Paratexts are those liminal devices and conventions, both within and outside the book, that form part of the complex mediation between book, author, publisher and reader: titles, forewords, epigraphs and publishers' jacket copy are part of a book's private and public history. In this first English translation of Paratexts, Gerard Genette shows how the special pragmatic status of paratextual declaration requires a carefully calibrated analysis of their illocutionary force. With clarity, precision and an extraordinary range of reference, Paratexts constitutes an encyclopedic survey of the customs and institutions as revealed in the borderlands of the text. Genette presents a global view of these liminal mediations and the logic of their relation to the reading public by studying each element as a literary function. Richard Macksey's foreword describes how the poetics of paratexts interact with more general questions of literature as a cultural institution, and situates Gennet's work in contemporary literary theory.

Paratexts are those liminal devices and conventions, both within and outside the book, that mediate between book, author and reader: titles, forewords and publishers' jacket copy form part of a book's private and public history. In this first English translation of Paratexts, Gérard Genette offers a global view of these liminal mediations and their relation to the reading public. With precision, clarity and through wide reference, he shows how paratexts interact with general questions of literature as a cultural institution. Richard Macksey's foreword situates Genette in contemporary literary theory.

By definition, a palimpsest is “a written document, usually on vellum or parchment, that has been written upon several times, often with remnants of erased writing still visible.� Palimpsests (originally published in France in 1982), one of Gérard Genette’s most important works, examines the manifold relationships a text may have with prior texts. Genette describes the multiple ways a later text asks readers to read or remember an earlier one. In this regard, he treats the history and nature of parody, antinovels, pastiches, caricatures, commentary, allusion, imitations, and other textual relations. Gérard Genette is one of the most original and influential literary critics of modern France. He is the major practitioner of narratological criticism, a pioneer in structuralism, and a much-admired literary historian. Such works as Narrative Discourse and Mimologics (Nebraska 1995) have established his international reputation as a literary theorist of the first order.

In Narrative Discourse Revisited Genette both answers critics of the earlier work and provides a better-defined, richer, and more systematic view of narrative form and functioning. This book not only clarifies some of the more complex issues in the study of narrative but also provides a vivid tableau of the development of narratology over the decade between the two works.

Gerard Genette, a critic of international stature, here builds a systematic theory of narrative upon an analysis of the writings of Marcel Proust, particularly Remembrance of Things Past. Adopting what is essentially a structuralist approach, the author identifies and names the basic constituents and techniques of narrative and illustrates them by referring to literary works in many languages.

What art is—its very nature—is the subject of this book by one of the most distinguished continental theorists writing today. Informed by the aesthetics of Nelson Goodman and referring to a wide range of cultures, contexts, and media, The Work of Art seeks to discover, explain, and define how art exists and how it works. To this end, Gérard Genette explores the distinction between a work of art's immanence—its physical presence—and transcendence—the experience it induces. That experience may go far beyond the object itself.Genette situates art within the broad realm of human practices, extending from the fine arts of music, painting, sculpture, and literature to humbler but no less fertile fields such as haute couture and the culinary arts. His discussion touches on a rich array of examples and is bolstered by an extensive knowledge of the technology involved in producing and disseminating a work of art, regardless of whether that dissemination is by performance, reproduction, printing, or recording. Moving beyond examples, Genette proposes schemata for thinking about the different manifestations of a work of art. He also addresses the question of the artwork's duration and mutability.

Do words—their sounds and shapes, their lengths and patterns—imitate the world? Mimology says they do. First argued in Plato’s Cratylus more than two thousand years ago, mimology has left an important mark in virtually every major art and artistic theory thereafter.  Fascinating and many-faceted, mimology is the basis of language sciences and incites occasional hilarity. Its complicated traditions require a sure grip but a light touch. One of the few scholars capable of giving mimology such genial attention is Gérard Genette. Genette treats matters as basic and staid as the alphabet and as reverberating as the letter R in ur-linguistics.  Genette has emerged as one of the two or three chief literary critics of modern France. He is the major practitioner of narratological criticism, a pioneer in structuralism, and a much admired literary historian. His single most important book, Mimologics bridges mainstream literary history and Genette’s expertise in critical method by undertaking an intensive study of the most vexed of literary problems: language as a representation of reality. Deeply learned, the book draws upon the traditions—both sane and eccentric—of philosophy, linguistics, poetics, and comparative literature.

Over the course of the past forty years, Gerard Genette's work has profoundly influenced scholars of narratology, poetics, aesthetics, and literary and cultural criticism, and he continues to be one of France's most influential theorists. The eighteen pieces in Essays in Aesthetics are of international interest because they are concerned either with universal aesthetic problems (the receiver's relationship to an aesthetic object, abstract art, the role of repetition in aesthetics, genre theory, and the rapport between literature and music) or with specific moments in the work of a well-known writer or artist (such as Stendhal, Proust, Manet, Pissarro, and Canaletto). Essays in Aesthetics contains a wealth of material related to the appreciation of beauty by one of the subtlest and most original minds working in aesthetics today. Genette knows the fine arts as well as he knows literature and as a result has innovative things to say to readers in that field as well as to philosophers and literary scholars. Gerard Genette helped start the influential journal Poetique and is the author of many books, including two published in translation by the University of Nebraska Press: Mimologics and Palimpsests: Literature in the Second Degree. Dorrit Cohn is a professor emerita of German and comparative literature at Harvard University and is considered one of the main contributors to modern poetics. She is the author of The Distinction of Fiction and Transparent Minds: Narrative Modes for Presenting Consciousness in Fiction.

One of the best-known continental theorists writing today, Gerard Genette here explores our aesthetic relation to works of art. Through an analysis of the views of thinkers ranging from David Hume and Immanuel Kant to Monroe C. Beardsley, Arthur Danto, and Nelson Goodman, Genette seeks to identify the place of the aesthetic in a theory of artistic appreciation. His discussion is rich in detailed examples drawn from all of the arts. The Aesthetic Relation is a companion volume to The Work of Art: Immanence and Transcendence, published by Cornell in 1997. Taken together, the two books offer a comprehensive theory of art which addresses the work of art as at once object and action.Genette maintains that our aesthetic relation to all types of objects presupposes that special attention is paid to their outward aspect (rather than to their usefulness) when appraising them. Such appraisals, while wholly subjective and temporary, are expressed as objective and universal judgments about the items in question. Further, he asserts that our aesthetic relation to works of art in particular is based on an awareness of an aesthetic intention that defines an object as a work of art, as well as on an awareness of a work's position in its historical and generic field."