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Bettina Kümmerling-Meibauer

This article demonstrates, on the basis of recent research in film studies and media literacy, that filmic paratexts play a significant role in contemporary children's films. It shows that paratexts effectively comment on feature films by, for example, anticipating the film's plot and characters in the opening credits, and by pursuing the film plot in the end titles. Thorough analysis of children's films reveals that paratexts stimulate the child viewer to develop a competency that might be characterized as “meta-filmic awareness”, which is the capacity to distinguish between different levels of plot, communication, or complexity within a film. In keeping with these findings, this article represents an exploration of what we might call a meta-critical approach toward children's films.

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The Doll “InbeTween”

Online Doll Videos and the Intertextuality of Tween Girl Culture

Jessica E. Johnston

’s targeting of its preadolescent consumer group. These fan-generated videos can be understood as paratexts of the American Girl brand, introducing new narrative elements and expanding on American Girl’s tween material culture to include other identities and

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"Picnics with the Mujaheddin"

Paratexts and Personal Motivation in Travel Writing about Afghanistan

Kerry Featherstone

This article considers the stated motivations for travel in the case of three examples of travel writing about Afghanistan. Jason Elliot’s An Unexpected Light documents his travel in 1984 during the war between the Afghan Mujaheddin and the Soviets; Jonny Bealby’s For a Pagan Song, first published in 1998, takes place during the civil war between Mujaheddin and the Taleban; Rory Stewart’s The Places In Between was written about travel between 2000 and 2002, during which time Operation Enduring Freedom was launched against the Taleban. The article deploys Genette’s concept of paratexts in order to show how the acknowledgments, blurbs, and other paratextual material, when read against the grain, undermine the relationship between the writer and their stated motivations and, thus, destabilize the self-representation of each writer in the course of the narrative. The outcome of these readings is a critique of the three texts, arguing that each one works to justify their travel through a combination of self-narration and paratextual material but that none of them address the implications of their travel for the Afghan people or that the purpose of the travel is to write the text.

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A “Steady Eye” in “A Moving World”

Comparative Perspectives on Travel Writing and Ethnography

Jörg Lehmann and Thomas Stodulka

How can travel books and narrative ethnography be compared? This article systematically examines the works of an eminent travel writer and an anthropologist with respect to paratexts, themes, lexis, named entities, and narrative positions. It combines quantitative methods with a close reading of three books. The article discusses whether a mixed-methods approach of close reading and quantitative analysis can be applied to comparing larger corpora of travel writing and ethnography.

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Emma Spooner

This article examines Jane Austen's relationship with literary tourism. It argues that Jane Austen tours are more than just a fad that cashes in on Austen-mania, but that they become interactive paratexts which allow glimpses into moments of inspiration which in turn contribute to a new cultural awareness. Literary tourism creates landscapes that can contribute not only to an understanding of a new transnational cultural heritage, but an understanding of self. Literary locations are simultaneously a repository for historical authenticity and a series of imaginative representations of places or things. Today literary tourism may result from readers' desires to connect with the locations of a beloved novel, or find out what Austen was 'really like', but for visitors, historical and modern, the tour inspires travellers to imagine themselves within a particular narrative, whether it be a fictional narrative or a narrative of cultural ideology.

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Natalie Mera Ford

Interdisciplinary scholars, stressing the lack of firm disciplinary boundaries for British science in much of the nineteenth century, have pointed to evidence of mutual influence between the discourses of 'mental science', or psychology, and imaginative literature. This article treats Chapters on Mental Physiology (1852) by the English physician Henry Holland as a case study of heightened concern over the competing cultural authority implied by such mutual influence, and specifically over the inclusion of references to dramatic and lyrical works in early Victorian mental theory. It examines the medical author's self-conscious attempts to separate the developing profession of psychology from a tradition in philosophical discourse of enlisting imaginative writing for illustration and support. It further explores the way Holland strives to marginalise his text's occasional, paradoxical slips back into citing poetry by relegating this material to subordinate paratexts. How to safely deploy literature in service of science thus emerges as a key epistemological and rhetorical issue that Henry Holland, representing the consolidating field of British psychology at large, grapples with in his mid-century study of the mind.

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Ann Miller

uncanny that invades the paratext and interframe space, received wide critical acclaim and was included on the Guardian' s list of the top ten uncanny graphic novels; 3 Livestock , 4 a satirical modern fable about the collusion of politics and

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Nahrain al-Mousawi

readings of theoretical work are textured and probing. He provides intriguing readings of the ways Egyptian translators assert their political positions through both paratexts and translations – which range from ‘close translation’, attempting fidelity to

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The Image of Jews as Constructed by Lexical Items

Translations of Shakespeare’s The Merchant of Venice as a Case in Point

Xiu Gao

of Shylock in Liang’s preface as a victim deserving sympathy sheds a different light on this negative image. Since the preface precedes the text, the image constructed in it impresses the target readers first. In her study of paratexts in translation

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Johannes Görbert, Russ Pottle, Jeff Morrison, Pramod K. Nayar, Dirk Göttsche, Lacy Marschalk, Dorit Müller, Angela Fowler, Rebecca Mills, and Kevin Mitchell Mercer

literary travel narratives to paratexts that accompany such narratives, maps as both supplement and stand-alone entities, poetry, regional promotional projects, and other media. Kuehn and Smethurst explain that “Each section provides a slightly different