Lucio V. Mansilla llega a Hungría: traducción y recepción de <i>Una excursión a los indios ranqueles</i> en Budapest

This article is about the difficulties what the researchers in the field of travelling literature are facing. While many studies tried already to find a comprehensive definition for the travelling literature other studies started to ask what kind of trips or journeys exactly is interesting for the literature. The scientific and the expedition’s journeys and even the colonial trips are mostly done by non-writers but the outcome of that has been always considered as a part of the travel literature. The result was that there are no clear borders between the literary and the geographic or historic texts. The article goes over the most important challenges what are facing the researches in the field of the travel literature as follow: 1- To what genus does the travel literature belong? 2- What are the types of texts what can classified under the travel literature? 3- The interdisciplinary in the field of the travel literature 4- The reality and the fiction in the travel literature 5- The travel literature and the gender discourse So the recent research about the genus which the travel literature belongs to came after that the theorists of this literature have found that the travel literature became as a pool where all kinds of texts come in even if they are just a collection of some press reports or travels blogs. However this unclear classification of the text types what belong to the travel literature is a challenge for the researchers and impact their choice of the texts what they should or should not consider in their study. Above this the interdisciplinary of the travel literature that the text can have historic, geographic, political, anthropological, cultural or social aspects make it impossible that the researcher be aware with all these fields however this plays a big role in his understanding of the texts. An additional point is the question about the reality or the fiction of the text as the most of the studies do not consider the imaginary journey as a part of the travel literature. And finally gender discourse in the travel literature is about the role what the gender of the writer is playing in the chosen topics and also in the description of the journey.

Paratextual elements are significant for the construction of meaning in textual analysis. In this context, the role of paratextual elements in poetry translation, which are believed to be challenging or even impossible, is worth analyzing. Delving into the functionality and efficacy of paratextual elements, this study aims to unravel the translation choices within the light of paratextual uses in the field of poetry translation. Through the case study of Cem Yavuz’s translation of T. S. Eliot’s poetry, the study qualitatively analyzes the types of paratextual elements that are mainly provided at the notes section, the preface and a YouTube interview. Commenting on T. S. Eliot's poetic profile, Cem Yavuz emphasizes the concepts of dramatic monologue and objective correlative and bases his translation approach on these concepts. The findings acquired from the poem The Love Song of J. Alfred Prufrock reveal that paratextual elements such as religious, mythological, historical and technical notes are presented to enlighten the intertextual references, enhance reader engagement and awareness, and discover the authentic linguistic and emotional richness in the source. The examples extracted from the study show that the translator not only uses elegant language to sound poetic and natural, but also gives the paratextual elements a teaching role.

Christoph Meiners (1747-1810) was one of 18th-century Europe's most important readers of global travel literature, and he has been credited as a founder of the disciplines of ethnology and anthropology. This article examines a part of his final work, "Untersuchungen über die Verschiedenheiten der Menschennaturen" [Inquiries on the differences of human natures], published posthumously in the 1810s. Here Meiners developed an elaborate argument, based on empirical evidence, that the different races of men emerged indigenously at different times and in different places in natural history. Specifically this article shows how a sedentary scholar who never left Europe constructed a narrative of human origins and migrations on the basis of (1) French theory from the 1750s (Charles de Brosses and Simon Pelloutier) and (2) data gathered by explorers as reported in travel literature (J.R. Forster, Pérouse, Cook, Marsden).

One of the common techniques in children’s and adolescent literature is the rewriting and recreation of classical and contemporary texts in simplified language for young audiences. The necessity of this practice lies in familiarizing children and adolescents with classical literature and helping them better understand valuable works composed in an archaic style and language, filled with ethical, didactic, cultural, and social themes. The narrative structure and moral content of Saadi’s prose and poetry have consistently provided a suitable foundation for adaptation by rewriting authors. In recent years, many writers have turned to the rewriting and recreation of his precious works. In this study, using a descriptive-analytical method, the tale "The Short and Lowly Prince and His Brothers” from the first chapter of Saadi’s Gulistan is critically examined alongside its rewritings for children, with a focus on narrative elements. In most of these rewritings, the thematic content of the story remains consistent with the original text, and in the majority of cases, only the language has been modernized and simplified. There is little deviation from the original narrative.

First, this chapter introduces an idea that deals with narrative phenomena as the integration between the individual (narrative generation and reception system) and social levels (narrative production and consumption system); this idea is called the “multiple narrative structures model.” This chapter describes the future image of a human-machine symbiosis system that includes narrators and receivers as artificial intelligence. Furthermore, based on the concept of “visible narratives” and “invisible narratives,” the author analyzes the narrative components or elements to consider methods for synthesizing the analyzed elements. This idea of the analysis and synthesis of various narrative elements will be systematized in the “integrated narrative generation system.”

There's No Place Like Home(land) in American and Soviet Fantasy Cinema of 1939: <i>The Wizard of Oz</i> and <i>Vasilisa the Beautiful</i>

Wanda Gág:A Bibliographic Essay Karen Nelson Hoyle Wanda Gág's total output of children's books was ten titles, and a story published in The Delineator in 1935, "The Cry-Away Bird." Four were original narratives (Millions of Cats, 1928; The Funny Thing, 1929; Snippy and Snappy, 1931; and Nothing at All, 1941) , one an alphabet book (The A B C Bunny, 1933) one an autobiography based on her early diaries (Growing Pains, 1940), and four translations of Grimm (Tales from Grimm, 1936; Snow White and the Seven Dwarfs, 1938; Three Gay Tales, 1943, and More Tales from Grimm, published posthumously in 1947), and all were published by Coward McCann. Biographical information and reviews comprise the secondary literature, rather than criticism. Contributors are Gág herself, journalists, librarians, art historians, and literature and art critics. Gág may have set the stage for articles about a poor girl pursuing a dream. Her anonymous article, "These Modern Women a Hotbed of Feminists" in The Nation (June, 1927), described Senta Muhr's unusual youth. Wanda kept a diary from the age of fifteen until her death, and some of the incidents cited in the article also appeared in Growing Pains. "She is unusually articulate for an artist,"1 curator Carl Zigrosser stated. Wanda's lifetime correspondence with childhood friend Alma Scott was quoted in the latter's biography, as were letters to Zigrosser incorporated into his writing about her. The two mimeographed letters sent by Coward McCann to fans were composed by Wanda. Wanda wrote to Edith Newton in 1939, " . . . Nowadays I have so much mail . . . I'm writing a sort of 'blanket letter' in which I'll try to answer most of the questions they manage to work up."2 The four page letter entitled "A Greeting from Wanda Gág to You" differs from the seven page "A Message from Wanda Gág." The latter is a composite of biographical information, her four aims in creating juvenile literature, advice to artists and writers, and a bibliography. One of the aims which could be a basis for criticism about her work, for example, is "To make my pictures as much a work of art as anything I would [End Page 28] send to an art exhibition." Wanda Gág was her own best critic, as is apparent in statements she made about her work and in an article. In response to requests for catalog copy, she described her subject, and her interpretation. "I Like Fairy Tales", written for The Horn Book (March-April, 1939), provides researchers with background against which to judge her success in "freely translating" the Grimm Märchen. Newspaper and periodical journalists who interviewed Gág stressed her family circumstances and her creative energy. Even the titles of the articles are revealing. Ann Herendeen's "Wanda Gág, the True Story of a Dynamic Young Artist Who Won't Be Organized" (Century Magazine, August, 1928), Ruth Howe's "Wanda and Six Other Gágs" (Woman's Journal, January, 1929), and newspaper articles on the same theme followed in succession. Even her editor, Rose Dobbs, used this angle in "All Creation, Wanda Gág and Her Family" (Horn Book, November-December, 1935). The most substantive biographical treatment is Alma Scott's Wanda Gág; the Story of an Artist (University of Minnesota Press, 1949). A good friend of Gág since her freshman year of high school, "Boswella" received a Regional Writing Fellowship from the University of Minnesota in 1944 for the project. In the introduction, "To the Reader", Scott describes how during the summer of 1944 she and Wanda met each morning at "All Creation" to peruse the working drafts. Scott's method and materials were interviews, newspaper and school files, correspondence, and reminiscing. Written for a young adult audience although published by a university press, the book lacks objectivity and maturity. Another impressive effort was undertaken by The Horn Book in its publication of the May-June, 1947 Wanda Gág Memorial issue. People well acquainted with Wanda Gág wrote articles from their respective roles in her life. "Art for Life's Sake", by a former New York Public Library's head of...

This paper explores Srećni dani (Happy Days, 2023) by s Serbian author Srđan Vučinić as a paradigmatic example of a political novel conceived through the practice of reading itself rather than through conventional genre criteria. While structurally ambiguous, classified as a collection of short stories yet received as a novel, it engages deeply with political, historical, and gendered themes through its layered narrative and paratextual elements. Central to the novel is the narrativization of the Yugoslav crisis and wars, which are employed as symbolic frameworks for exploring collective identity, memory, and social disintegration. Through grotesque, posthuman, and dystopian motifs, Happy Days reconstructed the aftermath of national collapse through bodily and emotional experiences. This analysis focuses on the concept of the “collective body” as a site of political, historical, and gendered inscription. Gender, often seemingly absent on the surface, emerges in the process of reception and interpretation, underscoring the novel’s engagement with embodied history, memory politics, and post-human subjectivities. Ultimately, the paper argues that Happy Days exemplifies the political novel not as a fixed literary form but as a relational, interpretative space shaped by reader-text interactions.

This research explores how bullying is depicted in the animated film “Jumbo” through the lens of Roland Barthes' semiotic theory. Utilizing a descriptive qualitative approach, the study analyzes the denotative, connotative, and mythological meanings embedded within the film’s visual and narrative elements. Through this lens, the film is interpreted not merely as a piece of children's entertainment but as a medium that carries deeper social messages. The central character, Don, is portrayed as physically different from his peers, which becomes a symbol of broader societal rejection and marginalization. His journey reflects the internal and external struggles faced by individuals who do not conform to mainstream standards. Key symbolic components—such as Don’s unusually large physique, his inherited storybook, and the way he interacts with others—highlight themes of courage, empathy, personal identity, and the desire for social inclusion. The film subtly critiques the normalization of bullying and challenges dominant myths that suggest acceptance and success are only for those who meet certain physical or social norms. Through its narrative, Jumbo promotes values of diversity and encourages viewers, especially young audiences, to question unjust stereotypes and embrace empathy. By decoding the semiotic messages in Jumbo, this study contributes to a deeper understanding of how animated films can serve as powerful educational tools. They can raise awareness about social issues, influence attitudes, and inspire critical reflection, especially when they employ symbolism that resonates with real-life experiences. This research ultimately highlights the potential of animation as a medium for moral and social education beyond its entertainment function.

The purpose of the research lies in the cognitive interpretation of the paratextual elements viewed as such capable of narrative generation. The study was based on the novel House of Meetings (2006) by a prolific modern British writer Martin Amis known for his exuberant, narrative-oriented and stylistically experimental writing. The article focuses on the three main paratextual elements that specifically stand out in the story, i.e. the preface, the epilogue and the acknowledgements. The preface and the epilogue are compared and analyzed in terms of formal organization, narrative independence, unity and mutual expository properties. Both feature metatextuality, repetitive narrative elements and a question – answer type of interdependence adding to the interpretation of the plot development. The acknowledgements are primarily viewed as a paratextual element which is not inherently a part of the main story, yet as such that offers a greater perspective on the spectrum of multilayer textual and supra-textual relations that would remain hypothetical if the acknowledgements were not available. Hence, the cognitive interpretation of the acknowledgements allows building a broader picture of the variety of narratives involved in the story and tracing the cause-and-effect relations, which approximates a construction of more or less logical and comprehensive model of a certain narrative hypertext. For instance, the cognitive interpretation of the acknowledgements in House of Meetings helped to anatomize the narrative as a collective product of multiple perspectives, or ideas adopted, digested and integrated within the system of the novel, the influences ranging from Fyodor Mikhailovich Dostoyevsky to Anne Applebaum.

The article examines the anthology of Russian poetry intentionally labeled as «women's poetry». The complex analysis of both textual and paratextual elements (including the poetics of the title, authors and themes included, etc.) shows that the editors adapted a biographical and value-based approach, and the key strategy of representing women's poetry here is constructing its entire space around the concept of «suffering».

This article attempts to read the paratextual elements in Mayilamma: The Life of a Tribal Eco-warrior (2018), the translated autobiography of Mayilamma, a tribal activist from Kerala, India, who led the protest against a Coca-Cola plant in their village. This study also attempts to analyse how translations work to shape and control marginalized life narratives, within an academic framework that caters to predominantly Western imaginings of the marginal exotic. It further questions how a marginalized life narrative is conceived and processed within the larger academia, as well as by the publishing industry. It provides a detailed discourse analysis of the paratextual elements in Mayilamma: The Life of a Tribal Eco-warrior to bring out its market politics and the process of exoticizing the marginalized. This article argues that through paratexts, there is an attempt to formulate a subject–object out of Mayilamma, within the academic imaginings of a marginal exotic rebel tribeswoman.

Within the context of the enormous growth of traveller-generated content (UGC), such as travel blogs, travelogues, and online travel reviews (OTRs), paratextual elements are of crucial importance for other users who can take advantage of the wealth of first-hand travel information available online. That is why a theoretical framework is proposed to treat, as a whole, OTRs and their surrounding paratextual productions as generated by the reviewer (UGC) and/or the webmaster (WGC). The framework is used to extract the image perceived by the traveller and transmitted by the webmaster through analysis of titles and other paratextual elements of a random sample of 300,000 OTRs of two tourist regions of the European Union. The findings in both regions are in agreement indicating that the most frequent keywords of UGC (good feelings) and WGC (destinations and attractions) are complementary.

The article is devoted to the functioning of absurdist elements and the ways of their organisation in the play “Terrorismˮ by the Presnyakov brothers, as well as to the illustration of subjectivity as one of the most significant categories for the “new new dramaˮ. The emphasis in the work is on paratextual elements, primarily remarks. At the beginning of the study, the thesis about the belonging of “Terrorismˮ to the “new dramaˮ of the 21st century is confirmed, and therefore, about the specificity of the compositional and plot organisations. The article is based on a textual analysis of the theatre note element, which allows us to trace the formation and forms of existence of absurdist components, as well as the emergence of various forms of subjectivity. In the process of analysis, a list of means and techniques of absurdisation is determined, among which the main ones include the elaboration of the structure of the utterance (violation of logic, slowing down the action by introducing similar or tautological constructions), working with the lexical component (various types of artistic shifts, as well as the frequency introduction of modal components). It is proved that the fictionalisation of the play through the inclusion of the lyrical component in the text violates the way of reading and allows one to partially correlate the drama with the play for reading, which, in turn, increases the interpretativeness of the text and makes it possible to talk about the introduction of the reader's figure into it. The conclusion is made about the correlation of the processes of absurdisation and subjectification in the space of the play. The absurd, in turn, is designated as an element that determines the type of perception; a component that contributes to the multiplication of forms of subjectivity; spatial and textual dominant, demonstrating the relationship of the text of the play with reality.

This study conducts a thematic analysis of the narrative elements and technical aspects of the film Harum Malam or "Blood Flower" (2023) directed by Dain Said, based on reviews written by various critics. The analysis aims to evaluate the strengths and weaknesses of the film's narrative elements and technical aspects. A qualitative approach is employed, using thematic analysis with a coding system to categorize the narrative elements mentioned in the reviews. A total of 26 reviews were collected from various online sources. The study finds that reviewers have offered a range of insights into the film's narrative and technical aspects. According to the reviews, the film's premise and themes are unique and engaging. Technical aspects such as visual effects (VFX) and sound design are also praised. However, the film exhibits notable weaknesses in narrative elements, such as character development and plot structure, which impact the overall storytelling. The thematic analysis based on these reviews provides a more objective understanding of the narrative elements in "Blood Flower" and offers guidance for filmmakers aiming to create improved films in the future.