Academic literature on the topic 'Visual story books'
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Journal articles on the topic "Visual story books"
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Divita, Monique Rizki. "Perancangan Buku Cerita Anak Pop-Up “Mari Berkebun”." Humaniora 2, no. 2 (October 31, 2011): 1107. http://dx.doi.org/10.21512/humaniora.v2i2.3160.
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The research purpose is to gather, collect, and analyze data which needed in creating children story book in pop-up technique, with visually interesting gardening theme to interact with children. The research method is by direct survey into the location, such as schools, children story bookstores, and libraries. Besides, the research will be through literature media like books, magazines and journals; also supported by references contain related topic, like internet. The expected result is that education and added value message could be sent and understood by the children through the story books. The children would acknowledge, love, and preserve nature through gardening. In conclusion, nowadays, visual communication media like story books with interesting visual could gain children’s interest. Therefore, by using pictured story book media in pop-up, it will facilitate the education process of introducing and preserving Mother Nature for children.
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Hladíková, Hana. "Children’s Book Illustrations: Visual Language of Picture Books." CRIS - Bulletin of the Centre for Research and Interdisciplinary Study 2014, no. 1 (January 1, 2014): 19–31. http://dx.doi.org/10.2478/cris-2014-0002.
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Abstract High-quality picture books that merge text and illustration together in order to tell a story are eminent for healthy mental and social growth of children. This paper is to outline the benefits picture books bring to children between the ages three to eight, determine functions of its illustrative language, examine the process of its production, and point out a set of elements that, according to number of professional children's book illustrators, significantly contribute to the success of a picture book
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P, Veena Mohan, Sahra Ullas, and Aksa Susan Biju. "A Comparative Study on Visual Attention, Verbal Engagement and Parental Behaviors During Shared Book Reading Using Scripted and Unscripted Story Books for Children with Autism Spectrum Disorder." Clinical Archives of Communication Disorders 8, no. 3 (December 31, 2023): 89–101. http://dx.doi.org/10.21849/cacd.2022.00857.
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Purpose: Shared book reading is nowadays considered as an important early language stimulation technique in the field of speech language pathology which encourages parent-child bonding and creates a conducive environment for language development. The parent-child interaction is important for a child with Autism Spectrum Disorder. This interaction along with adequate and contingent parental responses fosters early language development in children. Language-related parent behaviors promote children’s oral language skills by not only exposing the child to book-related vocabulary (e.g., labeling pictures, explaining word meanings, and linking words to everyday events), but also through explicit teaching of meaning-related skills related to the overall structure of the story (i.e., story grammar). Print-related SBR behaviors draw the child’s attention to print-related features of the book, for example, letter names and sounds.Methods: To better understand the relationship between children’s visual attention, verbal engagement and parent shared book reading behaviors during shared book reading tasks, this study included 10 preschoolers on the Autism Spectrum and their parents sharing an unfamiliar storybook including which are scripted and unscripted. Videos of the shared book reading interactions were transcribed and coded for visual attention, verbal engagement and parent behaviors using observational coding schemes. The frequency of visual attention, verbal engagement and parental SBR behaviors were compared between the scripted and unscripted story books using statistical tests-Wilcoxon signed rank test and Fisher’s Exact test.Results: Result reveals that there was no statistically significant difference between frequency of visual attention during unscripted story books and scripted books. Parental behaviors parameters pertaining to shared book reading were analyzed and found a significant difference in usage of book language is greater for scripted story books compared to unscripted books.Conclusions: The key findings shows the type of book (scripted or unscripted) have a significant impact and its contribution to the intervention of children with Autism Spectrum Disorder. Parental SBR behaviors can in turn contribute to the development of childhood language and preliteracy skills.
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Fatimah, Atin, and Kristiana Maryani. "Visual literasi media pembelajaran buku cerita anak." Jurnal Inovasi Teknologi Pendidikan 5, no. 1 (October 5, 2018): 61–69. http://dx.doi.org/10.21831/jitp.v5i1.16212.
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Tujuan penelitian ini adalah untuk mendapatkan informasi tentang Visual Literacy Media Pembelajaran Buku Cerita Anak Usia 5-6 tahun. Metode yang digunakan dalam penelitian ini adalah survei dan wawancara, buku cerita sebagai sumber penelitian diambil secara acak dari lokasi penelitian dengan jumlah 100 buku dari 828 buku cerita yang tersedia di pusat sumber belajar (PSB) TK Islam Al Azhar Serang. Hasil yang diperoleh dari penelitian ini adalah kualitas gambar visual disajikan dengan sangat baik, kesesuaian visual literasi dengan tujuan pembelajaran, kesesuaian dengan materi, daya tahan buku, kecepatan presentasi materi, disajikan dengan baik dan indikator lainnya menunjukkan hasil yang cukup, yaitu kosakata mudah dipahami anak, penggunaan bahasa yang singkat, padat dan jelas, urutan dan runtut materi, kesesuaian penyajian visual dengan kebutuhan berbagai karakter siswa, prosedur penggunaan, penyajian pedoman untuk guru. Dengan kata lain, pada umumnya visualisasi gambar yang disajikan dalam buku cerita di Pusat Sumber Belajar (PSB) TK Islam Al Azhar 10 Serang telah menunjukkan hasil yang cukup dengan frekuensi kemunculan rata-rata hampir setengahnya.Kata kunci: visual literasi, buku cerita VISUAL LITERACY INSTRUCTIONAL MEDIA OF CHILDREN’S STORY BOOKSAbstractThis study aim to obtain information about the visual literacy of children’s story books of 5-6 years old Children. The method used in this research are survey and interview, story book as sample taken 100 books randomly from 828 story books in learning resource center (PSB) TK Islam Al Azhar Serang. The results of this study are the quality of visual literacy is presented very well, the visual literacy suitability with the aim of learning, material conformity, book endurance, the speed of material presentation are presented well and other indicators show sufficient results, the vocabulary is easy to understand, performed clear sentences, sequence and material coherence, the appropriateness of visual representation with the needs of various student characters, provide procedures and guidelines for teacher. In other words, the conclusion is the visual literacy of the images presented in the storybooks at the Learning Resource Center (PSB) of Al Azhar Islamic Kindegarten School 10 Serang has shown sufficient results with an average occurrence frequency of nearly half.Keywords: visual literacy, story books
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Indah Nurmahanani. "Analisis Literasi Multimodal Buku Cerita Anak Bergambar Sebagai Upaya Pemilihan Bahan Ajar Membaca Permulaan Siswa Sekolah Dasar." EDUKASIA: Jurnal Pendidikan dan Pembelajaran 4, no. 1 (May 24, 2023): 541–46. http://dx.doi.org/10.62775/edukasia.v4i1.298.
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Illustrated children's story books are a construction of the world, a perspective that is the result of processing and reading by the creator of the book on other texts he consumes. Picture story books are a medium to offer a view of how the world should be seen and understood. In relation to picture story books, children who are the readers of the stories conveyed in this book will very likely have views of the world around them as views offered by picture story books. Therefore, children and parents should be equipped with the ability to read critically the message conveyed by this picture story book. They must have abilities that allow them not only to be able to critically read narrative texts but also understand how to read pictures, as a mode that appears with verbal texts in storybooks. Multimodal literacy is defined as the knowledge and skills that children must possess, especially, in critically reading verbal texts and especially visual texts. Through this multimodal literacy analysis, it is hoped that we can interpret the messages conveyed by picture story books for elementary school students
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Hobgood, Burnet M. "Stanislavski's Books: an Untold Story." Theatre Survey 27, no. 1-2 (November 1986): 155–65. http://dx.doi.org/10.1017/s0040557400008826.
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A number of questions about Stanislavski's writings on acting and the theatre still hang in the air nearly fifty years after his death. It seems curious that this should be the case when the ideas and books by the great Russian director-actor-teacher are so well known and have exerted such a profound influence on the modern theatre. The persistence of these questions through the years has even raised doubts concerning the authenticity of the writings attributed to Stanislavski and the accuracy of translations from his original Russian texts. As a result, serious students of Stanislavski's “System” feel unable to discriminate among the current interpreters of the man born Konstantin Sergeyevich Alexeyeff.
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Lubis, Romaida. "The Progress of Students Reading Comprehension through Wordless Picture Books." Advances in Language and Literary Studies 9, no. 1 (February 1, 2018): 48. http://dx.doi.org/10.7575/aiac.alls.v.9n.1p.48.
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Wordless picture book is an unique book that could help the young learner to get their literacy. The content of the wordless picture book must be communicated through the visual of the illustration. This research discusses a case study of how a kid of six years old produce his narrative through wordless picture book. The kid allowed to see and say on the page and then write the words that he has mentioned. Practicing to read repeatedly which increase fluency will improve his reading comprehension and written expression. This research was conducted to make better understand about the sense - making process that happen when a child works with the wordless picture book. Most sentences or texts were made based on the references and experience from daily life either explicitly or implicitly. In reading wordless book, readers faced the variety of visual signs. These sign systems help reader form a type of framework that show their interpretation of the text and helps them build construction of the story. The researcher wanted to make the reader understand better about the strategies that the child use to make sense of wordless text. The reason of this study is to help how a six year old nonreader would give interpretation to visual cues in wordless picture books. Transacting with the visual text in the books helped the child to make sense of the stories. The data were analyzed based on the principles of qualitative content analysis that involve a systematic review of the data, coding, category construction and analysis. The result of this research is the wordless picture books give opportunity to the children to create the story on their own and to bring in their own understanding of the world to the text.
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Indrayati, Refita Ika, Pindi Setyawan, and Acep Iwan Saidi. "Narasi Visual Kematian Pada Ilustrasi Buku Cerita Rakyat Anak Indonesia." Jurnal Budaya Nusantara 2, no. 1 (September 1, 2018): 203–9. http://dx.doi.org/10.36456/b.nusantara.vol2.no1.a1713.
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Folklore used as a tool to transfer life lesson from generation to generation. In the midst of modern children'sbooks that carry moral as a main theme, folklore must comes with a new adaptation to compete with other stories. Thisadaptation forced to change how sensitive theme must be delivered, such as death. This study aims to explore howIndonesian folklore books that narrated death in terms of images, texts, and relationships built between the twoelements. Using content analysis, this research takes an example of story containing subtheme as story line from fourprinted books of Indonesian children ’s folktales that published between 2015-2017.
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Indrayati, Refita Ika, Pindi Setyawan, and Acep Iwan Saidi. "Narasi Visual Kematian Pada Ilustrasi Buku Cerita Rakyat Anak Indonesia." Jurnal Budaya Nusantara 2, no. 1 (September 1, 2018): 203–9. http://dx.doi.org/10.36456/jbn.vol2.no1.1713.
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Folklore used as a tool to transfer life lesson from generation to generation. In the midst of modern children'sbooks that carry moral as a main theme, folklore must comes with a new adaptation to compete with other stories. Thisadaptation forced to change how sensitive theme must be delivered, such as death. This study aims to explore howIndonesian folklore books that narrated death in terms of images, texts, and relationships built between the twoelements. Using content analysis, this research takes an example of story containing subtheme as story line from fourprinted books of Indonesian children ’s folktales that published between 2015-2017.
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Mäeots, Olga. "“The Three Little Pigs”: Evolution of a fairy tale plot in a picture book of the twentieth century." Children's Readings: Studies in Children's Literature 19, no. 1 (2021): 215–34. http://dx.doi.org/10.31860/2304-5817-2021-1-19-215-234.
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“The Three Little Pigs” is one of the most famous folk tales and has been adapted many times. The paper is devoted to the evolution of the classical narration as it was presented in picture-books in the 20 th century. The revisions examined are: Walt Disney’s book based on the animated film (1933), Russian adaptation made by Sergey Mikhalkov (1936, 1957) as well as two picture-books which were published at the end of 20 th century in USA and Great Britain and suggest new versions of the classical story — Jon Scieszka’s and Lane Smith’s “The True Story of the 3 Little Pigs” (1989) and “The Three Little Wolves and the Big Bad Pig” by Eugene Trivizas and Helen Oxenbury (1993). All the books demonstrate different variants of interaction between the textual and visual contents. The recent versions of the tale reveal important trends: visual narrative presents a substantive semantics and plays increasingly significant role in modern picture-books. The evaluation of the genre introduces multiple perspectives and challenge reader to interact, to create ambiguous meanings rather than suggest a define statement — thus making reception more complicated and inspiring.
Dissertations / Theses on the topic "Visual story books"
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Östlund, Gustaf. "Läsa: Mellan Rutorna : Reading: Between the Lines." Thesis, Konstfack, Grafisk design & illustration, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-8001.
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Projektet handlar om att utforska hur man läser och skapar en serietidning. Under mitt liv har jag använt mig av min fantasi för att lösa problem. Jag växte upp i en idyllisk och konservativ villaförort i norra Stockholm, där man förväntades vara som normen. Jag hade svårt att passa in och flydde istället in i min fantasi och det var då jag började läsa serietidningar.
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Hsu, Geng-Yuan, and 許耕原. "A Visual Authoring System for Electronic Story Book." Thesis, 1996. http://ndltd.ncl.edu.tw/handle/34317701716824107483.
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碩士國立交通大學
資訊工程學系
84
The complexity of a multimedia system generally is hard to be dealtwith, especially for authoring electronic story books. It is, therefore,necessary to develop a case tool to assist the authoring process of electronicstory books.Our goal is to design a visual authoring system for electronicstory books. Users can easily organize various media through this tool anddescribe story scenarios in a visual style. The implementation of the system is based on the idea of software reuseand the concept of visual programming. It visualizes the software componentsin the domain of electronic story books. Users can visually assign attributesof these components, assemble them and describe the relationship among them.With the aid of this visualized tool, users can easily produce an electronicstory book. Examples and features of this tool are discussed and applicabilityof the proposed tool is illustrated.
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Teng, An-Chun, and 鄧安純. "Application of Delusion Space by Visual Illusion in Picture Story Book-“Encounter”Picture Book Artistic Creation." Thesis, 2014. http://ndltd.ncl.edu.tw/handle/278nnj.
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碩士中原大學
商業設計研究所
102
Reading mind, seeing myself— Application of delusion space by optical illusion and Montage surrealistic approach presents mind-artistic originality creation (multimedia interactive) picture story book------ The sudden passaway of my mother has brought unforgettable and hurting feeling that I transform those emotions into the picture book creation.The non-understanding and question about life has become my own questioning and mind dialoug. The illustrations in the picture book creation present trans-realistic space and through it, I explore more about after-life world and anticipate another enounter with my dear mother. This research focuses on subject of Life and Death which is the main topic of this picture story. The picture story book is the main carrier of the design work. Application of delusion space by optical illusion and Montage surrealistic creation approach illustrates the belief in the art work. The goal is to use aesthetic sensibility to evoke resonance among readers. The creation starts from the story script brainstorming and paragraph setting, role design, background and other objective designs, proofing of storyboard draft chart, coloring draft script, finalized script drawing technique application, composing layout for final work, to drawing book publication through a publisher and post-production digitalization. The concrete realization piece of work includes one of Little King serials picture story book ---“Encounter” picture book artistic creation, etc. The expectation of this research: Through the research of documents and analysis of cases to confirm its originality of the artistic work planning outline, we look forward that the external perception and the multipule opitcal sesne concept elelement illustration and nowadays multimedia as the the intermedium, intrinsic feeling as the design focus can make this art creation work piece to provide value added and evoke resonance among readers.
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Tsang, Fiona. "The relevance of the graphic novel as a form of visual communication." Thesis, 2012. http://hdl.handle.net/1959.13/935898.
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Masters Research - Master of Philosophy (MPhil)An investigative and analytical look at the narrative applications of visual language, within the specific format of the graphic novel. Through a progressive series of research methodologies, this dissertation: presents the reader with a condensed history of the graphic novel; dispels a number of myths and unfounded criticisms which have impeded the medium’s recognition as an art form; investigates the collaborative relationship between text and image; undertakes in-depth case studies of graphic novels which best demonstrate the ways in which visual narrative can be constructed; documents the creative process behind the researcher’s own self-authored graphic novel; examines the practical constraints and theoretical concepts which arose from this creative work; and ultimately evaluates the graphic novel’s potential as a vehicle for storytelling purposes.
Books on the topic "Visual story books"
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Winston, Sam. A dictionary story. [London]: [Winston], 2001.
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Arnold, Brian. Exploring visual storytelling. Clifton Park, NY: Thomson Delmar Learning, 2007.
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Dibdin, Michael. The Last Sherlock Holmes Story. Oxford, England: Oxford University Press, 1995.
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Plake, Bernd W. Keep in touch: 10 short-storys. Lüneburg, Germany: [Baumdruck], 2012.
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Dictionary Story. Arc Artist Editions, 2014.
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Dishu: Cong dian dao dian. [Guilin]: Guangxi shi fan da xue chu ban she, 2012.
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Little, Jean. Little by Little: A Writer's Education (Puffin Story Books). Puffin, 1991.
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Arnold, Brian, and Brendan Eddy. Exploring Visual Storytelling (Exploring (Delmar)). Cengage Delmar Learning, 2007.
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The Last Sherlock Holmes Story. 1000 Grundwörter. (Lernmaterialien). Cornelsen & Oxford University Press, 2000.
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Dibdin, Michael. The Last Sherlock Holmes Story (Oxford Bookworms Library). Oxford University Press, 2000.
Find full textBook chapters on the topic "Visual story books"
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Campagnaro, Marnie. "Chapter 6. “A successful photograph is worth as much as a story”." In Children’s Literature, Culture, and Cognition, 144–67. Amsterdam: John Benjamins Publishing Company, 2023. http://dx.doi.org/10.1075/clcc.17.06cam.
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Bruno Munari was an Italian artist, graphic designer, and illustrator who combined art and design to great effect in his visual art and books. During his long, interdisciplinary career, Munari experimented with many artistic possibilities: painting, illustration, sculpture, design, graphics, teaching, poetry, and writing. He also cultivated a peculiar relationship with photography. This chapter investigates photography’s influence on Munari’s poetics, from Futurism and other Avant-garde movements to the Bauhaus and László Moholy-Nagy’s work, graphic design experimentation, and collaborations with photographers. His multifaceted approach can be investigated through two editorial project typologies: photocollage and photographic picturebooks. What is discussed is how historic, artistic, and cultural photography influenced his children’s works and to what extent photographic experimentation affected Munari’s creativity and aesthetics in his original books.
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"Creating and Advancing Storylines for Learning With Visuals." In Visual Approaches to Instructional Design, Development, and Deployment, 47–82. IGI Global, 2021. http://dx.doi.org/10.4018/978-1-7998-3946-0.ch003.
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A common vehicle used for teaching and learning involves storytelling in a number of forms: story problems, riddles, challenges, historical incidents, biographical incidents, anecdotes, cases, scenarios, and others. Stories are told in e-books, videos, serious learning games, immersive virtual worlds, and other contexts. Visuals are important to advance storylines in terms of defining narrative structures and trajectories, characters, locales, and dramatic moments; they are important for the design of looks and feels. This chapter explores effective storytelling strategies, the critical storytelling elements, and effective learning designs for co-written, elicited, and co-performed stories.
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Rutter, Emily Ruth. "Educating the Next Generation: Black Baseball Children’s Books." In Invisible Ball of Dreams, 135–58. University Press of Mississippi, 2018. http://dx.doi.org/10.14325/mississippi/9781496817129.003.0010.
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Chapter 6 examines the ways in which Carole Boston Weatherford’s A Negro League Scrapbook (2005), James Sturm and Rich Tommaso’s Satchel Paige: Striking Out Jim Crow (2007), and Kadir Nelson’s We Are the Ship: The Story of Negro League Baseball (2008) invite young readers to excavate the black baseball archive, engaging a millennial audience statistically disinterested in the national pastime. The visual components of these children’s books are especially crucial, as they animate the images of black players and communities from a bygone era for young readers, who will ultimately be responsible for keeping the memory of black baseball alive. Further, while all of the contemporary authors in this third wave of black baseball literature are deeply committed to accuracy, they make it clear that theirs is a, not the, historical representation, suggesting congruence with Jacques Derrida’s critique of the instability of archival truths.
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Nanquette, Laetitia. "Post-Revolutionary Iranian Literature in the World and in the Persian Cultural System." In Iranian Literature after the Islamic Revolution, 229–54. Edinburgh University Press, 2021. http://dx.doi.org/10.3366/edinburgh/9781474486378.003.0010.
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In this concluding chapter, I bring together the reflections from the first part of the book on the place of post-revolutionary Iranian literature in contemporary Iran, and those from the second part of the book on its circulation outside of the Iranian borders. I discuss the position that post-revolutionary Iranian literature has in these two spaces and reflect on how this has evolved in the past forty years. The chapter starts by analysing two books that have had an important circulation outside of Iran: ‘The Book of Fate’ ‘ by Parinoush Saniee and ‘Censoring an Iranian Love Story’ by Shahriar Mandanipour. I then make a comparison between literature and other arts (cinema and visual arts) to find what is specific to literature in the place and circulation of Persian art products. Finally, I argue that Iranian literature is slowly being replaced in the Persian cultural system both within Iran and abroad, by visual media. This is a major shift in the history of Persian culture which has been dominated by the literary for centuries.
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Fish, Stanley. "Natural Law versus Positive Law." In Law at the Movies, 63–80. Oxford University PressOxford, 2024. http://dx.doi.org/10.1093/oso/9780198898726.003.0006.
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Abstract Judgment at Nuremberg is structured by the age-old opposition between natural law—the law of an abiding morality—and positive law—the laws on the books in a particular precinct. The visual imagery (of concentration-camp films) and the emotionally charged occasion (the trial of Nazi jurists) tip the audience sympathy in favor of the United-States-led prosecution helmed by that most American of actors, Spencer Tracy. But the movie keeps giving renewed life to the position of the defense and its argument that the accused were faithful to the laws of their country. The legal drama is mirrored by the personal drama between the Tracy character and a German aristocrat played by the great German-born actress Marlene Dietrich, whose personal story repeatedly bleeds into the story of her character.
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Fadlaoui, Yassine, and Dominique Archambault. "Augmented Tactile Book: Design of a Multisensory Page Prototype." In Assistive Technology: Shaping a Sustainable and Inclusive World. IOS Press, 2023. http://dx.doi.org/10.3233/shti230675.
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In the framework of the LTA project, focusing on leisure reading for children with visual impairment, we present a prototype of multisensory illustration that will be used as a model for future accessible tactile interactive books. This multisensory illustration is based on two approaches to illustrate the storytelling. The first approach consists in embodying the character’s legs with the index and middle fingers in order for the user to imitate actions such as walking. The second approach is to offer interactions feedback according to the readers actions. The main goal of this multisensory illustration prototype is to test and evaluate a selection of interactions and their associated sensors. These interactions help visually impaired readers to identify the environment of the story. They also help to understand actions behind the verbs. Readers are engaged to produce actions such as touching and imitating with their fingers. These interactions are developed according to hypotheses based on the literature. This multisensory illustration prototype was tested with a panel of children. The results comfort the idea that these interactions are useful for them.
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Shanmugapriya, Ms K., and Dr G. Christopher. "A NEVER-ENDING CONTEMPORANEOUS: EPICS AND TALES." In Research Trends in Language, Literature & Linguistics Volume 3 Book 2, 105–11. Iterative International Publisher, Selfypage Developers Pvt Ltd, 2024. http://dx.doi.org/10.58532/v3bblt2p2ch3.
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Many of us grew up hearing stories that have been told numerous times through various mediums such as oral narration, books, TV, and films, in addition to the oral, written, and visual formats of Indian classical epics and fables. On the other hand, various other creative approaches, such as dancing, painting, clay artworks, textiles, theme parks, and so on, play an essential role in story narrations. To liven things up, inventive art and techniques will assist those antique literary works become everlastingly modern. The growth and evolutions of Indian ancient literature is never ending process. From cave to the recent creative evolution, helps both adult children have to keep on learn rich moral values. The aspects the only change but content remains the same.The purpose of this study is to highlight the principles of originality in the storytelling of ancient Indian classical works such as Panchatantra stories, Jataka Tales, Ramayana, and Mahabharata.
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McLain, Karline. "Many Comic Book Ramayanas." In Comics and Sacred Texts, 77–97. University Press of Mississippi, 2018. http://dx.doi.org/10.14325/mississippi/9781496819215.003.0005.
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This chapter focuses on the multivocal nature of the Ramayana epic in Indian graphic narratives from the 1970s to the present. There are two dominant narrative trends that arise in these graphic retellings. The first trend is to uphold Rama as the ideal god-king by presenting Rama as the clear hero of the epic story both textually and visually. The second trend is to critique Rama as the ideal god-king by focusing the textual and visual narrative on other protagonists within the epic storyline, and thereby engage in a critical examination of Rama through feminist and/or subaltern perspectives. This essay sheds light on the contested interpretation of the god Rama within contemporary Hinduism and South Asian culture more broadly. These comics that idealize Rama and those that question his idealism, when taken together, are valuable for their ongoing contributions to the multivocal nature of the Ramayana story.
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Freudenburg, Kirk. "Imagery as Understory." In Virgil's Cinematic Art, 111—C4F2. Oxford University PressNew York, 2023. http://dx.doi.org/10.1093/oso/9780197643242.003.0005.
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Abstract This chapter visits one of the less-traveled corners of the Aeneid, providing a full-scale visual analysis of the magnificent feast that Dido lays out for Aeneas near the end of Aeneid book 1. Covering more than sixty lines at the end of the epic’s first book, the feast is rich in visual details, but it does not seem to “do” much, qua finale, other than set a dazzling backdrop for the story-telling of book 2. Here it is argued that the visual details are not mere decorations: they are what happens at the feast. Taken for the darker images they evoke, the visuals of the feast tell a story of their own that runs counter to the glossy surface that they create. Demonstrating this is the main project of the chapter, but in the process of making these demonstrations the chapter includes a related study of the feast’s realization in visible form over time, by artists who represented the scene in their own ways, for their own purposes. The study of these images makes clear that no two artists have ever “seen” Virgil’s story in anything like the same way; that no matter how rich and detailed this text is in what it gives us to see, most of what we end up visualizing “from” the text is the product of our own imaginations: artwork of our own conjuring, made for our own purposes, in collaboration with Virgil’s text.
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K, Yuvaraj, and Ms K. Shanmugapriya. "THE EVOLUTIONARY TRAJECTORY OF INDIAN STORY TELLING." In Research Trends in Language, Literature & Linguistics Volume 3 Book 3, 17–22. Iterative International Publishers, Selfypage Developers Pvt Ltd, 2024. http://dx.doi.org/10.58532/v3bilt3p3ch1.
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Storytelling became more of an auditory activity as the language evolved. It is the human tendency to share their personal and general life experiences with one another, whether fictional or real, story-making is inherently human. Storytelling has been fundamental to forming our perception of things around us from the dawn of human history. The past, the present, and the future can all be seen through the lens of narration. However, communication has changed significantly over time. Visual stories, as seen in cave paintings they are the starting point of storytelling, from there they progressed into folk tales, in which stories were passed orally from one to the next generation. This paper focused on the growth and evolutions of Indian classical literary works such as Panchatantra, Jataka stories, Ramayana, and Mahabharata from cave to the recent creative evolution aspects and how storytellers are changing the aspect of storytelling from one generation to another.
Conference papers on the topic "Visual story books"
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Zhu, Yukun, Ryan Kiros, Rich Zemel, Ruslan Salakhutdinov, Raquel Urtasun, Antonio Torralba, and Sanja Fidler. "Aligning Books and Movies: Towards Story-Like Visual Explanations by Watching Movies and Reading Books." In 2015 IEEE International Conference on Computer Vision (ICCV). IEEE, 2015. http://dx.doi.org/10.1109/iccv.2015.11.
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Safronova, Anna. "FEATURES OF THE VISUAL LANGUAGE OF DOCUMENTARY PHOTOGRAPHY IN UKRAINIAN PHOTO BOOKS DEDICATED TO REVOLUTIONARY EVENTS IN UKRAINE." In 9th SWS International Scientific Conferences on ART and HUMANITIES - ISCAH 2022. SGEM WORLD SCIENCE, 2022. http://dx.doi.org/10.35603/sws.iscah.2022/s08.09.
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The purpose of the article is to analyze the features of the visual language of documentary photography and the actual ways of its presentation in the media space on the example of Ukrainian photo books dedicated to revolutionary events in Ukraine. The main problems of modern photojournalism connected with the development of digital technologies are presented, the value of a photo book as an independent project of a photographer is argued, since commercial photojournalism is largely determined by the narratives of its customer. The issues of the transformation of the language of photography both in modern journalism and in the photo project are considered, the main methods of creating the content of a photo story or photo series in photo books are substantiated. Traditional reportage documentary photography, intended for use primarily for commercial purposes in illustrated magazines, is also an important means of creating independent documentary projects or photo books. Such an approach is especially valuable if it reproduces important historical events, as in the Ukrainian photo books under consideration. Ukrainian photo books are distinguished by a variety of techniques for creating content and post-processing methods that appeal to the aesthetics of postmodernism. The use of filmy contrast black and white photography, grainy or blurry images, disruption of the composition, introduce a unique and original form of expressiveness into the photo book. Due to the documentary photography, direct nature of non-staged shootings and the original style of representation, Ukrainian photo books, which are both a document of history and a reflection of the subjective vision of the author, continue to arouse interest and resonate with the viewer.
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Ravindra, Vikram, and Ananth Grama. "Characterizing Similarity of Visual Stimulus from Associated Neuronal Response." In Twenty-Ninth International Joint Conference on Artificial Intelligence and Seventeenth Pacific Rim International Conference on Artificial Intelligence {IJCAI-PRICAI-20}. California: International Joint Conferences on Artificial Intelligence Organization, 2020. http://dx.doi.org/10.24963/ijcai.2020/85.
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The problem of characterizing brain functions such as memory, perception, and processing of stimuli has received significant attention in neuroscience literature. These experiments rely on carefully calibrated, albeit complex inputs, to record brain response to signals. A major problem in analyzing brain response to common stimuli such as audio-visual input from videos (e.g., movies) or story narration through audio books, is that observed neuronal responses are due to combinations of ``pure'' factors, many of which may be latent. In this paper, we present a novel methodological framework for deconvolving the brain's response to mixed stimuli into its constituent responses to underlying pure factors. This framework, based on archetypal analysis, is applied to the analysis of imaging data from an adult cohort watching the BBC show, Sherlock. By focusing on visual stimulus, we show strong correlation between our observed deconvolved response and third-party textual video annotations -- demonstrating the significant power of our analyses techniques. Building on these results, we show that our techniques can be used to predict neuronal responses in new subjects (how other individuals react to Sherlock), as well as to new visual content (how individuals react to other videos with known annotations). This paper reports on the first study that relates video features with neuronal responses in a rigorous algorithmic and statistical framework based on deconvolution of observed mixed imaging signals using archetypal analysis.
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de Brito, Walderes Lima, Newton Camelo de Castro, and Carlos Roberto Bortolon. "Young Readers Transpetro Program: The Sustainable Development of Community Close to a Pipeline in Goia´s, Brazil." In 2008 7th International Pipeline Conference. ASMEDC, 2008. http://dx.doi.org/10.1115/ipc2008-64584.
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A person reading an average of sixteen books per year is considered high even in so-called First World countries. This achievement is even more remarkable if it is performed by children of low-income families. An example is the participants of PETI, Child Labor Eradication Program of Jardim Canedo, a neighborhood located over part of the Sa˜o Paulo - Brasi´lia Pipeline, situated in Senador Canedo, Goia´s, Brazil. In 2007 this community experienced the Striving Readers Transpetro Program, which aims to develop a taste for reading among children. Transpetro expects to be helping to overcome the low-quality Brazilian education, reflected in the 72% rate of functional illiteracy. The chief objective of the Program is the development of art education workshops and the creation of the “Readers Group - What story is that?”. The workshops are meant for the educators, with the purpose of offering tools form them to spur the children into reading through techniques such as story-telling, theater, singing, puppet shows, set constructions and other audio visual resources. The Readers Group is intended for children. Participation is voluntary and offers literary books according to the childs’ taste and literacy. In the first year of operation, Striving Readers Transpetro Program relied on the participation of 100% of the educators in the Art Education Workshops and a commitment of 93% of the Readers Group members. It also played a part in the improvement of the childrens performance in formal school. Furthermore, the Program contributed to the mapping of libraries available for PETI members, supported the assembly of a catalogue of institutes that sponsor striving readers programs and performed workshops with the technical staff at selected institutes to educate them on how to conduct fund raising. Such actions, as a whole, ensured sustainability to the program and promoted a company relationship with the community and with the Regulatory Authority. This is a socially responsible approach to ensuring childrens’ rights are met.
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Marculescu, Corina. "INSPIRE, CONNECT, PERSUADE: MIX TECHNOLOGY AND ART IN TEACHING PRESENTATION SKILLS." In eLSE 2013. Carol I National Defence University Publishing House, 2013. http://dx.doi.org/10.12753/2066-026x-13-011.
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Do what you love. Inspire your audience. Have fun. These are some of the secrets behind the power and the success of Steve Jobs's presentations. As Communication Coach Carmine Gallo points out, while most presenters simply convey information, Jobs inspires; his presentations inform, engage, astound and electrify the audiences. My paper, too, was inspired by Steve Jobs, one of the most extraordinary speakers of our time, as were my EFL seminars and my students (Business and Engineering majors) when watching his videotaped 2007 speech unveiling the iPhone and his famous, memorable Commencement Speech at Stanford in 2005 (one of the greatest reflections on life we have ever heard). Using Steve Jobs's 2007 iPhone launch as a case study, the present paper proposes a humanistic approach of the technology-enhanced teaching of presentation skills, a more humanistic philosophy of teaching in general. Steve Jobs himself strongly believed that the best ideas emerge from the intersection of technology and the humanities. In fact, in today's postmodern world, the boundaries between technology and art are no longer clearly defined. In other words I will show that technology allows a humanistic approach to teaching and that the success of a presentation resides first of all in the human element. It is the passion of the teacher/speaker about the subject, their own personality and naturalness infused into the presentation that inspires the audience. It is the presenter's capacity to make it simple for the audience and to give them a show instead of simply delivering information that engages the audience. Moreover, inspiring presenters like Steve Jobs do not sell a product; they sell an experience, something to enrich people's life. All these are ways of emotionally connecting with the audience; winning the audience over ensures the success of the presentation. Multimedia and Internet technologies allow the teacher to present more information more effectively; students can see and hear things, events, demonstrations, etc. that otherwise would only have been described or explained in a lecture or textbook. However, as shown above, good teaching involves much more than the simple transfer of material or specific skills. In teaching, the major challenge is to convey excitement, to incite curiosity and to provide the students with the psychological incentives they need to work hard. The paper also highlights another significant aspect, namely the analogy between Steve Jobs's technology-aided presentations, building up to a memorable moment, and the art of story-telling. Like Steve Jobs who treats every slide as if it were a piece of poetry, American writer and graphic designer Nancy Duarte knows that it is not about the slides, but about the power of the story. In her book Resonate: Present Visual Stories that Transform Audiences (2010), Duarte assimilates the presentation with a screenplay, using tension, conflict and resolution to connect with the audience, creating, like Steve Jobs, what she calls a STAR moment: "Something They'll Always Remember".
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Stanić Loknar, Nikolina, Diana Bratić, and Ana Agić. "Kinetic typography - figuration and technology." In 10th International Symposium on Graphic Engineering and Design. University of Novi Sad, Faculty of technical sciences, Department of graphic engineering and design,, 2020. http://dx.doi.org/10.24867/grid-2020-p81.
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Kinetic typography - text in motion is an animation method of characters that has a video form instead of some "static" form such as picture, poster or book. The most important element for figuration of kinetic typography is the choice of font. Furthermore, one should think about the letter cut, the size and color of the characters, and the background color on which the animation takes place. It can be created in various ways, most often using software that applies a multitude of effects to the text or letter character, creating dynamic solutions. The effects vary from the simplest such as "fade-in" and "fade-out" (entering and exiting text in and out of the frame). Static characters can expand, narrow, move slowly or rapidly, grow and change in a variety of ways to very complex ones in which the author builds an entire story or promotional video by carefully combining software capabilities. However, each software has its limitations and for this reason the kinetic typography presented in this paper is programmed using codes. In a wide range of available programming languages due to the simple interface that does not require advanced programming concepts and gives exceptional results in the field of kinetic typography, Processing was chosen. The Processing programming language is intended for generating and modifying graphics and is based on the Java programming language. The most important difference between Processing and Java is that Processing offers a simple programming interface that does not require advanced levels of programming such as classes, objects, or animations. It also allows advanced users to use them. Processing uses a variety of typography rendering approaches such as raster and vector solutions and allows typography to be programmed and displayed on the Web independently of the user's Web browser and font database. Processing enables the use of visual elements in animation, including typographic ones, by introducing interaction to the user. The user is no longer a passive observer but actively participates in the performance of the application whose final appearance is not predefined but arises from the actions of each individual user. For the purposes of this paper, individual letters were created in a font-making program. The letters made are of various written classifications and cuts, which with their variety contribute to the attractiveness of the animation. In the creating of motion typography in this paper, the programming language Processing was used. Written program codes that manipulate words, letters, or parts of characters to create interesting visual effects for the viewer that aim to hold the viewer's attention and convey the desired message or emotion. There are no strict rules and patterns when making kinetic typography. In kinetic typography, each author determines his own rules, method of production, and there are no same solutions.
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Fuster pérez, Jaime. "La edición fotográfica en Ramón Masats." In I Congreso Internacional sobre Fotografia: Nuevas propuestas en Investigacion y Docencia de la Fotografia. Valencia: Universitat Politècnica València, 2017. http://dx.doi.org/10.4995/cifo17.2017.7055.
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Resumen-Abstract El Premio Nacional de fotografía 2004, Ramón Masats Tartera (Caldes de Montbui, 1931), ha sido considerado como un fotógrafo intuitivo. Sin embargo, un detenido estudio de sus fotolibros y ensayos fotográficos publicados en las revistas ilustradas, permiten revindicar otra faceta completamente desconocida: su labor como maquetador. A lo largo de su carrera Masats toma conciencia de la edición fotográfica. Desde la solitaria imagen de la noticia de un periódico, al ensayo fotográfico, entendido desde el punto de vista de E. Smith como un conjunto mayor de imágenes que profundizan y trascienden, permitiendo un reflexión más detenida de la historia que se cuenta; hasta llegar al foto libro, considerado como una unidad expresiva, un todo con significación completa: el formato más complejo de todos... Un Masats sofisticado y erudito se nos muestra consciente del montaje, del ritmo, del diálogo entre imágenes, de modo que la suma altera la percepción del conjunto. Un lenguaje que le llevará finalmente a explorar en el mundo del montaje cinematográfico y la dirección de documentales audiovisuales. En una época de auténtica explosión del fotolibro español como la que vivimos, conviene reconocer, recordar y aprender de nuestros antecedentes, de aquellos maestros en el arte de contar historias. The National Photography Prize 2004, Ramón Masats Tartera (Caldes de Montbui, 1931), has traditionally been considered an intuitive photographer. However, a careful study of his photographs and photographic essays published in illustrated magazines unveils another aspect of his craft completely unknown until now: his work as a layout artist. Throughout his career Masats pays great attention to photographic edition: from the lonely image published besides the news in a newspaper, to the photographic essay, understood from E. Smith’s point of view as “a greater set of images that deepen and transcend leading the viewers to a more detailed reflection of the story that is being told; until reaching the photo book, which is considered an expressive unit, a whole with a complete meaning: definitely the most complex format of all. A sophisticated and academic Masats reveals a whole new aspect of his personality, showing his awareness of the layout, the rhythm and the dialogue between images, so that the sum and disposition of the images alter the perception of the whole. A language that will finally lead him to explore the world of filmmaking and the direction of audiovisual documentaries. In an age in which the Spanish photobook is at its peak, it is good to look back and give credit, remember and learn from our background, from those teachers in the art of storytelling. Palabras clave: Fotolibro, narración, edición, diseño, coherencia, autoría, comunicación, ritmo, análisis. Keywords: Photobook, narration, edition, design, coherence, authorship, communication, rhythm, analysis