... De entre as publicações dedicadas à análise de capas de diferentes edições do mesmo texto, destacam-se, por exemplo,Furukawa (2012),Mossop (2017),Sonzogni (2011) e Roditakis(2012). No domínio da literatura infantojuvenil, no que respeita aos estudos que dedicam especial atenção às alterações nas capas durante o processo de transfer cultural, é de salientar a predominância de corpora constituídos por romances juvenis, como é o caso de Axelsson e Naesje (2021), Gerber(2012),Joosen (2006) e Panaou e Tsilimeni (2020).256 ...
The main objective of this study is to investigate the internationalization of contemporary Portuguese children’s literature, considering phenomena of mediation and transfer. The corpus comprises the catalogue of Planeta Tangerina, a publishing house that has gained international recognition and overcame linguistic and cultural barriers by publishing its works in a wide range of countries with very different cultural, educational, and editorial backgrounds. Following an interdisciplinary theoretical framework and methodological approach, which integrates the domains of Literary Studies, Translation Studies, and Publishing Studies, one aims to answer the following investigative questions: in the globalized world of the 21st century, how are foreign rights negotiated and which factors influence the negotiation? Which literary themes and formal and stylistic features are more likely to appeal to foreign publishers? Are they different depending on the target country, culture, or language? What are the most relevant textual, visual, and peritextual adaptations and the main translation strategies used by intercultural mediators? What do these adaptations reveal about the target mediators’ perception of what children’s literature should be — especially regarding the balance of didactic, ludic, and aesthetic features — and their evaluation of children’s interests and reading competences? Does internationalization affect the posterior Portuguese production? Do authors try to pursue and conform to specific international standards? Overall, this study contributes to the characterization of contemporary Portuguese children’s literature, by analysing and portraying the production of one of the country’s most prominent publishing houses. It also sheds light both on the editorial processes involved in the importation and exportation of literary texts and on the role of the mediators that take part in the cultural transfer, especially the editor and the publisher. Additionally, the study identifies and correlates the factors that influence the internationalization of literary works, including state policies for funding translations; literary prizes and fairs; linguistic, geographic, and cultural proximity between linguistic areas; affinity between publishing houses; and the proactive attitude of Portuguese mediators, mainly fostering international communication and promoting professional and interpersonal networks. Lastly, this work provides an overview of the most used translation strategies and procedures, portraying trends by regions and linguistic areas.
... He employed a different image but it carries the same feeling. Sonzogni (2011) argues that when an image cover dissects crucial elements from a story, it can often be reflected in a different way. Thus, Al Abdalla's cover is dense with unpleasant feelings of pain, fear and anxiety, usually associated with power relations. ...
This article is mainly concerned with the strategies employed in translating verbo-pictorial gendered metaphor when used as a literary work cover. It focuses on the translation strategies employed by Arab translators in translating the cover of Doris Lessing's novel The Cleft. It raises the questions of to what extent translating a verbo-pictorial gendered metaphor employed as a literary work cover may clarify and elucidate nontraditional new images in different cultures. The article also emphasizes how a verbo-pictorial gendered metaphor plays a role in structuring gender relation new images. The article argues that the translation of gendered metaphors that appeared in feminist literary works invites different translation strategies when it is translated from English into Arabic.
... Cronin (2008) analyses representations of translators in cinema, thereby revealing the growing importance of the translator as an iconic image used as a tool to address the shortcomings of visualisation to think about difference. Sonzogni (2011), Sohár (forthcoming) and Podlevskikh-Carlström (forthcoming), investigate book-cover designs as form of inter-semiotic translation of the contents of a book and marketing tool respectively. Tong King Lee (2015) explores the relationship between verbality and visuality in multimodal literary art, which focuses on the discursive and linguistic function of translation in the making of an icon-language. ...
Las ferias, los festivales y los eventos competitivos se estánvolviendo cada vez más centrales para la investigación que exploralos complejos fenómenos culturales que combinan las prácticaseconómicas y viceversa. El siguiente artículo está impulsado por laidea de que el análisis sistemático de la metáfora visual cualitativaofrece una nueva forma de pensar cómo la traducción se sitúa enel campo literario y atrae al público. Basándome en lainvestigación archivística en línea, presentaré una lectura de lasimágenes que se publicaron entre año y año, y que todavía estándisponibles para su consulta en línea (02.02.20 18), en relacióncon el Premio de la Feria del Libro de Leipzig. Mi análisis en esteartículo mostrará lo siguiente: 1) las ferias de libros son sistemasde red abiertos que apuntan a reforzar y renegociar los sistemasde valores; 2) los traductores asumen diferentes roles en estesistema, como agentes, productores y publicistas de bienesculturales; y 3) el análisis de la metáfora cognitiva es unaherramienta adecuada para evidenciar las relaciones de poderdesiguales entre traducción y literatura. También argumento que,para superar los desafíos de la etnografía de archivo en línea, elanálisis metafórico debe incluir otros modos de representacióndistintos a los verbales.
... Analizin ilk örneği bir yanmetin türü olan kitap kapağı ve kitap başlığıdır. Kitap kapağının, temsil edilen metnin göstergelerarası çevirisi olduğunu düşünürsek (Sonzogni, 2011;Mossop, 2018), 2 çeviri kitapların kapaklarında yapılan herhangi bir değişikliğin belirli bir motivasyonla yapılmış olabileceği düşüncesini de göz önünde bulundurmuş oluruz. Kitabın Altın Kitaplar'dan 2016 yılında çıkan Türkçe çevirisindeki kapağa gelecek olursak, sarı bir zemin üzerinde sadece siyah bir gövdeden oluşan terzi prova mankeni ve mankene doğru sallandırılarak darağacı ilmeği haline getirilmiş bir terzi mezurası bulunmaktadır. ...
... Medya, sinema, edebiyat, grafik tasarım, kültürel çalışmalar ve iletişim gibi disiplinler birbirleri ile daha sık yaklaşımlarda bulunurlar. Bu yakalanan sinerji ile kitap sadece edebi metinler olarak değil aynı zamanda güçlü görsel boyutlara sahip birer eserler formuna dönüşür (Sonzogni, 2011). ...
... Kitap kapaklarını göstergelerarası çeviri olarak ele alan araştırmacı Sonzogni (2011) kapaklar metne sadık mı kalmalıdır yoksa metni tamamlayıcı bir rol mü üstlenmelidir sorusunu This novel is about the formation of an absurdly bureaucratic organization (The Time Regulation Institute) whose sole purpose is to synchronize all of the timepieces in Istanbul. The subtext deals with the tension between East and West, Modernity and Tradition, and the story is narrated by a very serious character who relays all of this absurdity and silliness with a straight face. ...
Bu çalışmanın amacı TEDA projesi kapsamında İngilizceye çevrilen yapıtların alıcı kültüre sunumuyla oluşan kaynak kültür imajını kitap kapakları üzerinden sorgulamaktır. Türk kültür, sanat ve edebiyat eserlerinin yurt dışında temsil edilmesi amacıyla başlatılan TEDA projesi ile yabancı dillere çevrilen eser sayısında ciddi bir artış olmuştur. Türkçeden çevrilen eserlerin tanıtımı ve pazarlanması, erek kültürlerde kaynak kültüre dair çeşitli imgelerin oluşmasına neden olur. Özellikle dağıtım ağı geniş, reklam imkânı fazla olan yayınevlerinin bastıkları kitaplar erek kültürde eleştiri ve inceleme yazılarıyla daha görünür hale gelir ve daha çok okura ulaşır. Bu nedenle bu çalışmada, erek kültürün saygın yayınevleri tarafından yayımlanan eserler incelenmiştir. Kitap kapaklarını metinsel ve görsel açıdan yorumlamak amacıyla göstergebilimsel bir yöntemden yola çıkılarak yeni bir inceleme modeli geliştirilmiştir. Kapaklardaki yazar kimliği, alıntı, künye, başlık gibi metinsel öğeler ile kaynak ve erek kültüre ait görsel öğeler birlikte ele alınarak kaynak ve erek metinlerin kapakları karşılaştırılmıştır. Özellikle diller arasındaki hiyerarşi, yazar tanınırlığı, yayınevi politikası ve okur politikasının kapak tasarımlarını nasıl etkilediği incelenmiştir. Karşılaştırmalı incelemenin sonucunda Türk kültür, sanat ve edebiyatının yurtdışında tanıtılmasında eksikler görülmesi ve okura ulaşmada etkili bir yol izlenmemesi sorunuyla başlatılan TEDA projesinin amacına ulaşıp ulaşmadığını sorgulanmaktadır. TEDA projesinin çeviri eser sayısını artıma konusunda gösterdiği başarının oluşturulmak istenen kaynak kültür imgesi konusunda da devam ettirilmesi için saygın yayınevleriyle çalışılması, destek verilen yayınların çeviri ve yayın sürecinin yakından takip edilmesi ve patronaj gücünün çeviri süreci ve sonrasında kullanılması gerekmektedir.
... Apart from multimodality, intersemiotic translation is nowadays also linked with vehicles of audiovisual translation (AVT), such as dubbing, subtitling, and voice-over (Taylor, 2020). Furthermore, aspects of intersemiotic translation have been associated with the processes of creating book illustrations (Pereira, 2008) and book covers (Sonzogni, 2011). The fact that intersemiotic translation within and across multimodal processes can be so complex for analysing and modelling has led authors such as O' Halloran et al. (2016) to call for using multimodal annotation software, mathematical modelling and visualisation tech-niques in various procedures in analysing this type of translation. ...
The present chapter combines the tools developed in multimodal studies of metaphor in comics and film, as well as those we find in comparative narratology and intersemiotic translation, in an analysis of a corpus of comic books and their film adaptations. All instances of visual and multimodal metaphor have been extracted from the collected comics corpus, along with certain examples of metonymy and specific alterations of standardised pieces of comics vocabulary that reinforce the metaphorical content. The fact that the comic books examined in this chapter have been adapted using two different media (animation and live action) provide us with an almost unique opportunity to investigate the ways in which metaphor gets converted from drawings into the animated and live-action forms, how this conversion alters the way in which metaphor can affect the audience, and whether the power of metaphorical messages can be retained in this conversion. The chapter presents different direct and indirect strategies for expressing a number of nonliteral messages (some of which appear to be very comics-specific) in different media – each of these media has to calibrate the instruments it has in its inventory in order to express different meanings within the animated or live-action discourse. The static nature of comic books seems to require a more abundant use of nonliteral representations so as to convey the intended meaning, thus making such instances more frequent in the analysed examples. Conversely, using the dynamic media of animation and live action, abstract messages can be contextualised in such a way that does not depend entirely on images with overt nonliteral content.
... Apart from multimodality, intersemiotic translation is nowadays also linked with vehicles of audiovisual translation (AVT), such as dubbing, subtitling, and voice-over (Taylor, 2020). Furthermore, aspects of intersemiotic translation have been associated with the processes of creating book illustrations (Pereira, 2008) and book covers (Sonzogni, 2011). The fact that intersemiotic translation within and across multimodal processes can be so complex for analysing and modelling has led authors such as O' Halloran et al. (2016) to call for using multimodal annotation software, mathematical modelling and visualisation tech-25 From Statics to Dynamics: Intersemiotic Conversion of Metaphor and Its. . . ...
In this highly-interdisciplinary volume, we systematically study the role of metaphors and analogies in (mis)shaping our understanding of the world. Metaphors and Analogies occupy a prominent place in scientific discourses, as they do in literature, humanities and at the very level of our thinking itself. But when misused they can lead us astray, blinding our understanding inexorably. How can metaphors aid us in our understanding of the world? What role do they play in our scientific discourses and in humanities? How do they help us understand and skillfully deal with our complex socio-political scenarios? Where is the dividing line between their use and abuse? Join us as we explore some of these questions in this volume.
... In terms of indication and temptation, what is supposed to be signified by the cover is the book-as-product, and, by extension, the implied quality, desirability and distinctiveness of that product, as well as an indication of content. Sonzogni (2011) describes this as an act of "visual translation", wherein the narrative is reinterpreted into image-signs. Cover appeal is, to a degree, culturally determined. ...
Travel literature, Paul Theroux writes, "moves from journalism to fiction, arriving […] at autobiography" (2008: 332). Perhaps because of this hybridity, travel writing is an enduring genre, and its texts are subject to fertile academic interpretation and re-interpretation. However, less attention has been given to the paratextual elements of the travel book. Book covers play a key role in establishing the nature and context of a written work. They operate as visual social semiotic forms, comprising textual and visual signifiers that stand "for an object or concept" (Moriarty, 2011: 228). The argument here is the resulting signs may encode meanings beyond the commercial purpose of the book cover. Semiotic analysis is therefore applied to the covers of Paul Theroux's novel-length travel books. It is argued the Penguin book covers that feature on editions released over the last 40 years frequently include covert signifiers of unequal power relationships between western travellers and the peoples and cultures they encounter.
... On covers of translations, Panaou and Tsilimeni (2020) point out that studying translated covers against the originals "can provide insights regarding the specific strategies employed to influence this transition/transaction/reception" and how the creators of such covers, such as translators, book designers, editors and publishers, perceive what target readers prefer and expect. Sonzogni (2011) points out that the book cover summarises its contents visually and could change how people read books. Separately, Furukawa (2013, p. 216) notes that the target audience cannot fully appreciate the original contents if the translated cover misrepresents or distorts the information. ...
Biography is a popular genre of writing with more than 2,000 years of history. Written by professionals, biographical works bear both historical and literary characteristics. Peritextual elements such as covers and footnotes form an integral part of biography, but such features are not often studied in translation. Through a comparative study of the English and the simplified and traditional Chinese editions of the biography Tall Order: The Goh Chok Tong Story (2018) published in Singapore and Taiwan respectively, we examined how manipulation can affect the peritextual translations of biography and how patronage and ideology can affect the peritextual elements. The study revealed significant differences in the title, cover design and the front sections of the two Chinese editions, indicating that manipulation had occurred at the non-verbal paratextual level. It was also found that both Chinese editions also feature a significantly greater number of footnotes than the source edition, which can be categorised as citation footnotes, profiles and backgrounders. For footnotes with existing translations, additions and alterations are used to provide additional context. The study also found that patronage on two levels, namely from the biography subject and publisher and from the publisher of the translated edition can affect the translation of peritextual elements, and the ideology of the publishers and the translator itself also play a part in doing so.
... However, within the field of translation studies, there are only a few studies focusing on the translation of book covers (Furukawa 2012;Roditakis 2012;Sonzogni 2011), and even fewer go deeper to explore the paratextual function of cover in translation (Alvstad 2012;Gerber 2012;Tahir-Gürçağlar 2002). To provide a more systematic visual analysis of book covers, this study adopts van Leeuwen's (1996, 2006) visual grammar, especially the interpersonal and textual functions, to analyse the book covers of the bilingual picturebooks on Mulan. ...
... Despite the popularity of this subject in book design and publishing fields, there is no sufficient literature about it. With the exception of one book related to the subject directly (Sonzogni, 2011). It is more possible to find articles and blog posts on various websites in general. ...
Re-designing covers for foreign edition books is one of the debated and complicated tasks, considering various involvements during the procedure, such as publishers’ role, designers’ interpretation and design trends of countries’ book markets. The process becomes more problematic when especially imagery that reflects cultural stereotypes, which do not represent text, are used on covers. Particularly in the case of Turkish authors’ foreign edition book covers, the visual representation of literature and text is not accurate and is full with misinterpretation, despite the fact that these authors are globally recognized and their books are translated into many languages. In the global extend, the situation is not very different than the Turkish case; we see similar design approaches consist of clichéd images on rebranded covers. As it is not only a local issue, but a universal one, this article aims to answer the following questions through the Turkish case: Why do misinterpretations occur when re-covering translated books? What are the causes? What can be done to avoid misinterpretations? To achieve this, some of the well-known Turkish authors, whose books are re-covered in many countries, are reviewed to support the argument in this article, also by revealing the process of covering foreign editions and the discussions around the topic. In the light of the review on chosen examples, the possible solutions to avoid misinterpretations are revealed in the closing section.
... The entire dust jacket is far more alluring and inviting than the previous edition and more accurately reflects the content between the covers. Marco Sonzogni (2011) explores the interconnectedness between a book's cover and text, investigating this from an intersemiotic translation perspective. He suggests that two different interactions are occurring, one between the cover image and the book's text, and another between the text and readers (2011). ...
By nature, autofiction texts often present a strong connection between the story and the external context in which it has been created. This relationship is often represented through the paratext. This paper analyses the importance of paratextual elements in autofiction, using the Italian text La festa dei limoni (FL) by Marco Braico (2011a, La festa dei limoni. Torino: Effatà Editrice., 2015a, La festa dei limoni. Milano: Edizioni Piemme.) as a case study. The narration of the text follows Braico’s alter ego, Gabriele, along his journey fighting leukaemia. This theme of illness and recovery lies at the centre of a real-life project attached to the book, which involves using the profits from the sale of Braico’s books to donate equipment to cancer wards in Italian hospitals. FL’s autofictional nature has contributed to significant changes of the book’s peritext (the book cover and the preface), between its two editions. This article explores the dynamic interaction between the text’s genre and paratext. Combining theoretical insights with a discussion of the real-life fundraising campaign at the root of this book provides a glimpse of the importance and complexities of paratextual inquiry within the emerging genre of autofiction.
Regenerative injection therapy (synonyms – orthobiology, prolotherapy) is considered the newest direction of orthopedics, which studies the use of cell technologies and new materials to ensure reparative or physiological regeneration in various diseases and injuries of the musculoskeletal system. The substantiation of the therapeutic effectiveness of autologous platelet concentrates, depending on the manufacturing features and characteristics of these biotechnological products, remains an urgent problem. The purpose of the study was to develop the classification and quality and safety criteria of autologous platelet concentrates for regenerative injection therapy in traumatology and orthopedics. Material and methods. A comparative study of 778 autologous platelet concentrates of various types, made from the blood of patients with osteoarthritis and aseptic necrosis of the hip and knee joints due to damage to ligaments and tendons, osteochondrosis of the spine, was conducted. In biotechnological products, the content of platelets and leukocytes was determined, the ratio of platelets and leukocytes among themselves and relative to their content in peripheral blood was calculated, respectively. During the production of autologous platelet concentrates, the visual characteristics of cell sediment and plasma were evaluated. Products of platelet cryolysates were subject to microbiological testing. Results. The classification of autologous platelet concentrates according to the concentration of platelets and leukocytes was developed, as well as the quality and comprehensive safety criteria of cellular forms of autologous platelet concentrates were determined: platelet index of autologous platelet concentrate, leukocyte index of autologous platelet concentrate, leukocyte-platelet index of autologous platelet concentrate. Visual characteristics of platelet concentrates were established: “ideal”, “classic”, “erythrocyte”, “low cell” and “alimentary” phenotype. Based on the results of a microbiological study, the safety of platelet concentrates for intra-articular administration to orthopedic and trauma patients was established. Conclusions. The developed classification of biotechnological products from human peripheral blood, as well as their quantitative and qualitative criteria, is the basis for the development of differentiated and personalized approaches to their use in diseases and injuries of the musculoskeletal system.
This paper considers the intersection of performativity and intersemiotic translation in contemporary art through a case study of a new media art project aimed at visually transcoding Dung Kai-Cheung’s novel Atlas: The Archaeology of an Imaginary City, a book of postmodern fiction about the palimpsest nature of Hong Kong as a linguistic landscape and a city of (cultural) translation. In Hong Kong Atlas, the locations in Dung’s book are performatively mapped out onto the real semioscape of contemporary Hong Kong using psychogeography documented in digital images, which are then transcoded through a series of iterative translations into a variety of visual formats. By analysing the complex methodology and the unique interdisciplinary theoretical framework underpinning this artistic research (combining insights from fields such as visual studies, translation studies, sociolinguistics, multimodal discourse analysis, art theory, and practice-based research epistemology), the article aims to provide a novel approach to the discussion of visual translation as intersemiotic translation.
This article examines how publishing houses use book covers to market novels by female writers
of Arab descent. In particular, a close examination of the covers of Pillars of Salt (1996), a novel by Jordanian�British author Fadia Faqir, and The Blue between Sky and Water (2015), a novel by Palestinian-American
writer Susan Abulhawa, shows that Oriental exoticism and stereotypes about Arabs are employed to market
these novels and increase sales. The covers of the novels give the impressions of faceless women, dancers,
hijab, refugee girls, and a desert as well as references to The Arabian Nights. All these Orientalist images
are used to boost the marketability of the novels. This study also makes use of Hans Robert Jauss’ and Wolfgang Iser’s Reception Theory, namely Jauss’ concept of the “horizon of expectation.”
Translation studies have traditionally focused on the textual aspects of a work. This article, instead, concentrates on the multimodal translation practices involved in the translation of covers. When a novel is introduced to another linguistic and cultural sphere, its cover and paratext usually change. The cover is one of the prime factors that influence the first view of a literary work. This article applies content analysis to examine the specific features of the cover imagery and design of 55 contemporary Arabic novels and compare them with the covers of their English translations. The comparison is based on paratextual features such as position of the title and author’s name as well as content-based elements like the selection of cover motive and cultural aspects of that choice. The analysis shows that there are significant differences between the Arabic and English covers regarding color, motive, and design and that whereas the Arabic novels often carry signifiers of a clear cultural identity, that is not the case with the English translations of the same novels. The translated covers are shown to be domesticated versions that are appealing to the target culture, using target culture aesthetics, rather than clear representatives of the source culture.
This paper examines the paratextual framing of the English translations of Jinpingmei (JPM). The primary focus is on the ways in which two remarkable translations are (re)packaged for the intended audience in the Anglophone world. Drawing upon Genette’s paratextuality theory and contemporary translation theories, the paper attempts to investigate whether and how paratextual elements can (re)shape the two translations and foster the representation of alterity. After presenting the theoretical framework, the paper focuses on the peritexts surrounding the core texts. It argues that peritextual manipulation not merely serves marketing ends but highlights translators’ visibility and ideological intervention in producing translations of premodern Chinese texts in different historical settings in the receiving context. It concludes that translational peritexts can be an effective means to enact cross-cultural construction and that the latest translation demonstrates a higher level of peritextual visibility in sustaining the genre of Chinese vernacular fiction and in promoting images of Chinese culture in the receiving context.
This edited volume contains an excellent collection of contributions and presents various informative topics under the central theme: literary and translation approaches to China’s greatest classical novel Hongloumeng.
Acclaimed as one of the Four Great Classical Novels of Chinese literature, Hongloumeng (known in English as The Dream of the Red Chamber or The Story of the Stone) epitomizes 18th century Chinese social and cultural life. Owing to its kaleidoscopic description of Chinese life and culture, the novel has also exerted a significant impact on world literature. Its various translations, either full-length or abridged, have been widely read by an international audience. The contributors to this volume provide a renewed perspective into Hongloumeng studies by bringing together scholarship in the fields of literary and translation studies. Specifically, the use of corpora in the framework of digital humanities in a number of chapters helps readdress many issues of the novel and its translations, from an innovative angle.
The book is an insightful resource for both scholars of Chinese literature and for linguists with a focus on translation studies.
COMMENT LES PÉRITEXTES ÉDITORIAUX ORIENTENT LA LECTURE POLONAISE DE HET VOLKOMEN HUWELIJK (LE MARIAGE PARFAIT) DE THEODOOR H. VAN DE VELDE La première traduction polonaise de Het volkomen huwelijk (Le Mariage Parfait ; Leyde 1926), ouvrage de vulgarisation scientifique qui soulignait l’importance de la bonne connaissance des mécanismes de la sexualité humaine, a été publiée en 1935 et a été rééditée plusieurs fois avant et après la IIe guerre mondiale. En 1972, une nouvelle traduction est sortie chez un éditeur spécialisé en médecine, Państwowe Zakłady Wydawnictw Lekarskich (PZWL). Elle a ensuite connu plusieurs rééditions par différentes maisons d’édition, subissant à chaque fois une modification de sa présentation matérielle, et plus particulièrement de sa couverture, qui est un lieu stratégique pour l’éditeur, à qui appartient la décision des éléments qui s’y trouvent. Cette étude examine les couvertures et autres péritextes éditoriaux des versions successives de la première traduction et de la retraduction, pour montrer comment les transformations matérielles subies par ces éditions laissent entrevoir des changements concernant la fonction assignée à cet ouvrage par les éditeurs respectifs.
The Other-in our case, Japanese culture-can be (re)constructed by means of translation methods, but also by various paratextual components, which sometimes aim at reimagining its distinctive features, thus creating specific expectations in the minds of the potential readers. Especially paratextual elements are powerful tools when we think about the way the reader is guided in understanding the qualities that highlight the Otherness. This study will focus on some parts of the paratext-book covers and blurbs-that are present in the Romanian translation of Mishima Yukio's literary work Confessions of a Mask. We shall argue that the blurbs act as a form of recreating Mishima's literary fame in the Romanian cultural space, while having at the same time the role of stressing the autobiographical content, thus insisting on a specific way of understanding this novel. Additionally, we will demonstrate the fact that the cover design of the first edition has the function of marking the cultural difference, thus enjoining the reader to read the literary work from a specific perspective, while the cover design of the second edition introduces him/her into Mishima's narrative, laying emphasis on the relation between the figure of Saint Sebastian and the novel as well, which is an aspect that also influences the understanding of the novel.
This paper starts with an interest in the book cover of the English translations of the Nobel laureate Mo Yan. Except for the covers published by Penguin Books, the design of many other covers fails to convey the essential information of the text. Instead, they are translated from the cultural imaginings of the Chinese culture. Focusing on the relationship between the cover image, text and culture, this paper argues that book cover of translated literature, other than being text-to-cover translation, is also a translation of foreignness, whereby the literary representation of the other culture is being interpreted and constructed. On closer examination of the patterned images of Chinese women, peasants and chubby baby boys on Mo’s book covers, this paper explores how such graphical features can be tropes of exoticism under a seemingly perpetuated Orientalist framework and thus reinforce the stereotypical images of China. By highlighting the influence of culture on cover designs of literary translation, this study complements the binary text-to-cover intersemiotic framework with a cultural perspective and aims to reveal (at least partially) the interpretative mechanism underlying the visual representation of literary translation.
As digital convergence marks the transition from print to screen culture, translation plays an increasingly important role of in the production and dissemination of the news. The translation of information in the news media is a pervasive set of practices that affects the daily consumption of the news and a topic of relevance to scholars in several areas of the humanities and the social sciences. This book provides a wide-ranging and accessible introduction to research in news media translation practices, products and processes, illustrating and discussing historical, theoretical and descriptive perspectives. Inter- and multi-disciplinary research spans fields such as Translation Studies, Linguistics, Journalism and Media Studies, and includes approaches from Critical Discourse Analysis and narrative theory to Systemic Functional Linguistics and Corpus Linguistics. The book also offers first-hand analyses of news texts in English and Italian, approaching news translation from an ethnomethodological perspective.
This chapter tells a story about the image used on the cover of the novel Coach Fitz (2018). It describes the dynamic relationship between this image and the textual dimension of the narrative and discusses what implications this relationship might have for the nature of the visionary aspect of the creative imagination more broadly. Firstly, the chapter distinguishes its approach from other scholarship that investigates book covers from different disciplinary perspectives, including those of semioticians, book design practitioners and visual communications academics. The specific visual content and style of the image used on the book cover and how it relates to the plot of the novel is then analysed. This is followed by an account of an exchange between the author of the novel, the publishers (also book editors) and the illustrator of the image used on the cover. To conclude, the chapter explores some of the ways in which different aspects of images become explicit according to the perspectives and concerns of different contributors to the production of a book.
Simone de Beauvoir’s Le Deuxième Sexe (1949) is recognised as a cornerstone of modern feminist thought, highlighting her position as one of the most influential philosophers of the twentieth century and the text’s translation into more than forty languages attests to the pertinence of Beauvoirian thought in its ability to transcend both time and space and resonate with women’s lived realities in different socio-cultural moments. Thus far scholarship has focussed on how Beauvoir’s philosophical discourse has been translated, yet little attention has been paid to the translation of the tome’s paratexts, namely, the interpretative frames, in the Genettian sense, that fashion the reader’s encounter with author and text. This study examines the genealogical trajectory of the paratranslated elements of Beauvoir’s original French text and its English translations. Specifically, my analysis focuses on both textual and iconic paratexts to investigate the role they play in the transgenerational reception of Beauvoir’s text. In terms of textual paratexts, non-authorial peritextual items such as introductions, biographical notes, and blurbs are studied comparatively and diachronically across all existing French and English editions. Secondly, iconic paratexts such as front and back cover images, as well as author photographs are studied in order to understand the ways in which both Beauvoir and her text have been reconfigured differently over time to serve different socio-cultural agendas. Throughout the study, I explore the role that gender plays in relation to paratexts, both in terms of how Beauvoir’s own authorial, gendered subjectivity is transmediated and transmogrified via paratextual devices and, how gender as a social construction, inflects the elaboration of paratexts.
The purpose of this research was to analyze ten covers of 2019 best-seller fantasy novels through multimodal. The research method used was qualitative research. The objects in this research were ten book covers of 2019 best-seller fantasy novels. The instruments used were documentation that aimed at obtaining data, including relevant books, study, activity reporting, relevant research data. Content analysis was used to obtain the data. This study used five phased cycles in analyzing the data; compiling, disassembling, reassembling, interpreting, and concluding. The result of analyzing the novels is emphasized in two focuses, including representation and interactive function. Several novels have a narrative aspect, while others contain conceptual interpretation, which is part of a representative function. It was very challenging to interpret some implicit meaning of the symbols in some of the novels as it requires mythical knowledge. Therefore, it is expected that understanding the implicit meaning comprehensively will make readers easier to understand the story outline of the novel.
This article considers how the famous Irish stained glass artist and book illustrator Harry Clarke “translated” the works of Edgar Allan Poe from literature to image with particular attention to the attire worn by the dead brides in Poe’s tales “Ligeia” and “Morella.” The article takes as its point of departure the theories on the translation of poetry set out by Walter Benjamin in his famous essay “The Task of the Translator” (1921), where he argued that more than revealing what the original is about, the translator should reveal “its manner of meaning,” and that in the translation journey, the translator’s own language would be broadened and deepened by its contact with the translated one. The article explains how the work of Clarke on Poe can be understood as such a translation, claiming that in addition to enriching his own visual language, Clarke enriched the source text as well, by adding to it a crucial lexicon absent from the original, in the form of the dress of the dead brides of the tales, and that of their lovers, which are a central element of Clarke’s images, and unique among those of other visual translators of Edgar Allan Poe.
The Routledge Handbook of Translation History presents the first comprehensive, state-of-the-art overview of this multi-faceted disciplinary area and serves both as an introduction to carrying out research into translation and interpreting history and as a key point of reference for some of its main theoretical and methodological issues, interdisciplinary approaches, and research themes.
The Handbook brings together 30 eminent international scholars from a wide range of disciplinary backgrounds, offering examples of the most innovative research while representing a wide range of approaches, themes, and cultural contexts. The Handbook is divided into four sections: the first looks at some key methodological and theoretical approaches; the second examines some of the key research areas that have developed an interdisciplinary dialogue with translation history; the third looks at translation history from the perspective of specific cultural and religious perspectives; and the fourth offers a selection of case studies on some of the key topics to have emerged in translation and interpreting history over the past 20 years.
In her collection of short stories, Intruders, Mohale Mashigo (2018) draws on popular culture as well as local cultural memories as invested in South African folktales, to conjure up a fantastical world in which spirituality is often invoked. In this article, I consider the way in which the visual image of a woman with angelic wings designed for the book cover by artist Shubnum Khan, serves the purpose of marketing the commodity by means of connotations presumed to be familiar to potential readers, but also still suggestive enough to stimulate, rather than prescribe, the visual imagination ignited in the process of reading. I link book cover designer Peter Mendelsund’s argument that the reading imagination, although fuelled by memory, remains “loosely associative” and “not overtly coherent”, with Ingvild Gilhus’s cultural-historical appraisal of the angel’s appeal as such a malleable symbol of (increasingly, specifically) female superhuman capabilities. I argue that the cover image ‘works’ because of its ability to kindle memories of precolonial African spirituality, associations with Christianity, as well as images circulating in mass media.
Este estudo teve por objetivo investigar a figuração da personagem Lolita, no romance de Nabokov, bem como em quatro de suas capas. As personagens vêm sendo objeto de estudo no âmbito literário por muito tempo; contudo, vem ocorrendo uma transcendência delas para outros meios, inclusive nas capas de livros, o que desperta interesse de estudos mais amplos. A capa, além de paratexto do livro, é usada amplamente pelo mercado editorial como elemento de marketing da obra. Em muitos casos, essas duas funções entram em atrito. A hipótese, neste texto, é de que os aspectos publicitários da obra acabam se tornando tão importantes que as editoras muitas vezes privilegiam alguns elementos do romance em detrimento de outros, tais como a femme fatale e a ninfeta, Como base para análise, foram utilizados os estudos de Reis (2014), Eder, Jannidis e Schneider (2010) e Sonzogni (2011).
In this article, book-cover design is studied in relation to translation and marketing. The discussion is centered on a case study of the Russian, British, American, Danish, and Norwegian editions of Victor Pelevin’s Generation “P” (Babylon in the U.K. and Homo Zapiens in the U.S.). The analysis of the book covers focus on marketing strategy and argues that the cover of a translation affects how a novel is read and understood in the target culture.
When a book is translated, publishers will often modify or completely change the cover design. This paper examines the similarities and differences that result in a sample of cover designs taken from Terry Pratchett’s Discworld series. The essay analyzes these images as a form of intersemiotic translation, which prioritizes the marketing apparatus of a novel over its narrative content.
Kultuuripärandi säilimine kultuurimälus, selle osalus kultuuriidentiteedi väärtustamises ja kultuuri kestlikkuse tagamises sõltub tema meelespidamise viisidest. Tänapäeval on nendeks viisideks transmeedialisus ja digitaalne lugemine. Pärandi vahendajatena ilmuvad raamatute kõrvale digitaalsed platvormid. Nende eesmärk on ühtlasi kultiveerida uusi kirjaoskusi, mis ei põhine üksnes verbaalsel emakeelel, sest kultuuris osalemine eeldab üha enam ka pildiliste ja helilis-pildiliste märgisüsteemide valdamist nii tõlgendamises kui eneseväljenduses. Artikkel põhineb TÜ transmeedia uurimisrühma kogemusel (humanitaar)hariduslike platvormide loomisel, tuues selle pinnalt välja mõned digitaalses keskkonnas eriti selgelt esile tulevad kultuurisemiootilised printsiibid.
Traditionally, books have been considered as one of the most valuable elements of culture (Kroó 2019, Torop 2019). Mediating unique literary/artistic texts, they also appear as models of culture. The book as a model of culture represents readiness to understand culture as a whole and the same attitude is echoed within the digital book. The changes that digitalization has brought along do not concern merely shifts in formats or new types of texts. From the perspective of cultural heritage, new ways of communicating with literary texts and changes in reading practices matter most. Hereby we suggest that digital reading is reading, watching and listening a conceptualized whole on a platform, where primary and secondary texts (and/or their fragments), interpretations, intersemiotic translations and instructions for users exist together. This conceptual whole has a transmedial nature.
Digital educational platforms may both undermine and facilitate accessibility of education as a common good. However, in the situation of the deluge of digital information, delimiting and systematizing information for educational needs is desperately needed and digital platforms offer a solution. Together with the Transmedia Research Group working at the department of semiotics at the University of Tartu, we have been developing the platform Education on Screen (Haridus Ekraanil) for secondary school students to help cultivate both cultural and digital literacies. In the present article we give an overview of the cultural semiotic principles that have been governing our work and that we suggest are especially relevant in the digital cultural space.
The digital environment allows to overcome spatial limitations of the pre-digital media and highlight the heterogeneity and fluidity of literary experience. Providing almost unlimited storage capacities, it also brings into question the principles of selection and organization of the material, raising new theoretical problems for textual analysis, from the unit for textual analysis to the boundary between text and context etc (Bolin 2010, 74).
We propose the distinction between crossmediality and transmediality as a methodological starting point. The crossmedia aspect hereby refers to the way the publishing of a literary text is increasingly accompanied by other (online) texts that together make up a relatively coordinated whole. In most cases these are compressed and fragmentary versions of the core text such as book trailers, book covers featuring a still frame from a cinematic adaptation, social media profiles etc. Thus, the crossmedia aspect consists in a pragmatic communicative strategy directed towards the receiver and the target text. The transmedia aspect concerns the spontaneous pulverisation of a text into a diversity of texts in different media. The spontaneity refers to the relative unpredictability of the artistic language of the authors of these new texts, which can appear over a very long period of time as we have seen in the continuing adaptations of canonical texts. This is in contrast with the coordinated manner in which most crossmedia texts enter culture over a much more limited time frame. Another distinction between the two is that the transmedia process is dominated by the source text as the individual parts are not coordinated mutually.
Printed book represents the holistic dimension of culture by offering the possibility of complementing the core text with forewords, illustrations, comments etc. Digital book uses the same possibilities in a more dynamic manner, because its multimodality is much richer and audio, audiovisual as well as other modes can be integrated into the whole in an organic manner. While both printed book and digital book are still based on one core text, then digital platform allows for the synthesis of divergence and convergence and creation of a conceptual whole on the basis of a series of fragments and interpretations. Such transmedial whole reflects the value of the canonic literary text in culture and at the same time allows for the experience of analysis of its intersemiotic and multimodal interpretations.
after being introduced in mikhail bakhtin’s works, chronotopical
analysis became particularly relevant again
connected with an interest in intersemiotic analysis. the universality
of this kind of analysis consists in its independence
from the material in the structuring of texts and in making
them comparable. It is essential to distinguish between the textual
and the intertextual aspects of (interdiscursive, intermedial)
chronotopical analysis. the former presupposes the
analysis of an individual text proceeding from its chronotopical
levels, and the latter is the analysis of the imaginary text, the
text’s cultural plurality. In a chronotopical analysis, it is best to
distinguish between three levels. the topographical chronotope
concerns the story, depicting an event or a succession of
events. the psychological chronotope expresses the characters’
viewpoints, and the metaphysical chronotope determines the
text’s conception through interrelating the different chronotopical
levels. In (intersemiotic) translation, these chronotopical
levels form an intersemiotic space where various translatability
problems exist on each level. there is possible to distinguish
implicit chronotopical translatability in a case of intralinguistic
and interlinguistic translation and explicit translatability in a
case of intersemiotic translation.
Due to the intricacies of the undertaking, the translation of a book into a feature-length book is generally paired with a shift in the representation of nations, demographic groups and cultures. In this paper, the novel These Foolish Things (2004) by author and experienced screenplay writer Deborah Moggach is compared to its unexpectedly succesful film adaptation The Best Exotic Marigold Hotel (2011) in terms of character development and setting, specifically their respective imagological implications. The corpus will consist of both works, as well as a short personal interview with the author of the book herself. As the film has drastically fewer characters than the novel, the first part of the comparative analysis will focus on the main characters that appear in both works. In line with the noticeable changes to the feel of the setting in both works, the second part of the comparative analysis will be an investigation of the representation of India in the adaptation compared to the original. Aside from the character and setting analysis, the chapter also features an interview with the author of the book, in which she relates her experience with the adaptation of her novel into a feature length film (which did not include the script she had written for the purpose, despite her ample experience as a screenwriter for both television and films), as well as her own views on page-to-screen adaptation. Throughout the analysis, specific attention will be paid to the uncovering of any stereotypical, (neo-)colonialist or orientalist views on India in the adaptation. Finally, an attempt will be made to derive a reason behind the film’s alterations, as well as to predict the implications this type of intersemiotic translation has for future translated works geared twoards the relatively new market of elderly viewers.
The experiences of an author while writing a book, Speaking From the Heart: Gender and the Social Meaning of Emotion, are presented. Stephanie A. Shields, the author of the book, wanted to write a book, which would appeal to academics in other fields and people outside higher education. Cambridge University Press published the book in discussion.
This essay offers a historical explanation for the place of reader-response theory in English studies. Reader-response was a part of two movements: the (elitist) theory boom of the 1970s and the (populist) political movements of the 1960s and 1970s. If the theory boom was to remain elitist, it had to deauthorize reader-response. If reader-response was to remain populist, it had to consent to and participate in that deauthorization. In the 1980s reader-response was popular among compositionists, even as it began to lose currency among theorists. Later, however, compositionists professionalized themselves by deemphasizing, or even ignoring, reading. Now, as the profession again considers including explicit instruction in reading in the introductory writing course, the thinkers who could help us most have faded from the discussion.
Translation theory advances thinking about film adaptation by enabling a more rigorous critical methodology. The relation between such second-order creations and their source materials is not communicative but hermeneutic, depending on the translator's or filmmaker's application of an interpretant. The hermeneutic relation can be seen not only as interpretive, fixing the form and meaning of the source materials, but as interrogative, exposing the cultural and social conditions of those materials and of the translation or adaptation that has processed them. The critic in turn applies an interpretant, whether a critical methodology or specific interpretation, to formulate the hermeneutic relation and its interrogative effects.
The article considers the concept and significance of bestsellers in British publishing. There is a brief historical summary,
noting the trade's objections to the idea. This was overcome in 1979, whenThe Sunday Times started to publish a weekly list. The methods used to compile it are described. The successive improvements to the methods,
and their limitations, are analyzed. The authoritative lists published inThe Bookseller since 1979 are analyzed in terms of format, authorship and subject. It is concluded that paperback is the principal medium
for popular fiction, but that hardback is still more important for nonfiction. It is further concluded that the range of subjects
of bestsellers is limited, and predictable, leading to the creation of formula books. A link between popular television programs
and media personalities and successful books is noted.