This thesis presents a text-image analysis of George Eliot‘s fourth novel, Romola (1862-63) based on the argument that the text and the illustrations by Sir Frederic Leighton introduce a discourse about the development of art from a Vasarian perspective. Both the text and the illustrations begin by portraying Romola with references to ancient Greek art and culminate in displaying her as a version of Raphael‘s Sistine Madonna. This implies not only the belief, current in Victorian artistic circles, that Raphael‘s work was the highest achievement in the history of art, but also that this historical development from ancient Greek sculpture to High Renaissance painting reflects the moral development of European civilization. As an idealized allegory for European civilization itself, Romola fulfills both moral and artistic roles as her moral progress from paganism to Eliot‘s religion of humanity closely follows her visual progress from a Greek statue to a Raphaelesque Madonna. The thesis is informed by the historiographical and fictional contexts of the Victorian historical novel and their influence on Eliot‘s work, as well as the tradition of historical painting and its importance for Frederic Leighton‘s paintings and illustrations. The concept of progress—historical, moral, and visual—is emphasized throughout.

Although the works of Christine de Pizan have been of interest to scholars for some time, technological advances and initiatives to make digital copies of manuscripts available online have only recently enabled close comparisons between the visual programmes of her works to be made. This thesis demonstrates that detail usually considered secondary or 'paratextual' in Christine's manuscripts actually formed a carefully-constructed part of the work itself that Christine explicitly asks her audience to read. Through 'reading' the text and image simultaneously, the visual programme proves to comprise additional layers of meaning that were woven into her didactic works. These meanings can serve to supplement the educational and moral aims of the works, or, conversely, can be inconsistent with the message conveyed in the text, leading the reader-viewer to contemplate further on the matters presented and form their own opinions on them. Sometimes, meaning is created by intervisual connections with pre-existing iconography, such that viewers may be creating associations between the miniatures seen in Christine's manuscripts and other imagery, leading them to make certain associations - this is notably the case in author-portraits of Christine. As manuscripts prepared under the author's supervision came to be copied, changes were made to the iconographic programmes, testifying to and enabling different types of readings to take place. The findings of this thesis have implications for editorial practices of medieval works in general, as these tend to circulate in editions without the visual programme, providing modern readers with only a partial view of the complete work.

This thesis deals with the evaluation forms using optical character recognition. Image processing and methods used for OCR is described in the first part of thesis. In the practical part is created database of sample characters. The chosen method is based on correlation between patterns and recognized characters. The program is designed in a graphical environment MATLAB. Finally, several forms are evaluated and success rate of the proposed program is detected.

Rédigée en 1246 par un clerc nommé Gossuin de Metz, l’Image du monde est considérée comme la première encyclo-pédie de langue française. Elle constitue à ce titre l’une des premières entreprises de transmission écrite d’un ensemble de savoirs sur le monde d’origine cléricale et latine à destination d’un public laïc et aristocratique. Trois versions furent produites, deux en vers et une en prose, dont il n’est pas certain qu’elles soient le travail d’une seule et même personne. Signe de son très grand succès, l’Image du monde est conservée dans 110 manuscrits. Elle constitue donc un objet de recherche idéal pour l’étude des phénomènes de transmission de savoir entre clercs et laïcs dans les trois der-niers siècles du Moyen Âge. Pour ce faire, la présente thèse envisage l’Image du monde à partir des représentations du monde et de l’ordre social transmises par son discours. Ces représentations ne sont pas seulement produites par le texte mais également par l’iconographie (miniatures, initiales historiées, drôleries) ornant une quarantaine de manus-crits, qui forment le corpus de recherche. Dans un premier temps, c’est d’abord l’économie du savoir de l’Image du monde, qui sous-tend la transmission du savoir et en détermine les modalités, ainsi que les implications sociales de la transmission de ce savoir hautement valorisé qui est analysées. La seconde partie de la thèse se concentre quant à elle sur la forte dimension visuelle de la transmission des savoirs opérée par l’Image du monde, à savoir le cycle de vingt-huit figures cosmographiques intégrées par l’auteur lui-même à son ouvrage et qui constitue une pièce maîtresse de sa stratégie didactique. / Written in 1246 by a cleric named Gossuin de Metz, L’image du monde is considered to be the first French language encyclopedia. It is thus one of the first attempts to diffuse to a secular and aristocratic audience a body of knowledge concerning the world, originally coming from a clerical and Latin culture. Three versions were written -two in verse, one in prose- none of which are proven to be the work of only one person. 110 manuscripts were conserved, which can be considered as a proof of its great success. It is thus an ideal research object to study the knowledge transmission phenomena between the clerks and the laity during the Middle Ages’ last three centuries. To that end, this doctoral dissertation considers L’image du monde from the world and social order representations that are transmitted by its discourse. These world’s representations are not only transmitted by the text but also by the pictures (diagrams, minia-tures, historiated initials, drolleries) that adorn some forty manuscripts that constitutes my body of research. This study thus addresses both the text and the iconography. First off, the knowledge economy of L’image du monde will be analyzed, considering the discourse as determining the terms of knowledge transmission and its social implications. The second part of this dissertation focuses on the strong visual dimension taken by knowledge transmission in L’image du monde, relying on a cycle of twenty-eight cosmographic figures that were originally included in his manu-script by the author himself, and that represents the masterpiece of his didactic strategy.

L’œuvre polymorphe de Claude Cahun, auteure-artiste de la première moitié du XXe siècle, et de Moore, artiste-plasticienne, repose essentiellement sur l’idée de partage. De 1913 à 1954, Cahun et Moore ont élaboré une œuvre qui relève en grande partie d’une création partagée, c’est-à-dire qu’elle est faite à quatre mains de manière symbiotique, tandis qu’une autre partie est assumée par chacune des collaboratrices. Leur travail prend la double voie de l’écriture et de l’expression artistique (dessin, photographie, photomontage, objet) pour placer leur vision du sujet équivoque et de l’art sous le signe du multiple. Dans la perspective d’étudier l’écriture et l’image comme deux moyens d’expression indissociables, la notion de partage permettra de penser la démarche cahunienne et celle de Moore entre les mouvements et les genres littéraires, entre une auteure et une artiste, entre le sujet et ses doubles, entre les arts et les enjeux médiatiques. En proposant la notion de partage comme concept opératoire, cette thèse de doctorat s’attache à recontextualiser l’œuvre selon la triple appartenance de Cahun-Moore à l’histoire culturelle et littéraire, embrassant à la fois la fin du XIXe siècle et la première moitié du XXe siècle, le symbolisme tardif, le modernisme et l’avant-garde surréaliste. Leur vision de l’œuvre comme espace de partage entre le textuel et le visuel s’accomplit par une collaboration entre auteure et artiste visuelle qui redéfinit le statut du créateur solitaire. Il s’agira également de revoir la démarche d’autoreprésentation à partir de la notion de partage ; la construction du Soi passe par le dédoublement sur le papier ou la pellicule pour exprimer l’être-au-monde d’un sujet qui ne se reconnaît pas dans les catégories genrées et identitaires univoques. L’acte de partage aboutit dans la création d’une œuvre hybride alliant les mots et les images dans un dispositif qui dépasse la relation illustrative du texte par l’image pour favoriser le dialogue des médias. Le partage s’impose comme la notion par excellence pour saisir une œuvre qui a fait du dédoublement – des filiations, des intertextes, du créateur, de l’identité et de l’œuvre même – son modus operandi. / The polymorphic work of Claude Cahun, author and artist from the first half of the 20th century, and Moore, visual artist, is essentially based on the idea of sharing. From 1913 to 1954, Cahun and Moore developed a work that relies in part on shared creation, that is to say, it is produced symbiotically by two collaborators, but whereas another part is undertaken solely by one of the artists. Their work takes on the double path of writing and artistic expression (drawing, photography, photomontage, object) to express their vision of the equivocal subject and art under the sign of the multiple. With the perspective of studying writing and the image as two inseparable means of expression, the notion of sharing will allow to consider both Cahun’s and of Moore’s approach between literary and artistic movements and genres, between an author and an artist, between the subject and its doubles and between the arts and the media issues. By proposing the notion of sharing as an operational concept, this thesis seeks to recontextualize Cahun’s and Moore’s work according to its belonging in the cultural and literary history of late symbolism, modernism and the surrealist avant-garde, embracing both the late 19th century and the first half of the 20th century. Their vision of the work as a space for sharing between the textual and the visual is accomplished by a collaboration between author and visual artist, which redefines the status of the solitary creator. I will also approach the self-representation approach from the notion of sharing as the identity construction of the Self, through many self-projections on paper or film, goes through duplication to express the être-au-monde of a subject that does not recognize itself within the boundaries of univocal gendered and identity categories. The act of sharing results in the creation of a hybrid work combining words and images in a process that goes beyond the illustration of the text by the image to favor dialogue between media. Sharing is essential as the notion par excellence to capture a work that has made out of duplication – of filiations, intertexts, creator, identity and the oeuvre itself – its modus operandi.

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Štěrbíková, K.: Reading of images and reading of text as a way towards new experience from the book. /Thesis/ Prague 2014 - Charles University, Faculty of education, department of art education, 125 pages. The thesis examines the illustration of children's books - one of the forms of fine art. The illustration is considered to be one of the ways for the development of critical thinking, visual literacy and key competencies of younger school-age children. Therefore, this thesis focuses on the current concept of book illustration. Based on an intensive research the thesis is trying to detect those properties of book illustrations encouraging children to active participation and active relationship with the book. The interpretation of the image (illustration) is dealt with in close connection to the process of understanding conceptual meaning of the text reacting to the level of literacy skills achieved by Czech pupils. The program Critical thinking through reading and writing offers the option of increasing the level of literacy and at the same time the possibility of deepening the relationship of the child with the book. The goal of the thesis is to prove that if the viewer works with the book as one complex unit, which encourages flexible thinking, there is a chance for him/her to find a new,...

Our thesis is dealing with case of reportage photography and medial sharing of our choosen visual image. We have choosen an image of syrian refugee Aylan Kurdi from 2015, whose photo is refering the problem of refugee crisis in Europe. The thesis is focused on semiotic approach of selected photographies, which are showing the same picture from different perspectives. In our case is perspective very important part of thesis, because these photographies are very questionable on ehtical principes. Therefore, we are also focused on the way, how the media deal with this issue. Our thesis points the signs of reportage photography and also monitor their changes, which depends on the medium, title, perex and composition of words completing photography.We are also focused on contextual framework of photography in choosen media. The secondary objective of our thesis is the comparision of results of analysis of selected picture published in individual selected media and comparision of differences in interpretation and photography context. Thesis is primaly based on theoretical concepts of Roland Bathers on specific visual sharing of selected media. Monitored indicators are the concepts of denotation, conotation and myth, while we are focused on connection between text and image and interpretation in selected...

Mémoire numérisé par la Division de la gestion de documents et des archives de l'Université de Montréal.

Ce mémoire étudie les rapports texte/image dans Vues et visions de Claude Cahun, première œuvre composite créée en collaboration avec la peintre graphiste Marcel Moore. L’objet littéraire protéiforme, appartenant au genre de l’iconotexte (Alain Montandon), instaure un dialogue intermédial entre le textuel et le visuel au point de déconstruire l’horizon d’attente du lecteur : celui-ci est incité à lire et à voir alternativement les poèmes en prose ainsi que les dessins de sorte que les frontières qui définissent l’espace du littéral et du figural apparaissent poreuses. Subdivisé en deux chapitres, notre travail s’attachera dans un premier temps à mettre en lumière le rôle de l’écriture qui intègre certains dessins de Moore. En nous inspirant de l’iconolecture (Emmanuelle Pelard), nous tenterons d’effectuer des liens entre la plasticité et la signification littérale des signes linguistiques qu’illustrent ces images-textes tout en étudiant les correspondances thématiques et formelles qu’elles entretiennent avec les poèmes de Cahun. Le second chapitre étudiera la manière dont le figural investit le texte littéraire en adoptant une approche intermédiale. Après avoir abordé la figure du double, une partie de l’analyse sera consacrée à la figure de l’allusion, une stratégie d’écriture pour introduire le visuel au sein du textuel, ce qui nous permettra d’entrer en matière pour étudier « l’image-en-texte » (Liliane Louvel). Enfin, l’effet-tableau ainsi que l’anamorphose seront employés comme cadre d’analyse afin de penser le dialogue qui se noue entre le pictural et le texte littéraire dans Vues et visions. / This dissertation studies the relationship between text and image in Claude Cahun’s Vues et visions, her first project realized in collaboration with the visual artist Marcel Moore. This heterogeneous object of art belongs to the iconotext genre (Alain Montandon) and establishes a dialogue between Cahun’s prose poems and Moore’s drawings to the point of deconstructing the reader’s horizon of expectation : he is induced to read and behold alternatively the texts and the images so that the boundary line that defines the literary’s and pictorial’s spaces appears porous. Subdivided in two chapters, our work becomes attached in the first place to bring to light the role of the written word which incorporates some graphics of Marcel Moore. Inspired by a reading method called « iconolecture » by Emmanuelle Pelard, we will try to link the plasticity and the literal signification of the linguistic signs illustrated by those hybrid drawings while studying the formal and thematic similarities they share with Cahun’s prose poems. Using an intermedial perspective, the second chapter will study how the visual arts influence the poet’s writing style. After having broached the figure of the double, we will analyze the figure of allusion as a writing strategy to introduce the pictorial register in the literary texts that will lead us to study « l’image-en-texte » (Liliane Louvel). « L’effet-tableau » and the anamorphosis will be explored as frame of reference to conceive how links are tied between visual arts and poetry in Vues et visions.