Bibliographies thématiques / Postcards in literature

Littérature scientifique sur le sujet « Postcards in literature »

Auteur : Grafiati

Publié le 26 juillet 2024

Mis à jour le 27 juillet 2024

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Articles de revues sur le sujet "Postcards in literature"

Farfan, Penny. « Ibsen Postcards / Postcard Ibsens : Domesticating Modernism ». Modern Drama 65, n^o 3 (1 octobre 2022) : 271–354. http://dx.doi.org/10.3138/md-65-3-1222.

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Playwright Henrik Ibsen was featured on countless postcards during the postcard craze of the late nineteenth and early twentieth centuries. Encompassing photographic portraits, snapshots, sculptures, monuments, etchings, paintings, and caricatures, the historical interest of these postcards arises not simply from the range of images of the playwright they featured but from the quantity of cards that were published and circulated, how the cards were used and by whom, and what their uses suggest about Ibsen’s popular reputation, reception, significance, impact, and reach. This essay considers the range of Ibsen postcards and also their uses, taking into account the messages inscribed on the cards, the senders and recipients, and the ways the postcards circulated as much as the Ibsen images themselves. In doing so, it considers how the postcards animate the singular figure of the iconic playwright they represent and collectively constitute a lively archive – print and manuscript, visual and textual – that conjures a variety of different Ibsens. In their diversity, myriad uses, and international range, the sampling of Ibsen postcards – and postcard Ibsens – collected here illuminate the popular status, wide reach, and domestication of a key figure in the canon of modern drama and world literature and a beacon of first-wave feminism.

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Parr, Linda. « Two Hundred and Forty-Three Postcards in Real Colour ». Axon : Creative Explorations 13, n^o 1 (24 juillet 2023) : 1–15. http://dx.doi.org/10.54375/001/vp91y8iwux.

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Georges Perec’s postcards were first published in the French magazine Le FOU parle, in 1978. They were not postcards at all, just the written messages, and far from their description ‘en Couleurs Véritables’ (in Real Colour), they were entirely in black and white. The Postcards for Perec mail art project responded to Perec’s 243 imaginary postcard messages by creating the missing images as real postcards.

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Gugganig, Mascha, et Sophie Schor. « Teaching (with) Postcards : Approaches in the classroom, the field, and the community ». Teaching Anthropology 9, n^o 2 (16 avril 2020) : 56–65. http://dx.doi.org/10.22582/ta.v9i2.560.

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This article showcases the pedagogical possibilities of working with postcards for teaching anthropology and related disciplinary fields by introducing a set of multifaceted tools and examples. It provides a framework for tangible reflexive teaching practices and a research methodology that supports, both intellectually and emotionally, a vibrant and mobile community of scholars. We commence with the emergence of the postcard, and its (widely undervalued) role as a research subject in the social sciences. Examples from the arts, literature, teaching and research offer inspiration for engaged and creative teaching formats. These cases support our claim that as seemingly ‘anachronistic’ object of communication, postcards are useful for teaching in the classroom, for teaching ethnography, and for community-based work and teaching. In fact, as a traveling communication device, the repurposed postcard lends itself to connect the oft-physically and conceptually divided spaces of the classroom and the ethnographic ‘field.’ Concurrently, the opening of postcards allows for a critique of the medium’s historical use in exoticization the ‘other.’ In other writing [anonymized], we explore in more detail the multimodal qualities of working ethnographically on, within, or through postcards. We here extend the pedagogical potentials to use postcards for innovative approaches in ethnographic research, public anthropology, and applied community work.

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Tattoni, Clara, Gianluca Grilli, Jorge Araña et Marco Ciolli. « The Landscape Change in the Alps—What Postcards Have to Say about Aesthetic Preference ». Sustainability 13, n^o 13 (2 juillet 2021) : 7426. http://dx.doi.org/10.3390/su13137426.

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Land use changes in the Alps over the last few decades have been characterised by a significant increase in forest coverage as a result of the abandonment of marginal agricultural sites. Natural afforestation and species protection laws affected the ecosystem, and therefore the services provided by the mountain environment, including landscape structure and aesthetics, changed. This work assess the changes in the ecosystem services offered by forests since 1954 in a region of the Italian Alps. Some ES were estimated in this work with GIS, and others were taken from the literature or the authors’ previous works. Since the 1950s, forest ecosystem services such as growing stock, protection from hydro-geological hazards and carbon storage have increased. Deer and other forest species have risen in number. On the other hand, there has been a depletion of open space for priority habitats and species such as black grouse and capercaillie. Old postcards were used to understand land use change and people’s aesthetic preferences. To determine people’s preferences for the landscape, we used records of over 300,000 postcards, sold during nearly two decades. The most often chosen postcard portrayed a landscape of the 1970s with a mix of forest and open space, different from the scenario that the buyers could observe. The sales records for over 20 years of postcard business and the dates of the postcards that we obtained in this research allowed us to perform a quantitative analysis of landscape preferences. The main subject of the photo was a good predictor of the number of postcards sold, according to generalised linear models (GLM); and postcards of overly exploited landscapes, dense forest coverage or buildings were significantly less likely to be chosen. Artificially reinstating open areas will boost biodiversity and could recreate a landscape that resembles the historical agro-ecosystem without interfering with the forest’s other functions. These findings will help managers and policy makers evaluate cultural ecosystem resources in the face of changing mountain landscapes.

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Fitzpatrick*, George, Mary Lamberts et Eva Worden. « Deltiological Analysis of Early Developments in Florida Horticulture ». HortScience 39, n^o 4 (juillet 2004) : 838B—838. http://dx.doi.org/10.21273/hortsci.39.4.838b.

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Horticultural activities in Florida have been chronicled in many sources, including the technical literature and the popular press. One often-overlooked source is the visual images on postcards that were sold in Florida in the early years of the 20th century. Many such cards have images featuring scenes of landscape horticulture, olericulture and pomology. While dates of postmarks may not be accurate reflections of publication dates, deltiology, the study of postcards, can involve the analysis of pigments, rag content of card stock, and other measurable parameters to determine the age of particular images. The introduction, development, ascendancy and sometimes decline of certain horticultural crops in Florida are reflected in postcard images taken between the years 1908-1950. Representative images are shown of past and present plants that have been important in Florida horticulture.

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Bengi, Suciati Simah, Yusnizar Heniwaty et Dilinar Adlin. « PENGEMASAN TARI GUEL DALAM BENTUK KARTU POS SEBAGAI MEDIA PEMBELAJARAN ». Gesture : Jurnal Seni Tari 7, n^o 1 (31 décembre 2018) : 18. http://dx.doi.org/10.24114/senitari.v7i1.11903.

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Abstract-This study discusses Guel dance learning media created in the form of postcards. Aims to be able to direct students in identifying, appreciating, and expressing dances of the Gayo area, especially Guel dance. Theories used in the research of packaging theory according to Cahyorini and Rusfian (2011: 28), theory of learning media according to Heinich in Susilana (2016: 06), and graphic media theory according to Susilana and Riyana (2016: 14) Packaging is a theory used for graphic design, in terms of producing the product, and the image media in the form of postcards used to make Guel dance material as a learning medium. The time of the study was conducted from August to October 2017. The research site was at Sanggar Renggali Jalan Merah Mege Hakim Bale Bujang Laut Tawar, Central Aceh District. The population of several artists Gayo and all members of Sanggar Renggali because learning Guel dance is a dance learning materials in schools in Takengon and Samples are 2 people Gayo artists and 2 dancers dance Guel. Data collection techniques include observation, interview, literature study, and documentation, and then analyzed by qualitative descriptive method. Based on research that has been done Guel dance is a tradition dance Gayo community that has been used as learning materials in the schools of Middle Secondary in Central Aceh district. Guel dance which is packed in the form of postcards as a medium of learning with menggunkana first step of planning is preparing the material, determining the location, selection of dancers, and prepare the facilities and infrastructure. The second step of implementation is taking photos, editing process, then the last step is the completion of postcards and final writing. And produces packaging of learning media of Guel dance that is in the form of postcard. Keywords: Packaging, Guel Dance, Postcard Media

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Coutts, Nicky. « Postcards ». Parallax 16, n^o 2 (mai 2010) : 44–56. http://dx.doi.org/10.1080/13534641003634648.

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Cassou-Noguès, Pierre. « Phobic Postcards : Preview ». SubStance 47, n^o 3 (2018) : 176–77. http://dx.doi.org/10.1353/sub.2018.0039.

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Winter, Jonah. « Postcards from Paradise ». Chicago Review 38, n^o 4 (1993) : 50. http://dx.doi.org/10.2307/25305635.

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Sen, Sudeep, et Imtiaz Dharker. « Postcards from God ». World Literature Today 71, n^o 4 (1997) : 869. http://dx.doi.org/10.2307/40153497.

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Thèses sur le sujet "Postcards in literature"

Strasen, Christian T. « A Postcard From the Future| Technology, Desire, and Myth in Contemporary Science Fiction ». Thesis, Southern Illinois University at Edwardsville, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10013970.

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This thesis argues that modern, post-apocalyptic science fiction functions as a projected analysis of the author’s contemporary world. This insight is used to chart the historical trajectory of the spread of automaticity, the reduction of objects, and the loss of historical memory. The Introduction introduces readers to both the literary and critical histories of science fiction, contextualizing the worlds that George R. Stewart, Ursula K. Le Guin, and Margaret Atwood write in. Chapter One analyzes George R. Stewart’s 1949 novel Earth Abides, using it to demonstrate how the growing trend of automaticity leads toward a reduction of physical objects, and a misunderstanding of politics. Chapter Two uses Ursula K. Le Guin’s 1973 novel The Lathe of Heaven to reveal an acceleration of automaticity and reduction of objects though the manipulation of human desire. This, in turn, leads to a loss of historical memory via Herbert Marcuse’s concept of repressive desublimation. Chapter Three charts the effects that the advent of the virtual has had on automaticity and the manipulation of human desire through an engagement with Margaret Atwood’s 2003 novel Oryx and Crake.

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Nguyen, Thi Tuyet Trinh. « L'imaginaire colonial français de l'Indochine 1890-1935 ». Thesis, Tours, 2014. http://www.theses.fr/2014TOUR2001/document.

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Les journaux des militaires français engagés dans la pacification du Vietnam (1885-1900) ne reprennent pas les stéréotypes du discours colonial. Les manuels scolaires de la Troisième République exaltent au contraire la conquête de l’Indochine et les progrès qui, selon eux, s’ensuivent nécessairement. Il en est de même de la littérature pour la jeunesse qui met de plus l’accent sur l’environnement naturel indochinois propice à tous les rêves et à toutes les aventures. Mais l’opinion publique française a sans doute été avant tout marquée par les nombreuses expositions coloniales où la part des divers pays d’Indochine est de plus en plus importante et culmine à Paris avec la grande exposition coloniale internationale de 1931. C’est notamment dans ce contexte qu’émerge, par delà la prééminence longtemps postulée de l’art khmer, un discours patrimonial nouveau sur la diversité et la spécificité des arts indochinois (annamite, cham, khmer et laotien) qui constituera, avec l’aide des sociétés savantes de la colonie (Ecole Française d’Extrême Orient, Société des Amis du Vieux Hué) l’une des bases du discours touristique colonial naissant. Mais ces représentations de l'Indochine pacifiée, engagée sur la voie de la civilisation et du progrès, sont vite sapées par le flux d'informations concernant les soulèvements populaires vietnamiens de 1930 et leur répression. Les voix des Vietnamiens de France en nombre croissant (étudiants, travailleurs, intellectuels et militants indépendantistes) et celles de grandes figures du reportage (André Viollis convergent alors et ébranlent alors toute l'imagerie coloniale. Toute une production littéraire francophone (pour l'essentiel romanesque et se présentant volontiers comme "indochinoise") avait de longue date -de Jules Boissière à Pouvourville et à Farrère - rompu avec l'imagerie coloniale et son optimisme : satire du "Tonkin où l'on s'amuse" (Pouvourville) et des milieux coloniaux (Farrère, les Civilisés, 1905), constat d'un irréductible attachement des vietnamiens à leur indépendance (Jules Boissière)
The diaries of French soldiers participated in Vietnam’s pacification (1885-1900) did not follow the colonial stereotype perception. . Textbooks of the Third Republic in contrast, exalt the Indochinese conquest and believe in future necessary developments. This is also found in young adult literature which puts more emphasis on Indochinese natural environment for all dreams and adventures. However, the French public opinion was properly primarily marked by numerous colonial expositions where presence of Indochinese countries was more and more important, at peak with the Great international colonial exposition in Paris 1931. Particularly, a new heritage perception on diversity and specificity of Indochinese Art emerges (Annamite, Cham, Khmer and Lao) where Khmer art was dominant for a long time. This perception, with helps of colony’s learning societies (Ecole Française d’Extrême Orient, Société des Amis du Vieux Hué) is one of the major contribution of colonial tourism. However, these representations of pacified Indochina, emberked on the path of civilization and developments, are undetermined quickly by the flow of information about Vietnamese uprising in 1930 and their repressions. The voices of increasing number of Vietnamese in france (students, workers, intellectuals and independant activits) and well-known reporters (Andrée Viollis) then converge and tremble together one coloniale image. Any work of Francophone literature (for essentially romances and considered authors 'Indochinese") for a long time, since Jules Boissière to Pouvourville and until Farrère, has been constrasted with colonial societies (Farrère, Les Civilisés, 1905), finding of an irrefutable attachement between Vietnameseand their independence (Jules Boissière)

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Abbas, Herawaty. « Dancing with Australian feminism : Helen Garner’s Postcards from Surfers viewed from a Buginese perspective with a partial translation into Indonesian ». Thesis, 2013. http://hdl.handle.net/1959.13/1036678.

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Research Doctorate - Doctor of Philosophy
This study is a literary analysis on five stories from Helen Garner’s Postcards from Surfers. This study also translates these five stories from English into Indonesian and discusses some challenges that occurred in the process of translation. The aim of the study is to investigate Garner’s feminist ideas as reflected in the stories from Postcards from Surfers viewed from a Buginese perspective. The five stories are “Postcard from Surfers”, “La Chance Existe”, “The Art of Life”, “All Young Bloody Catholics”, and “Civilization and Discontents”. Through these stories, how Garner expresses her feminist ideas are juxtaposed with Buginese culture. By using Edward Said’s work on contrapuntal reading, Mohanty’s feminist-as-explorer model, and Lazar’s Critical Discourse Analysis, I move back and forth between Buginese culture and Australian culture to consider how Australian women and men are represented and how mainstream Australian society engages with, or challenges discourses of patriarchy and power. This movement back and forth I have theorised as “dancing”. My study examines the potential dialogue between Australian culture and Buginese culture in terms of feminism and its resulting cultural hybridity where some Australian feminist thoughts are applicable to Buginese culture but some are not. From this dialogue, it is found that both Australian women and Buginese women have their own sets of issues stemming from male domination. The way they empower themselves to resist are also different. Therefore, my study centres a Buginese standpoint while dialoguing with Australian feminisms.

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Livres sur le sujet "Postcards in literature"

Granfield, Linda. Postcards talk. Markham, Ont : Pembroke Publishers, 1998.

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Barker, Chris, 1953 July 25-, Freebairn Ingrid, Ong Marcia Fisk et Chapman John, dir. Postcards. White Plains, NY : Longman, 2003.

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Abbs, Brian. Postcards. 2^e éd. White Plains, NY : Pearson Longman, 2008.

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Postcards from my trip. Monterey, CA] : National Geographic School Publishing, 2011.

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Abbs, Brian. Postcards : Student book. 2^e éd. White Plains, NY : Pearson Longman, 2009.

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Farber, Kirk. Postcards from a Dead Girl. New York : HarperCollins, 2010.

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Farber, Kirk. Postcards from a dead girl : A novel. New York : Harper Paperbacks, 2010.

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Fabiani, Aldo, et Enzo Turso. Cartoline per Dante. Ravenna] : Danilo Montanari editore, 2019.

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Leedy, Loreen. Postcards from Pluto : A tour of the solar system. New York : Scholastic, 1995.

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Leedy, Loreen. Postcards from Pluto : A tour of the solar system. New York : Holiday House, 1993.

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Chapitres de livres sur le sujet "Postcards in literature"

Jóhannesson, Gunnar Thór, et Carina Ren. « Cultivating Proximities : Re-visiting the Familiar ». Dans Arctic Encounters, 75–88. Cham : Springer Nature Switzerland, 2023. http://dx.doi.org/10.1007/978-3-031-39500-0_5.

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AbstractIn this contribution, we explore how proximity may be cultivated as a way to re-experience and retell tourism and how research might become more sensitive to modest and mundane tourism practices. By doing so, we wish to interfere with common binaries in the tourism studies literature, such as home and away and ordinary and extraordinary. Based on our personal experiences from places close to our hearts, we ask: How may we cultivate proximity as part of our research methodology to enact-through-knowing and care for (alternative) tourism? How may we cultivate collaborative ways of knowing tourism while at a distance? We invite you to two places close to our hearts, places that are—at first glance—mundane and unexceptional, to experiment with alternative methodologies. We make use of postcards from these places as probes to revisit the tourist gaze and the tourist experience, enacting these familiar places through alternative means. The postcard narratives exemplify how proximity can help us cultivate modest and situated tourism research practices and enact places and landscapes as tourism sites in proximate and sensitive ways.

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Mackus, Sandra. « The Passage of Time : Jasper Johns’s The Seasons (1985–86) and 5 Postcards (2011) ». Dans Retrospection and Revision in Modern and Contemporary Art, Literature and Music, 251–74. Cham : Springer International Publishing, 2024. http://dx.doi.org/10.1007/978-3-031-39598-7_14.

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Karrer, Wolfgang. « Raine, Craig : A Martian Sends a Postcard Home ». Dans Kindlers Literatur Lexikon (KLL), 1–2. Stuttgart : J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_14542-1.

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Arnaldos, Manuel Martínez. « Joaquín Belda’s “Tourist Postcards” : ». Dans Kiosk Literature of Silver Age Spain, 353–80. Intellect Books, 2017. http://dx.doi.org/10.2307/j.ctv36xvr54.21.

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Hilliard, Christopher. « Protecting Literature, Suppressing Pulp ». Dans A Matter of Obscenity, 61–87. Princeton University Press, 2021. http://dx.doi.org/10.23943/princeton/9780691197982.003.0004.

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This chapter focuses on protecting literature by suppressing pulp. After the war, the police, courts, and Customs contended with a growing market for pornographic magazines and dirty postcards, and with the moral threat presented by American pulp. A new generation of comic books from the United States resulted in new powers to confiscate printed matter, and American gangster fiction and knockoffs by British writers were subjected to serial prosecutions. The new regulations were put on hold when the government went into caretaker mode for the 1945 general election. The chapter also expounds on policing obscene publications in the post-war years.

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Khagba, Esma Z. « Abkhazia for tourists. Letters, postcards, photo cards ». Dans Abkhazia in Russian Literature of the 19th — 20th Centuries : in 3 vols. Vol. 1, 381–99. A.M. Gorky Institute of World Literature of the Russian Academy of Sciences, 2021. http://dx.doi.org/10.22455/arl-2021-1-381-399.

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The article presents a brief outline of the life of Ye. B. Narbut, a collector of postcards and photo-postcards with views of the sights of Abkhazia — Sukhumi, New Athos, Pitsunda, Gagra, etc. The short texts written from Abkhazia not only convey the special atmosphere of holidays; they contain details that play an important role in the restoration of the general panorama of the life of Abkhazia in the second half of the 20th century.

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« From Breaktime to Postcards : How Aidan Chambers Goes (Or Does Not Go) Dutch ». Dans Children's Literature in Translation, 71–88. Routledge, 2014. http://dx.doi.org/10.4324/9781315759845-9.

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Perry, Claudia A., et Walter E. Valero. « Creating an Online Image Database ». Dans Advances in Library and Information Science, 188–204. IGI Global, 2013. http://dx.doi.org/10.4018/978-1-4666-2991-2.ch012.

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The concept of experiential learning is particularly useful when students are required to create database entries as part of an ongoing, real-life, online experience. A METRO grant in 2005 resulted in an opportunity to use students to create a CONTENTdm database, which, with the continued software support from METRO, has continued and evolved until the present. This case study chapter describes the experience of both faculty and students in the Queens College Graduate School of Library and Information Studies course entitled “Introduction to Digital Imaging.” Sections include a review of related literature, the background, technical issues, and implications for teaching, project procedures and workflow, successes and lessons learned, challenges, next steps, and emerging trends. Of particular interest is the use of out of copyright postcards and the metadata that has resulted from intensive student study and evaluation of the data contained on these cards. Those contemplating a digitization project of their own will be able to learn much about best practices, project planning, management, and the advantages/disadvantages of the CONTENTdm software.

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Borsay, Peter. « Media ». Dans The Image of Georgian Bath, 1700–2000, 207–49. Oxford University PressOxford, 2000. http://dx.doi.org/10.1093/oso/9780198202653.003.0007.

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Abstract The previous chapters have explored the dominant features of Bath’s Georgian image. This chapter will examine the media through which those features were expressed. Conventionally historians would title such a section’sources’, and consign it to an appendix or bibliography, signifying it to be part of the scholarly infrastructure of the work, and not crucial to its comprehension. Such an approach seems inappropriate when investigating a topic like image, the very notion of which implies an especially close relationship between the subject of study and its sources. The latter are not simply a vehicle for accessing a problem; they are the object of examination itself. There is, therefore, a particular need to scrutinize the texts-and theterm is here deployed in its broadest sense to include both literary and non-literary modes of expression—used to represent Georgian Bath. An extraordinary variety of such texts were produced. Printed works like guidebooks and histories were only the tip of an iceberg, which included radio and television programmes, postcards, posters, cigarette cards, stained-glass windows, museum displays, exhibitions, and pageants. The sheer diversity is itself of significance, since it meant that public perceptions were bombarded from a multiplicity of channels, greatly enhancing the chance that the message would reach its target. Literary images were reinforced by visual ones, and even a visitor who ignored formal tourist literature and museums, could still have acquired some view of the Georgian city through the unavoidable street publicity of the heritage industry—posters, performing artists, oralguides, direction markers, wall plaques, and shop signs, not to mention the historic buildings themselves.

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North, Michael. « Old Possum and Brer Rabbit : Pound and Eliot’s Racial Masquerade ». Dans The Dialect of Modernism, 77–99. Oxford University PressNew York, NY, 1994. http://dx.doi.org/10.1093/oso/9780195085167.003.0004.

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Abstract When Ezra Pound first tagged T. S. Eliot with the nickname Possum, he no doubt meant to mock his friend’s caution and reserve, but he also used the name, which he had found in Joel Chandler Harris’s Uncle Remus, to turn Eliot’s timidity into a subversive mask. In acting out his nickname, Eliot was to mimic what Alain Locke once called the ‘“possum play’ of the Negro peasant,” to use the traditional strategy of the powerless, assuming a bland conformity that conceals an explosive charge, and in so doing become a milder, subtler version of the trickster from whom Pound had taken his own nickname, Brer Rabbit. Thus Pound used a strategy from the popular literature of his youth to create a mask for transatlantic modernism, behind which he and Eliot might mock the literary capital they hoped to conquer. Eliot accepted his nickname and, at least for a time, the insurrectionary role it implied, and he even introduced his own variations, offering at one point to play Uncle Tom to Pound’s Little Eva, at another point sending a postcard to Pound signed Tar Baby.

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Actes de conférences sur le sujet "Postcards in literature"

Nurbaity, Nurbaity. « Representation of Queer Muslim in @artqueerhabibi Postcard Illustration ». Dans Proceedings of the Third International Seminar on Recent Language, Literature, and Local Culture Studies, BASA, 20-21 September 2019, Surakarta, Central Java, Indonesia. EAI, 2020. http://dx.doi.org/10.4108/eai.20-9-2019.2296943.

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