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Aly, Islam Mahmoud Mohamed. "Using Historical Bindings in Producing Contemporary Artists' Books". Thesis, University of Iowa, 2013. https://ir.uiowa.edu/etd/4811.
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I regard the culturally rich bookbinding as formats that hold great meaning; I made models of books that existed in different cultures through the history of the book. I became interested in how each structure had unique features and how the books themselves transmitted knowledge about their form.
This interest in bookbinding formats led me to explore ways to add content to The binding plays a powerful role in producing my artist's books, the look and presence of these bindings is an integral part of my work and they are linked to the content and aesthetics. The final pieces encourage the viewer to interact with the work.
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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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Friedman, Sara A. "The Legacy of Lynd Ward in Contemporary Artists' Books". Thesis, The George Washington University, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10113266.
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Lynd Ward, an American Expressionist artist, and “father of the graphic novel,” helped shape the conventions of contemporary artists’ books. His legacy has influenced the direction beyond the graphic novel in areas such as the use of Expressionism and printmaking in the artists’ book, breaking graphic conventions, and using the artists’ book to convey a socio-political commentary. This paper will explain his influence and legacy by comparing his work to four contemporary artists’ books. Ward’s work, however, has only recently been recognized as a significant influence on graphic novels and has yet to be fully acknowledged as an influence on American artists’ books.
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Bell, Alice R. "Science as pantomime : explorations in contemporary children's non-fiction books". Thesis, Imperial College London, 2008. http://hdl.handle.net/10044/1/11844.
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This project explores a case study in children's science culture: Horrible Science, a UK based series aimed at 7-11 year olds. Children, I believe, are one of science communication's most interesting audiences. They are both potential members and potential outsiders of the scientific community, and Horrible Science produces a liminar identity to meet these two markets. I apply a metaphor of pantomime to help describe Horrible Science, partly because of the series' approach to using fiction and its style of audience participation. It is also panto-science because it is presented as a carnivalesque show, exciting and fun, laughing at authority. Horrible Science invites us to snigger at science's heroes and explore the hidden underside of both nature and of scientific work. However, I believe that this, at least in part, is largely a matter of excusing a type of earnest reverence, delight and excitement for science that had become unfashionable by the end of the 20th century. I investigate Horrible Science as an interesting phenomenon in its own right, but also because I hope to develop ideas about the popularisation of science. Since the early 1990s, theories on popular science have tended to describe popular science as sitting (obstructively) between scientists and the rest of the world. Its public audience are defined as receivers; the scientists, the providers. However, recent work from historians of 19th century science have critiqued this view, instead positioning popular science within a 'marketplace', full of empowered consumers choosing not only what cultural products to partake of, but who to trust and how far. I accept this emphasis on the marketplace, but with a less utopian view of consumer power which retains some of the scepticism of the 1990s analytical approaches. I suggest that Horrible Science aims to appeal to its readers by implying they can use a 'horrible' version of scientific knowledge to take up a position between the great and the good of the scientific community and an assumed, unenlightened othered public. Drawing on Bourdieu's ideas on symbolic 'capitals' of culture, I conclude with a reading of popular science as a product through which interaction between and across cultural fields allows a range of actors to, at once, share social power, declare their own cultural status, and fall prey to the hierarchies of science in society.
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Sullivan, Joseph C. "Contemporary assessment of benthic macroinvertebrates and fish interactions in the Truckee River, NV". abstract and full text PDF (UNR users only), 2009. 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:1472981.
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Chang, Ching-Yu. "Little mouse : a journey : the making of a picture-book artwork". Thesis, University of Edinburgh, 2017. http://hdl.handle.net/1842/22870.
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The picture book is an artistic medium is part of literature, especially of children’s literature. This discussion of the picture book extends to the dynamic between author and illustrator, and interactions between the verbal and the visual, as described by contemporary researchers, such as Maria Nikolajeva, Lawrence R. Sipe, and Carole Scott. Most of them were not picture book creators, so the voice of the picture book’s creator is easily overlooked. To fill the gap between the researcher and the creator, this project explores the creative process of the picture book by studio-art research. This project is concerned with the creation process of a picture book, presenting a coherent overview of an approach to creating an artist’s picture book, especially in the idea of development through both visual and narrative by two methods: research and practice. This thesis demonstrates my framework of creating an artistic picture book, Little Mouse. Chapter one discusses the methodology of the studio-art research, compares practical-led research and practical-based research, and identifies my multicultural background, to set the foundation of this project. In Chapter two, I applied a part of practical-led methodology to adapt and transfer a range of sources from history, theory, literature and popular culture to build up and enhance the depth of my concept of Little Mouse, which encompasses and analyses my core interest - a life-changing journey. Chapter three discusses how I applied practical-based methodology to reflect the progress of the practical work of making Little Mouse, particularly focusing on how framed a fiction story, and discussing step by step my approach to illustration practice. In the last chapter, I tested my potential readers to review whether my work succeeded in communicating and delivering my visual research in the form of my finished book. This project hybridizes multicultural sources to form a contemporary picture book which blurs the boundaries between illustrator/writer and reality/fiction. This also provides a case study of the picture book for bridging research and picture book’s creator and demonstrates a process of understanding and interpreting creative activities.
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Biressi, Anita Ruth. "True crime : a study of contemporary books and magazines in context". Thesis, University of East London, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.322426.
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Young, Hiu-tung. "Problems of translating contemporary Japanese comics into Chinese the case of Crayon Shinchan /". Click to view the E-thesis via HKUTO, 2008. http://sunzi.lib.hku.hk/hkuto/record/B39848863.
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Sharapova, Elisabeth Marklund. "Implicit and explicit norm in contemporary Russian verbal stress". Uppsala : Uppsala University, Dept. of Slavic Languages : Distributor : Uppsala University Library, 2000. http://books.google.com/books?id=tkhgAAAAMAAJ.
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King, Zachary Harrison. "Comic book realism: sincerity, ethics, and the superhero in contemporary American literature". Diss., University of Iowa, 2016. https://ir.uiowa.edu/etd/6782.
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Comic Book Realism: Sincerity, Ethics, and the Superhero in Contemporary American Literature reads a trio of recent American novels in the context of superhero comics, the influence of which looms large over these texts but has for one reason or another been largely neglected by critics. Michael Chabon’s The Amazing Adventures of Kavalier & Clay, Jonathan Lethem’s The Fortress of Solitude, and Junot Díaz’s The Brief Wondrous Life of Oscar Wao feature protagonists whose immersion in their comic book collections translates into their lives by allowing them to comprehend and interact with the world in the language of the superhero metaphor.
I argue that these texts should be studied because of, and not despite, their affiliation with superhero comics, against what seems to be a latent critical bias which has led many to overlook or disregard the superheroic elements of these texts. Understanding how Chabon, Lethem, and Díaz engage with the superhero genre is essential to understanding their engagement with issues of identity, ethical responsibility, and masculinity. Daniel Bautista has read Junot Díaz’s The Brief Wondrous Life of Oscar Wao as a work not of magical realism but of something new, “comic book realism,” which blends a realist approach to literature with popular culture citations in order to represent with accuracy the myriad cultural influences coming to bear on his characters’ lives. I suggest that Bautista’s label should be extended to Chabon, Lethem, and a variety of other authors who are engaging with the genre as Díaz does; in so doing, I connect a variety of novels which have either seldom been studied before or have never been studied in connection with each other.
I begin by examining comic book realism’s affinity with emerging theories about the literary movement following postmodernism, which some have dubbed “post-postmodernism.” I argue that comic book realism’s approach to questions of identity, as informed by the dynamic between superhero and alter ego, aligns with Adam Kelly’s sense of a post-postmodern New Sincerity, which rejects any ironic valence between identity and mass culture; consequently, the novels of comic book realism unironically engage with superhero comics as tools for identity formation. I then turn to Levinasian ethics in order to address the charge that superhero comics are solely escapist; instead, I argue that escapism in these novels necessitates an act of memory, an ethical awareness of the absence from which these characters are attempting to escape. These texts, then, are not unethical in their attempts to escape historical atrocities like the Holocaust. Rather, they constitute an ethical act of remembrance in foregrounding this absence.
In my penultimate chapter, I take up the question of masculinity, so central to the gendered space of superhero comics, arguing that the novels of comic book realism reject the hypermasculine standard of the superhero in favor of what I call an ideal of “mild-mannered masculinity,” after the superhero’s alter ego. Compared to the virile and confident Superman identity, Clark Kent represents a model of masculinity that is weak and timid, a model valorized by Chabon, Lethem, and Díaz. In my final chapter, I take stock of the contributions of women writers to the genre of comic book realism, whose work is overlooked by the presupposition that superhero comics are a boy’s domain. Here I find that the women writers evince a need to create their own space in the superhero genre, while I suggest that recent trends in the genre suggest that the next generation of women writers may engage with the genre in a different, somewhat unpredictable way.
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Young, Hiu-tung, i 楊曉彤. "Problems of translating contemporary Japanese comics into Chinese: the case of Crayon Shinchan". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2008. http://hub.hku.hk/bib/B39848863.
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Lewis, David Harry. "The metafictive in picture books : a theoretical analysis of the nature and origins of contemporary children's picture books, with case studies of children reading picture book texts". Thesis, University College London (University of London), 1994. http://discovery.ucl.ac.uk/10021312/.
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The thesis is about picture books and how children read them, and is divided into three parts. In part one I identify a striking parallel between certain exemplary contemporary picture books and the tendency within adult fiction known as postmodernism or metafiction. I enlarge upon this analogy and attempt to establish a tentative taxonomy of metafictive picture books. Part one concludes with an account of an early attempt at exploring how young children read such texts, and with the establishing of the core questions of the thesis: i.e. what is the relation of the metafictive picture book to the form in general?; why is such a highly self-conscious, reflexive form of text found in picture books for young children?; and how do young children read such books? In part two I begin by reviewing the available literature on picture books and then attempt to construct a theory of picture book text. These core theoretical chapters (chapters five, six and seven) are concerned with the nature of pictorial representations and how readers read them; with a revisionist account of the historical origins of the picture book; and with the developing of a view of the picture book as a distinctivelypolysysiemic form of text - i.e. a form of text closely akin to the novel. An attempt is then made to answer the first two of the three main questions. The final part of the thesis explores, through a number of case studies, how young children might construe metafictive texts and traces some of the different ways in which they attempt to make sense of them.
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Palsdottir, Anna Heida. "History, landscape and national identity : a comparative study of contemporary English and Icelandic literature for children". Thesis, Coventry University, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.247964.
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Bleeker, Joshua James. "The Trinity and spiritual growth in contemporary evangelicalism". Online full text .pdf document, available to Fuller patrons only, 2004. http://www.tren.com.
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SOUZA, GABRIEL GIRNOS ELIAS DE. "DESIGN FICTIONS: GRAPHIC DESIGN AND PROFESSIONAL DISCOURSE IN CONTEMPORARY BOOKS OF INTERNATIONAL ARCHITECTURE OFFICES". PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2015. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=25607@1.
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PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIROCOORDENAÇÃO DE APERFEIÇOAMENTO DO PESSOAL DE ENSINO SUPERIOR
PROGRAMA DE SUPORTE À PÓS-GRADUAÇÃO DE INSTS. DE ENSINO
O trabalho investiga o papel que o design de livros impressos adquiriu na cultura disciplinar da arquitetura desde a última década do século XX, principalmente em monografias produzidas por expoentes com fama e atuação internacional. Compreendendo que o design de livros tem sido crescentemente usado como instrumento de constituição de uma identidade ou atitude pública de arquitetos., o objetivo do estudo é analisar se e como certos atributos do discurso profissional e mesmo da obra arquitetônica dos escritórios (que são tanto o autor quanto o assunto) se fazem presentes na configuração formal dada aos livros e, especialmente, na linguagem gráfica das apresentações de projeto contidas neles. Para isso, o trabalho contextualiza a inserção cultural e potencialidade expressiva do livro impresso em face à recente realidade de mídias eletrônicas e, especificamente, ao desenvolvimento histórico das relações entre a disciplina da arquitetura e suas mídias de difusão, apresentando também uma reflexão metodológica sobre os fatores, elementos e conceitos a serem considerados para uma análise do design de livros de arquitetura. A tese apresenta em seguida três estudos de caso, dos quais o principal é o influente S,M,L,XL, monografia de Rem Koolhaas e seu escritório OMA feita em parceria com o designer Bruce Mau (1995). Os outros estudos, mais sucintos, tratam de livros inspirados nesse primeiro caso: FARMAX: Excursions in Density, do escritório MVRDV (1998), e Yes is More: an archicomic on architectural evolution, de Bjarke Ingels Group (2009). A partir de paralelos e divergências entre esses três casos, a tese procura ressaltar aspectos relevantes das dinâmicas profissionais e culturais internas à disciplina da arquitetura na contemporaneidade.
The dissertation investigates the role of book design in architecture s disciplinary culture since the last decade of the twentieth century, especially in monographs produced by firms internationally famed. Considering that book design has been increasingly used by famous architects as a tool for the construction and display of public identity and attitude, the goal of this work is to analyze whether and how some attributes of professional discourse and even of designs from the architecture offices (who are both authors and the subjects), are incorporated in the formal configuration given to books and, especially, in the graphic language of project presentations in them. The dissertation examines the cultural role and expressive potential of the printed book medium in the context of recent times electronic media and, specifically, in the historical development of relations between the discipline of architecture and its media of diffusion. It presents a methodological reflection on factors, elements and concepts to consider for a design analysis of architecture books. Then, it makes three case studies, the main case being the influential S,M,L,XL (1995), monograph by architect Rem Koolhaas and his Office for Metropolitan Architecture (OMA) made in partnership with graphic designer Bruce Mau. The two other shorter analysis address books inspired by the first case: FARMAX: Excursions in Density, from MVRDV (1998), and Yes is More: an archicomic on architectural evolution (2009), from Bjarke Ingels Group (BIG). Through comparing the similarities and divergences between those three books, the dissertation seeks to highlight relevant aspects of professional and cultural dynamics internal to the architecture discipline in contemporary times.
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Opperman, Susan. "Transmuting the mundane into transcendence : migrations of myth and its connection to contemporary comic books". Thesis, Stellenbosch : University of Stellenbosch, 2011. http://hdl.handle.net/10019.1/6823.
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Thesis (MPhil)--University of Stellenbosch, 2011.ENGLISH ABSTRACT: This thesis investigates the human capacity of modifying established myth in the light of new circumstances. It focuses on the changing status of myth and mythical cosmologies in Western culture as advances in telematics and techno-culture has led to the abundant proliferation of mythic content in modern society. The rise of scientific, secular and rational tendencies in the Occident has resulted in the demystification and negation of some myths and the cultural realities they once supported. Mythical symbols, however, do exhibit a certain degree of independence from their original set ontologies, growing and transforming continuously within contemporary culture as they are communicated to all social spheres. A particular focus is placed on the demystification of myth and its ability to be appropriated within other discourses, most notably fiction. As such, myth tends to exhibit certain migratory and conservational qualities that this study investigates. This serves as background for this thesis that is primarily located within the broader theoretical argument of myth as a system of world-representation in society, the main point of discussion is the re-appropriation of myth within the narrower field of visual signification, specifically the comics medium, as exemplified in the works of Neil Gaiman and Conrad Botes, as well as in my own work.
AFRIKAANSE OPSOMMING: Die tesis ondersoek die menslike kapasiteit om gevestigde mites te wysig in die lig van nuwe omstandighede. Dit fokus op die veranderlike status van mites en mitiese kosmologieë in die Westerse kultuur, aangesien vooruitgang in die telematiek en tegnokultuur gelei het tot ’n ryk proliferasie van mitiese inhoud in die moderne samelewing. Die opkoms van wetenskaplike, sekulêre en rasionele tendense in die Weste het die demistifikasie en negasie van sommige mites en kulturele realiteite wat hulle eens ondersteun het, tot gevolg gehad. Mitiese simbole vertoon egter ’n sekere graad van onafhanklikheid van hul oorspronklike vasgestelde ontologieë en groei wild binne die kontemporêre kultuur, aangesien hulle deurlopend gekommunikeer word aan verskillende sosiale sfere. Daar word veral gefokus op die demistifikasie van die mite en sy vermoë om geapproprieer te word binne ander diskoerse, veral in fiksie. As sodanig is mites geneig tot migrasie en die vertoon van konserverende kwaliteite, soos ondersoek in hierdie studie. Alhoewel die tesis eerstens gelokaliseer is binne die breër teoretiese argumentasie rondom mite as ’n sisteem van wêreldrepresentasie in die samelewing, is die kern van diskussie die re-appropriasie van die mite binne die smaller veld van visuele betekenisgewing, spesifiek in strippe as medium, soos uitgelig in die werke van Neil Gaiman en Conrad Botes, asook in my eie werk.
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Bradley, Darin Colbert Ross John Robert. "The little weird self and consciousness in contemporary, small-press, speculative fiction /". [Denton, Tex.] : University of North Texas, 2007. http://digital.library.unt.edu/permalink/meta-dc-3703.
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Diar, Fares Sonja. "All is well : An analysis of positivity through adjectives in two contemporary New Age self-help books". Thesis, Mälardalens högskola, Akademin för utbildning, kultur och kommunikation, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:mdh:diva-40144.
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Self-help counselling is an important industry that not only influences its immediate users’ behavior but also society and social behaviors more generally. Since New Ageis a main branch of self-help, and since positivity is a dominant concept in (New Age) self-help discourse, it is worth analyzing how positivity might be achieved in terms of language use. The present study investigates whether the adjectives in a couple of New Age publications contribute to communicating positivity and, if yes, how. What adjectives are used and how can they be categorized in terms of positive, negative, neutral or undetermined connotations as well as semantic prosody? The findings support the hypothesis that the use of “positive adjectives” (Rozin, Berman & Royzman, 2010, p. 536) is what helps to make New Age self-help books convey a positive spirit.
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Ditty, John Glenn. "A program for training preachers to use the historical books of the Old Testament in contemporary proclamation". Theological Research Exchange Network (TREN), 1992. http://www.tren.com.
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Kilpatrick, Helen Claire. "Ideologies in contemporary picture book representations of tales by Miyazawa Kenji". Australia : Macquarie University, 2004. http://hdl.handle.net/1959.14/62731.
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"May 2003".Thesis (PhD)--Macquarie University, Division of Humanities, Department of English, 2004.
Bibliography: p. 301-332.
Introduction -- The significance of Miyazawa Kenji's ideals in (post) modern Japanese children's literature -- Re-presenting Miyazawa Kenji's tales: cultural coding and discourse analysis -- Tale of "Wildcat and the acorns" (Donguri to Yamaneko): self and subjectivity in the characters and haecceitas in the organic world -- Beyond dualism in "Snow crossing" (Yukiwatan) -- Kenji's "Dekunobõ ideal in "Gõshu the cellist" (Serohiki no Gõshu) and "Kenjũ's park" (Kenjũ kõenrin) -- Beyond the realm of Asura in "The twin stars" (Futago no hoshi) and "Wild pear (Yamanashi) -- The material and immaterial in "The restaurant of many orders (Chũmon no õi ryõriten) -- Conclusion.
This thesis investigates ideologies in contemporary picture books of Miyazawa Kenji's tales from the perspective of the acculturation of children in (post)modern Japan. Miyazawa Kenji (1896-1933) was writing in the early 20'" century, yet he is currently the most prolifically published literary figure in picture book form and these pictorialisations are widely promulgated to children and throughout cultural and educational institutions in Japan. Given Kenji's prominence as a devoutly Buddhist author with a unique position within Japanese literature, the thesis operates on the premise that the picture books are working, inter aha, to decode or encode the inherent Buddhist ideologies of self, identity and subjectivity and that the picture book re-versions are attempting to be 'authentic' to these. (Unlike many other works adapted for picture books, Kenji's original words are left intact.) Such selflother interactions are important to the construction of identity because childhood itself is an ideological construction premised on assumptions about what it means to be a child and what it means to 'be'; in other words, "such fictions are premised on culturally specific ideologies of identity" (McCallum, 1999: 263). Picture books, with their two forms of narrative discourse, pictures and words, are more ideologically powerful than words alone because the pictures also carry attitudes and therefore doubly inscribe both the explicit and implicit ideologies inherent in the words. -- By utilising Miyazawa Kenji's non-humanist Buddhist ideologies as a basis, this investigation compares how different artists are (re-)inscribing these ideals in the most frequently pidorialised versions of his children's tales. It is primarily an investigation into how the artistic responses re-situate or respond to ideologies of self and subjectivity inherent in a select corpus of focused pre-existing texts. Ultimately, the thesis shows how different pictures can shape story and how the implied reader is interpellated into certain subject positions and viewpoints from which to read the texts. This involves an intertextual approach which explores how art and culture interact to imply significance.
Mode of access: World Wide Web.
iv, 332, [31] p. ill. (some col.)
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Harel-Vivier, Mathieu. "Photographies, abstraction et réalité : l'agencement comme processus artistique". Thesis, Rennes 2, 2014. http://www.theses.fr/2014REN20025/document.
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Construite à partir des questions soulevées par le travail artistique de l’auteur, cette thèse examine le rapport qu’entretiennent certains artistes, essentiellement contemporains, avec la réalité de l’image photographique, sa capacité à produire une abstraction et à s’inscrire dans un agencement. Considérée selon un double point de vue, la notion d’agencement apparait ici d’une part comme le processus de l’artiste qui travaille avec des images,et d’autre part comme une forme d’organisation qui favorise une diversité de relations entre les images, àla façon de constellations. La première partie intitulée « les conditions de l’agencement » s’intéresse au passage à l’acte photographique, à l’appropriation d’une image, comme au détachement que nécessitent parfois ces deux actions propres aux pratiques de Christian Marclay et Wolfgang Tillmans. Alternative à ces divers mouvements qui animent les élans de l’artiste vers le réel, l’abstraction photographique fait l’objet d’une étude à travers l’analyse des travaux de quelques artistes parmi lesquels Pierre Cordier, Michael Flomen et James Welling.La seconde partie s’attache à décrire comment « l’agencement d’images » est investi d’un fonctionnement caractéristique du montage cinématographique et de l’atlas warburgien. Sont ainsi tour à tour observées des oeuvres où l’agencement d’images est délimité par le cadre (John Baldessari et John Stezaker), ventilé à travers les pages d’un livre (Hans-Peter Feldmann, Luis Jacob, Gerhard Richter, etc.) et déployé dans l’espace d’exposition : sur les cimaises, au sol ou sur des tables (Pierre Leguillon, Batia Suter, Wolfgang Tillmans). L’intérêtest finalement porté sur les enjeux de transmission de l’agencement, sa volonté de non-Hiérarchie aussi, et ce notamment, dans le contexte d’expositions de collections publiques et privées (Des images comme des oiseaux, Le Mur, Les peintres de la vie moderne).À l’issue de ce texte placé en regard d’une succession de planches d’images s’ouvre une autre collection dephotographies annotées et légendées, consacrée à la pratique artistique de l’auteurDeveloped based on questions from the author’s artistic practice, this thesis examines the relationship between some artists, mainly contemporary, and the reality of the photographic picture, its ability to produce abstraction and to fit within a display. Considered here in a double perspective, the concept of display is seen, on one hand, as the process of the artist working with pictures and, on the other hand, as an organizational model that foster a variety of connections, like constellations do.Entitled “display’s conditions”, the first part deals with photographic acting-Out, the appropriation of a picture as well as the detachment that sometimes these two actions involve like in Christian Marclay’s and Wolfgang Tillmans’s practices. As an alternative to these various movements which spur on the artist’s impetus towards reality, photographic abstraction is considered for further study through the analysis of artistic works like Pierre Cordier’s, Michael Flomen’s or James Welling’s.The second part describes how the “display of pictures” is invested by a functioning that is a feature of editingand Warburg’s atlas. Several works are observed in which the display of pictures is delimited by the frame(John Baldessari and John Stezaker) scattered through the pages of a book (Hans-Peter Feldmann’s, LuisJacob’s, Gerhard Richter’s, etc.) and spread out in the exhibition space: on the walls, the ground and tables(Pierre Leguillon, Batia Suter, Wolfgang Tillmans). The interest is finally moved on the issue of displaytransmission, its aim of non-Hierarchy, especially in the context of public and private collections exhibited(Des images comme des oiseaux, Le Mur, Les Peintres de la vie moderne).As the outcome of this text that appears beside a series of plates, a new collection of annotated and captionedphotographs is developed, dedicated to the artistic practice of the author
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Evans, Janelle Gay. "Letters, Books, ‘Parroquates' and Kangaroo Skins: An intertextual response to the correspondence of First Fleet Convict Matthew Everingham [1768-1817]". Thesis, The University of Sydney, 2021. https://hdl.handle.net/2123/25721.
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Matthew Everingham, a First Fleet convict and former attorney's clerk, made one of the earliest attempts by a British citizen to cross the Blue Mountains. In recounting his experiences to his patron in London, the Attorney Samuel Shepherd (later the Attorney General who framed the first legal opinion on Terra Nullius as it applied to the colony in New South Wales), Everingham drew on eighteenth-century poetry, literature, and Enlightenment sensibilities to describe the flora, fauna and people he encountered on Gadigal and Dharug lands. This research project, which includes a studio component, provides an intertextual response to Everingham’s correspondence and asks how letters written by my British First Fleet convict ancestor can serve as an inspiration in my contemporary art practice, which seeks to write back to an historical elsewhere, to understand issues regarding self-determination and Indigenous agency in the present?
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Despain, Shannon Marie. "A Content Analysis of Family Structure in Newbery Medal and Honor Books, 1930 -- 2010". BYU ScholarsArchive, 2012. https://scholarsarchive.byu.edu/etd/3648.
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Newbery books are a reliable representation of quality children's literature. They have not previously been formally evaluated by the family structures represented in the books. This content analysis considered 87 contemporary realistic fiction Newbery winner and Honor books since the 1930s that portray families in English-speaking, western settings. The family structures portrayed in these books were compared with the family structure categories of the decade in which each book is set. Percentage comparisons revealed that the 1930s, 1940s, and 1950s do not represent the actual family structures of their time period. After the Age of New Realism began in the mid 60s, the family structures in the books more closely matched the family structures of their decade, but several discrepancies remained.
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Cole, Lorna. "An examination of the suitability of some contemporary South African fiction for readers in the post-developmental reading stage". Thesis, Rhodes University, 1992. http://hdl.handle.net/10962/d1003412.
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Adverse criticism regarding the quantity and quality of children's books in South Africa appear in such respected sources as The Oxford Companion to Children's Literature and The Companion to South African English Literature, the authors of which are of the opinion that South African children are dependent solely upon Eurocentric literature for their reading material. In recent years however, local publishers have attempted to redress this imbalance by offering prizes for unpublished works. These prizes have acted as incentives for aspiring writers, many of whom have had novels published specifically for children in the post-developmental reading stage. This study critically examines some of these prizewinning works of fantasy and contemporary realism, in an effort to gauge their literary worth within the context of accepted criteria for judging children's literature. Accolades from adults are not however a guarantee that the prizewinning books will be received with equal acclaim by the children for whom they are written. For this reason, five children in the post-developmental reading stage were asked to pass their opinions and non-literary judgments on the books. Although the critical evaluation of the indigenous works proves them to be eminently worthy of the prizes which they received on publication, the children did not rate them as highly as certain imported works. The works of fantasy by Marguerite Poland rated poorly in terms of their popularity despite the fact that the children said that in a non-circumscribed context, they choose fantasy in preference to contemporary realism. Within the context of the indigenous literature which they read for this study though, they preferred the works of contemporary realism as they were able to identify with particular aspects of the novels. Indigenous literature for children in the post-developmental reading stage is a comparatively new phenomenon which needs to be nurtured if it is to attain any lasting status. The onus rests upon the teachers of literature and librarians to introduce the literature and make the books more accessible to young readers. Publishers need perhaps to engage the views and opinions of the audience for whom the books are written in an effort to publish books which, without in any way detracting from their literary worth, will deal with subjects favoured by young readers.
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LeMoal, Lara Lise. "Rendering the visible world : a critical examination of internalization, representation, order, and naming in a selection of contemporary metafictive alphabet books". Thesis, University of British Columbia, 2012. http://hdl.handle.net/2429/43396.
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This study seeks answer the question of what metafictive alphabet books offer outside of the aim of literacy education. The alphabet picturebook is often treated as irrelevant beyond its didactic purpose due to its seemingly transparent nature. Because alphabet books exist in theory as a purposive tool to aid in the learning of literacy skills, other attributes of alphabet books are overlooked. The relationships between signs and symbols found in conceptual alphabet picturebooks are complex and worthy of close examination.
This research investigates how the four inherent functions of alphabet books (internalization, representation, order and naming) work in contemporary, non-traditional, metafictive alphabet picturebooks. The research uses a close reading of four primary texts utilizing a theoretical framework centred in the poetics of alphabetization.
This study explores the ways in which the apparent simplicity of the alphabet picturebook masks its underlying structures, and how those structures contribute to our understanding of language.
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Ghosal, Torsa. "Books with Bodies: Experientiality in post-1980s Multimodal Print Literature". The Ohio State University, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=osu1495399434096337.
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Domingues, Maria Izabel Velazquez. "Alasdair Gray's Lanark in the scottish contemporary scene : a matter of postmodern identity". reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2010. http://hdl.handle.net/10183/134290.
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Esta é uma leitura crítica de Lanark: a Life in Four Books do escritor escocês Alasdair Gray (1934), cujos talento e estilo se constituem exemplo da literatura contemporânea da Escócia. Esta investigação tem por objetivo determinar o papel exercido pela produção do autor nas esferas literária, cultural e sociopolítica da Escócia de hoje. Ao transitar entre ficção e meta-ficção, arte e autobiografia, Gray encara os paradoxos envolvidos ao tentar revitalizar traços da identidade nacional. O trabalho de Gray não pode ser considerado sem o reconhecimento de que a sua literatura é, simultaneamente, local e universal. Ela pertence ao cosmos escocês o qual é destacado por lutas culturais assim como é também dominante por ser escrita em Inglês e, com isso, alcançar leitores de todas as partes do mundo dentro das fronteiras transpostas pela Língua Inglesa. Essa é uma das razões pelas quais esta pesquisa busca lançar luz sobre a cena literária contemporânea escocesa, empenhando-se em preencher uma lacuna existente no currículo acadêmico brasileiro de nossos cursos de graduação e pós-graduação no que tange o tratamento e a abordagem das outras Literaturas produzidas em Língua Inglesa. Para tanto, a tese está dividida em três partes. A primeira considera a literatura escocesa em relação à formação, ratificação e reavaliação do significado de senso de identidade nacional, como observado diacronicamente através do período entre 1940 e 1970. A segunda parte focaliza os novos olhares no cenário cultural da Escócia por um grupo de escritores repleto de estilo, história e visão, os New Scottish Writers. As estratégias de Gray para lidar com ficção e biografia em Lanark assim como sua reflexão sobre a natureza do mundo são de grande importância para este trabalho. Com embasamento teórico no entendimento de Linda Hutcheon sobre meta-ficção historiográfica, intertextualidade, parodia e ironia no pós- modernismo, eu tento enquadrar, no Capitulo Três, as manobra literárias desempenhadas pelo autor ao usar tais recursos textuais no romance. Espero que o resultado desta tese de doutorado possa ser útil como reflexão sobre o presente estado de discussões sobre a literatura Escocesa pós-moderna e, ao mesmo tempo, como um meio de tornar os leitores acadêmicos brasileiros mais familiarizados com a obra de Alasdair Gray.This is a critical reading of Lanark: a Life in Four Books, a novel by the Scottish writer Alasdair Gray (b. 1934), whose talent and style provide a fitting example of Scotland’s contemporary literature. The aim of this investigation is to determine the role played by Gray’s production in the literary, cultural and sociopolitical spheres of present-day Scottish life. In his blending of fiction and metafiction, of art and autobiography, the author faces the paradoxes involved in the attempt to stress the marks of a national identity. Gray’s work cannot be considered without recognizing that his literature is both local and universal. It belongs to the Scottish cosmos which is highlighted by cultural struggles as well as it is dominant, once it is carried out in English reaching readers all over the world from within the limits and format determined by the English Language. That is one of the reasons why this research aims to shed light on the current Scottish literary scene, attempting to fill an existing gap in the Brazilian academic curriculum respecting the treatment and approach of Literatures produced in English in our undergraduate and graduate courses. The dissertation is divided into three parts. The first contextualizes Gray in Scotland’s literature in its relation to the formation, ratification and revaluation of the concept of a sense of national identity as observed diachronically, throughout the period between 1940s and 1970s. The second section focuses on the new looks at Scotland’s cultural scenario by a distinguished group of writers burst with style, history and post-devolution vision, the New Scottish Writers. Gray’s strategies to deal with a fictional and biographical context in Lanark and his reflection upon world’s nature and worth are of great importance for this work. By the reading of Linda Hutcheon’s understanding on historiographic metafiction, intertextuality, parody and irony in postmodernism, I attempt to frame in Chapter Three the literary maneuvers Gray makes in using such textual resources in his novel. I hope that the result of this doctoral thesis may be useful both as a reflection upon the present state of the discussion about Scotland’s postmodern literature, and as a means of making the Brazilian academic readers more familiar with the work of Alasdair Gray.
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Chan, Suet Ni. "In the periphery of the margin: white masculinity in contemporary American fiction /Chan Suet Ni". HKBU Institutional Repository, 2017. https://repository.hkbu.edu.hk/etd_oa/351.
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My thesis discusses male identity in contemporary culture in relation to work by Bret Easton Ellis and Chuck Palahniuk. Such work reflects the problems, anxieties, and dilemmas of the masculine subject in American culture. The characters in my six selected texts, namely, Ellis' Less Than Zero, American Psycho, and Glamorama, and Palahniuk's Fight Club, Survivor, and Choke, symbolize a generation with no discernible future. Each male protagonist finds himself in a place of no time and no meaning because image and illusion have supplanted essence. These characters combat culture-prevalent emptiness in the sense that each ironically re-asserts his so-called individuality against the dogmas of the establishment. Each, furthermore, is aware that his existence is not subject to a higher order or preset goal: traditional morality thereby has no meaning. My selected texts feature masculine subjects struggling with their own contingencies once stripped of given privileges (gender, class, race, and otherwise). To examine the notion of masculinity, I emphasize the role of power relations in gender construction. Bret Easton Ellis characterizes a world of appearance defined by particular styles. Chuck Palahniuk's males are empty--they do not have any definitive meaning. Judith Butler challenges the proposition of a fixed identity, or an essential permanent masculinity or femininity as structured and reified by social norms. Therefore, we should not view masculinity as a cohesive and homogeneous category. Following Foucault, I examine the relationship between masculine subjects and social practices. At stake here, is how the performative articulation of proper masculinity disempowers and imprisons the masculine subject in a material form over which he has no control. The body becomes the object of desire and thus the vehicle/preserve of the sense of powerlessness that the masculine subject experiences daily within a hegemonic culture. Power is exercised through a dominant presence. This presence structures as a binary classification serving to underscore differences and ensure particular privileged social positioning. The proposition of a fixed identity, or an essential permanent masculinity or femininity, is structured and reified by social norms. Masculinity as a cohesive and homogeneous category is historically represented as an unstable center from which all other identities are defined.
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Bradley, Darin Colbert. "The Little Weird: Self and Consciousness in Contemporary, Small-press, Speculative Fiction". Thesis, University of North Texas, 2007. https://digital.library.unt.edu/ark:/67531/metadc3703/.
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This dissertation explores how contemporary, small-press, speculative fiction deviates from other genres in depicting the processes of consciousness in narrative. I study how the confluence of contemporary cognitive theory and experimental, small-press, speculative fiction has produced a new narrative mode, one wherein literature portrays not the product of consciousness but its process instead. Unlike authors who worked previously in the stream-of-consciousness or interior monologue modes, writers in this new narrative mode (which this dissertation refers to as "the little weird") use the techniques of recursion, narratological anachrony, and Ulric Neisser's "ecological self" to avoid the constraints of textual linearity that have historically prevented other literary modes from accurately portraying the operations of "self." Extrapolating from Mieke Bal's seminal theory of narratology; Tzvetan Todorov's theory of the fantastic; Daniel C. Dennett's theories of consciousness; and the works of Darko Suvin, Robert Scholes, Jean Baudrillard, and others, I create a new mode not for classifying categories of speculative fiction, but for re-envisioning those already in use. This study, which concentrates on the work of progressive, small-press, speculative writers such as Kelly Link, Forrest Aguirre, George Saunders, Jeffrey Ford, China Miéville, and many others, explores new ideas about narrative "coherence" from the points of view of self as they are presented today by cognitive, narratological, psychological, sociological, and semiotic theories.
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Reavis, E. "Adolescent Female Identity Development and Its Portrayal in Select Contemporary Young Adult Fiction". Thesis, School of Information and Library Science, 2004. http://hdl.handle.net/1901/116.
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This study describes a content analysis of six contemporary young adult fiction novels. Adolescence is a time of great change, particularly for girls. It is during this time that female adolescents develop their voice and identity. As literature reflects the reader’s world, it also affects in part how female adolescents perceive their identity. Latent content analysis was used to code eight variables to determine if select contemporary young adult fiction novels appropriately describe the development of identity among adolescent females. All of the novels included in the study provided sufficient evidence of accurate portrayal of female adolescent identity development, by having examples of at least four out of eight variables, with most having examples of seven out of eight variables.
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Sánchez, Txuma. "Prácticas artísticas contemporáneas y edición de artista". Doctoral thesis, Universitat de Barcelona, 2017. http://hdl.handle.net/10803/458029.
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La investigación que desarrolla esta tesis doctoral aborda el proceso de regeneración producido en la edición de artista en España –libro de artista y ediciones especiales de artista–, a partir del año dos mil. Así como la subsiguiente consolidación de este tipo de prácticas artísticas a lo largo de toda la primera década del siglo XXI, durante la llamada “Década de oro” de la edición de artista española.
En esta tesis realizamos una revisión crítica de los precedentes que impulsaron este proceso de regeneración –desde principios de los años setenta y hasta finales de los años noventa principalmente–, y nos sumergimos, asimismo, en los parámetros sobre los que se asienta su posterior afianzamiento y consolidación durante los años dos mil, en tanto que campo plenamente autónomo dentro de la creación artística contemporánea.
Es a partir de esta revisión y su análisis que rebatimos las lecturas tradicionales que han interpretado la edición de artista como un conjunto de prácticas subalternas, en relación a otras disciplinas artísticas. Lecturas que la han circunscrito y encasillado en taxonomías asociadas solo a sus procesos técnicos y disciplinarios, alejándolas, erróneamente creemos, de aquellos debates y transformaciones instituidos durante los últimos treinta años en la centralidad artística contemporánea.
A la hora de vertebrar los argumentos para rebatir estas lecturas simplificadas abordamos diferentes casos de estudio, ordenados cronológicamente desde principios de los años setenta y hasta llegar a finales de la década de los años dos mil. Algunos de estos casos pivotan sobre la transformación vivida durante este periodo por la propia edición como espacio de experimentación, cada vez más auto-consciente y enriquecido. Otros analizan los procesos graduales de relación que la edición sostuvo, e implementó progresivamente entretanto, con diferentes ámbitos: como el institucional, el político, el formativo, o el productivo. Por último el resto de casos en los que nos detenemos investigan, y ponen de manifiesto, la re-articulación y emergencia de los nuevos roles, que se desplegaron a partir del inicio del nuevo siglo, principalmente a partir del año dos mil, entre los propios agentes implicados y sus estrategias internas de relación.
Con ello ejemplificamos la predisposición y determinación con que estos casos influyeron en el florecimiento que se dio en nuestro país en la edición de artista durante la primera década de este siglo. Y desciframos las complejidades sobre las que se asienta este despertar: no solo atendiendo a los cambios sufridos en los modelos de creación, sino también fijándonos en las interrelaciones que desde instancias culturales y políticas se manifestaron como importantes en un conjunto más amplio de interacciones.
Algunas de las cuestiones en este sentido que acaban emergiendo durante nuestro trabajo atienden así a diferentes vectores. Por ejemplo señalamos la importancia que adquieren en este proceso de renovación los legados conceptuales y sus actualizaciones neo-conceptuales: ejemplificadas en el repunte en el uso del documento y el archivo en la edición, en el fortalecimiento de las prácticas procesuales y desmaterializadas, y en un nuevo acercamiento a la cultura del proyecto. También marcamos la influencia de los modelos de creación alternativos de los años ochenta: fraguados al margen de la comercialidad y basados en la constitución de redes de auto-producción y auto-distribución, que se revitalizaron notablemente y de maneras particularmente innovadoras en los dos mil con un reencuentro con el DIY y las estrategias de colectivización. Nos percatamos de las confluencias de la edición con el retorno a lo político, producido en el arte durante los años noventa, y representado, entre otras cuestiones, por el reencuentro con las responsabilidades del arte hacia la esfera pública y de la esfera de lo real; por el reconocimiento de la globalización y sus consecuencias sobre la reformulación crítica de las identidades en lo social, cultural o histórico; por la apertura de la subjetivización en el espacio institucional del arte; por la atención al nuevo papel de los media en esta confrontación; o por la exploración en la construcción de memorias críticas, más allá de los relatos institucionalizados sobre las sexualidades, la geografía política o la economía neoliberal.
La relación que establecemos entre los casos de estudio y la vertebración de la nueva edición de artista en España, que pretendemos clarificar, se afianza sobre una circulación simultánea y sincopada a través de diversos planos documentales y reflexivos. Uno de ellos es de la formulación de diferentes posibles genealogías como una intrahistoria de la propia edición, con saltos hacia atrás y hacia adelante no necesariamente estructurados en una única línea discursiva. Otro es el de los contextos geográficos. En este sentido, nos sumergimos especialmente en el contexto catalán, sobre el que creemos demostrar que se instituye el paradigma más visible de esta regeneración especial de la edición española, ya desde su primera incubación ahora hace cerca de cuarenta años. Contexto valedor, por ejemplo, de la influencia que adquiere el desarrollo del diseño gráfico español en la creación artística, en sus vertientes experimentales y formativas principalmente; valedor también de la transformación en los consumos culturales y en la creación que provocó la cultura de clubs de los años noventa, radicada principalmente en Barcelona y en su dimensión menos elitista y superficial; o asimismo certificador de la adaptación de la creación editorial artística a las nuevas tecnologías de la producción, la distribución, la transformación de las autorías o las trasferencias disciplinarias que acaecieron.
Esta tesis formula así un prototipo abierto para la lectura de la evolución y consolidación de la edición de artista española en la década de los años dos mil, asentado en sus referentes históricos directos, sus transiciones e implicaciones intra y extra-artísticas, así como en sus propias motivaciones, pruebas, espejismos y certezas.
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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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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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McGowan, Jack. "Slam the book : the role of performance in contemporary UK poetics". Thesis, University of Warwick, 2016. http://wrap.warwick.ac.uk/89799/.
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This thesis explores the relationship between performance poetry and page-based poetry and the academic and non-specialist audience for performance poetry in the UK. Performance poetry in the UK is rapidly becoming a popular medium for experiencing poetry and I analyse the impact this has, and will have, in relation to the study of poetics, and the reading of poetry within the public sphere. I have identified three primary areas of research. First, I analyse the reception of performance poetry in the academy. Second, I assess the mechanisms of affect transmission in performance. Finally I interrogate the utilization of space through performance which contributes to the production of social spaces. Alongside an exploration of how these factors construct a different affective experience for the reader I analyse the critical position performance poetry holds in relation to the wider body of poetics. Performance poetry has been relatively absent from critical study of poetry and the formation of a poetic canon in the UK. I contend that there has traditionally been an opposition to performance poetry in the academy, defined along the lines of a ‘high’ and ‘low’ art binary. This is a contention I analyse with focus on the development of UK poetics in the mid-20th century. By assessing the value discourses inherent to an academic appraisal of spoken word I stage a discussion of the pedagogical potential of performance poetry. Combining both the affective capacities of performance and the role performance plays in renegotiating our experiences of social and shared spaces, I argue performance is an important tool for structuring a re-engagement with contemporary poetry. Tracing the potential pedagogical implications of performance poetry through each of these aspects brings the thesis to a conclusion regarding the value of contemporary UK performance poetry and the important pedagogical role it plays. Underpinning my analysis, I conduct interviews with various prominent UK performance poets in order to construct an accurate account of the contemporary performance poetry scene, and to facilitate predictions regarding its future development.
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Frist, Clayton Robert. "Adaptation in the German-Speaking Comic Book Genre: Perspectives on the Austrian Comic Book Author Nicolas Mahler". Bowling Green State University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1433260874.
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Gilfedder, Jeanette. "A Contemporary Italian Publishing Phenomenon: The Millelire Series". Thesis, Griffith University, 2014. http://hdl.handle.net/10072/367132.
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Millelire -1.000 lire- is the name given to a provocative paperback series created by the Roman publisher Marcello Baraghini in 1990. Millelire are miniature books (15 x 10.5 cm) bound with simple, two-colour paper covers and held together by two staples. They contain, on average, sixty-four pages and are sold for the minimal price of 1.000 lire (one Australian dollar). Through publishing Millelire, Baraghini aspires to offer a publishing alternative. I maintain he does this in two ways. First, through his publishing
policies, and second, by proposing an idealistic cultural politics.
The Millelire publishing phenomenon will be investigated by applying the methodology of book history. The term 'revolution' has been applied on many occasions to describe Baraghini's Millelire initiative. It has two connotations. First, as a term that is appropriate to the politicised marketing language Baraghini uses to promote his series, and second, as a means to describe the sharp impact of these little books on the Italian book market and reading practices. My objective is to determine whether the Millelire publishing initiative and its impact on the Italian book market and reading public are
significant enough to warrant the notion of a 'revolution' in publishing.Thesis (Masters)
Master of Philosophy (MPhil)
School of Humanities
Arts, Education and Law
Full Text
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Adema, J. "Knowledge production beyond the book? : performing the scholarly monograph in contemporary digital culture". Thesis, Coventry University, 2015. http://curve.coventry.ac.uk/open/items/8222ccb2-f6b0-4e5f-90de-f4c62c77ac86/1.
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This thesis explores the potential futures of the scholarly monograph in an increasingly digital environment. By positioning the medium of the book as a major site of struggle over the future of scholarly knowledge production within the humanities, this thesis argues for the importance of experimenting with alternative ways of thinking and performing the academic monograph. In particular, it argues for the importance of experiments that go beyond simply iteratively reproducing established print practices of knowledge production, dissemination and consumption. This is especially important when the present print-based arrangements tend to sustain the interest of established stakeholders, inhibiting wider access to scholarly research and experimentation with new forms of scholarship and scholarly communication. This thesis will examine some of the forms a politics of the book based on openness, remix and liquidity might take. It will draw on some recent experiments in scholarly book publishing—from liquid and living books to anonymous authorship and radical open access—that try to challenge and rethink the book as a fixed and stable commercial object, as well as the political economy and scholarly practices surrounding it. These experiments do so by cutting the book together and apart differently and by exploring experimentation as a specific discourse and practice of critique.
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OLIVEIRA, ANA PAULA FONSECA DE. "HYBRIDISM AND THE EXPANSION OF THE NARRATIVE OF THE CHILDREN S CONTEMPORARY OBJECT BOOK". PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2017. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=31157@1.
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PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIROCONSELHO NACIONAL DE DESENVOLVIMENTO CIENTÍFICO E TECNOLÓGICO
Esta dissertação discute o hibridismo presente nos livros-objeto infantis contemporâneos, na tentativa de evidenciar como os fundamentos da natureza híbrida da linguagem do Design e a experiência intersemiótica revelam-se como interações presentes em enredos multissensoriais, expandindo as narrativas encontradas no livro-objeto infantil. O olhar sobre o ato de ler não se restringe à decifração de letras grafadas em qualquer que seja o suporte, mas se expande para a absorção das representatividades estabelecidas. O design de livros influencia a leitura não apenas em aspectos funcionais, mas também simbólicos e, por isso, pode ser considerado um mediador de leitura, que conduz o leitor em sua jornada. A dissertação apresenta a leitura de dois livros-objeto infantis selecionados nas obras de Kveta Pacovská e Roger Mello, designers/ilustradores/ artistas plásticos reconhecidos internacionalmente com o prêmio Hans Christian Andersen. Buscou-se verificar os processos com os quais são ativadas e ampliadas as suas histórias no hibridismo dos processos narrativos. Para isso, a dissertação se apoiou na concepção do híbrido como categoria analítica proposta por Braida (2012).
This thesis discusses the hybridism in the contemporary children s Object Books, in an attempt to elucidate how the hybrid nature of the design language and of the intersemiotic experience, reveal the interactions in the multisensory stories, expanding the narratives found in children s Object Books. A look at the act of reading is not restricted to the deciphering of written letters – in whatever sort of support, but in the absorption of established representativeness. Book design influences that reading, not only in functional aspects, but also in symbolic ones, and that is why it can be considered as a reading-mediator, driving the reader through his journey. The thesis presents the reading of two children s object-books chosen from the works from Kveta Pacovská and Roger Mello, both internationally recognized designers/illustrators and plastic artists awarded with the Hans Christian Andersen prize. In these books, the progress from which the histories were activated and amplified in the hybridism of the narrative process was accounted. The theses is based on the notion of hybrid as an analytical category as proposed by Braida (2012).
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Winget, Lindsay. "What Is America Reading?: The Phenomena of Book Clubs and Literary Awards in Contemporary America". Thesis, Boston College, 2008. http://hdl.handle.net/2345/569.
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Thesis advisor: Judith WiltExperience as an English major, a bookseller, a publishing intern, and a reader has formed questions in my mind about why people read what they do. My interest is focused in two particular "categories" of literature that vie for readers' attention: book clubs and literary awards. Because my skills are in literary interpretation and not societal or industrial analysis, I explored this supposed dichotomy by reading and comparing books from each category. In the "book club" books (My Sister's Keeper by Jodi Picoult and The Memory Keeper's Daughter by Kim Edwards), I found a remarkable familial structure at the core: a daughter with a medical condition; a mother struggling to cope emotionally; a father who distances himself through work and offers profound symbolism via a hobby; an older brother who rebels; an outside couple, professionally involved in the action and romantically involved in each other. The Pulitzer Prize for Fiction-winning books, Gilead by Marilynne Robinson and Interpreter of Maladies by Jhumpa Lahiri, stretch farther with voice, style, and imagery. I found them intellectually and personally more satisfying. In addition pursuing academic interests, I also grew to better understand the variety of purposes for which we read. Though I concluded that if all four novels were to be labeled, they should simply be named "middlebrow," I came to appreciate different writers' strengths — research, personal experience, mastery of language — even when they do not match my personal criteria as a reader
Thesis (BA) — Boston College, 2008
Submitted to: Boston College. College of Arts and Sciences
Discipline: English
Discipline: College Honors Program
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Baurin, Camille. "Le metacomic : la réflexivité dans le comic book de super-héros contemporain". Thesis, Poitiers, 2012. http://www.theses.fr/2012POIT5018/document.
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« Comic book » est un terme anglo-saxon, plus spécifiquement américain, employé pour désigner les fascicules de bande dessinée. Il a trouvé son autonomie en 1938 avec la création de « Superman » qui a amorcé l'hégémonie de la figure du « super-héros » dans la production. Au cours du vingtième siècle, éditeurs et auteurs ont eu recours à des stratégies de conquête et de fidélisation du lectorat dont le procédé de la réécriture est le plus significatif. Le super-héros fut alors soumis à l'interprétation de nombreux créateurs et devint le témoin à multiples facettes de l'Histoire des États-Unis. Il s'est dessiné à partir des années quatre-vingt une tendance réflexive qui prend cette figure comme objet critique et qui a donné naissance à ce qu'on appelle ici le « metacomic ». À partir d'un corpus représentatif, cette thèse est consacrée aux stratégies qui fondent cette réflexivité et aux discours qu'elle véhicule dans les œuvres. Elle se divise en quatre chapitres. Le premier est un descriptif de l'industrie du comic book qui explique ses particularités et l'hégémonie en son sein du genre « superhéroïque ». Le second est dédié aux processus formels qui permettent de justifier la constitution du corpus en définissant la réflexivité des œuvres. Le troisième est voué à une analyse du caractère idéologique de cette métafiction, afin de montrer en quoi la mise en crise du super-héros sert un discours sur l'Histoire et la politique américaines. Le dernier s'intéresse à la manière dont les œuvres consacrent le super-héros comme figure de l'imagination : adoptant une approche fictionnaliste, on y démontre comment transfictionnalité et univers fictionnels sont utilisés pour revisiter“Comic Book” is the Anglo-Saxon, more specifically American term employed to describe a specific material medium for comics. The epochal moment in the history of the comic book was the 1938 publication of « Superman », which marked the starting point of the hegemony of the figure of the superhero in comic production. Over the course of the twentieth century, authors and publishers have used various strategies for winning over readers and securing their loyalty. Among these, the technique of rewriting is the most significant. Thus, the superhero has been the subject of many reinterpretations, and consequently, has born witness to many facets of the United States’ history. The publications of the 1980s have seen the rise of a reflexive approach in which the superhero becomes an object of critique himself. This new genre is here referred to as Metacomic. Drawing on a representative body of works, the doctoral thesis at hand examines the strategies that constitute this reflexivity, as well as the multiple discourses that it gives rise to. The thesis is divided into four chapters. The first chapter gives an account of the comic book industry and explains its particularities, as well as the hegemonic position of the superhero genre in the industry. The second chapter attempts a definition of reflexivity in comic books, which permits to establish a body of works to be examined. The third chapter attempts an analysis of the ideological aspects of this metafiction in order to show how the crisis of the superhero reflects on a certain discourse on American history and politics. The fourth and last chapter examines how the analysed comics establish the superhero as an agent of imag
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Guirau, Marcelo Cizaurre. "História e forma em Ragtime, The Book of Daniel e Homer & Langley, de E. L. Doctorow". Universidade de São Paulo, 2014. http://www.teses.usp.br/teses/disponiveis/8/8147/tde-17102014-184030/.
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As obras do escritor norte-americano Edgar Lawrence Doctorow aqui estudadas desenham um panorama criticamente iluminador da história dos Estados Unidos no século XX. Em The Book of Daniel, acompanhamos a trajetória da Esquerda americana dos anos 30 aos anos 60. Em Ragtime, o cenário histórico é a Belle Époque e a era do ragtime, do começo do século XX até a Primeira Guerra Mundial. Em Homer & Langley, o arco temporal se expande para abrigar grande parte do século da Primeira Guerra aos anos 80. Nos três romances há uma dialética entre o impulso de suscitar conexões e de figurar um quadro histórico e social mais amplo e a dificuldade de se realizar esse projeto por meio da própria linguagem e lógica da fragmentação, que impedem as articulações e emperram a representação. Nessa tese, procuro ler as ambiguidades e hesitações da forma nesses três romances como incertezas produtivas potenciais lições para o pensamento crítico contemporâneo, o qual tateia certezas num mundo em crise. Romances como Ragtime, The Book of Daniel e Homer & Langley são animados mais por uma hermenêutica da concretude do que por uma poética da relativização. A análise das estratégias de figuração do material histórico que compõe essas obras mostra como essas três narrativas revigoram o romance histórico na contemporaneidadeThe novels by E. L. Doctorow studied here draw a critically illuminating panorama of American History in the 20th century. In The Book of Daniel, we follow the trajectory of the American Left from the thirties up to the sixties. In Ragtime, the historical scenery is the Belle Époque and the ragtime era, from the beginning of the century up to World War I. In Homer & Langley, the time frame is broadened to include almost the entire century from World War I up to de eighties. In those novels, we find a dialectical relationship between the impulse to bring forth connections and represent a larger social and historical picture, and the difficulty of achieving such a project through the very language and logic of fragmentation which obstructs the making of articulations and renders representation difficult. In this work, I try to read the ambiguities and hesitations of the form in those three novels as productive uncertainties potential lessons to contemporary critical thinking. Novels such as Ragtime, The Book of Daniel e Homer & Langley are animated more by a hermeneutics of the concrete than by a poetics of relativity. The analysis of the representational strategies those novels employ to depict the historical material from which they are made shows how those narratives reinvigorate the historical novel today
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Borgstrom, Liam. "Between a book and a soft place : an investigation into the contemporary teaching of typography and book design at South African Higher Education Institutions". Diss., University of Pretoria, 2016. http://hdl.handle.net/2263/59323.
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This dissertation addresses the teaching of typography and book design in South Africa and how the literature relating to its education has changed during the course of the twentieth century. Several scholarly and educational book titles are compared to one another based on their approach to the subject and this is compared to the historical development of typographic technologies as they were developed in Europe. Based on the theoretical pool of the assessed books, a list of theoretical topics was drawn up and used to survey the current teaching intent of graphic design study programmes at South African tertiary education institutions.
It was found that in spite of a less direct technical focus in the teaching and learning materials, training institutions within departments and faculties of arts have developed their graphic design programmes with the intent of developing students who are technologically proficient, readily employable, artistically fluent, and aware of industrial and historical conventions in their fields. However, they do not necessarily teach historical book design conventions, focussing rather on the skills and software required for contemporary design practice.Dissertation(MIS)--University of Pretoria, 2016.
Information Science
MIS
Unrestricted
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Lente, Sandra van. "Cultural exchange in selected contemporary British novels". Doctoral thesis, Humboldt-Universität zu Berlin, Philosophische Fakultät II, 2015. http://dx.doi.org/10.18452/17133.
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In dieser Dissertation werden die Repräsentationen von Kulturtransfer in zeitgenössischen britischen Romanen untersucht (Monica Ali: Brick Lane (2003), Nadeem Aslam: Maps For Lost Lovers (2004), Gautam Malkani: Londonstani (2007) und Maggie Gee: The White Family (2002)). Für die Analyse der Begegnungen und Kulturtransferprozesse werden narratologische Analysekategorien mit denen der Kulturtransferanalyse verknüpft. Neben den textimmanenten Aspekten werden außerdem die Produktions- und Rezeptionskontexte der Romane mitberücksichtigt. Dazu gehören u.a. auch das Buchmarketing und Buchumschlagdesign sowie Rezensionen und öffentliche Reaktionen auf die Romane. Mit diesem Instrumentarium werden z.B. folgende Fragen untersucht: Wie werden Begegnungen und Austauschprozesse repräsentiert und bewertet? Welche Gründe für Aneignung oder Abschottung werden formuliert? In diesem Kontext konzentriert sich die Arbeit auf die Repräsentation von Mediatorinnen und Mediatoren, Kontaktzonen und -situationen, Machtstrukturen sowie Selektions- und Ablehnungsprozesse. Außerdem wird untersucht, mit welchen ästhetischen Mitteln die Austauschprozesse gestaltet werden, beispielsweise durch die Untersuchung der Plotmuster und der Charakterisierungen auf Stereotype hin. und welche Effekte dies bewirkt. Die Analysen haben ergeben, dass Kulturtransfer als erstrebenswert bewertet wird. Gleichzeitig findet aber oft nur Assimilierung statt und kein reziproker Austausch auf Augenhöhe. Die ausgewählten Romane setzen sich vorwiegend mit Hindernissen des interkulturellen Austauschs auseinander. Besonders häufig werden in diesem Kontext Gründe wie mangelnde Bereitschaft, mangelnde Bildung und extremistische (religiöse) Ansichten der Einwandererfamilien angeführt. Die Romane verstetigen Stereotype, die dem Lesepublikum bereits aus vielen Massenmedien vertraut sind, u.a. durch entwicklungsresistente Charaktere, typisiert als ungebildete und unverbesserliche Migranten, die Parallelgesellschaften entwerfen.This thesis analyses representations of cultural exchange in contemporary British novels in the context of migration and the British literary field. It offers a multilayered approach: the combination of cultural exchange theory and its categories with narratological tools do justice to the aesthetic side of the novels as well as their socio-political and historical contexts that are particularly relevant for novels dealing with migration. Cultural exchange theory analyses appropriation and transformation processes, i.e. how the concepts, cultural practices as well as representations change when they are transferred into a different cultural context. Furthermore, this thesis takes into consideration that all novels exist as material objects within a literary field that is affected by editors, marketing people, reviewers, and other agents. The results support the following theses: Contact and exchange are implicitly and explicitly depicted as something positive, with two of the novels emphasising the virtues of selective appropriation. However, the exchange processes mainly work in one direction only and contact between (British) Asian and (white) British characters is limited. The blame for this is often put on the immigrants and their families. The selected texts focus on obstacles and conflicts in exchange processes without offering solutions to the conflicts. In this context, religion or religious fervour along with a lack of education are most often depicted as the main obstacle for reciprocal cultural exchange. The aesthetic means employed are analysed as well as their effects, e.g. whether form and content reinforce each other or produce contradictions. Finally, the thesis shows which novels deconstruct and contradict existing stereotypes and which ones are complicit in reproducing them. Primary texts: Monica Ali’s Brick Lane (2003), Nadeem Aslam’s Maps for Lost Lovers (2004), Gautam Malkani’s Londonstani (2006) and Maggie Gee’s The White Family (2002).
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Callon-Wells, Nicole. "L'émergence de l'album de jeunesse contemporain. Ruptures et continuité". Thesis, Paris Est, 2011. http://www.theses.fr/2011PEST0011.
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Le territoire de l’album de jeunesse contemporain, multiforme, inventif paraît fluctuant. Partagé entre l’image et le texte, il se présente comme une forme hybride aux frontières mouvantes entre livre illustré, album de bande dessinée, roman graphique. Notre corpus volontairement restreint concerne, parmi l’album de langue française tel qu’il se développe de 1945 à nos jours, une sélection significative d’œuvres d’auteurs illustrateurs. Il nous permet d’interroger les influences qui ont façonné son visage d’aujourd’hui : statut de l’enfant dans la société, impact de la technologie, des impératifs commerciaux, des grands courants artistiques. A partir de l’analyse des rapports entre l’image et le texte, il nous conduit à questionner la place de l’album dans l’environnement iconotextuel. Est-il possible de dégager sa singularité et de nous poser la question du genre ? Après avoir repéré aux sources de l’album la rencontre mouvementée de l’image et des mots de la Renaissance au XIXe siècle, nous analysons l’émergence de l’album contemporain, sa séparation avec l’album de bande dessinée entre 1900 et 1939. Nous voyons dans le rapport très particulier qui s’installe entre le support du livre et le fonctionnement de l’iconotexte, la constitution d’un genre de l’entre-deuxThe domain of contemporary picture books for children, in their multiple forms, is inventive and without formalized borders. It is shared between image and text, and presented as a hybrid form at with movable frontiers between illustrated books, picture books, comic books, and graphic novels. Our references are deliberately restrained to concern French language picture books and their development from 1945 to today, with a significant selection of works from author-illustrators. This makes visible the influences that have shaped today’s position: the status of the child in society, impact of technology, commercial needs, and major artistic trends. The analysis of the relationship between image and text takes us to question the place of the album in the iconotextuel environment. Is it possible to separate its singularity and for us to ask questions of the genre? After tracing the sources of picture books with the meeting dynamic of images and words from the Renaissance to the XXIst century, we analyze the emergence of the contemporary picture book, and its separation from comic books between 1900 and 1939. We can see that the very particular relationship that has developed between the physical book and the functioning of the iconotext, has led to the creation of a type between the two
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Domingue, Etienne. "Vers une herméneutique pluraliste du religieux dans les récits de superhéros : une approche orientée par la pensée de McLuhan". Mémoire, Université de Sherbrooke, 2016. http://hdl.handle.net/11143/8813.
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Le genre du super-héros s’impose de plus en plus dans l’imaginaire populaire. Les fictions de ce type suscitent l’intérêt des savants en raison de leur façon de véhiculer l’idéologie à travers des situations fantastiques. Les diverses manifestations du genre abordent implicitement ou explicitement des thèmes dont il est également question dans les discours religieux contemporains : autonomie et théonomie en éthique ; sacralité des hiérarchies, de l’environnement, des relations, de l’âme et du corps ; cosmogonie et eschatologie ; etc.
Pour ne pas traiter à tort et à travers de l’enchevêtrement des univers religieux et fantastiques, il importe d’aborder cette convergence sous plusieurs angles susceptibles d’en faire ressortir les sens sans lui imposer de cohérence réductrice. Dans cet optique, une herméneutique pluraliste basée sur les perspectives interprétatives de Marshall et Eric McLuhan est tout indiquée. La méthode McLuhan propose trois angles d’approche, trois rapports d’altération entre culture de l’imaginaire et religieux contemporain : le super-héros critique, récupère et déconstruit les récits, discours et autres réalités du religieux. Puisque le temps et l’espace consacré à l’étude sont restreints par des considérations pratiques, son échantillon est limité aux « comic books » de super-héros des trente dernières années, à leurs produits dérivés et à la littérature savante qui s’y réfère.
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Davila, Victor. "THE ILLUSION OF ART: MY AMALGAMATION OF ILLUSTRATION AND CONTEMPORARY ART". Master's thesis, University of Central Florida, 2007. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/3753.
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Drawing on archetypical aspects of human characteristics and personalities, I create images that illustrate our connection to memory, media, and culture. My work is informed by pop culture, including television, movies, cartoons and comic books as it relates to characters in our own physical world and society. The grid is used to represent both childhood games and the frames of a comic strip, where each panel equals an exact moment of time.M.F.A.
Department of Art
Arts and Humanities
Studio Art and the Computer MFA
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Callon-Wells, Nicole. "L'émergence de l'album de jeunesse contemporain. Ruptures et continuité". Electronic Thesis or Diss., Paris Est, 2011. http://www.theses.fr/2011PEST0011.
Pełny tekst źródłaStreszczenie:
Le territoire de l’album de jeunesse contemporain, multiforme, inventif paraît fluctuant. Partagé entre l’image et le texte, il se présente comme une forme hybride aux frontières mouvantes entre livre illustré, album de bande dessinée, roman graphique. Notre corpus volontairement restreint concerne, parmi l’album de langue française tel qu’il se développe de 1945 à nos jours, une sélection significative d’œuvres d’auteurs illustrateurs. Il nous permet d’interroger les influences qui ont façonné son visage d’aujourd’hui : statut de l’enfant dans la société, impact de la technologie, des impératifs commerciaux, des grands courants artistiques. A partir de l’analyse des rapports entre l’image et le texte, il nous conduit à questionner la place de l’album dans l’environnement iconotextuel. Est-il possible de dégager sa singularité et de nous poser la question du genre ? Après avoir repéré aux sources de l’album la rencontre mouvementée de l’image et des mots de la Renaissance au XIXe siècle, nous analysons l’émergence de l’album contemporain, sa séparation avec l’album de bande dessinée entre 1900 et 1939. Nous voyons dans le rapport très particulier qui s’installe entre le support du livre et le fonctionnement de l’iconotexte, la constitution d’un genre de l’entre-deuxThe domain of contemporary picture books for children, in their multiple forms, is inventive and without formalized borders. It is shared between image and text, and presented as a hybrid form at with movable frontiers between illustrated books, picture books, comic books, and graphic novels. Our references are deliberately restrained to concern French language picture books and their development from 1945 to today, with a significant selection of works from author-illustrators. This makes visible the influences that have shaped today’s position: the status of the child in society, impact of technology, commercial needs, and major artistic trends. The analysis of the relationship between image and text takes us to question the place of the album in the iconotextuel environment. Is it possible to separate its singularity and for us to ask questions of the genre? After tracing the sources of picture books with the meeting dynamic of images and words from the Renaissance to the XXIst century, we analyze the emergence of the contemporary picture book, and its separation from comic books between 1900 and 1939. We can see that the very particular relationship that has developed between the physical book and the functioning of the iconotext, has led to the creation of a type between the two
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Papantoniou, Nowak Stéphane. "Le livre. Dedans / Dehors. Autour des éditions Al Dante : la question du medium : Livre, transmédialité et intermédialité. Contemporanéité et avant-garde. Questions de création littéraire et artistique. L'édition comparée". Thesis, Lyon, 2018. http://www.theses.fr/2018LYSEN002.
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Cette thèse se propose d’étudier des pratiques poétiques dans et hors du livre à partir de parcours de poètes « passés » par les éditions Al Dante. Il s’agissait de questionner en particulier la notion de « performance », souvent réduite à une dimension scénique. Ou encore l’idée d’avant-garde, trop souvent limitée à une histoire politique close. L’idée d’avant-garde n’apparaît plus comme principe de structuration du groupe, mais comme spectralité agissante, conduisant à mêler des enjeux politiques — critique des institutions, critique de la langue dominante, contestations des places assignées par la culture — avec des enjeux esthétiques. Il est donc question de traduction poétique comme actualisation de la situation politique, et de transmédiation.L’approche stylistique a été progressivement supplantée par une approche médiologique pour problématiser des pratiques hétérogènes. La spécificité de la maison d’édition Al Dante nous permet de replacer le livre dans un écosystème poétique plus général, où le livre n’est plus la seule finalité, mais la médiation entre un processus de création et des manifestations publiques. Aussi peut-on lire ce moment contemporain non seulement comme l’émergence de thématiques dominantes, mais aussi comme une mise en crise de la centralité du livre et de son économie. La pratique des éditions Al Dante nous a donc amenés à défendre une « théorie du geste éditorial » qui ne se réduit pas à la mise en page d’un manuscrit, la production d’un livre et sa commercialisation, mais amène parfois à la création de livres qui ne possédaient pas d’espace éditorial. Repousser les frontières de l’édition, penser la spécificité du livre de « poésie-action » n’est pas sans paradoxes : déstructuration de la linéarité des discours, reconfiguration de l’espace de la page, adaptation spécifique des formats des livres et des polices de caractères. Ces pratiques ont pour enjeu la dimension performative du livre. En cela, on participe d’une manière renouvelée à une « performance typographique »This doctoral thesis offers to study poetic practices in and out of the book from poets’ itineraries published by the Al Dante publishing house. The thesis is questioning the performance's notion, most often reduced to its scenic's dimension, but also the avant-garde's idea, too often limited to a political history which has ended. The avant-garde notion doesn't appear anymore as the element structuring the group but as an acting spectrality, leading to mix political issues - criticism of the institutions, criticism of the dominant language, challenges the places assigned by culture - with aesthetic issues. It is therefore a question of poetic translation as actualization of the political situation, and of transmediation. The stylistic approach has been gradually supplanted by a mediological approach to problematize heterogeneous practices. The Al Dante publishing house specificities allow us to see the book in a more general poetic ecosystem, where the book is no longer the only purpose, but the mediation between a process of creation and public events. So we can read this contemporary moment not only as the emergence of dominant themes, but also as a crisis of the book’s centrality and its economy. The Al Dante publishing house practices has led us to defend a theory of “editorial gesture” that cannot be reduced to the layout of manuscript or the production of a book and its marketing, but sometimes leads to the creation of books that didn’t find an editorial space. To push the boundaries of edition, to think the specificity poetry-action’s book is raising paradoxes: the disintegration of the linearity of the speeches, the reconfiguration of the page’s space, the specific adaptation of the books forms and fonts. These practices concern the book’s performative dimension. So it participates in a renewed way to a "typographic performance"
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Wenzel, Jan. "Jedes Buch ein Sourcebook". Saechsische Landesbibliothek- Staats- und Universitaetsbibliothek Dresden, 2010. http://nbn-resolving.de/urn:nbn:de:bsz:14-qucosa-60999.
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Rezeption und Produktion sind im Medium Buch seit jeher eng miteinander verbunden. Nicht nur die Texte in einem Buch gelten als zitierfähig, sondern jedes seiner Elemente, wie die Abbildungen, die Typografie, sogar das Material eines Buches. Um selbst auch „zu produzieren“, sind dafür natürlich Orte wichtig, an denen man auf das bereits Produzierte Zugriff hat: zum Beispiel Bibliotheken.
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Adams, Victoria. "Doing it by the book : the uses of paratext in creating expectation and determining structural genre in contemporary British fiction". Thesis, University of Newcastle upon Tyne, 2011. http://hdl.handle.net/10443/1191.
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My thesis is engaged – creatively and critically – in theorising the paratext of hybrid works which fall in the boundary space between a novel and a collection of short stories, and in charting how the production and reception of such works relates to perceived commercial pressure in the British publishing industry. It offers a methodological suggestion for identifying and approaching structural genre boundaries through a sliding scale of monotextual and polytextual signifiers; identifying the levels of narrative unity within the printed, bound book. Presented in two parts, my thesis aims to mimic the iterative reading experience – each part enhancing and developing the content of the other – which it identifies as key to the hybridity of the books under discussion. Part one contains the critical component and Part two presents my research in the form of an original, hybrid work of fiction titled Steal This Book. Part one Chapter one introduces the key critical concepts of paratext, monotext, polytext, and structural genre in the frame of reference of British fiction. Chapter two addresses the historical precedents of marketplace dictating form in British publishing. Chapter three offers a unique perspective on how closer examinations of paratext can assist writers, readers and critics in the digital age. Chapter four examines the position of the reader in relation to hybrid fiction and Chapter five demonstrates a variety of different paratextual forms, structures, and methods which British writers are using today. Part two Steal This Book provides a distinct commentary through example, representing the practical effects of paratext through its own structure. In the five interlinked narratives both the thematic and the character-driven story arcs aim to straddle the boundary space between short story collection and novel, expanding on the structurally-driven theorising of Part one by demonstrating the necessity of structure coming second to story in order to provide a satisfying read.