| Abstract [eng] |
Paratexts can affect the reader’s reception of a work through a variety of processes that take place before the book (as a final product) reaches a reader. The aim of paratexts is to direct the reader in a specific direction of reception, to shape the reception. That is why, in this work, the development of paratexts as well as its possible effect, is examined by comparing the published editions of translated works (how much are paratexts influenced by the times and the historical situation at the time, how they differ and what has remained the same). Even though the paratext is not a new subject of research (this term was established by the French literary theorist Gérard Genette, although, according to Katheryn Batchelor, he did not consider them an independent text), however, the paratexts in the corpus of the translations of one author’s works in the Lithuanian have not yet been examined. In this work Genette’s’s theory of paratexts is discussed, and the development of paratexts in the collected corpus of translations of Ernest Hemingway’s works, published in different time periods, is reviewed and compared. In the Soviet era, there were very few authors whose works were republished several times. This suggests that Hemingway had already become a canonical author by then. It is worth metioning that his works „Fiesta“ and „The Old Man and The Sea“ have become part of the school curriculum. The most important detail is that Hemingway’s works Hemingway’s works no longer appear on the radar of contemporary readers. Some of them find out about his works from school curriculum or because Hemingway is a classic. It should be stated that his works are no longer advertised or mentioned in bookshops, publishing houses no longer republish his works. The last edition was published in 2018. Although the translator has little to do with publishing, he or she can also contribute to the paratextual apparatus. |
