Submitted by Noeme Timbo (noeme.timbo@metodista.br) on 2017-03-27T19:35:14Z No. of bitstreams: 10 Folha de aprovacao.pdf: 7690 bytes, checksum: 2f695f11bae6b2dd148615d0b59b53b4 (MD5) Folha de rosto.pdf: 10022 bytes, checksum: 0e6bf62410f960b96b5dbf667f8f47c0 (MD5) Resumo.pdf: 7437 bytes, checksum: 9df315f4fdccb7bbd7f9fbf21b21b1b5 (MD5) Sumario.pdf: 10298 bytes, checksum: fec2343b113b70dd8465dd93da5a7593 (MD5) Capitulo1.pdf: 1492835 bytes, checksum: fa8831aac3b0b17b29ec1cd277207dfb (MD5) Capitulo2.pdf: 799641 bytes, checksum: b0e5bdcf87acc39f8dd42f92933bc50c (MD5) Capitulo3.pdf: 2677712 bytes, checksum: 2b62a00908f632b1da32a80bb7ec3971 (MD5) Conclusao.pdf: 21517 bytes, checksum: 25d83de51ecc10e29ac63851df232277 (MD5) Referencias.pdf: 20209 bytes, checksum: 32ed5696b45a695c4aa8bd5b59f4e5dd (MD5) Introducao.pdf: 110808 bytes, checksum: 1353411cb4c11999da25bd9afb6dff18 (MD5) / Made available in DSpace on 2017-03-27T19:35:14Z (GMT). No. of bitstreams: 10 Folha de aprovacao.pdf: 7690 bytes, checksum: 2f695f11bae6b2dd148615d0b59b53b4 (MD5) Folha de rosto.pdf: 10022 bytes, checksum: 0e6bf62410f960b96b5dbf667f8f47c0 (MD5) Resumo.pdf: 7437 bytes, checksum: 9df315f4fdccb7bbd7f9fbf21b21b1b5 (MD5) Sumario.pdf: 10298 bytes, checksum: fec2343b113b70dd8465dd93da5a7593 (MD5) Capitulo1.pdf: 1492835 bytes, checksum: fa8831aac3b0b17b29ec1cd277207dfb (MD5) Capitulo2.pdf: 799641 bytes, checksum: b0e5bdcf87acc39f8dd42f92933bc50c (MD5) Capitulo3.pdf: 2677712 bytes, checksum: 2b62a00908f632b1da32a80bb7ec3971 (MD5) Conclusao.pdf: 21517 bytes, checksum: 25d83de51ecc10e29ac63851df232277 (MD5) Referencias.pdf: 20209 bytes, checksum: 32ed5696b45a695c4aa8bd5b59f4e5dd (MD5) Introducao.pdf: 110808 bytes, checksum: 1353411cb4c11999da25bd9afb6dff18 (MD5) Previous issue date: 2027-04-23 / This work had as objective the verbal statements and/or non-verbal printed in book covers-written by Brazilian authors and adapted for film or television-that associate the book to the film or television production. Its objective was to verify whether such statements could be classified as Paratext-as is regarded by Gerard Genette. The motivation for this research came the realization that, in being those statements built from a derivative work of a book, to what extent they could be of service to the main text? To answer that question, the statements were analyzed according to the concepts of discourse analysis and the rhetorical analysis. The results obtained in the analysis made it possible to conclude that some statements are not as paratextuais and, based on the concepts of critical theory, make it possible to understand, critically, the editorial procedures with which the book relates to the other media products. (AU) / Este trabalho teve como objetivo os enunciados verbais e/ou não-verbais impressos em capas de livros - escritos por autores brasileiros e adaptados para o cinema ou para a televisão - que associam o livro à produção cinematográfica ou televisiva. Seu objetivo foi verificar se tais enunciados poderiam ou não ser classificados como paratexto - conforme é conceituado por Gerard Genette. A motivação para esta pesquisa surgiu pela constatação de que, em sendo aqueles enunciados construídos a partir de uma obra derivada de um livro, em que medida eles poderiam estar a serviço do texto principal? Para responder a essa questão, os enunciados foram analisados segundo os conceitos da análise do discurso e da análise retórica. Os resultados obtidos na análise permitiram concluir que alguns enunciados não se configuram como paratextuais e, com base nos conceitos da Teoria Crítica, possibilitam compreender, criticamente, os procedimentos editoriais com que o livro se relaciona com os demais produtos midiáticos.(AU)

Submitted by Fabiano Vassallo (fabianovassallo2127@gmail.com) on 2017-04-25T18:31:13Z No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Dissertação_Sabrina Vianna de Castro.pdf: 3797448 bytes, checksum: d6f7b6ee39bb5d202c3899b069fe9a24 (MD5) / Approved for entry into archive by Josimara Dias Brumatti (bcgdigital@ndc.uff.br) on 2017-05-09T15:54:54Z (GMT) No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Dissertação_Sabrina Vianna de Castro.pdf: 3797448 bytes, checksum: d6f7b6ee39bb5d202c3899b069fe9a24 (MD5) / Made available in DSpace on 2017-05-09T15:54:54Z (GMT). No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Dissertação_Sabrina Vianna de Castro.pdf: 3797448 bytes, checksum: d6f7b6ee39bb5d202c3899b069fe9a24 (MD5) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Este trabalho apresenta um estudo de capas de livros ilustrados, que, em geral, apresentam um complexo entrelaçamento entre as linguagens verbal e visual em sua constituição. Acredita-se que a capa seja um recurso fundamental de captação de leitores no qual a editora se apoia e investe inúmeras estratégias a fim conquistar um duplo destinatário: a criança e o adulto. Para a realização desse estudo, são utilizados os pressupostos da Teoria Semiolinguística de Análise do Discurso, postulada por Patrick Charaudeau, com destaque aos seguintes conceitos-chave: duplo processo de semiotização do mundo; contrato de comunicação; memórias discursivas; estratégias discursivas e visadas discursivas. Observa-se que, nas capas, o contrato de comunicação se encontra em uma situação de monolocução, sem a copresença física dos parceiros (editora e leitor), configurando-se em um contrato de troca postergada. Para tal, as estratégias discursivas de captação, credibilidade e legitimação empregadas pelo sujeito comunicante mostram a imagem do sujeito-produtor (editora) e a imagem que este projeta do destinatário (leitor) – que deseja atrair para a compra do livro. Tais estratégias estão intimamente ligadas às visadas discursivas que pressupõem a intencionalidade psico-sócio-discursiva do sujeito comunicante. Como os livros ilustrados apresentam um endereçamento duplo, a editora irá se apoiar, também, nas memórias discursivas, recurso que pretende acessar saberes em ambos os públicos, despertando a curiosidade e criando vínculos, através da capa, para a posterior leitura do livro. Verifica-se, também, que a capa de livro ilustrado constitui um gênero textual específico, por se configurar em torno de uma intenção - captação do leitor/consumidor -, apresentando design elaborado e elementos constitutivos recorrentes: título, imagem, nome do autor e da editora / This paper presents a study of picture books covers by having a complex interweaving between the verbal and visual languages that are closely linked. It is believed that the cover is a key resource for readers pickup in which the publisher builds and invests numerous strategies to win a double recipient: the child and the adult. To this end, the assumptions of The Semiolinguistic Theory of Discourse Analysis by Patrick Charaudeau highlighting the key concepts of this theory are used: double process of semiotization the world; communications contract; discursive memories, discursive strategies; targeted discursive. It is observed that the communications contract is in a monolocation situation, that is, without the physical presence of the co-partners (publisher and reader), setting up in an exchange contract postponed. To this end, the discursive strategies of funding, credibility and legitimacy employed by the subject connecting, show the image of this subjectproducer (publisher) and the image that projects the recipient (reader) - that want to attract to purchase the book. Such strategies are closely linked to discursive targeted assume that intentionality psycho social discourse of the subject connecting. As the picture books have a double address, the publisher will be supported also in the discursive memories, these resources who want to access knowledge in both public, arousing the curiosity and linking, first, through the hood, in order to further reading book. There is also the picture book cover constitutes its own genre, to present a proposal and natural and stable elements in this communication contract

Uppsatsen avser analysera den argumentation som förekommer på bokomslagen till de svenska böckerna om Harry Potter. Genom att studera vilka visuella argument som förekommer på böckers omslag, är syftet med arbetet att undersöka hur omslagen argumenterar och kommunicerar via olika visuella element såsom färg, form, illustrationer och symboler. Utifrån detta görs sedan en jämförande analys mellan omslagen på böckernas första utgåva och den nyutgåva som presenteras 20 år senare. Omslagen som analyseras utgörs således av sju titlar från den första svenska utgåvan (utgiven 1999–2007) samt sju titlar från nyutgåvan (utgiven 2019). Såväl teori som metod hämtas från retoriken generellt och den visuella retoriken specifikt. Genomförda analyser visar att argument som talar till mottagarens känslor, pathos-argument, är klart mest förekommande på omslagen. Åskådliggörande och händelserika illustrationer, betraktarperspektiv, färger och symboler utgör de primära visuella argumenten. Till viss del förekommer även argument som bygger på författarens och huvudkaraktärens person, ethos-argument. Den jämförande analysen visar att de första omslagen har ett mer direkt och lättolkat tilltal, som primärt riktar sig till en (yngre) förstagångsläsare. De nya omslagen har ett mer diskret, vuxnare tilltal med symboler som lättare avkodas av någon som redan känner till historien om Harry Potter. / The essay aims to analyse the arguments that appear on the book covers of the Swedish books on Harry Potter. By studying the visual arguments that appear on the cover of books, the purpose is to investigate how the covers argue and communicate via various visual elements such as colour, shape, illustrations, and symbols. Then, a comparative analysis is made between the covers on the first edition of the books and the new edition, which is presented 20 years later. The covers that are analysed thus consist of seven titles from the first Swedish edition (published 1999–2007) and seven titles from the new edition (published 2019). The theory and method of the essay are both derived from rhetoric in general and visual rhetoric specifically. The analysis conducted show that arguments that speak to the recipient's feelings, pathos arguments, are most common on the cover. Illustrative and dramatic illustrations, viewer perspective, colours, and symbols are the primary visual arguments. To some extent, there are also arguments based on the author and main character's person, ethos arguments. The comparative analysis shows that the first covers have a more direct and easily interpreted address, which is primarily aimed at a (younger) first-time reader. The new covers have a more discreet, adult appeal with symbols that are more easily decoded by someone who already knows the story of Harry Potter.

In Storytel’s application on which a user can read and listen to digitalized literature, a user is displayed a list of books where the first thing the user encounters is the book title and cover. A book cover is therefore essential to attract a consumer’s attention. In this study, we take a data-driven approach to investigate the design principles for book covers through deep learning models and explainable AI. The first aim is to explore how well a Convolutional Neural Network (CNN) can interpret and classify a book cover image according to its genre in a multi-class classification task. The second aim is to increase model interpretability and investigate model feature to genre correlations. With the help of the explanatory artificial intelligence method Gradient-weighted Class Activation Map (Grad-CAM), we analyze the pixel-wise contribution to the model prediction. In addition, object detection by YOLOv3 was implemented to investigate which objects are detectable and reoccurring in the book covers. An interplay between Grad-CAM and YOLOv3 was used to investigate how identified objects and features correlate to a specific book genre and ultimately answer what makes a good book cover. Using a State-of-the-Art CNN model architecture we achieve an accuracy of 48% with the best class-wise accuracies for genres Erotica, Economy & Business and Children with accuracies 73%, 67% and 66%. Quantitative results from the Grad-CAM and YOLOv3 interplay show some strong associations between objects and genres, while indicating weak associations between abstract design principles and genres. Furthermore, a qualitative analysis of Grad-CAM visualizations show strong relevance of certain objects and text fonts for specific book genres. It was also observed that the portrayal of a feature was relevant for the model prediction of certain genres.

The aim of this essay is to examine book covers consisting of art reproductions as a contemporary book cover tendency for literary fiction. Since the ”art cover” does not recur to the same extent on popular fiction the study focuses on its functions in the packaging of literary fiction.  The theoretical framework is based on concepts such as ”paratext”, ”duomedial dialogues” and ”cultural capital”. Earlier studies on literary fiction, book covers and classical artforms are moreover central aspects to the conclusions made in this essay. The method used is a mix of a quantitative mapping of the book cover tendency and a qualitative analysis of the selected material. The material, consisting of nine contemporary literary fiction novels, are analyzed through their intermedial connections to the artworks displayed on their book covers. While the quantitative mapping showed that most art covers reproduce non-contemporary artworks, the qualitative analysis demonstrated that the motifs are depicted differently in the selected novels. Whereas the artwork in some novels seem meaningful to the plot, other novels only mention the artwork briefly or not at all.  Consequently, the art cover is discussed as a marketing tool developed by publishing companies in order to address the right audience. In its displaying of historical or classical art, the book cover tendency resembles classical aesthetics and cultural ideals that are mainly learned through institutions that legitimizes cultural capital. Thus, the novel’s intermedial connection to the art cover is not equally comprehensible to all readers but firmly to a cultural privileged one. Furthermore, this essay demonstrates that the art cover conveys prestige and cultural value in a similar way to literary fiction. As a result, literary fiction continues to distance itself from popular fiction on the contemporary book market.

This paper discusses the metamorphosis in Ingvild Lothe's poetry collection Hvorfor er jeg så trist når jeg er så søt (2016). To investigate the relationship between human and nature Stacy Alaimo's term "trans-corporeality" is being used. In this paper, an analysis is being made of the poetry collection and the book cover regarding these matters. The poetry analysis is split into four sections, following the stages of the butterfly's metamorphosis. When analyzing the book cover, it is mostly viewed as an adaptation of the poems. The findings of this study suggests that there are three different types of metamorphoses in the poems and on the book cover. These are biological, symbolical and psychological. It is also found that the metamorphosis on the book cover is being more positively depicted than in the poetry collection.

The aim of the study is to apply a paratext analysis to investigate what it is in thepackaging of books that can appear attractive to children and what are the distinctiveshared features of popular pupil choices among books. The analysis consists of anexamination of each book and then a comparative section. The analytical categories arethe title and subtitle, author’s name, publisher’s information, cover pictures, the backcover, the spine, the format of the book, endpapers, and the series emblem. Thetheoretical premises are hermeneutics and semiotic interpretations of signs. The studyproceeds from Genette’s concepts of paratext, peritext and epitext. A prominent common feature of the books was series emblems in the form ofmain titles and colours. Another significant conclusion is that the cover often depictssome climactic event in the content of the book. The content and the cover mustharmonize so that the reader will not feel disappointed. The didactic conclusions are thatteachers must have a good understanding of the effect a book cover can have on pupils.Often teachers try to motivate pupils by telling them about the exciting content, but ifthe pupil is not motivated by the paratext, the threshold will be too high. It is of greatrelevance that teachers offer pupils several different books with varying paratexts.