Orientador: Marisa Philbert Lajolo / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-06T12:44:02Z (GMT). No. of bitstreams: 1 Camargo_LuisHellmeisterde_D.pdf: 6219814 bytes, checksum: 71dd11f3c5b0e8e907bc30927e3017ac (MD5) Previous issue date: 2006 / Resumo: O livro de literatura para crianças é um ¿objeto cultural onde visual e verbal se mesclam¿ (LAJOLO, ZILBERMAN, 1984). Para abordar essas mesclas, são propostas cinco categorias: 1) o suporte do texto; 2) a enunciação gráfica do texto; 3) a visualidade, isto é, as imagens mentais que o texto suscita no leitor; 4) a ilustração e, por extensão, a imagem, como texto visual; 5) o diálogo entre texto e ilustração. Para teorizar e historicizar essas categorias, recorro a alguns retóricos greco-latinos e renascentistas, a alguns ensaístas do século XX e a neurocientistas. Procuro mostrar a funcionalidade e colaboração dessas categorias por meio do estudo do livro O prato azul-pombinho, de Cora Coralina, com desenhos de Angela Lago. / Abstract: The illustrated children¿s book is a ¿cultural object that blends visual and verbal codes¿ (LAJOLO, ZILBERMAN, 1984). To deal with this blend, five categories are suggested: 1) text support; 2) graphic enunciation; 3) visuality, i.e., mental imagery that the text elicit to the reader¿s mind¿s eye; 4) image, hence, illustration, as visual text; 5) dialogue between text and illustration. To theorize and historicize these categories, I discuss some Greek, Roman and Renaissance rhetoricians, some XX century essayists and some neuroscientists. I attempt to show the collaboration and usefulness of these categories, analyzing Cora Coralina¿s book O prato azul pombinho, with drawings by Angela Lago. / Doutorado / Literatura e Outras Produções Culturais / Doutor em Teoria e História Literária

My thesis investigates contemporary illustrative art and tendencies occurring in the work of the youngest generation of the Czech illustrators. My objective is to bring an overview of the current forms, shapes, applications and overall state of the contemporary Czech illustration scene. The paper divides the illustration art into four categories, that are then more closely examined in individual chapters. My major focus is on the book illustration in all its current forms. This thesis contains regulatory principles that govern the standard of published illustrated materials through various recognised competitions and awards. I mention different associations and clubs that are currently active in the field of developing contemporary illustration. This occurs not only through grouping of illustrators but also through organising different events and festivals. In the didactic part this paper deals with the role of illustration in child development, specifically its natural artistic expression. This part also includes proposals of teaching materials and curriculum focused on illustration where I introduce my own designs. This appendix follows the above structure and constitutes my own project delivering authorship of visualised illustrations.

CZECH AVANT-GARDE AND BOOK ILLUSTRATION Diploma thesis deals with a book illustration creation of Czech avant-garde creators of 20's and 30's of 20th century. In the first chapter, there is defined a concept of avant- garde and it devotes itself relation of Czech avant-garde artists to book. There is emphasized a change of social function and visual form of book. Following chapters discuss book illustration creation of individual authors. At first there is analyzed an illustration work of Jan Zrzavý, Josef Čapek, František Muzika, František Tichý and Adolf Hoffmeister. Their creation is devided according to the main features to chapters devoted to modernist classicism, primitivism and expressionism, poetic figuration and simplification the figure to a sign. Seperate chapter is devoted to illustrations of children books. It defines a place of children book in Czech art between the wars and it devotes to main authors of illustration for children: Josef Čapek, Toyen, Milada Marešová, František Tichý and František Janoušek. In the next part this thesis deals with illustration creation of Karel Teige, Josef Šíma, Toyen and Jindřich Štyrský. Their illustration works are devided into chapters from the point of view of belonging to artistic tendency or according to thematic specialization. There are...

Bímová, Š.: Author children's picture book. [Diploma thesis] Prague 2015 - Charles University - Faculty of education, 91 s. How was perceived book in the history and today? Selection of several authors I am try to explain past and present trends in the children and children's authors book. Didactic part is mainly focuse on the status of the book in the context with art lessons and not only in the motivation part of the lesson, but also in topic of lesson. Both principles are use in the didactic project, which was built on the theoretical content of the work. Everything closes the practical part, which was applied as a result of a reaction to previous two parts. KEYWORDS author's book, children's book, book illustration, fantasy, material, imagination

Thesis (Mphil (Visual Arts. Illustration))--University of Stellenbosch, 2007. / This thesis is a visual, sociolinguistic and cultural inquiry into the role of isiXhosa picture books in contemporary South Africa. From the standpoint of an illustrator, I examine several of these works arising out of a history that alienated many isiXhosa readers and writers from their language. I examine factors that influence the design, content and very notions of reading itself through the multiple languages offered by the picture book format. I argue that these books occupy a problematic space where production and consumption are affixed to paradigms of economics, language and literacy incongruent with the lives of many isiXhosa-speaking readers. My overall conclusion is that literacy and visual literacy are essential to developing an authentic 'reading culture'. Fostering a meaningful relationship with printed words and images is critical to both the emerging reader and the emerging illustrator. In producing illustrations for an isiXhosa narrative, I consider the shape of my own visual literacy through mediations with drawing and writing, relating my activities to those of a child learning to distinguish between pictures and words. The cross-over space where image/text distinctions blur potentially invites new narrative expressions. The picture book is a suitable format for expanding notions of vision and literacy, 'subverting' paradigms and revealing the richness of contemporary African tales. I rest my fundamental premise on an insistence for an increase of accessible, quality picture books in African languages that stimulate the artistic and intellectual development of all readers.

The present PhD thesis examines the reception of Humanism and the Renaissance in Czech print culture between 1476 and 1547. Critically, it opposes the predominant interpretation line that - from National Revival to post-war marxist literary criticism - tried to preserve at all costs a magnificent picture of the 16th century as a "golden age". The study is based on Petr Voit's recent works on Czech book printing of the first half of the 16th century and follows the reception of Humanism and the Renaissance from a complex point of view (printers' profiles, typography, illustrations and ornaments, readers' reception). The analysis shows that during the period under review, the Czech society, which predominantly professed a reformed confession (utraquism, lutheranism, the Unity of Brethren...), lived in a self-centered religious messianism, and therefore rejected any cultural novelties, especially those coming from Italy as the hometown of the hated papacy. Book printing largely reflected the conservatism and moral rigorism of this mainly utraquist society that ignored the entertainment literature, considered unnecessary or even undesirable. In this rigid religious scheme, the Renaissance literary genres (Petrarchan poetry, novella, epic poem, etc.) and the humanist text-critical approach to ancient...

"Image and Text" focuses on the consequences of multi-media interaction on the concept of a work's meaning(s) in three distinct publishing trends in nineteenth-century Britain: graphic satire, the literary annuals, and book illustration. The graphic satire of engravers James Gillray and George Cruikshank is replete with textual components that rely on the interaction of media for the overall satirical impact. Literary annuals combine engravings with the ekphrastic poetry of writers including William Wordsworth, Samuel Taylor Coleridge, Robert Southey, and Letitia Elizabeth Landon. Book illustrations provided writers Sir Walter Scott and Alfred, Lord Tennyson a means to recycle previously published works as "new" texts; the engravings promote an illusion of textual originality and reality by imparting visual meanings onto the text. In turn, the close proximity of text to image changes visual meanings by making the images susceptible to textual meanings. Many of the theoretical implications resulting from the pairing of media resound in modern film adaptations, which often provide commentary about nineteenth-century visual culture and the self-reflexivity of media. The critical heritage that has responded to the pairing of media in nineteenth-century print culture often expresses uneasiness with the relationship between text and mechanically produced images, and this uneasiness has often resulted in the treatment of text and image as separate components of multi-media works. "Image and Text" recovers the dialogue between media in nineteenth-century print forms often overlooked in critical commentary that favors the study of an elusive and sometimes fictional concept of an original work; each chapter acknowledges the collaborative nature of the production of multi-media works and their ability to promote textual newness, originality (or the illusion of originality), and (un)reality. Multi-media works challenge critical conventions regarding artistic and authorial originality, and they enter into battles over fidelity of meaning. By recognizing multi-media works as part of a diverse genre it becomes possible to expand critical dialogue about such works past fidelity studies. Text and image cannot faithfully represent the other; what they can do is engage in dialogue: with each other, with their historical and cultural moments, and with their successors and predecessors.

This diploma thesis titled ``my heart does not fly{\crq}{\crq} Jiří Orten in book illustration deals with the poetic works of Jiří Orten from the viewpoint of illustrating Orten{\crq}s poetry. The theoretical part of the thesis includes Orten{\crq}s biography and the description of his poetic works, which are important for the interpretation of the illustrations. An interview with Jaroslav Šerých, who is one of the illustrators of Orten{\crq}s poetry, has been made for a deeper understanding of the issue of illustrating Orten{\crq}s poems. The practical part of the thesis consists in creating collections of illustrations inspired by some Orten{\crq}s poems. The final versions of the illustrations are completed in typography. The main aim of this thesis is a creation of author{\crq}s own illustrations for Orten{\crq}s poems and writing an essay about it.

Submitted by Johnny Rodrigues (johnnyrodrigues@ufcg.edu.br) on 2018-06-11T19:08:30Z No. of bitstreams: 1 ANÁLIA ADRIANA DA SILVA FERREIRA - DISSERTAÇÃO PPGDsign 2017..pdf: 10863421 bytes, checksum: f502d4a8a5cd3ca66fe6947e9da120a5 (MD5) / Made available in DSpace on 2018-06-11T19:08:30Z (GMT). No. of bitstreams: 1 ANÁLIA ADRIANA DA SILVA FERREIRA - DISSERTAÇÃO PPGDsign 2017..pdf: 10863421 bytes, checksum: f502d4a8a5cd3ca66fe6947e9da120a5 (MD5) Previous issue date: 2017-05-03 / Esta pesquisa tem por objetivo investigar a comunicação visual e a relação palavraimagem mediada pelo design em livros ilustrados, para isso, selecionou-se o acervo da Fundação Nacional do Livro Infantil e Juvenil, FNLIJ, especificamente a categoria Criança. Realizou-se estudo panorâmico de caráter histórico-cultural do livro infantil no Brasil, observando temáticas, concepções gráficas, autores, ilustradores e a narrativa visual com o intuito de compreender o objeto e identificar a participação do design gráfico no mesmo; levantamento e discussão sobre as classificações do livro infantil, as necessidades de leitura de imagens e os aspectos do design na organização visual também foram contemplados nesta dissertação. Os livros selecionados passaram por análise sintática e semântica para melhor observar as articulações entre as narrativas visual e verbal. Para análise sintática utiliza-se as teorias da Gestalt como norteamento, observando formas, cores, tipografia e composição. Para análise semântica o uso da Semiótica, identificando ícones, índices e suas simbologias. A metodologia seguiu as etapas propostas pelo Método Feldman de Leitura de Imagens e precisou ser adaptado para o livro ilustrado com aplicação das teorias mencionadas. Como resultado destaca-se a diversidade de concepções na narrativa visual e as experimentações que o design possibilita ao livro. Espera-se por meio deste trabalho contribuir para a ampliação de estudos do design no livro infantil, fomentar a discussão sobre leitura de imagens e as práticas de projetos de comunicação para criança. / This research aims to investigate visual communication in picturebooks and the text-image relation mediated by the design. Therefore the collection of the FNLIJ, Brazilian version of International Board on Books for Young People – IBBY, specifically the Child category was selected. In order to understand the object and identify the participation of graphic design in it, a panoramic historical-cultural study of the children's book in Brazil was carried out, emphasizing its thematic, graphic conceptions, authors, illustrators and visual narrative. This study also comprises a selection and discussion about the child book classifications, the need to foment for reading images, and the aspects of design in the visual organization of the information. The selected books were analyzed syntactically and semantically to better observe the articulations between the visual and verbal narratives. The syntactic analysis followed Gestalt theories as a guide, observing forms, colors, typography and composition. The semantic analysis was conducted through semiotics theories to identify icons, indexes and their symbologies. The methodology was an adaptation of the steps proposed by the Feldman Method of Reading Images redirecting to the Picturebook with application of the mentioned theories. As a result, this research highlights the diversity of composition of the visual narrative and the experimentation that the design makes possible to the book. Moreover, it seeks to contribute to the growth of design studies in children's books, to stimulate the discussion about reading images and for the practices of communication projects for children.

«Au commencement, Dieu créa le Ciel et la Terre». À l’ouverture du récit de la Genèse, le plus célèbre des incipit condense ce qui a constitué durant des siècles à la fois l’imagerie et le modèle théorique de la Création du monde en Occident. Or, dès le XVIIe siècle, la conception de la Création s’enrichit de considérations savantes qui bousculent l’univoque de la version biblique. Le récit canonique est alors instruit par les notions profanes d’évolution ou de loi mécanique qui bouleversent l’image biblique d’un Dieu-Créateur du monde en six jours dont la tradition avait longtemps fixé le canon. Pensées au pluriel, les représentations de la Création du monde se diversifient au sein d’une iconographie variée et créative, fruit de la conciliation entre le sacré et le profane qui autorise des représentations inédites où Dieu viendrait souffle rles tourbillons imaginés par Descartes ou encore dynamiser un mécanisme terrestre résolument voltairien. À l’heure de sa complexification théorique, il sera plus particulièrement question d'appréhender la relecture du mythe biblique de la Création du monde dans les arts de la période concernée. À partir d’un corpus d’images tirées de divers horizons – bibliques, scientifiques,alchimiques ou physico-théologiques – l’objet de cette thèse est justement d’appréhender la résilience de l’iconographie biblique dans un monde en pleine sécularisation. Nous verrons notamment comment, autorité latente ou référent stéréotypé, telle une ombre, la figure du Créateur condense toute la complexité des rapports entre l’homme et ses mythes. / “In the beginning God created Heaven and Earth”. Opening of the first chapter of the Genesis,the most well-known incipit of all time sums up both the imagery and the main idea of the Creation of the World that has existed in the west for thousands of years. However, this biblical conception of Creation starts to weaken in the beginning of the XVIIth century and to expand to embrace scientific views when secular ideas of evolution or the laws of mechanics shook the biblical tradition of the six-Day Creation narrative. The once unique idea of a World Creation becomes a more complex concept at the crossroads between sacred and profaneand authorized innovative pictures representing, for example, God blowing the Cartesian cosmogenic whirlpools or giving thrust to the terrestrial mechanism inspired by Voltaire. When the groundbreaking theories on the Creation were published, it was necessary to focus on the artistic reinterpretations of the myth. Based on a great diversity of images – biblical, scientific,alchemical – we’ll try to analyze how biblical iconography stands still at the time of the global secularization of the world in which, as a paradoxical authority or an unconscious standard, the image of the Creator holds up the complex relationship between Man and his Mythology.