This volume explains how analyzing textual elements that aren't part of the text but connected to it can be used with K–16 students to improve comprehension, engagement, critical thinking, and media literacy. Beginning with an introduction that briefly explains Genette's theory of paratext and discusses the functions of epitext theory, this book comprises theory-to-practice chapters that showcase ways in which teachers and librarians can use elements independent of a text to discuss texts and media with students. Chapters include a practitioner's section specifying practical approaches and explanations for how to use epitext. Scaffolding an application of theory to practice, this title provides educators with an original approach to increasing literacy engagement and integration as well as for increasing media literacy and critical thinking. It includes practical ideas for using epitext in the classroom to promote critical thinking and for collaboration between teachers and librarians. It also includes editorial sidebars that provide additional "how-to" ideas, support deep thinking, make connections to relevant content in other chapters, and provide examples for students in K–16 classrooms.

The contributions to Critical Voices of Black Liberation in the Americas originated from the 1999 CAAR Conference in Munster and from conferences held in the US in 2000 and 2001. More than half of the eleven essays consider black performances on stage, in sound, and on film; the remaining essays explore slavery, African American literature, and nineteenth-century black educators. These exciting essays creatively examine artistic and/or political articulation of black liberation as the construction of a new critical and signifyin(g) voice. This liberated and critical voice asserts itself as much as a communal expression of black subjectivities as it is an articulation of the black self.

Picturing the Language of Images is a collection of thirty-three previously unpublished essays that explore the complex and ever-evolving interaction between the verbal and the visual. The uniqueness of this volume lies in its bringing together scholars from around the world to provide a broad synchronic and diachronic exploration of the relationship between text and image, as well as a reflection on the limits of representation through a re-thinking of the very acts of reading and viewing. While covering a variety of media—such as literature, painting, photography, film and comics—across time—from the 18th century to the 21st century—this collection also provides a special focus on the work of particular authors, such as A. S. Byatt, W. G. Sebald, and Art Spiegelman.

Bookshelves in the Age of the COVID-19 Pandemic provides the first detailed scholarly investigation of the cultural phenomenon of bookshelves (and the social practices around them) since the start of the pandemic in March 2020. With a foreword by Lydia Pyne, author of Bookshelf (2016), the volume brings together 17 scholars from 6 countries (Australia, Canada, Germany, the Netherlands, the UK, and the USA) with expertise in literary studies, book history, publishing, visual arts, and pedagogy to critically examine the role of bookshelves during the current pandemic. This volume interrogates the complex relationship between the physical book and its digital manifestation via online platforms, a relationship brought to widespread public and scholarly attention by the global shift to working from home and the rise of online pedagogy. It also goes beyond the (digital) bookshelf to consider bookselling, book accessibility, and pandemic reading habits.

William Godwin is one of the most important figures of the Romantic period. He wrote four plays at the end of the 18th/beginning of the 19th centuries. This book has two main objectives: to provide the first comprehensive discussion of these four plays, and to consider the notion of theatricality in relation to Godwin’s political project.

This volume seeks to explore developments in the study of sixteenth- and seventeenth-century Spanish literature over the past decade through the prism of a homage volume that recognizes the contributions of James A. Parr. In his ground-breaking 1974 essay in Hispania, he challenged Hispanists to take note of developments in the fields of English and Comparative Studies, not to jump on the bandwagon, but to explore the emerging approaches to textual study in order to identify and adapt those aspects that could help to illuminate the field. In his own work, Parr followed that advice, with studies that incorporated new approaches to genre theory, narratology, and canonicity in order to explore dramatic and prose texts, and Don Quixote. The studies in this anthology make use of many of Parr's innovations, indicating that his work has had a long-lasting impact on the field of Golden Age Hispanism.

The book presents aspects of intertextuality in the motion picture "The Matrix" and the books "Alice's Adventures in Wonderland" and "Through the Looking-Glass" by Lewis Carroll. It makes use of a literary construction developed from Gérard Genette's structuralist theory of transtextuality as a framework to present how a web of intertextual relationships is clearly formed between the "Alice" books and "The Matrix."

Culture is dependent upon intertextuality to fuel the consumption and production of new media. The notion of intertextuality has gone through many iterations, but what remains constant is its stalwart application to bring to light what audiences value through the marriages of disparate ideology and references. Videogames, in particular, have a longstanding tradition of weaving texts together in multimedia formats that interact directly with players. Contemporary Research on Intertextuality in Video Games brings together game scholars to analyze the impact of video games through the lenses of transmediality, intermediality, hypertextuality, architextuality, and paratextuality. Unique in its endeavor, this publication discusses the vast web of interconnected texts that feed into digital games and their players. This book is essential reading for game theorists, designers, sociologists, and researchers in the fields of communication sciences, literature, and media studies.

Building on an upsurge of interest in the Americanisation of British novels triggered by the Harry Potter series, this book explores the various ways that British novels, from children's fiction to travelogues and Book Prize winners, have been adapted and rewritten for the US market. Drawing on a vast corpus of over 80 works and integrating the latest research in multimodality and stylistics, Linda Pillière analyses the modifications introduced to make British English texts more culturally acceptable and accessible to the American English reader. From paratextual differences in cover, illustrations, typeface and footnotes to dialectal changes to lexis, tense, syntax and punctuation, Pillière explores the sociocultural and ideological pressures involved in intralingual translation and shows how the stylistic effects of such changes – including loss of meaning, voice, rhythm and word play – often result in a more muted American edition. In doing so, she reveals how homing in on numerous small adjustments can provide fascinating insights into the American publishing process and readership.

How do games represent history, and how do we make sense of the history of games? The industry regularly uses history to sell products, while processes of creation and of promotion leave behind markers of a game’s history. The access to this history is often granted by so-called paratexts, which are accompanying elements orbiting texts. Exploring this fully, case studies in this work move the focus of debate from the games themselves to wider, ancillary materials and ask how history is used in, and how we can use history to study games.