Dissertations / Theses on the topic 'Contributions in illustration of books'
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Huggins, Linda Wreford. "Techniques in contemporary book illustration." Thesis, Rhodes University, 1986. http://hdl.handle.net/10962/d1008567.
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Introduction: Although the hackneyed adage "one picture is worth a thousand words" defies proof and begs argument, the basic value of illustration in graphic communications is beyond dispute. Without attempting to put a relative value on illustration as compared with words, we can still be aware of the special effectiveness of images, in accomplishing communication goals. The roots of illustration go hack to prehistoric pictorial art of engraved or painted figures done on stone. The hand print can be interpreted as one of the first attempts at drawing. Prehistoric pictorial art depicted visually what could not be expressed by word or gestures some had religious significance, some the presence of myth, others plainly diadactic, showing daily life, social communication, the magic of the hunt, death, birth, group life and sexual symbolism. Little is known of the vast lapse of time between prehistoric art and the imagery that man devised in the service of developing civilisations at the dawn of history. With steadily increasing demands upon his skills, the artisan's mastery of the tools and materials progressed, so that by the beginning of recorded time he was in possession of the potential elements for printmaking. Yet the importance of communication, as we know it today, only developed centuries later with the motivating force of religion. The print could tell its story to those who could not read or write but could quickly grasp the meaning of a picture.
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Curtis, John Gerard. "Traces of the visual imagination : image and word in Victorian England." Thesis, University of Essex, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.282460.
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Osborne, Carol Margot. "Pierre Didot the Elder and French book illustration, 1789-1822." New York : Garland Pub, 1985. http://catalog.hathitrust.org/api/volumes/oclc/12050279.html.
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Bork, Debora J. "History and criticism of photographically illustrated children's books /." Online version of thesis, 1988. http://hdl.handle.net/1850/11490.
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Assmann, Nicola. "Willi Baumeister : die Illustration : in der Begegnung mit alten aussereuropäischen Kulturen auf de Weg zu einer neuen Formensprache /." Bielefeld : N. Assmann, 2005. http://www.loc.gov/catdir/toc/fy0605/2006364351.html.
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Sheldon, Allan Ellis. "The influence of illustration on fifth graders' responses to the illustrated poem /." The Ohio State University, 1986. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487267546982801.
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Halse, Joanne. "Framing the text : an investigation of collage in postmodern narrative illustration." Thesis, Stellenbosch : Stellenbosch University, 2006. http://hdl.handle.net/10019.1/50609.
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Thesis (MA)--Stellenbosch University, 2006.ENGLISH ABSTRACT: Collage, as a verbal and visual medium, epitomises the heterogeneity, indeterminacy and fragmentation of the postmodern moment. In this thesis I argue that visual collage - in the context of book illustration - presents an ideal form with which to illustrate the state of contemporary (postmodern) narrative. Postmodernism, as a term or concept, evades any form of absolute or definitive account. Hence, in my discussion of the postmodern condition I move towards an understanding of this complex theoretical and cultural phenomenon. Postmodern cultural artifacts reflect the state of a modernised, Western-orientated, globalised consciousness, which resists arborescent structures in past and contemporary texts. In both postmodern narratives and in literary fictional narratives the condition of artifice is amplified. Thus, this thesis explores various characteristics evident in postmodern fiction in order to understand and demonstrate the changes manifest in contemporary narratives in general. Many of the stylistic and figurative devices employed in the postmodern novel foreground the excessive appropriation and self-reflexive textualism of contemporary texts - these literary devices often reflect particular collage-like tendencies or characteristics. Contemporary literary theory, in addition, provides many useful terms and concepts with which to describe visual texts and, for the purposes of this discussion, narrative illustration. This thesis is centred primarily on an analysis of the practical component completed as part of the Master of Arts degree in Fine Arts. The discussion of the practical work is embedded in the wider fields of book art - particularly the postmodern artist's book (livre detourne) - and in contentious debates around the role of visual narrative illustration. In both the thesis and the illustrated book objects, I challenge the secondary and supplementary position traditionally held by illustration in the context of the book. I argue for a form of visual narrative that is not required to function as a mere translation of the primary verbal text. Instead - working within the context of the artist's book and through the utilisation of collage as a visual (and verbal) medium - I demonstrate that illustration may complement, supplement or subvert the written text. Furthermore, I show that illustration may assume the role of the primary text in the context of the codex. Finally, this study creates a space for a creative and participatory reader who, through the intertextual processes made evident in the book objects, becomes an active 'reader-writer' of the visual and verbal narratives under discussion.
AFRIKAANSE OPSOMMING: Collage, as beide 'n verbale en visuele medium, verpersoonlik die onbesliste, gefragmenteerde, heterogene moment van postmodemisme. In hierdie tesis voer ek aan dat visuele collage, binne die konteks van boekillustrasie, 'n ideale vorm van uitbeelding hied om die toestand van kontemporere (postmodeme) narratief te illustreer. Postmodemisme, as 'n term of konsep, ontwyk enige volslae of beslissende betekenis. Gevolglik poog ek in my bespreking van die postmodeme toestand om nader aan 'n begrip van hierdie komplekse teoretiese en kulturele , fenoneem te beweeg. Postmodeme kulturele artefakte reflekteer die toestand van 'n gemodemiseerde, Westers-georienteerde, geglobaliseerde bewustheid wat liniere strukture in tekste uit die verlede en die hede weerstaan. In beide postmodeme narratiewe en fiktiewe literere narratiewe word die gesteldheid van kunsskepping toegelig. Dus ondersoek hierdie tesis verskeie opvallende eienskappe van postmodeme fiksie ten einde die veranderinge wat in die algemeen in kontemporere narratiewe manifesteer te verstaan en te demonstreer. Vele van die stilistiese en figuratiewe tegnieke van die postmodemistiese roman plaas die oormatige toe-eining en selfrefleksiewe tekstualisme van konteporere tekste op die voorgrond; die literere gebruikswyses reflekteer dikwels bepaalde collage-agtige tendense of eienskappe. Hierbenewens, bied kontemporere literereteorie vele nuttige terme en konsepte waarmee visuele tekste sowel as, vir die doe] van hierdie ondersoek, visuele narratiewe, beskryf kan word. Hierdie tesis is hoofsaaklik gevestig op 'n analise van die praktiese werk wat dee) van die Magister Artuim-graad in Beeldende Kunste uitmaak. Die bespreking van die praktiese werk is veranker in die wyer terreine van boekkuns - spesifiek die postmodeme kunstenaarsboek (livre detourne) - en in kontensieuse debatte oor die rol van visuelenarratief-illustrasie. In beide die tesis en die gelllustreerde boekobjekte bevraagteken ek die tradisionele siening dat illustrasie binne boekkontekse 'n sekondere of aanvullende posisie inneem. Ek argumenteer ten gunste van 'n vorm van visuele narratief waarvan daar nie bloot verwagword om as 'n beskrywing van die primere verbale teks te funksioneer nie. In plaas daarvan, deur binne die konteks van die kunstenaarsboek te werk en deur collage as 'n visuele (en verbale) medium te benut, demonstreer ek dat illustrasie die geskrewe teks kan aanvul, daartoe kan toevoeg of dit kan ondergrawe. Verder toon ek dat illustrasie die rol van die primere teks in die konteks van die kodeks kan inneem. Laastens skep hierdie studie die geleentheid vir 'n kreatiewe en bydraende leser - vanwee 'n intertekstuele proses wat in die boekobjekte aan die Jig kom - om as 'n aktiewe 'leser-skrywer' van die visuele en verbale tekste onder bespreking op te tree.
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Hugill-Fontanel, Amelia J. "Publication of an Internet-accessible database resource for Arts et métiers graphiques /." Link to online version, 2002. https://ritdml.rit.edu/dspace/handle/1850/61.
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Thesis (M.S.)--Rochester Institute of Technology, 2002.Typescript. Accompanying CDROM contains the prototype of AMG web-based database and electronic copy of the thesis. Includes bibliographical references.
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Morris, Hannah. "Tall enough? : an illustrator’s visual inquiry into the production and consumption of isiXhosa picture books in South Africa." Thesis, Stellenbosch : University of Stellenbosch, 2007. http://hdl.handle.net/10019.1/2151.
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Thesis (Mphil (Visual Arts. Illustration))--University of Stellenbosch, 2007.This thesis is a visual, sociolinguistic and cultural inquiry into the role of isiXhosa picture books in contemporary South Africa. From the standpoint of an illustrator, I examine several of these works arising out of a history that alienated many isiXhosa readers and writers from their language. I examine factors that influence the design, content and very notions of reading itself through the multiple languages offered by the picture book format. I argue that these books occupy a problematic space where production and consumption are affixed to paradigms of economics, language and literacy incongruent with the lives of many isiXhosa-speaking readers. My overall conclusion is that literacy and visual literacy are essential to developing an authentic 'reading culture'. Fostering a meaningful relationship with printed words and images is critical to both the emerging reader and the emerging illustrator. In producing illustrations for an isiXhosa narrative, I consider the shape of my own visual literacy through mediations with drawing and writing, relating my activities to those of a child learning to distinguish between pictures and words. The cross-over space where image/text distinctions blur potentially invites new narrative expressions. The picture book is a suitable format for expanding notions of vision and literacy, 'subverting' paradigms and revealing the richness of contemporary African tales. I rest my fundamental premise on an insistence for an increase of accessible, quality picture books in African languages that stimulate the artistic and intellectual development of all readers.
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Swanepoel, Liani Colette. "Aeneas se onderwêreldse reis in illustrasie : 'n resepsie-historiese studie van tonele in Aeneïs VI /." Link to the online version, 2006. http://hdl.handle.net/10019.1/1690.
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Axelsson, Jessica, and Ronja Levinsson. "Barn och föräldrars val av bilderbok med fokus på illustrationer : En intervju- och observationsundersökning." Thesis, Högskolan Dalarna, Grafisk teknologi, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:du-12908.
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Syftet med denna studie var att dels jämföra barn, 3–6 år, och föräldrars preferenser av barnboksillustrationer, dels att undersöka hur föräldrar resonerar kring val av bilderbok och illustrationens roll i samband med detta. Genom enskilda semistrukturerade intervjuer och tillhörande observationer med 22 barn (3–6 år) och 10 föräldrar undersöktes vilken av fem typer av bokillustrationer som föredrogs. Föräldrarna fick därefter även välja vilken av fem bilderböcker, från vilka illustrationerna var hämtade, som de skulle vilja läsa för sina barn och motivera sitt val. Resultatet från undersökningen tyder på att illustrationerna är en aspekt för både barn och föräldrar vid val av bilderbok samt att det finns faktorer som föredras i illustrationerna. Barnen i undersökningen verkade föredra naivistiska illustrationer med stort antal fokuspunkter. Föräldrar föredrog realistiska illustrationer med inslag de kan koppla till verkliga livet. Föräldrarna ansåg att illustrationer, handling, moral och lärdom var viktiga aspekter vid valet av bilderbok till deras barn. Flertalet föräldrar ville ha möjlighet att berätta egna historier kring illustrationerna i bilderboken.The purpose of this study was the comparison of children 3–6 years old and parents’ preferences of picture book illustrations, as well as to examine how parents reason about the choice of picture book and the illustration’s role in this context. Through individual semi-structured interviews and observations with 22 children (3–6 years) and 10 parents were examined which types of book illustrations that were preferred. The parents then also choose which of five picture books, from which the illustrations were from, they would like to read to their children. The results of the study indicate that the illustrations are an aspect for both children and parents in the selection of picture book and that there are factors that are preferred in the illustrations. The children in the study seemed to prefer naivistic illustrations with a high number of focal points. The parents preferred realistic illustrations with elements they can connect to real life. Parents considered illustrations, moral and knowledge to be of great importance when choosing a picture book for their children. Many parents wanted the opportunity to tell their own story about the illustrations in the picture books.
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Thomas, Lisa Carol. "Exploring second graders' understanding of the text-illustration relationship in picture storybooks and informational picture books." Diss., Manhattan, Kan. : Kansas State University, 2010. http://hdl.handle.net/2097/3679.
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Farman, Nola. "The humours of the artists' book." View thesis, 2007. http://handle.uws.edu.au:8081/1959.7/25097.
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Thesis (Ph.D.)--University of Western Sydney, 2007.A thesis submitted to the University of Western Sydney, College of Arts, Writing and Society Research Group in fulfilment of the requirements for the degree of Doctor of Philosophy. Includes bibliographical references.
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Parker, Ann. "The Contributions of Small Presses to the Field of Multicultural Children's Books." Diss., The University of Arizona, 2006. http://hdl.handle.net/10150/194282.
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This dissertation studied the roles that small, independent publishing companies see themselves playing in the field of multicultural children's books, and the challenges and issues they face in publishing these books.Five independent presses located in the greater Southwest that publish multicultural children's books were selected to be interviewed, along with several authors and a bookstore owner. Interviews were conducted to learn about each company's mission and history; the audience for multicultural children's books and how these presses market to that audience; how the press selects authors and illustrators; why presses publish bilingual books; what the national trends are in children's book publishing; and what the future holds for multicultural children's books.Children's book publishing has changed over the past several decades, with publishing companies being bought up by conglomerates that require higher rates of return, resulting in publishers looking to create books as brands rather than as quality literature. A branded book could be written by a celebrity with an instantly recognizable name; feature an instantly recognizable character; or possess the potential for creating marketing tie-ins such as toys and movies. This trend has particularly affected multicultural children's books that generally appeal to a smaller market.Small publishing companies have continued to publish multicultural children's books and are recognized for the quality of these books. The major contributions these small presses make are that they- continue to seek out and publish new authors and illustrators from minority ethnic groups; - pay attention to the cultural backgrounds of the authors and illustrators they publish; - develop close relationships with educators who want books for children of color in their schools; - educate sellers and buyers about the benefits of multicultural children's books; - continue to publish bilingual books when national companies do not; - provide resources for literacy programs in their communities; and - serve as risk takers in the world of children's publishing.While national publishing companies may continue to follow the money, independent presses are committed to providing all children with quality literature.
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Bowen, Karen Lee. "The illustration of Christopher Plantin's books of hours : traditions and innovations before and after the council of Trent /." Ann Arbor (Mich.) : UMI dissertation services, 1995. http://catalogue.bnf.fr/ark:/12148/cb37063749k.
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Wiethüchter, Johanna. "Books vs. Technology : An exploratory study of the influence they have on children's development." Thesis, Linnéuniversitetet, Institutionen för design (DE), 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-86926.
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With the rise of popularity of technological devices, less children engage in reading books. This paper investigates the influence of technology on young children and points out the advantages and disadvantages of being in contact with digital media on a regular basis. In contrast to that, this project reveals benefits that come from reading and being read to in early childhood. Through designerly research in forms of collaboration and a cultural probe, the essence of children’s books is getting ex- plored. Furthermore, the importance of illustration in combination to text in picture book is being discussed. By exploring the practice of creating an own illustrated children’s book, I evaluate assumptions and findings of my research.
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Linardou, K. "Reading two Byzantine illustrated books: the Kokkinobaphos manuscripts (Vaticanus graecus 1162 and Parisinus graecus 1208) and their illustration." Thesis, University of Birmingham, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.504872.
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Dibrova, Alisa. "AR books and pre-school children’s engagement." Thesis, Malmö högskola, Fakulteten för teknik och samhälle (TS), 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-20620.
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Moderna barn använder mobilteknik oftare och oftare. Ett antal studier hävdar att barns lärande kan dra nytta av användning av medier i klassrum och att det finns en brist på denna teknik att använda i skolorna. Många undersökningar indikerar att användningen av augmented reality (AR) teknik i undervisning för barn hjälper dem att bli mer motiverade och engagerade i lärande activiteter, och att det är fördelaktigt för barns minneslagring. Vissa studier hävdar att motivation är en viktig faktor för att främja en inlärningsförmåga.Denna studie syftar på att skapa en augmented reality-bok för barn 4-5 år och på att förstå hur AR kan påverka engagemang, och hur den kan stödja lärandet i termer av memorering.Ett experiment genomfördes med åtta barn som går till förskolan. Under experimentet gjordes observationer och intervjuer. Grafisk design, illustration och animering var en del av förberedelserna för experimentet. Studieresultaten analyseras och diskuteras i förhållande till tidigare undersökningar i detta område.Resultaten pekar mot att AR skulle kunna hjälpa barn i förskoleåldern i klassrummsundervisning genom att positivt påverka deras minneslagring samt öka deras engagemang och motivation - som tidigare påstås är en mycket viktig faktor för att förbättra inlärningsförmåga. Samtidigt är det svårt att tolka resultaten med en hög grad av säkerhet för att testgrupperna var små, och antalet ytterligare faktorer kan ha påverkat resultaten. För att bekräfta resultaten av denna studie är det rekommenderat att genomföra en undersökning av en större skala.Modern children use mobile technologies more and more often. A number of studies argue that children’s learning can benefit from the use of media in classrooms and that there exists a lack of these technologies applied at schools. Many research indicate that use of augmented reality technologies in children’s teaching helps children to get more motivated and engaged in the learning activities, and it is beneficial for children’s memory retention. Some studies claim that motivation is an essential factor for promotion a learning performance. This study aims at creating an augmented reality (AR) book for 4-5 years old children and on understanding how AR can affect engagement, and how it can support learning in terms of memorization.There was conducted an experiment with eight children who go to preschool. During the experiment, the observations and interviews were made. Graphic design, illustration and animation were a part of preparation for the experiment. The study results are analyzed and discussed in relation to earlier research in this area. The results point towards the fact that AR could help children of preschool age in classroom education by positively affecting their memory retention and increasing their engagement and motivation – which was earlier claimed to be an extremely important factor for improving the learning performance. At the same time, it is hard to interpret the results with a high degree of certainty as the test groups were small and a number of additional factors could have affected the results. In order to confirm the results of this study, it is suggested to conduct a study of a larger scale.
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Morris, Hannah. "Tall enough ? : an illustrator's visual inquiry into the prodcution and consumption of isiXhosa picture books in South Africa /." Link to the online version, 2007. http://hdl.handle.net/10019/1995.
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Reisberg, Mira. "An A/r/tographic study of multicultural children's book artists : developing a place-based pedagogy of pleasure." Online access for everyone, 2006. http://www.dissertations.wsu.edu/Dissertations/Summer2006/m%5Freisberg%5F062206.pdf.
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Batey, Jacqueline. "The safe cigarette : visual strategies of reassurance in American advertisements for cigarettes, 1945-1964." Thesis, University of Brighton, 2003. https://researchportal.port.ac.uk/portal/en/theses/the-safe-cigarette(a1dd0e71-ce49-4441-aab6-297bdd958c1c).html.
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This Practice-Based Ph.D. thesis is in two sections, the written element presented as a sequence of eight Fascicles, and the practical element presented as an inter-related set of nine Artist’s Books and Multiples. This thesis presents a series of Artist’s Books and Multiples of graphic expressions of anxiety, each informed by a comparative study presented as a sequence of Fascicles of the visual strategies used to advertise cigarettes in America in mass-circulation magazines between 1945 and 1964. The thesis is presented as a boxed object containing the eight Fascicles (each containing a Gatefold Image) and the nine Artist’s Books and Multiples. The thesis identifies specific design and illustration solutions in cigarette advertising such as considerations of artwork, photography, layout, typography, characterisation, and diagrammatic representation of process. The conclusions are then used as the basis for 9 books and multiples in which I explore, within my own artwork, the dynamics of visual instruction, and the devices for reassuring the anxious consumer using irony and humour throughout. Each Fascicle has a Gatefold visual montage with juxtaposed imagery central to the theme. The thesis combines visual analysis and the making of imagery in equal measure. The vast proportion of original visual examples used in the Fascicles are reproduced for the first time in colour from a wide range of contemporary magazines. Particular emphasis is placed on the professional manuals generated by the advertising profession itself. A brief study of the cigarette market in the pre-1945 period identifies early anxieties about the product and how the tobacco industry and the advertising industry sought to address them. The thesis identifies the industries’ invention of the 'Safe Cigarette' and then explores the anxieties implicit in that concept, presenting visual means by which anxiety is depicted. Visual strategies of reassurance in the form of personifiers are compared - ranging from people in socially esteemed professions through to the use of animals (dogs) and visual fictions (Santa Claus). Two factors in particular have been identified to distract consumers from the gathering sense of unease in the safety of the product that culminated in the report of the American Surgeon General in 1964 - the appeal to the consumption of the cigarette in the outdoors and the corresponding success of menthol cigarettes, and the appeal to the reassurance that technology can impart - in the success of the Filter-Tip market. The twin polarities are reflected in the Artist’s books, 'Which Filter Works?' and 'Menthol Daze'. In the last Fascicle the techniques of persuasion after 1945 are compared with those used by the American Huckster of the early twentieth century and the thesis concludes with an assertion of the role that visual humour can play in exposing fallacious marketing.
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Ator, Robin A. "Boudica : an illustrated narrative." PDXScholar, 1988. https://pdxscholar.library.pdx.edu/open_access_etds/3823.
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I study painting and composition for its own sake, and in this program I am pursuing it from a narrative or pictorial stance, much as did earlier artists, and doing so in contemporary terms. Distinguished examples of illustrators could include such artists as Raphael, Michelangelo, Rembrandt and Rubens, and modern practitioners such as Wyeth and Baskin.
The illustrator needs not only control of his means, but also other qualities in addition to those of a studio painter. He needs an imagination that will allow portrayal of scenes and viewpoints that can't be arranged in a studio. The artist's memory and invention are primary requisites for illustrations involving distant times and places.
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Johnson, Shelley. "This little chicken went to Africa : a historical survey into the development of narrative structures within relief printmaking in community centres in South Africa and a formal analysis of the relevance of the medium in contemporary children's picture book illustration." Thesis, Stellenbosch : University of Stellenbosch, 2009. http://hdl.handle.net/10019.1/1725.
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Thesis (MPhil (Visual Arts. Illustration))--University of Stellenbosch, 2009.When dealing with emergent literacy in South Africa, the didactic aspects of picture books are often privileged over their aesthetic quality and the idea of reading for pleasure. The themes of the books are not always locally relevant and for economic reasons, they often fail to reach the communities that need them the most. By looking at the history of relief printing within a community environment, I hope to highlight how communities themselves may be able to develop locally relevant children’s picture books, instituting a ‘grassroots’ approach rather than the paternalistic ‘top down’ approach of the past. I will also be looking at the narrative and stylistic elements of relief printing that are complimentary to the picture book genre and how these can be utilised for a pleasurable rather than didactic approach to the narratives.
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Freeman, Cynthia Renee. "Relative contributions of mastery, maternal affective states, and childhood difficulty to maternal self-efficacy." abstract and full text PDF (free order & download UNR users only), 2006. http://0-gateway.proquest.com.innopac.library.unr.edu/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3239875.
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Swanepoel, Liani Colette. "Aeneas se onderwêreldse reis in illustrasie : ’n resepsie-historiese studie van tonele in Aeneïs VI." Thesis, Stellenbosch : University of Stellenbosch, 2006. http://hdl.handle.net/10019.1/1690.
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Thesis (MA (Dept. of Ancient Studies) -- University of Stellenbosch, 2005.Throughout the centuries artists have visualised the imaginative works of Publius Vergilius Maro in a variety of art forms. Paintings, frescoes, sculptures and even tapestries have made the wordscenes of his great epic, the Aeneid, concrete. The thesis investigates only the illustration of the epic in manuscripts and printed texts or translations. The illustrations of scenes in Book VI – the journey of Aeneas in the underworld – are studied using the reception-historical approach. This is to determine whether the illustrations of the Trojan hero’s journey in the underworld reflect the reception of the Aeneid in the different eras or periods. The illustrator is a “reader” of the Aeneid text or translation and consequently his/her illustration of a particular scene reflects his/her own visual interpretation thereof. Illustrations of Book VI in manuscripts like the Vergilius Vaticanus of late Antiquity and the mid- 15th century Riccardiana Vergilius of Apollonio di Giovanni are examined. A study of illustrations in printed texts or translations range from the 1502 Grüninger edition of Vergil edited by Sebastian Brant to the Book VI illustration of Thom Kapheim in a textbook published in 2001. The aim is to establish how illustrators associated with Book VI, interpreted it, how their environment and the spirit of the age influenced their visualisation and how their illustrations reflect the reception of the epic throughout the centuries. Such a study hopes to provide a contribution to Vergilian reception and Nachleben. In the process a better understanding can be obtained for the importance and changing role of Aeneid VI and the whole epic in different eras. It is found that the illustrators of the Aeneid – influenced by the different spirit of their times and environments – brought forth unique visual interpretations of scenes in Book VI that suggest a particular reception of the epic at that specific point of time. The illustrative spectrum of Book VI throughout the centuries can be summarised as follows: revival, allegorisation, pedagogic, realistic decoration and eventually increasingly unrealistic decoration. From late Antiquity to the beginning of the 21st century, the illustrative visualisation of the journey of Aeneas in the underworld indicates that there has always been a definitive response to Vergil and his epic.
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Kotaniemi, Juhani. "Bilden i bilderboken." Thesis, Malmö högskola, Fakulteten för kultur och samhälle (KS), 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-22299.
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In this thesis I investigate aesthetic preference for picture books among children aged 3–6 as well as criteria for preference among parents. Through my design project: illustration of a picture book, I aim to put my research on preference in the context of illustration and design. By using the design project as an applied method for research I have sought to answer how one as an illustrator can apply knowledge regarding preferences of the target groups when illustrating for picture books. I have primarily based my research within the field of cognitive developmental psychology, with primary focus on stage theory, and the field of literature. I also performed small scale studies on preference as well as a web survey. The results regarding childrens preferences confirm previous studies. It shows that children base preference mainly on subject matter and colour. They also show preference for saturated colours and pictures with less realism. The parents tended to like what their children like regarding colour. Message, conversation and humour were found to be significant, but not generalizable criteria for preference among parents. These findings were summarized and used as guide lines during the process of illustrating a picture book.
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Bolen, Anne E. "From verse to visual : an analysis of Alfred Tennyson and William Holman Hunt's The lady of Shalott /." Ohio : Ohio University, 2004. http://www.ohiolink.edu/etd/view.cgi?ohiou1087832766.
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Worley, Cassie. "Many are the deceivers /." Online version of the thesis, 2006. https://ritdml.rit.edu/dspace/handle/1850/3334.
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Dorfling, Aletta. "Betekenis in narratiewe illustrasie : 'n dissonante samewerking tussen woord en beeld /." Link to the Internet, 2009. http://hdl.handle.net/10019/2703.
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Chen, Lichiou. "The development of digital forms of illustration and their impact on print publishing from 1990 to the present, with particular reference to children's books." Thesis, Birmingham City University, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.497407.
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During the last quarter of the twentieth century, electronic and computer technology advanced at a staggering pace. The field of print publishing has been transformed by digital technology, and all illustrations are now digitised for printing purposes. This presents a challenge to illustrators: what combination of traditional skills and digital techniques can be used to best develop an individual style or should an illustration be wholly created on a computer?
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Domiciano, Cassia Leticia Carrara. "Produtos editoriais e design : convergências e transformações /." Bauru, 2020. http://www.athena.biblioteca.unesp.br/exlibris/bd/cathedra/13-04-2020/000929982.pdf.
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Olasz, Ildiko Csilla. "Moving eyes, shifting minds the horizon of expectations in the verbal and visual reception of mid- and late-Victorian illustrated novels /." Diss., Connect to online resource - MSU authorized users, 2008.
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Ussery, Susie Robin. "A descriptive study of how African Americans are portrayed in award winning African American children's picture books from 1996-2005." Diss., Mississippi State : Mississippi State University, 2006. http://library.msstate.edu/etd/show.asp?etd=etd-03302006-101045.
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Wilhelmsson, Anna. "På väg till den tredje grisen : Studie av en transmedial konstpromenad för barn." Thesis, Högskolan i Skövde, Institutionen för informationsteknologi, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:his:diva-9781.
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Art in the city can be invisible until we talk about it. Letting children see public art in the context of play and narrative is a way to enhance creative thinking and knowledge as well as making the art visible. By creating a prototype for an art walk for children this study was able to create a scenery of children using different kinds of mediated narrative combined with a physical environment and movement. The theoretical framework of the project was picture books (Rhedin, 1991) transmedia (Jenkins 2006, Ryan 2004) and public art (Kwon 2002). The project’s aim was to create an empirical context for primary school children to explore public artwork. The project was designed as a walk for children and teachers, within a narrative context presented in a printed book containing illustrations of the actual artwork and a framing mystery story. The book also contains blank pages for children to draw and write stories based on the book and their empirical experience. Analysing the material from a method based on narratology (Genette 1980, Brooks 1992, Brannigan 1995) and phenomenology (Merleau-Ponty 1945/1997) the study shows that switching between turning of pages, between the illustrations in the book and the first hand experience of being in the physical environment, leads to a high degree of engagement. Interaction with the artwork also inspires children to draw their own pictures, based on the artwork, and to create their own stories about it.
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Spyra, Ulrike. "Das "Buch der Natur" Konrads von Megenberg die illustrierten Handschriften und Inkunabeln /." Köln : Böhlau, 2005. http://books.google.com/books?id=LuXaAAAAMAAJ.
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Grobler, Piet. "'n Ondersoek na betekenis in prenteboeke vanuit 'n vertaalteoretiese perspektief : met spesiale verwysing na illustrasies vir die werk van Annie M.G. Schmidt en ander herskrywing tussen Afrikaans en Nederlands." Thesis, Stellenbosch : Stellenbosch University, 2004. http://hdl.handle.net/10019.1/50038.
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Thesis (MA)--Stellenbosch University, 2004.ENGLISH ABSTRACT: Illustration and translation have so much in common that the theoretical "instruments" used to describe, substantiate and evaluate translated works, can also be used where picture books are concerned. These similarities include the fact that illustrations as well as translations function semiotically - both relay narratives by means of systems of signs or codes. As signs, the contents of translations and illustrations have meaning or obtain significance only once they are read by an individual - homo significons - in a specific context. Another significant similarity between translation and illustration is the fact that both deal with the intercultural transfer of a narrative. The theory of translation takes cognisance of the contextual and, from the perspective of gender and postcolonial studies, points to the fact that cultural differences (and the power imbalances and ideologies they often imply) are closely linked to translation strategies. The literary environment and the circumstances in which the translation (or picture book) is produced, are also relevant for the meaning that can be ascribed to the picture book. In the literary environment (and indeed in most academic disciplines) the didactic benefit of picture books is accentuated more or takes precedence over the aesthetic qualities which these may have. Key concepts and theorists for this study are: • illustrations and translations as rewritings can be worthy and influential renderings of the source text • intertextuality will be the undisputed starting point for the (inevitably interdisciplinary) study of picture books • the skopos-theory according to which the objective of the book greatly determines the appearance and meaning thereof • Riitta Oittinen's theory of translation according to carnivalism which focuses on the child receptor Geoff Moss' and Jens Thiele's reference to ambiguity and experimentation in picture books Edward Venuti's reference to two (apparently opposing) translation strategies, namely domestication and foreignization. With this study I conclude that meaning in translated picture books is brought to the text by all participants and can therefore never be completed. Picture book illustrations as aesthetic products demand that the rewriter experiment with the narrative in a carnavalistic and unrestricted manner. At the same time, however, the illustrator or tranlator should anchor this experimentation in reality by meeting other role players (publishers, educationalists, literary theorists, authors and readers) in dialogical rewriting.
AFRIKAANSE OPSOMMING: Illustrasie toon soveelooreenkomste met vertaling dat die teoretiese "instrumente" waarmee vertaalde werk beskryf, begrond en beoordeel word, ook ten opsigte van prenteboeke gebruik kan word. Hierdie ooreenkomste sluit in dat sowel illustrasies as vertalings semioties funksioneer deurdat hulle narratiewe deur middel van tekensisteme of kodes oordra. As tekens kry die inhoud van vertalings en illustrasies egter eers betekenis of maak hulle sin wanneer hulle in 'n bepaalde konsteks deur 'n mens, homo significans, gelees word. 'n Ander belangrike ooreenkoms tussen vertaling en illustrasie is dat albei handeloor die interkulturele oordrag van 'n narratief. Die vertaalteorie neem pertinent kennis van die konteks van die geskrewe werk en wys byvoorbeeld vanuit genderstudies en postkoloniale studies daarop dat kulturele ongelykhede (en die magswanbalanse en ideologie daaraan verbonde) dikwels onderliggend aan 'n vertaalstrategie is. Die literêre en produksie-omgewing en -omstandighede waarin die vertaling (of prenteboek) tot stand kom is ook relevant vir die betekenis wat aan die prenteboek toegedig kan word. In die literêre omgewing (en trouens in die meeste akademiese dissiplines) word prenteboeke se didaktiese nut veel eerder beklemtoon of erken as die estetiese kwaliteite wat dit mag hê. Sleutelkonsepte en teoretiese raamwerke vir hierdie studie is: dat illustrasies, soos vertalings, as herskrywings waardige en invloedryke weergawes van die bronteks kan wees dat intertekstualiteit die ononderhandelbare vertrekpunt sal wees vir 'n studie van prenteboeke (wat uiteraard 'n interdissiplinêre studieveld is) die uitgangspunt van die skopos-teorie waarvolgens die oogmerk met die boek die voorkoms (en betekenis) daarvan tot 'n groot mate sal bepaal Riitta Oittinen se vertaalteorie volgens karnavalisme wat op die kinderreseptor fokus GeoffMoss en Jens Thiele se verwysing na dubbelsinnigheid en eksperimentering in prenteboeke Edward Venuti se uitwys van twee (oënskynlik opponerende) vertaalstrategieë, inburgering en vervreemding. Met die studie bevind ek dat betekenis in vertaalde prenteboeke deur alle rolspelers na die teks geneem word en derhalwe nooit voltooibaar is nie. Prenteboekillustrasies as estetiese produkte vereis dat die herskrywer daarvan op 'n karnavalistiese en ongebonde manier met die narratief eksperimenteer, maar dat dit in die realiteit geanker word deurdat ander rolspelers (uitgewers, opvoeders, letterkundiges, outeurs en lesers) in dialogiese herskrywing (vertaling en illustrasie) ontmoet word.
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Catalano, Dominic. "The roles of the visual in picturebooks beyond the conventions of current discourse /." Connect to this title online, 2005. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1122923992.
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Thesis (Ph. D.)--Ohio State University, 2005.Title from first page of PDF file. Document formatted into pages; contains x, 555 p. Includes bibliographical references (p. 512-555). Available online via OhioLINK's ETD Center.
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Kreuser, Carla Louise. "The meandering narrative : poetry and illustration engage in a moment of indiscipline : demonstrated in an analysis of Sara Fanelli’s illuminated poem - And all men kill the thing they love." Thesis, Stellenbosch : Stellenbosch University, 2014. http://hdl.handle.net/10019.1/86503.
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Thesis (MPhil)--Stellenbosch University, 2014.ENGLISH ABSTRACT: This is a study about the inner workings of an illuminated poem – about the dialogue that develops between poetry and illustration when they encounter each other on the page. However, the illuminated poem is more than just a relation between words and images, it is also a composite art in its own right. This study explores the dynamic of this particular type of imagetext by firstly claiming that the illuminated poem embodies a moment of indiscipline and secondly, by positing that illustration should contribute to this pairing by acting as a manifestation of illumination, instead of posturing as merely ‘illustrative’ or decorative. The inherent indisciplinarity of the illuminated poem as an imagetext is dissected – it is simultaneously two independent art forms and an integrated one; it can therefore be seen as both an interdisciplinary concern and a new art form. The illuminated poem as a visual art blurs the boundaries between words and images, upending the traditional, rigid boundaries of image-‐text discourse. Additionally, a meandering narrative is set in motion when poetry and illustration engage in an illuminated poem – a slower, involved, cross-‐pollinating reading that results in the activation of a reader’s imagination. The idea of Illumination is thus examined as both an orchestrated, visual choice and an active, conjuring process. Various strategies of illumination – with which illustration can open up a poem to new conceptual and narrative possibilities – are also discussed. These theories of interplay and interaction are then applied to an analysis of And all men kill the thing they love, an illuminated poem by Sara Fanelli and Oscar Wilde, revealing some of the ways in which illustration and poetry act as co-‐conspirators and collaborators when they engage in a moment of indiscipline.
AFRIKAANSE OPSOMMING: Hierdie is ‘n ondersoekende studie na die dieperliggende werking van ‘n “illuminated” gedig. Die studie fokus op die dialoog wat ontstaan wanneer ‘n gedig en illustrasies mekaar op papier ontmoet. Die “illuminated” gedig is egter soveel meer as net die saamgestelde som van woord en beeld – dit is ook ‘n verstrengelde nuwe kunswerk in eie reg. Hierdie studie verken die dinamiek van dié besondere soort beeldteks deur, eerstens, te verklaar dat “illumination” ‘n moment van ongedissiplineerdheid behels en, tweedens, deur te verwag dat die illustrasies bydra tot hierdie verhoudingsdinamika deur ‘n manifestasie van “illumination”, pleks van net ‘illustrerend’ of dekoratief, te wees. Die inherente ongedissiplineerdheid van die “open-‐ended” gedig as beeldteks word ondersoek – dit vorm tegelykertyd twee onafhanklike kunsvorms en ‘n geïntegreerde geheel; dit kan dus beskou word as beide ‘n interdissiplinêre kunswerk en ‘n nuwe kunsvorm. Die ‘mengsel’-‐gedig as visuele kunsvorm oorskry die bekende grense tussen woorde en beelde en gooi alle rigiede, streng-‐tradisionele riglyne van die beeldteks-‐geding omver. Die verhaaltrant volg kronkelpaaie wanneer digkuns en illustrasie slaags raak op papier of meedoen aan die “open-‐ended” gedig – ‘n stadiger, meer betrokke, kruisbestuiwende leestempo word afgedwing, wat sodoende die leser se verbeelding aktiveer. Die idee van “illumination” word dus ondersoek as beide ‘n georkestreerde, visuele keuse en ‘n meelewende (verwonderings)proses. Verskeie verhelderings-‐ moontlikhede – waardeur illustrasie ‘n gedig kan ontsluit om nuwe konseptuele en vertellingsmoontlikhede te ontgin – word ook bespreek. Hierdie teoretiese benadering van ‘n heen-‐en-‐weer-‐spel se wisselwerkende interaksie word dan toegepas op ‘n analise van And all men kill the thing they love, ‘n “illuminated” gedig deur Sara Fanelli en Oscar Wilde. Verskeie wyses waarop illustrasie en digkuns as samesweerders en samewerkers kan optree wanneer hulle hulself in ‘n oomblik van ongedissiplineerdheid bevind, word aangetoon.
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Field, Hannah C. "Toying with the book : children's literature, novelty formats, and the material book, 1810-1914." Thesis, University of Oxford, 2013. http://ora.ox.ac.uk/objects/uuid:02077b56-4e3e-4bf3-92b0-6c59fce771df.
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This thesis examines the book in the nineteenth century by way of an unusual corpus: movable and novelty books for children, drawn from the Opie Collection of Children’s Literature at the Bodleian Library. It argues that these items, which have been either ignored or actively dismissed by scholars of children’s literature, are of two-fold significance for the history of the book: they encourage a sense of the book as a constitutively (rather than an incidentally) material object, and they demand an understanding of reading as not just a mental activity, but a physical one as well. Each of the first five chapters of the thesis centres on a different format. The opening chapter discusses the Regency-era paper doll books produced by Samuel and Joseph Fuller, exposing the tension between form and content in these works. The second chapter looks at Victorian panorama books for children, showing how the panorama format affects space, time, and the structure of any text accompanying the image. The third chapter reads the pop-up book’s key tension—the tension between surface and depth in the pursuit of an illusion of three dimensions—in terms of flat, theatrical, and stereoscopic picture-making, three other nineteenth-century pictorial modes in which an illusion of three-dimensionality is important. The fourth chapter traces self-reflexive accounts of printing, publishing, and the material book in dissolving-view books produced by the German publisher and printer Ernest Nister at the end of the nineteenth century. The fifth chapter positions the late nineteenth-century mechanical books designed and illustrated by Lothar Meggendorfer in terms of two material analogies, the puppet and the mechanical toy or automaton. The final chapter synthesizes evidence as to how the movable book could and should be read from across formats, foregrounding in particular the ways in which the movable embodies reading.
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Duque, Ana Rita Simões. "Lendas portuguesas ilustradas para a infância. Conceção e design de livros-teatro e seus objetos." Master's thesis, Universidade de Lisboa. Faculdade de Arquitetura, 2013. http://hdl.handle.net/10400.5/6626.
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Mercurio, Jeremiah Romano. "Fantasy as a mode in British and Irish literary decadence, 1885–1925." Thesis, University of St Andrews, 2011. http://hdl.handle.net/10023/1964.
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This Ph. D. thesis investigates the use of fantasy by British and Irish 'Decadent' authors and illustrators, including Oscar Wilde, Max Beerbohm, Aubrey Beardsley, 'Vernon Lee' (Violet Paget), Ernest Dowson, and Charles Ricketts. Furthermore, this study demonstrates why fantasy was an apposite form for literary Decadence, which is defined in this thesis as a supra-generic mode characterized by its anti-mimetic impulse, its view of language as autonomous and artificial, its frequent use of parody and pastiche, and its transgression of boundaries between art forms. Literary Decadence in the United Kingdom derives its view of autonomous language from Anglo-German Romantic philology and literature, consequently being distinguished from French Decadence by its resistance to realism and Naturalism, which assume language's power to signify the 'real world'. Understanding language to be inorganic, Decadent writers blithely countermand notions of linguistic fitness and employ devices such as catachresis, paradox, and tautology, which in turn emphasize the self-referentiality of Decadent texts. Fantasy furthers the Decadent argument about language because works of fantasy bear no specific relationship to 'reality'; they can express anything evocable within language, as J.R.R. Tolkien demonstrates with his example of "the green sun" (a phrase that can exist independent of the sun's actually being green). The thesis argues that fantasy's usefulness in underscoring arguments about linguistic autonomy explains its widespread presence in Decadent prose and visual art, especially in genres that had become associated with realism and Naturalism, such as the novel (Chapter 1), the short story (Chapter 3), drama (Chapter 4), and textual illustration (Chapter 2). The thesis also analyzes Decadents' use of a wholly non-realistic genre, the fairy tale (see Chapter 5), in order to delineate the consequences of their use of fantasy for the construction of character and gender within their texts.
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Meizel, Laureline. "Inventer le livre illustré par la photographie en France : 1867-1897." Thesis, Paris 1, 2017. http://www.theses.fr/2017PA01H045.
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Cette thèse traite des rapports noués entre le livre et la photographie en France au cours du dernier tiers du XIXe siècle. Elle dégage les enjeux recouverts par cette association pour les acteurs collaborant à sa réalisation, à la croisée desquels a été progressivement inventé un objet inédit : un livre dont le discours s’élabore à partir de la combinaison de textes et de photographies entre ses plats de couverture au moins, mais aussi sur ses pages si l’envie ou le besoin le commande. Pour cela, elle circonscrit les contours et les tendances de la production moyenne entre 1867 et 1897, en construisant un corpus qui en reflète l’étendue et les ambitions. De type systémique, son analyse démontre que le livre n’a été ni le berceau, ni le foyer, non plus que le vecteur de diffusion principal des images photographiques en France au XIXe siècle. En révélant l’extrême diversité de la production, elle prouve par contre que le livre a constitué un laboratoire d’expérimentations des modalités de l’association des textes et des images photographiques, dans le but de formaliser un discours pour le pérenniser. Par ce biais, les auteurs et les éditeurs ont progressivement défini les spécificités de la photographie dans le champ des moyens disponibles pour l’illustration. Permettant notamment aux imprimeurs-éditeurs de réaffirmer leur position dominante sur un monde de l’édition en mutation, les processus de cette appropriation se distinguent toutefois par la très faible implication de la communauté photographique. Dès lors, cette thèse propose une périodisation des liens des photographes au livre, lorsque celui-ci est utilisé comme un levier dans leurs réclamations statutairesThis thesis is about the relationship between books and photography in France during the last three decades of the 19th century. It reveals what was at stake in this specific association for the diverse actors involved in its creation. Articulating multiple issues, a new object was gradually invented: the photographically illustrated book, that is a book discursively produced through combining texts and photographic images between its covers, if not on the very pages themselves. To this end, the thesis charts the boundaries and tendencies of the average production of photographically illustrated books between 1867 and 1897, building a corpus that reflects its extent and its ambitions. Through a systemic analysis, it demonstrates that books were neither the breeding grounds nor the main sites nor the main vehicles for the dissemination of photographic images in 19th century France. By showing the extreme diversity of the production, it argues that books have constituted an experimental ground where modalities of texts’ and photographic images’ associations were tested. Through this process, authors and editors progressively defined what would become the specific characteristics of photographic images as means available for illustration. Allowing publishers and printers to reaffirm their dominant position in the world of publishing, the processes of this appropriation is particular because of the very low involvement of the photographic community itself. Therefore, the thesis proposes a periodization of the links of photographers to the book, analysing its role in the statutory claims they made through time
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Sharp, Christine Helen. "Aurora : an illustrated novella." Thesis, Queensland University of Technology, 2010. https://eprints.qut.edu.au/41466/1/Christine_Sharp_Thesis.pdf.
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Aurora, an illustrated novella, is a retelling of the classic fairytale Sleeping Beauty, set on the Australian coast around the grounds of the family lighthouse. Instead of following in the footsteps of tradition, this tale focuses on the long time Aurora is cursed to sleep by the malevolent Minerva; we follow Aurora as she voyages into the unconscious. Hunted by Minerva through the shifting landscape of her dreams, Aurora is dogged by a nagging pull towards the light—there is something she has left behind. Eventually, realising she must face Minerva to break the curse, they stage a battle of the minds in which Aurora triumphs, having grasped the power of her thoughts, her words. Aurora, an Australian fairytale, is a story of self-empowerment, the ability to shape destiny and the power of the mind. The exegesis examines a two-pronged question: is the illustrated book for young adults—graphic novel—relevant to a contemporary readership, and, is the graphic novel, where text and image intersect, a suitably specular genre in which to explore the unconscious? It establishes the language of the unconscious and the meaning of the term ‘graphic novel’, before investigating the place of the illustrated book for an older readership in a contemporary market, particularly exploring visual literacy and the way text and image—a hybrid narrative—work together. It then studies the aptitude of graphic literature to representing the unconscious and looks at two pioneers of the form: Audrey Niffenegger, specifically her visual novel The Three Incestuous Sisters, and Shaun Tan, and his graphic novel The Arrival. Finally, it reflects upon the creative work, Aurora, in light of three concerns: how best to develop a narrative able to relay the dreaming story; how to bestow a certain ‘Australianess’ upon the text and images; and the dilemma of designing an illustrated book for an older readership.
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Tzioumaki, Aikaterini. "Erik Satie : « sports et divertissements », une approche dramaturgique de l’imagination : interactions musicales et visuelles." Thesis, Paris 4, 2010. http://www.theses.fr/2010PA040095.
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La présente thèse est un travail herméneutique sur Sports et Divertissements, édition de luxe qui combine musique et textes par Erik Satie et illustrations en pochoir par Charles Martin. Étant donné son caractère fortement intertextuel, Sports et Divertissements est abordé sous la problématique de l’art total et de ses prolongements dans les livres de peintres et d’artistes, ainsi que dans le contexte artistique de sa création (notamment la mode et son illustration et les livres art déco) pendant et un peu après la Première Guerre Mondiale.Conçu initialement par son éditeur Lucien Vogel, et paru dans une première version en 1914, Sports et Divertissements n’a pris sa forme finale qu’en 1923, dans une révision totale effectuée par Charles Martin. La thèse souhaite démontrer l’efficacité narrative maximale de cette deuxième version, en termes de correspondance entre les éléments littéraires, musicaux et visuels dans la temporalité de l’œuvre ainsi que dans son aspect plastique global à travers un processus ludique et dramaturgique de l’imaginationThe present thesis is an interpretative study of Sports et Divertissements, edition de luxe which combines music and texts by Erik Satie and pochoir illustrations by Charles Martin. Given the highly intertextual character of the work, Sports et Divertissements is seen under the notion of total art, extended to livres de peintres and livres d’artistes as well as in the artistic context of its creation (notably fashion and its illustration and art deco books) that occurred during and after the 1st World War.Initially conceived by its editor Lucien Vogel, and appearing on a first version in 1914, Sports et Divertissements didn’t take its final form until 1923, in a total revision of the illustrations by Charles Martin. The thesis attempts to show the maximal narrative efficacity of this final version, in terms of correspondence among literary, musical and visual elements in the temporality of the work, as well as in its global visual aspect, through a creative and dramaturgical process of the imagination
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Gabriel, Signe. "Visuelle metaforer i Mammas Hår - brugen af visuel metafor i kommunikation af komplekse emner til børn." Thesis, Malmö universitet, Fakulteten för kultur och samhälle (KS), 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-21501.
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Opgaven tager udgangspunkt i en undersøgelse af, hvordan illustrator Svein Nyhus i billedbogen Mammas Hår, skrevet af Gro Dahle i 2007, benytter sig af visuelle metaforer til at kommunikere bogens depressionstema til børn. Formålet er at finde ud af, på hvilken måde visuelle metaforer kan bruges som kommunikationsværktøj af visuelle kommunikatører generelt. Som baggrund for undersøgelsen ligger teori omkring visuel retorik, metaforer, samt udviklingspsykologi og kognition. Ud fra denne teoretiske baggrund er opstillet en tese om brugen af metafor i kommunikationen af komplekse emner. Gennem såvel en indholdsanalyse som en semiotisk analyse af illustrationerne i Mammas Hår, samt en efterfølgende sammenligning af analyseresultaterne med tesen, fremgår det, at visuelle metaforer både kan fungere enkeltvis og interagere indbyrdes, og at visuel metafor både kan bruges til at introducere nye, ukendte emner, samt til at fremhæve visse aspekter af et emne. Endeligt lægges der op til en diskussion omkring den visuelle kommunikatørs ansvar samt om forholdet mellem teori og praksis.This essay is based on an investigation of illustrator Svein Nyhus’ use of visual metaphors in the children’s picture book Mammas Hår, written by Gro Dahle in 2007, in communicating the theme of depression to children. The purpose is to find out in which ways visual metaphor can be used as a communication tool for visual communicators in general. The essay starts with an introduction to visual rhetoric, metaphor as well as developmental and cognition theories. From this theoretical basis, a thesis on the use of metaphor in the communication of complex concepts is presented. Through a content analysis and a semiotic analysis of the illustrations in Mammas Hår, and a subsequent comparison of the analysis results with the thesis, it is found that visual metaphor can work both individually as well as through reciprocal interaction, and that visual metaphor can be used both to introduce new, unknown concepts as well as to highlight certain aspects of a concept. Finally, a discussion about the responsibility of the visual communicator and the relationship between theory and practice is introduced.
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Ferraro-Nita, Mara Rosângela 1973. "Jogo de espelhos = a ilustração e a prosa de ficção de Graciliano Ramos, Jorge Amado e José Lins do Rego." [s.n.], 2010. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284982.
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Orientador: Paulo Mugayar KuhlTese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-16T18:08:46Z (GMT). No. of bitstreams: 1 Ferraro-Nita_MaraRosangela_D.pdf: 26606817 bytes, checksum: 149415fdabef1f4f56dda00e0ae45ab2 (MD5) Previous issue date: 2010
Resumo: Esta tese tem por objetivo maior realizar um estudo sobre as obras ilustradas de Graciliano Ramos, Jorge Amado e José Lins do Rego publicadas prioritariamente pelas editoras José Olympio (Rio de Janeiro) e Martins (São Paulo). Analisa ainda o perfil artístico de três ilustradores: Santa Rosa, Luís Jardim e Aldemir Martins e seus respectivos projetos ilustrativos para Cacau, de Jorge Amado (1933); Menino de engenho, de José Lins do Rego (1932); e Vidas secas, de Graciliano Ramos (1938). Reflexões estas que ajudam no levantamento de possíveis confluências do pensamento artístico e literário do modernismo brasileiro pós-1930
Abstract: The main purpose of this thesis is to carry out a study about the illustrated literary works of Graciliano Ramos, Jorge Amado and José Lins do Rego, published mainly by José Olympio (Rio de Janeiro) and Martins (São Paulo) publishers. It also analyzes the artistic features of three illustrators: Santa Rosa, Luís Jardim and Aldemir Martins and their respective illustration projects for Cacau, by Jorge Amado (1933); Menino do engenho, by José Lins do Rego (1932) and Vidas secas, by Graciliano Ramos, (1938). These reflections help us to find out possible confluences of artistic and literary thought of post 1930'Brazilian Modernism
Doutorado
Doutor em Artes
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Chieh, Wang. "La ilustración del libro chino: de la xilografía tradicional a las nuevas técnicas occidentales." Doctoral thesis, Universitat de Barcelona, 2016. http://hdl.handle.net/10803/384237.
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Desde el punto de vista temático, la investigación aborda la ilustración del libro chino de un modo general, si bien tratando la influencia entre las relaciones con los ámbitos literario, pictórico, cultural, social y técnico. A pesar de su vasta amplitud, se profundiza en las tipologías y características formales, estéticas y técnicas de la xilografía por antonomasia de la ilustración del libro chino. Dicha temática está plenamente justificada por los conocimientos y la producción ilustrativa del autor de la tesis y, asimismo, por la proximidad de las fuentes documentales existentes, que se hallan en su mayor parte en Taiwán, gracias a la salvaguarda de Chang Kai Shek tras el levantamiento de Mao Tse Dong. Por tanto, los fondos documentales xilográficos investigados existentes en Taiwán nos dan un juicio y conocimiento completo, esencial y pleno de la ilustración del libro chino.
Cabe destacar que la mayoría de las xilografías investigadas son de autores anónimos, artesanos formados en la tradición ancestral que aprendieron a expresar los aspectos sociales y culturales más importantes de cada dinastía. En total se han examinado 283 ilustraciones, gran parte de las cuales son desconocidas por el público general, dado que se hallan en los fondos de reserva de la Biblioteca Museo Palacio Nacional y la Biblioteca Nacional, ambas de Taiwán. Es cierto, sin embargo, que la investigación ha llevado al autor a adquirir y formar su propia biblioteca de facsímiles, reproducciones fieles de incunables de los siglos ix-x y de otros libros de hasta principios del siglo xx.
Los contenidos sobre el origen y desarrollo técnico y material del libro ilustrado abarcan desde el período clásico al período Qing, pasando por todas sus dinastías: Han (202 d. C.-220), Tres Reinos (222-280), Jin (279-589), Sue (581-619), Tang (618-907), Cinco Dinastías (907-960), Song (960-1279), Yuan (1271-1368), Ming (1368-1644) y Qing (1644-1912). De todas las dinastías mencionadas, cabe destacar la dinastía Tang, puesto que su reinado coincidió con el momento en el que apareció la xilografía, además de centrarse en los factores de las obras del maestro Gu Kaizhi del período Jin, que tanto por su originalidad como por su creatividad pueden considerarse el origen técnico y estético de la ilustración. Asimismo, los elementos estudiados a través de los análisis tipológicos nos demostrarán la antigua vinculación artística entre la ilustración y la pintura china.
Los conceptos literarios mencionados en esta tesis son imprescindibles para el desarrollo de la ilustración, relacionada con la literatura popular, y nos sirven para profundizar en el conocimiento estético de la misma. En este sentido, cabe destacar la dinastía Song, por las influencias del neoconfucionismo que dieron origen a una nueva concepción de la pintura china literaria, en la que esta se separa de la ilustración y da lugar a la fundación de la ilustración del libro chino. Por otra parte, tampoco debe olvidarse el entusiasmo por el estudio de la historia de las clases altas de la dinastía Song, que se nutrió de la literatura secular que va formando una nueva literatura potencial para el nuevo desarrollo de la ilustración.
En cuanto a la dinastía Ming, el período más conocido de la historia de la ilustración china, no solo nos hemos dedicado a analizar la recuperación material y técnica de la ilustración que tuvo lugar en sus inicios, sino que también hemos abarcado ampliamente los factores culturales y sociales para profundizar en el conocimiento del apogeo del arte ilustrativo. Asimismo, nos hemos centrado en el estudio del cambio del concepto literario y la aparición de las nuevas literaturas como la novela y la dramaturgia, que sirvieron de fondo de inspiración para las mejores ilustraciones de China.
Se profundiza en el conocimiento de la evolución del estilo de la ilustración a través del análisis de las obras de los seis centros de publicación, según sus aspectos temático y tipológico, o el comparativo de ciertas versiones emblemáticas que servirán de muestra de la trayectoria o evolución de la ilustración conseguida por los maestros anónimos. Todos estos conocimientos nos dan a entender lo esencial de las obras de los maestros de la dinastía Ming.
Aparte del estereotipo de la ilustración xilográfica de la dinastía Qing como un arte en declive, cabe destacar el análisis de la ilustración litográfica que apareció en la segunda mitad del siglo XIX, consecuencia de la introducción de las nuevas técnicas occidentales y de los nuevos medios ilustrados como los periódicos y las revistas. En este sentido, analizamos las nuevas ilustraciones litográficas de estilo tradicional y occidentalizado para demostrar la actitud de los ilustradores frente a las novedades técnicas inéditas.
La tesis incluye más de quinientas notas a pie de página y una bibliografía con más de un centenar de referencias citadas, además de otras muchas de carácter general. Al final de la tesis se incluyen dos anexos con una selección de colecciones de ilustraciones de libros antiguos y de manuscritos del autor de la tesis, como testimonio del complejo proceso de la plasmación de las ideas al idioma materno chino para su posterior transcripción al español.
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Obiols, Suari Núria. "Ilustración y valores en la literatura infantil." Doctoral thesis, Universitat de Barcelona, 2001. http://hdl.handle.net/10803/670510.
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Esta investigación pretende analizar el contenido de las ilustraciones de obras de literatura infantil publicadas en España durante el siglo XX. Para ello se ha utilizado un procedimiento inductivo que ha permitido realizar un análisis descriptivo de los aspectos más relevantes del contenido de las ilustraciones.
La primera parte de la tesis es la referente a la Fundamentación teórica y conceptual compuesta de cuatro capítulos. El primero de ellos hace referencia al concepto de ilustración, las características y funciones de la misma y sus elementos visuales, estilísticos y técnicos. El segundo capítulo se basa en la relación entre niños e ilustraciones y en el se contemplan los fenómenos de percepción, denotación y connotación, así como otras cuestiones como las posibilidades educativas de las ilustraciones. El tercer capítulo hace referencia a la trayectoria histórica de la literatura infantil y se hace un repaso histórico por la ilustración antes y después de la imprenta y, la última parte, corresponde propiamente a la trayectoria histórica de la ilustración en España durante el siglo XX. Y el cuarto capítulo hace referencia a las distintas posibilidades de análisis de las ilustraciones para captar el contenido axiológico de las mismas.
La segunda parte es la referente a los Aspectos Metodológicos, en los cuáles se exponen los criterios de selección de la muestra, el instrumento metodológico para el análisis de las ilustraciones y, por último el procedimiento de análisis. El instrumento en cuestión, son tres bases de datos elaboradas con el programa File-Maker que contienen una serie de campos, la mayoría con una lista de valores determinada.
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Campagnaro, Marnie. "Libri e Albi illustrati. Analisi, strumenti e prospettive per una pedagogia dell'immaginazione." Doctoral thesis, Università degli studi di Padova, 2011. http://hdl.handle.net/11577/3421674.
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Introduction
There is a peculiar place that inhabits the immense space of children’s literature, a place in which children enjoy a “special statute”. This is a place where, unlike other fields and due to the illustrated book’s structural specificity according to which the story is narrated through images, children can hold an equal dialogue with adults, and, if properly stimulated, show unsuspected liveliness and reading ability sometimes greater than those of adults. This special place dwells in the literary space of the picturebook. Traditionally employed with very young children (nursery and infant school) as an instrument of initiation into the pleasure of reading, the picturebook is proving to be an excellent resource for reading promotion also with older children.
Objectives
The research intends to examine the potential of the picturebooks and illustrated books to develop cognitive and emotional processes of visual literacy, artistic awareness and formation of critical and imaginative thought.
Description
The research is divided into two parts.
The first part of the research concerns an international investigation on the picturebook, aiming to delineate the state of the art, in Italy and abroad, of the features, nature , potential and future perspectives of the contemporary picturebook. Such investigation has been accomplished by gathering the opinions expressed by a selected group of experts using Delphi Method. The investigation has involved some of the most important scholars of the international scientific community. Three categories of experts have been identified: professors and critics, illustrators, publishers. The expert group involved was formerly formed of 38 experts coming from Italy and the rest of the world: Europe (France, Germany, Great Britain, Portugal, Slovakia), Northern America (USA and Canada), Central America (Mexico) Africa (Senegal), Asia (Korea), and Australia.
The second part of the research has employed the information gathered in the first part of the research to accomplish an observation research on the field. The field research has taken place in a primary school of the Province of Padua. Using the participant observation, the research group has observed the modalities of interaction, the response typology and the preferences expressed by children (6, 8 and 10 years) about the picturebooks and the illustrated books presented. The research has lingered over a the reading, analysis and iconic interpretation of the illustrated version of Red Riding Hood, Hansel & Gretel and Bluebeard.
Children have been incited to move and orient themselves inside the aesthetic-visual dimension, and will be invited to express their critical evaluation through the comparison of seven different illustrated versions of the same fairy tale. The instruments of analysis employed for the observation research have been integrated by the use of a diary on the part of the child and of his family. A figurative questionnaire has been used too.
Results
The results have pointed out that there is a connection between the formation of the aesthetic-visual dimension and the formation of critical and imaginative thought: teaching to look into and through things and visual-emotional literacy are deeply tied to the constructivist mental operation of meaning attribution and “meaning making”.Introduzione C’è un luogo singolare che abita lo spazio sterminato della letteratura per l’infanzia, un luogo in cui i bambini godono di uno statuto speciale. È un luogo in cui, a differenza di altri ambiti e grazie al peculiare linguaggio della narrazione, i bambini possono dialogare alla pari con gli adulti e, se opportunamente sollecitati, dimostrano vivacità e abilità di lettura insospettabili, a volte perfino superiori a quelle degli adulti. Questo luogo speciale dimora nello spazio letterario degli albi illustrati, altresì denominati picturebook. Tradizionalmente utilizzato con i bambini più piccoli (asilo nido e scuola dell’infanzia) quale strumento di iniziazione al piacere di leggere, il picturebook si sta rivelando un’ottima risorsa anche per la promozione della lettura nei ragazzi più grandi. Obiettivi Focus della presente ricerca è quello di studiare le potenzialità che l’albo e il libro illustrato hanno di sviluppare processi emozionali e cognitivi di visual literacy, di formazione del pensiero critico e immaginifico nei bambini in età scolare. Descrizione La ricerca è suddivisa in due parti. La prima parte riguarda una ricognizione internazionale sul picturebook che ha l’obiettivo di delineare lo stato dell’arte, in Italia e all’estero, delle caratteristiche, della natura, delle potenzialità di utilizzo e le prospettive dell’albo illustrato contemporaneo. Tale ricognizione è stata effettuata raccogliendo i pareri espressi da un selezionato gruppo di esperti attraverso la tecnica Delphi. La ricerca ha coinvolto gli studiosi più accreditati della comunità scientifica internazionale che, oltre a fornire i paradigmi più significativi della ricerca sul territorio mondiale, hanno orientato il successivo lavoro di sperimentazione sul campo. Il gruppo di esperti coinvolto nella prima parte della ricerca è costituito da 28 esperti provenienti dall’Italia e da altri paesi europei ed extraeuropei: Francia, Germania, Gran Bretagna, Portogallo, Slovacchia, USA e Canada, Senegal, Messico, Corea e Australia. La seconda parte della ricerca consiste nella restituzione dei risultati di una sperimentazione osservativa sul campo, a partire dalle indicazioni raccolte nella prima parte della ricerca stessa. Durante la sperimentazione, attuata in una scuola primaria della provincia di Padova, si sono osservate le modalità di interazione, la tipologia di risposta e le preferenze espresse dai bambini (6, 8 e 10 anni) rispetto ad alcuni albi e libri illustrati di fiabe. La ricerca si è soffermata sulla lettura, sull’analisi e sull’interpretazione iconica di Cappuccetto Rosso, Hansel & Gretel, Barbablù. I bambini sono stati sollecitati a muoversi e orientarsi all’interno della dimensione estetico-visiva e invitati a formulare una propria valutazione critica attraverso il confronto di sette diverse versioni illustrate della stessa fiaba. Oltre alle note etnografiche, si sono utilizzati ulteriori strumenti di indagine quali il diario di bordo e di famiglia e un questionario figurativo. Risultati I risultati hanno evidenziato che esiste una relazione tra il piacere della lettura e la formazione della dimensione estetico-visiva, del pensiero critico e immaginifico. E, ancora, quanto l’educazione allo sguardo e l’alfabetizzazione visivo-emozionale siano intimamente legate all’operazione mentale di stampo costruttivista dell’attribuzione di senso, del “fare significato”. Grazie alla loro articolata struttura visiva, gli albi e i libri illustrati hanno suscitato, attraverso il coinvolgimento emotivo e il sentimento della curiosità, una lettura “sensuale” del libro, hanno favorito nel giovane lettore l’attitudine all’osservazione, hanno incoraggiato una maggiore partecipazione nell’interpretazione della storia.
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FERREIRA, Anália Adriana da Silva. "Comunicação visual no livro ilustrado: palavra, imagem e design contando histórias." Universidade Federal de Campina Grande, 2017. http://dspace.sti.ufcg.edu.br:8080/jspui/handle/riufcg/925.
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Submitted by Johnny Rodrigues (johnnyrodrigues@ufcg.edu.br) on 2018-06-11T19:08:30Z
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Esta pesquisa tem por objetivo investigar a comunicação visual e a relação palavraimagem mediada pelo design em livros ilustrados, para isso, selecionou-se o acervo da Fundação Nacional do Livro Infantil e Juvenil, FNLIJ, especificamente a categoria Criança. Realizou-se estudo panorâmico de caráter histórico-cultural do livro infantil no Brasil, observando temáticas, concepções gráficas, autores, ilustradores e a narrativa visual com o intuito de compreender o objeto e identificar a participação do design gráfico no mesmo; levantamento e discussão sobre as classificações do livro infantil, as necessidades de leitura de imagens e os aspectos do design na organização visual também foram contemplados nesta dissertação. Os livros selecionados passaram por análise sintática e semântica para melhor observar as articulações entre as narrativas visual e verbal. Para análise sintática utiliza-se as teorias da Gestalt como norteamento, observando formas, cores, tipografia e composição. Para análise semântica o uso da Semiótica, identificando ícones, índices e suas simbologias. A metodologia seguiu as etapas propostas pelo Método Feldman de Leitura de Imagens e precisou ser adaptado para o livro ilustrado com aplicação das teorias mencionadas. Como resultado destaca-se a diversidade de concepções na narrativa visual e as experimentações que o design possibilita ao livro. Espera-se por meio deste trabalho contribuir para a ampliação de estudos do design no livro infantil, fomentar a discussão sobre leitura de imagens e as práticas de projetos de comunicação para criança.
This research aims to investigate visual communication in picturebooks and the text-image relation mediated by the design. Therefore the collection of the FNLIJ, Brazilian version of International Board on Books for Young People – IBBY, specifically the Child category was selected. In order to understand the object and identify the participation of graphic design in it, a panoramic historical-cultural study of the children's book in Brazil was carried out, emphasizing its thematic, graphic conceptions, authors, illustrators and visual narrative. This study also comprises a selection and discussion about the child book classifications, the need to foment for reading images, and the aspects of design in the visual organization of the information. The selected books were analyzed syntactically and semantically to better observe the articulations between the visual and verbal narratives. The syntactic analysis followed Gestalt theories as a guide, observing forms, colors, typography and composition. The semantic analysis was conducted through semiotics theories to identify icons, indexes and their symbologies. The methodology was an adaptation of the steps proposed by the Feldman Method of Reading Images redirecting to the Picturebook with application of the mentioned theories. As a result, this research highlights the diversity of composition of the visual narrative and the experimentation that the design makes possible to the book. Moreover, it seeks to contribute to the growth of design studies in children's books, to stimulate the discussion about reading images and for the practices of communication projects for children.