Orientador: Anna Paula Silva Gouveia / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-14T17:41:14Z (GMT). No. of bitstreams: 1 Nogueira_JulioCesarGiacomelli_D.pdf: 6716028 bytes, checksum: 95f6712016a187afca3bf990f315211e (MD5) Previous issue date: 2009 / Resumo: Eugênio Hirsch (Viena, 1923 - Rio de Janeiro, 2001) é mais conhecido por seu trabalho na editora Civilização Brasileira na primeira metade da década de 1960. Sua atuação na editora do Rio de Janeiro foi marcada pela versatilidade de recursos visuais e pela ampla liberdade concedida pelo editor Ênio Silveira. No mesmo período produziu capas para a editora Globo, de Porto Alegre, em quantidade muito inferior, mas com a mesma liberdade e qualidade. Após passagem pelos EUA, Hirsch foi contratado pela editora madrilenha Codex como diretor de arte da Coleção Museus do Mundo, e retornou ao Brasil no final dos anos 1960, passando a trabalhar para a Livraria José Olympio Editora. Esta dissertação tem como tema central a relação entre o lettering e as imagens no trabalho de Hirsch. Essa relação é estudada a partir da análise das capas de livros produzidas por Hirsch entre 1959 e 1976. Dentro dessa amostragem abrangente são identificadas as características mais marcantes e recorrentes do desenho de letras nas capas do designer austríaco. Também é apresentada uma pequena amostra da produção de alguns capistas que atuaram no Brasil nas décadas de 1930, 1940 e 1950, fornecendo uma visão mais acurada da importância do trabalho de Eugênio Hirsch. / Abstract: Eugênio Hirsch (Vienna, 1923 - Rio de Janeiro, 2001) is best known by his work for the publishing house Civilização Brasileira in the first half of the 1960s, wich was marked by a large range of visual resources used with great freedom granted to him by editor Ênio Silveira. In the same period he made book covers for Globo, a publishing house based on the city of Porto Alegre. Although less expressive in number, these covers kept the same quality and freedom. After a short period in the USA, Hirsch was hired by Madri based publishing house Codex as art director, being responsible for El Mundo de los Museus collection. When returning to Brazil in the end of the 1960s, he begun to work for Livraria José Olympio Editora, in Rio de Janeiro. This research is centered in the relation between letters and images in Hirsch's book covers. This relation is studied by analizing the book covers made by Hirsch between 1959 and 1976. In this wide sampling, the most relevant and recurring caractheristics related to lettering and type in Hirsch's work are identified. Also presented is a sample of the graphic work done by some cover artists that had worked in Brazil during the 1930s, 1940s and 1950s, allowing a more accurate perception of the importance of Eugênio Hirsch's work. / Doutorado / Artes / Doutor em Artes

Les Novelle de Matteo Bandello (Lucca, 1554 ; Lyon, 1573) disparaissent rapidement du circuit éditorial italien : elles ne seront republiées en version intégrale dans la Péninsule qu'en 1791-1793, avec l'édition de Livourne, chez l’éditeur Masi, établie par Gaetano Poggiali et présentée sous l'indication trompeuse de ‘Londres, chez Riccardo Banker’. Entre ces limites chronologiques extrêmes, dans le panorama éditorial italien des XVIe et XVIIe siècles, on n’enregistre de cette oeuvre qu’une survivance résiduelle, qui n’a pas fait l'objet encore aujourd’hui d'une reconstruction exhaustive. En 1560, Ascanio Centorio degli Ortensi publie une version du recueil, privée des lettres dédicatoires, qui comprend des nouvelles réécrites, choisies et mêlées à celles d’autres auteurs. À partir de 1562, vingt nouvelles bandelliennes seront insérées dans les Cento novelle scelte da i più nobili scrittori della lingua volgare, l’anthologie conçue par Francesco Sansovino et relancée à plusieurs reprises à Venise entre 1561 et 1619. Huit autres nouvelles, enfin, seront traduites en latin par l’érudit pérugin Marco Antonio Bonciari dans son recueil d’exempla, intitulé Thrasymenus sive Anthologiae Illustrium Exemplorum Decades duae (Perugia 1641) et Decades tres (Perugia 1648).Cette fragmentation de l’œuvre originale de Bandello s’accompagne d’une disparition progressive de l’auteur, éludant d’abord son espace privilégié, les lettres dédicatoires, puis son auctorialité et jusqu’à son simple nom. En examinant dans le détail, et surtout dans leur ensemble, les ouvrages précédemment cités, on s’interrogera sur les raisons de cette mauvaise réception de l’édition princeps, sur les problèmes moraux, littéraires et éditoriaux qu’elle pouvait soulever, ainsi que sur sa réelle circulation et diffusion parmi les lecteurs de l’époque. / Matteo Bandello's Novelle (Lucca, 1554, Lyon, 1573) swiftly disappear from the Italian editorial distribution: they will be published again in full version not before 1791-1793, with the Livorno edition, by Gaetano Poggiali, presented under the fallacious indication of 'London, by Riccardo Banker'. In between these chronological extremes, in the sixteenth and seventeenth centuries' Italy, only a residual survivance of his works can be recorded, which has not yet been subject to a comprehensive and detailed reconstruction. In 1560 Ascanio Centorio of Ortensi circulates a version of the collection without its dedication letters, with rewritten novelle, selected and mixed with those of other authors. As of 1562 twenty novels of Bandello will appear in the Cento novelle scelte da i più nobili scrittori della lingua volgare, the anthology thought by Francesco Sansovino and printed several times in Venice from 1561 to 1619. Eventually eight other novels will be translated in Latin by the Perugian scholar Marco Antonio Bonciari in his collection of exempla, entitled Thrasymenus sive Anthologiae Illustrium exemplorum Decades duae (Perugia 1641) and Decades tres (Perugia 1648).To this fragmentation of the original novelliere corresponds the gradual disappearance of the author: first denying his privileged setting, represented by the dedicatory letters, then even his proper name. Examining the above listed works in detail and in their whole, we shall ponder the reasons for the poor audience of the princeps edition, the moral, literary and editorial problems it could raise, as well as its true circulation amongst readers of this age.