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Okładki szekspirowskie jako zwierciadło kultury. Rekonesans

100%

Gibińska M.

Pamiętnik Teatralny

2014

vol. 63

issue 3(251)

205-213

Referring to Niklas Luhmann’s systems theory and to Even-Zohan’s polysystem theory, I show how we can interpret the way Shakespeare’s works are published in Great Britain and the United States. The book cover treated as a cultural fact points to a network of connexions of very different processes as well as to the dynamics of shifts taking place within these networks. In the article, I discuss the essence of old luxury editions as a function of the owner’s social status, their education and aspirations, but also of Shakespeare’s place in the hegemony of culture of a given period or of economic links between the publishing market and the buyer. I enquire into the changing nature of these relations by tracing the history of publishing Shakespeare’s works in the 19th and 20th centuries and paying close attention to their English-language academic, cheap ‘pocket-book’, school, and popular editions. Viewed from the perspective of cultural studies, the book cover constitutes a paratext which is an important element of every published literary work. It enables interpretation of the given text’s significance on numerous levels; moreover, it makes it possible to observe the phenomenon at issue both synchronically and diachronically in various systems and to trace the transformations of the text, the author, its prestige and reception. Examination of book covers can be also an important part of research into shifts within social, economic, and political systems, thus enabling us not only to draw conclusions relating to a given phenomenon but also those concerning changes in how a culture functions.

Vestibules to the “world of topsyturvydom” – paratexts in nonsense anthologies

70%

Hołobut A., Hołownia O.

The European Journal of Humour Research

2017

vol. 5

issue 3

In this article we examine eighteen selected nonsense anthologies published in the UK since the 1920s, working on the assumption that they define, re-shape and visually reinterpret the genre for a general audience in parallel to scholarly approaches to nonsense. In the first part of our paper we look at the process of anthologising and its main functions, followed by an overview of key nonsense anthologies. In the second part, we inspect peritexts that influence the reception of these collections and, by extension, the perception of literary nonsense, looking specifically at book titles, cover designs, tables of contents, prefaces and postfaces. In doing so we hope to reveal the implied reader of the anthologies, comment on their coverage relative to the established Victorian canon and recognise the distinctive features of the genre, foregrounded by the anthologists’ editorial and aesthetic choices.

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1 Pamiętnik Teatralny

1 The European Journal of Humour Research

1 Gibińska M.

1 Hołobut A.

1 Hołownia O.

1 2017

1 2014

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Okładki szekspirowskie jako zwierciadło kultury. Rekonesans

Vestibules to the “world of topsyturvydom” – paratexts in nonsense anthologies