This dissertation studies visual artifacts associated with early modern theatre and book culture, and through them examines acts of communication in the marketplace. These artifacts, illustrated play-text title pages from the period 1600 to 1660, provide scholars with an opportunity to better understand the discursive power of theatre and subjects associated with drama in seventeenth-century London. This work offers a set of case studies that demonstrate how title page imagery and its circulation can contribute to our understanding of contemporary theatre culture, and addresses questions of intention, production and distribution. As well, it offers insights into early modern modes of constructing visualization. These artifacts served not only as visual reminders or interpretations of the dramatic works they represented, but were also used as powerful marketing tools that enhanced the cultural capital of the plays throughout London. The title pages were used as posters, tacked to the walls of the booksellers’ shops; the woodcuts were also repurposed, and incorporated into other popular publications such as broadside ballads, which retold the plots of the plays in musical form and were sold on city street corners. These connections raise questions about early modern forms of marketing used by publishers, and challenge the widely accepted belief that images held little value in the society and in the culture of print of the period. In addition, the distribution of these illustrations challenges the widespread conviction that early modern English culture was iconophobic, and suggests that seventeenth-century English society embraced rather than spurned visual media. Methodologically, this study is built on the foundations laid by scholars of English theatre and print culture. Within those fields, however, it has been customary to view these title page illustrations as inferior forms of representation, especially in comparison to their continental counterparts. By using tools from visual rhetoric to expand on how and what these images communicate, I am able to show the important functions they performed, and the distinct and playful way they represent complex relationships between stage and page, audience and performance, reading and spectating. These readings, in turn, enrich our historical understanding of the cultures of print and theatre, and build upon our knowledge of the interactions between these rich and important fields. Each chapter explores theoretical and contextual questions that pertain to some aspect of each illustration, as well as examining whether individual illustrations can inform us further about early modern theatrical performance practices. The introduction surveys the relevant field and introduces the theoretical resources that will be used in the subsequent chapters. Chapter Two examines the 1633 edition of Arden of Faversham and the question of whether the action in the illustration pertains to the play or to a broadside ballad that appeared in the same year. The third chapter provides a theoretical analysis of the performance of violence in the woodcut for The Spanish Tragedy, and how emphatic elements in the image may demonstrate the influence of theatrical performance upon the artist. Chapter Four explores the relationship between the title page of Friar Bacon and Friar Bungay and the concept of celebrity in relation to the Tarltonesque clown character who dominates the action of the image. Chapter Five considers the problematic relationship between theatre, politics and satire in the competing engraved title pages for A Game at Chess. The conclusion draws together the findings, and points to other aspects of early modern print and theatre cultures to which they pertain.

The need and longing to connect to another is a fundamental desire of the human heart, enforcing a sense of movement toward social and personal security and, moreover, the future. Yet it is paradoxical that, where people are the most closely crowded together, feelings of alienation and loneliness are often the greatest. We live in times of busy isolation, on streets where we dont know our neighbours, in societies where our lives are lived behind closed doors. As the global village grows, our personal worlds shrink, both by circumstance and by choice. Our innate, gregarious nature faces its greatest challenge, or ultimate defeat.<p> The story of my hometown, New Waterford, is a substantial element in the story of my life as well as my art. The woodcuts and many of the paintings in the exhibition, Slag, are documentations of this place, its inhabitants and their way of life. It is a town with a unique character resulting from the circumstances surrounding its relationship to coalmininga town that is withering away now that the mines are gone. Other paintings in the exhibition depict people and spaces from other places that I have lived. Though the environments change, there are similarities in the pathos of the human subjects that remain constant. In my work, whether I am depicting the inhabitants of a hollowed out town or the solitary subway commuter, they are united as those things that have been lost or left behind in the name of progressthe leftovers and waste: the slag.

This dissertation studies visual artifacts associated with early modern theatre and book culture, and through them examines acts of communication in the marketplace. These artifacts, illustrated play-text title pages from the period 1600 to 1660, provide scholars with an opportunity to better understand the discursive power of theatre and subjects associated with drama in seventeenth-century London. This work offers a set of case studies that demonstrate how title page imagery and its circulation can contribute to our understanding of contemporary theatre culture, and addresses questions of intention, production and distribution. As well, it offers insights into early modern modes of constructing visualization. These artifacts served not only as visual reminders or interpretations of the dramatic works they represented, but were also used as powerful marketing tools that enhanced the cultural capital of the plays throughout London. The title pages were used as posters, tacked to the walls of the booksellers’ shops; the woodcuts were also repurposed, and incorporated into other popular publications such as broadside ballads, which retold the plots of the plays in musical form and were sold on city street corners. These connections raise questions about early modern forms of marketing used by publishers, and challenge the widely accepted belief that images held little value in the society and in the culture of print of the period. In addition, the distribution of these illustrations challenges the widespread conviction that early modern English culture was iconophobic, and suggests that seventeenth-century English society embraced rather than spurned visual media. Methodologically, this study is built on the foundations laid by scholars of English theatre and print culture. Within those fields, however, it has been customary to view these title page illustrations as inferior forms of representation, especially in comparison to their continental counterparts. By using tools from visual rhetoric to expand on how and what these images communicate, I am able to show the important functions they performed, and the distinct and playful way they represent complex relationships between stage and page, audience and performance, reading and spectating. These readings, in turn, enrich our historical understanding of the cultures of print and theatre, and build upon our knowledge of the interactions between these rich and important fields. Each chapter explores theoretical and contextual questions that pertain to some aspect of each illustration, as well as examining whether individual illustrations can inform us further about early modern theatrical performance practices. The introduction surveys the relevant field and introduces the theoretical resources that will be used in the subsequent chapters. Chapter Two examines the 1633 edition of Arden of Faversham and the question of whether the action in the illustration pertains to the play or to a broadside ballad that appeared in the same year. The third chapter provides a theoretical analysis of the performance of violence in the woodcut for The Spanish Tragedy, and how emphatic elements in the image may demonstrate the influence of theatrical performance upon the artist. Chapter Four explores the relationship between the title page of Friar Bacon and Friar Bungay and the concept of celebrity in relation to the Tarltonesque clown character who dominates the action of the image. Chapter Five considers the problematic relationship between theatre, politics and satire in the competing engraved title pages for A Game at Chess. The conclusion draws together the findings, and points to other aspects of early modern print and theatre cultures to which they pertain.

Submitted by Oliveira Santos Dilzaná (dilznana@yahoo.com.br) on 2016-06-27T13:11:37Z No. of bitstreams: 1 Dissertação de Adriano Souza Athayde.pdf: 3988617 bytes, checksum: 86e4906dc0bd7121bfdfc3dc97a3e775 (MD5) / Approved for entry into archive by Juarez Cardoso da Silva (juarez.cardoso@ufba.br) on 2016-07-04T17:16:02Z (GMT) No. of bitstreams: 1 Dissertação de Adriano Souza Athayde.pdf: 3988617 bytes, checksum: 86e4906dc0bd7121bfdfc3dc97a3e775 (MD5) / Made available in DSpace on 2016-07-04T17:16:02Z (GMT). No. of bitstreams: 1 Dissertação de Adriano Souza Athayde.pdf: 3988617 bytes, checksum: 86e4906dc0bd7121bfdfc3dc97a3e775 (MD5) / FAPESB / A presente pesquisa situa-se na área da Sociologia da Arte, uma vez que faz reflexões sociológicas sobre as obras xilográficas do artista plástico alemão Hansen Bahia, interessando-se, principalmente, pelas representações sociais contidas em sua criação plástica erótica. A pesquisa compreende a obra de Hansen enquanto xilogravura e a sua relação com a obra de Jorge Amado, preocupando-se, sobretudo, com a relação da arte com os fenômenos sociais, no caso específico do artista pesquisado centra-se sobe uma leitura plástica das principais obras hansiana, produzidas entre as décadas de cinquenta e setenta do século passado, que apresentam como aspectos unificadores de sua composição a corporeidade e as condições sociais da população marginalizada de Salvador, residente do centro histórico da cidade, criando um paralelo entre sua estética e os textos amadianos.This research is located in the Art Sociology of the area, since it makes sociological reflections on the woodcut works of the German artist Hansen Bahia, interesting, mainly due to the social representations contained in its plastic creation erotic. The research comprises the work of Hansen as woodcut and its relationship with the work of Jorge Amado, concerned above all with the art of grating with social phenomena in the specific case of the artist researched focuses rises a plastic reading hansiana major works produced between the decades of fifty and seventy of the last century, which have the unifying aspects of its composition corporeality and social conditions of the marginalized population of Salvador, resident of the historic city center, creating a parallel between their aesthetic and the amadianos texts. / This research is located in the Art Sociology of the area, since it makes sociological reflections on the woodcut works of the German artist Hansen Bahia, interesting, mainly due to the social representations contained in its plastic creation erotic. The research comprises the work of Hansen as woodcut and its relationship with the work of Jorge Amado, concerned above all with the art of grating with social phenomena in the specific case of the artist researched focuses rises a plastic reading hansiana major works produced between the decades of fifty and seventy of the last century, which have the unifying aspects of its composition corporeality and social conditions of the marginalized population of Salvador, resident of the historic city center, creating a parallel between their aesthetic and the amadianos texts. Key words: Hansen Bahia, Woodcut, Eroticism, Art Sociology

Submitted by Emanuel Varela Cardoso (emanuel.varela@ufcg.edu.br) on 2018-05-09T23:29:11Z No. of bitstreams: 1 WILSON GOMES DE MEDEIROS – DISSERTAÇÃO (PPGDesign) 2017.pdf: 18831729 bytes, checksum: e79255576dacfb369de6cb387dd2796d (MD5) / Made available in DSpace on 2018-05-09T23:29:11Z (GMT). No. of bitstreams: 1 WILSON GOMES DE MEDEIROS – DISSERTAÇÃO (PPGDesign) 2017.pdf: 18831729 bytes, checksum: e79255576dacfb369de6cb387dd2796d (MD5) Previous issue date: 2017-04-03 / A xilogravura popular associada à literatura de cordel possui uma estética peculiar que tem forte identidade cultural. Sua imagem tem sido utilizada em projetos gráficos e vídeos quando se pretende remeter ao Nordeste. Atualmente, as gravuras são elaboradas também para projetos em mídias digitais e animação, utilizando-se técnicas próprias aos meios, que simulam a imagem da xilogravura a partir dos elementos plásticos (texturas, linhas, cores) e icônicos presentes no suporte original. A partir de um corpus composto por ilustrações feitas por xilogravadores populares e por ilustrações elaboradas por designers e ilustradores utilizando o computador, foi realizado um estudo comparativo com base na classificação dos signos formulada por Peirce (2015) e no conceito de signo plástico proposto pelo Groupe μ (1993). A análise visou identificar as similaridades e diferenças, os elementos que permanecem e as reelaborações sofridas pela estética original nas mídias digitais. Concluiu-se que as xilogravuras populares têm em seu conjunto signos icônicos, indiciais e simbólicos, além de signos plásticos, que as identificam, como a presença de determinados padrões de texturas, cores, formas e composição. Observou-se que parte desses atributos permanecem em sua transposição para os vídeos de animação, e que permitem identificá-las, porém, no novo meio as imagens ganham novos signos e significados, comoa presença de iluminação, profundidade, tridimensionalidade e movimento, que ampliam suas possibilidades plásticas e estéticas. / The popular woodcut associated with folk literaturehas peculiar aesthetics that have a strong cultural identity. Its image has been used in graphic projects and videos when intended to refer to Northeastern Brazil. Nowadays, the engravings are also designed for projects in digital media and animation, by using appropriate techniques for the media, which simulate images of woodcut from plastic elements (textures, lines, colors) and iconic elements present in the original support. From a corpus composed of illustrations by popular woodcutters and illustrations prepared by designers and illustrators who use the computer, a comparative study was performed based on the classification of signs formulated by Peirce (2015) and on the concept of plastic sign proposed by Groupe μ(1993). The analysis aimed to identify similarities and differences, the elements that remain and the remaking undergone by the original aesthetics in digital media. It was concluded that, as a whole, popular woodcut has iconic, indicial and symbolic signs, as well as plastic signs that identify them, such as the presence of certain textural patterns, colors, forms and compositions. It was observed that some of these attributes remain in the transposition to the animation and that it is possible to identify them, however, in the new environment they gain new signs and meanings, such as the presence of illumination, depth, tridimensionality and movement, which extendits plastic and aesthetic possibilities.

[pt] Esta dissertação analisa as transições de usos pelas quais passaram as técnicas de reprodução de imagens. São identificadas as diferentes roupagens funcionais assumidas por tais fazeres e, dentre elas, privilegiadas as abordagens especificamente artísticas: aquelas que se valem de técnicas que perderam sua utilização funcional e aquelas que se apropriam de técnicas até então marcadas estritamente por esta funcionalidade. Nesse contexto, é então estudada a atuação da Lithos Edições de Arte, oficina gráfica fundada em 1973, no Rio de Janeiro. Ao longo de 35 anos, a Lithos vem trabalhando junto a importantes nomes das artes brasileiras, oferecendo-os a possibilidade de realizar trabalhos em série em serigrafia e litografia. Desde 2005, esta oficina realiza uma pioneira experiência com a nova técnica de gravação digital de matrizes de off-set, o CTP, computer-to-plate. Desenvolvidas e direcionadas para a industria gráfica, na Lithos, essas matrizes são adaptadas e impressas em uma prensa litográfica Marinoni, do século XIX. / [en] This dissertation analyzes the transitions of uses that the techniques of reproduction of images have passed through. The study identifies different functional outwardness assumed for such doings, and, among them, it privileges the specifically artistic approaches: those using techniques that lost their functional use and those that appropriate of techniques strictly marked until then by this functionality. In that context, it is, then, studied the performance of Lithos Edições de Arte, graphic workshop founded in 1973, in Rio de Janeiro. Along 35 years, Lithos is working close to important names of the Brazilian arts, offering them the possibility to carry out serial works in screen-printing and lithograph. Since 2005, this workshop accomplishes a pioneer experience with the new technique of digital recording of offset matrices, CTP, computer-to-plate. Developed and addressed for the graphic industry, in Lithos, those matrices are adapted and printed in a lithographic press Marinoni, of the century XIX.

Submitted by Cláudia Bueno (claudiamoura18@gmail.com) on 2015-10-28T17:08:39Z No. of bitstreams: 2 Dissertação - CHRISTIANE cavalcante FRAUZINO - 2015.pdf: 7170723 bytes, checksum: f43faceaa92e5fae8fa3e73a13a52868 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) / Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2015-10-29T10:17:05Z (GMT) No. of bitstreams: 2 Dissertação - CHRISTIANE cavalcante FRAUZINO - 2015.pdf: 7170723 bytes, checksum: f43faceaa92e5fae8fa3e73a13a52868 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) / Made available in DSpace on 2015-10-29T10:17:05Z (GMT). No. of bitstreams: 2 Dissertação - CHRISTIANE cavalcante FRAUZINO - 2015.pdf: 7170723 bytes, checksum: f43faceaa92e5fae8fa3e73a13a52868 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) Previous issue date: 2015-04-14 / The present article evoke memories from my childhood and bring to present poetic elements that I will to construct a project for site specific. Images-memories of the past came into my mind like photographs. The memory like a poetic territory envolve and put together past and present on the same line, breaking boundaries. The images used to make the curtains, were printed from woodcut , pieces of old floorboard. Between present and past, images and memories, i try to connect ideas to propose possilites dialogues poetic. / Deambulando pelo território da memória afetiva, encontrei uma lembrança singular da qual comecei a explorar as possibilidades de um processo poético entre gravura e site specific. A presente pesquisa esboça um breve percurso possível de ser visualizado através da proposta de elaboração de um site retira imagens de matrizes apropriadas dos restos do antigo assoalho do casarão de meus familiares na cidade de Morrinhos e as transpõe para longas cortinas. A partir desse processo é que busco as relações poéticas entre os referenciais teóricos e execução poética de uma obra.

Orientador: Luise Weiss / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-24T21:31:09Z (GMT). No. of bitstreams: 1 Silva_WilsonRobertoda_D.pdf: 16280272 bytes, checksum: 11413fbb861442a3e75dea59047ef186 (MD5) Previous issue date: 2014 / Resumo: Esta tese é resultado de uma pesquisa iniciada no mestrado e consiste na produção de estampas predominantemente provenientes de matrizes de gravura em metal e xilogravura, gravadas para serem capazes de permutar suas formas entre elas separadamente e formar combinações complementares, híbridas e aleatórias resultantes do processo de impressão. O principal objetivo é obter o maior número possível de estampas diferentes de um conjunto de matrizes e com isso, não só conciliar visualmente erotismo e anatomia humana na gravura, mas também ressaltar a variedade, como atributo dos organismos que se reproduzem sexualmente e perecem, para dar início a um novo ciclo / Abstract: This thesis is the result of a research started in the master's program and consists of the production of prints mainly from etching plates and woodcut, carved to be able to permute its shapes among them separately and create complimentary, hybrid and random combinations resulting from the printing process. The main goal is to obtain the largest possible amount of different prints from a set of plates and, with that, not only visually conciliate eroticism and human anatomy on the engraving, but also highlight the variety, as an attribute of the organisms that reproduce sexually and perish, in order to initiate a new cycle / Doutorado / Artes Visuais / Doutor em Artes

Thesis about life and work of a printer and a woodcutter Michael Peterle is focused mainly on his assumed woodcutting activity (he was active between years 1562-1588). It is based on following assumption: although Michael Peterle did not sign his woodcuts, he illustrated portion of his prints. His printing office produced multitude of topical compositions and some interesting illustrated books. Photodocumentation and description of woodcutting illustrations and decoration (according to Soupis tisků Michaela Peterla staršího a jeho nástupců by Pravoslav Kneidl and more recent sources) was created during writing of this thesis. Attention was also focused on context of usage of illustrations. Afterwards Illustrations and decoration of Peterle's competition in the Czech Republic and Germany were examined. Conducted research showed, that Michael Peterle was not woodcutter, but only a colorist and a printer. This thesis provides another view on printing production in the second half of the 16th century. Key words: Peterle, Michael; printer; bookprinting; woodcut; illustration; decoration

This diploma thesis explores the life and the work of the painter and illustrator Virgil Solis Junior (1551 - 1617?). Virgil Solis Junior was the son of the renowned German graphic artist Virgil Solis Senior. In 1567 Solis Junior came to Prague. Firstly, the thesis provides information about Solis's life and position among visual artists in Prague of the time. Further, it describes his potential professional involvement at the court of the Emperor Rudolf II. Virgil Solis was also an illustrator. Drawing from literature published so far, it seems that his only illustrated book was Diadochos, printed in 1602. This thesis, however, supposes that Solis worked on other illustrations during his stay in Prague. It explores and compares various woodcuts from the 16th and 17th centuries and thus compiles a list of printed volumes where Virgil Solis was the author of drawings or woodcuts. This thesis brings an interesting insight into the life of an artist living and working in the Prague of Rudolf II.