Orientador: Lygia Arcuri Eluf / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-09T20:46:57Z (GMT). No. of bitstreams: 1 Cador_AmirBrito_M.pdf: 5314798 bytes, checksum: d2c1706a04dae3edfedb4e8aeaf78d01 (MD5) Previous issue date: 2007 / Resumo: A pesquisa mostra a convergência de práticas e estudos a respeito do livro. Abrange a produção em poesia visual, design gráfico, tipografia, caligrafia e livro de artista. A organização desse texto, em sete capítulos, obedece a um critério pessoal: mostra o percurso de um pensamento que se constrói pela visualidade e estabelece um diálogo com a produção de outros artistas e poetas. A palavra assume diferentes papéis ao longo do texto: ora funciona como um discurso, ora ilustra, comenta ou explica as imagens que se relacionam com tais palavras. Os livros de artista aqui apresentados foram produzidos em anos recentes. Foi escolhido um conjunto de trabalhos que pudesse revelar um procedimento de composição, uma maneira de articular imagem e texto para construir livros. O desdobramento de uma idéia, uma imagem ou um detalhe vislumbrado em um livro dá origem a outros livros. Palavras-chave: artes gráficas, livro de artista, arte contemporânea, tipografia, caligrafia, poesia visual / Abstract: This research work proposes a convergence of practices and studies about books. It includes my production in visual poetry, graphic design, typography, calligraphy and artist¿s books. The text organization, in seven chapters, follows a personal rule: it was established by a reasoning constructed by visual parameters, and also a relation with other artists and poets production. The word plays different roles in the text: sometimes it is an illustration, sometimes a commentary or explanation for an image and the way this image relates to the word. The group of selected artist¿s books were produced in the last years. This group of works reveals a construction process, a route to relate image and text to make a book. The development of an idea, an image, a detail¿ a glimpse in a book that originates other books. Key words: graphic arts, artists' books, contemporary art, typography, caligraphy, visual poetry / Mestrado / Mestre em Artes

My dissertation, Pen and Printing-Block: William Morris and the Resurrection of Medieval Paratextuality, considers William Morris’s influence on the rise of paratextual awareness, his negotiation strategies for Victorian England’s social identity, and his rhetorical construction of an idealized past through textual artifacts. The effect of Morris’s growing social awareness on his transition from illumination to print is reframed by considering his calligraphy as paratextual experiments, based on medieval examples, in combining graphic and discursive meanings with rhetorical and social dimensions. The varied and less ambitious agendas of those printers who followed Morris’s Kelmscott Press, however, limited Morris’s legacy in the book arts. The full significance of his illuminations’ meaningful interplay between text and image, and the social intent of these innovations applications in print, has received little critical attention. The opening chapter frames Morris’s visual work in light of his philosophies and introduces the major concerns of material art, the role of history, the limits of language, and the question of meaningful labour. The second chapter surveys select predecessors of Morris’s developing conception of the Gothic, the significance of architecture as its defining form, and the irreplaceability of the physical past. The third chapter considers the role of the illuminated manuscript in Pre-Raphaelite art, tracing Morris’s calligraphic experiments chronologically while identifying medieval inspirations and examining his artistic development. These experiments led to his final collaborative manuscript, the illuminated Æneid which is the fourth chapter’s focus. The sophistication of its paratextual elements is discussed in light of its unique physicality and limitations. The fifth chapter asserts the Kelmscott Press’s role in balancing craftsmanship and aesthetic paratextual strategies with reproducible models. The Kelmscott Chaucer is the culmination of these strategies, and it is compared to the visual rhetoric of its predecessors. The final chapter compares the philosophies and calligraphic elements of major private presses that followed Kelmscott’s legacy. This evolution of aesthetic, social, and practical considerations is also identified in the work of selected Canadian printers, and a final note considers the implications of the rise of immaterial digital text (radiant textuality) for the continuation of material paratextuality’s role in the future.

Graduted work "Cosmological Themes and Geometric Conception in islamic art" is about relationship betweewn religion and cosmological themes in philosophy opinions and their influence to fine art. Theoretic part is about signs of islamic art and give a simply look on religious, science, philosophic, generaly cultural and art influences of islamic culture of "Golden Age" to global culture. The next part is about cosmologie. Third part is about influence of cosmological themes to geometric forms in individual examples of fine art. The last part is about expresive interpretation symbols of cosmologii and geometry. Practic part have video form of own dance creative, which is expresive interpretation influenced by theme od diplom work. Pedagogic part is koncept of Art Project for second degree of Basic School (High school) , which is partly documented and reflected in practic works

This work focuses on creating an application to support Japanese character learning. It also contains a brief overview of Japanese writing's history and evolution. Based on the study of existing options, this work sets the requirements for the application. It discusses problems and tries to find possible solutions. Character recognition is an important part. The work describes chosen solutions and their implementations. It ends by demonstrating achieved results and discussing options for further development of the system.

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La production de copies littéraires connaît un important développement à Chirâz en Iran sous la dynastie des Turkmènes Aq Qoyyûnlû entre 1467 et 1503. Peut-on cerner des caractéristiques de cette production ? Se différencie-t-elle de celles d’autres centres contemporains, notamment Tabrîz et Hérât ? En examinant un corpus de soixante manuscrits datés, cette étude vise à analyser les différentes composantes du codex de Chirâz (papier, mise en page et réglure, écritures, reliure, …) ainsi que les décors (enluminures et illustrations) mis en œuvre afin d’en dégager les spécificités. Héritiers de la tradition de livres décorés timourides, des artisans du livre deviennent les experts de ce qu’il convient une production en série d’items finement calligraphiés, toujours enluminés et souvent ornés d’illustrations. La présente étude permet de montrer l’évolution d’une production de cour à une conception de copies par des ateliers privés, à un moment où la gestion du pouvoir passe d’un système princier à un gouvernorat de généraux turkmènes vers 1480. Cette période est alors marquée par des changements visuels importants, notamment l’usage d’un style particulier d’écriture nasta‘lîq, employé par les copistes de la ville, des formes d’enluminures stéréotypées, ainsi que l’emploi de styles de peintures qualifiés de « commerciaux ». Il en résulte une forte identité visuelle des manuscrits réalisés à Chirâz dans le dernier tiers du XVe siècle, qui sont largement exportés à travers le monde iranien. La pérennité sera assurée au cours du siècle suivant sous la dynastie safavide par les mêmes familles d’artisans, mais aussi sur une plus grande échelle, dans le domaine ottoman notamment. / The production of belletristic copies encountered an important development in the city of Shiraz in Iran between 1467 and 1503. Is it possible to determine characteristics of this production? Are differences visible with manuscripts made in other centres, such as Tabriz and Herat? By examining a corpus of sixty dated manuscripts, this study aims to analyse the physical components of the Shiraz codex (paper, layout and ruling, binding…) as well as decorations (illuminations and illustrations) in order to identify specificities.The book craftsmen inherited their skills and the styles they use from the former Timurid period. They specialized in a mass production of neatly copied items, always adorned with illuminations, and often illustrated. The present research underlines the interactions between this manuscript production and the historical events in Shiraz, in a time when the governorate of Turkmen generals replaced the rule of the prince. The transfer of production from the court atelier to private workshops echoes this change of power. At the same time profound visual changes distinguish the book production, notably a peculiar writing style of nasta‘lîq, only used by Shiraz copyists, as well as stereotyped forms of illuminations and various “commercial” styles of paintings.As a result, a strong visual identity characterises the Chiraz manuscripts. As they were exported to various parts of the Persianate sphere, they had a strong impact on local productions, notably in the Ottoman realm. Furthermore, the same artisans families in Shiraz ensured the permanency of Aq Qoyyunlu models in the first third of the 16th century under the Safavid dynasty.

黃孕祺. / 論文(博士) -- 香港中文大學硏究院藝術部, 1995. / 參考文献 : 134-143. / Huang Yunqi. / 目錄 --- p.i-iii / 〈凡例〉 --- p.iv / Chapter 第一章 --- 書風的形式 --- p.1 -33 / Chapter 一、 --- 研究之目的 --- p.1 / Chapter 二、 --- 問題之關鍵 --- p.7 / Chapter 三、 --- 形式的特徵 --- p.13 / Chapter 四、 --- 術語的糸統 --- p.18 / Chapter 五、 --- 書風的詮釋 --- p.23 / Chapter 六、 --- 風格的分判 --- p.28 / Chapter 第二章 --- 書風的演變 --- p.34 -68 / Chapter 一、 --- 斷代的標準 --- p.34 / Chapter 二、 --- 世系與稱謂 --- p.39 / Chapter 三、 --- 母妣與名諡 --- p.49 / Chapter 四、 --- 貞人與稱謂 --- p.53 / Chapter 五、 --- 斷代新方案 --- p.58 / Chapter 六、 --- 風格和時代 --- p.63 / Chapter 第三章 --- 書風的意味 --- p.69 -108 / Chapter 一、 --- 意味之抉隱 --- p.69 / Chapter 二、 --- 取龜到藏龜 --- p.74 / Chapter 三、 --- 奉龜到徹龜 --- p.80 / Chapter 四、 --- 記事和記兆 --- p.86 / Chapter 五、 --- 卜辭的書契 --- p.93 / Chapter 六、 --- 殷契之成就 --- p.101 / 〈註釋〉 --- p.109 -131 / Chapter 第一章 --- 註 --- p.109 / Chapter 第二章 --- 註 --- p.115 / Chapter 第三章 --- 註 --- p.125 / 〈書刊簡稱表〉 --- p.132 -133 / 著錄 --- p.132 / 工具書 --- p.132 / 刊物 --- p.133 / 〈參考書目〉 --- p.134 -143 / 〈附表〉 --- p.144 -190 / 【表1.1】書風範型表 --- p.144 / 【表1.2】書風範型關係簡表 --- p.145 / 【表1.3】書風範型資料例 --- p.146 -149 / 【表2.1 .1】王世、稱謂、貞人關係表一： 王世、稱謂表 --- p.150 / 【表2.1.2】王世、稱謂、貞人關係表二： 貞人稱謂表 --- p.151 / 【表2.1.3a】】王世、稱謂、貞人關係表三： 貞人王世表（a) --- p.152 / 【表2.1.3b】】王世、稱謂、貞人關係表三： 貞人王世表（b) --- p.152 / 【表2 . 2】標準片表 --- p.153 -172 / 【表2.3】貞人同版表 --- p.173 -175 / 【表2.4a】 貞人繫聯表（I) --- p.176 -177 / 【表2.4b】 貞人繫聯表（II) --- p.178 / 【表2.5】「標準片」範型時期表 --- p.179 / 【表2.6】四期書風表 --- p.180 / 【表2.7】t期書風表 --- p.180 / 【表2.8】五期書風表 --- p.180 / 【表2.9】書風同異關係糸數簡表 --- p.181 / 【表2.10】書風同異關係系數詳表 --- p.182 -189 / 【表3.1】殷代龜卜程序表 --- p.190 / 〈附圖〉 --- p.1 -223 / 《合》 --- p.1 -202 / 《屯》 --- p.203 -217 / 《英》 --- p.218 -220 / 《東》 --- p.221 / 《懷》 --- p.222 -223

Keung Chau Yu Alice. / "Architecture Department, Chinese University of Hong Kong, Master of Architecture Programme 1998-99, design report." / Includes bibliographical references (leaves 102). / Stage 1 --- p.p4-p14 / What is Caligraphy? / The Emergence of Caligraphy? / The Three Traditions of Caligraphy? / Background of the Project: / Facts / Value / Project Goals / Mission / Issues / Caligraphy + Architecture = Calitecture / Proposed Site 1 / "Pak Sha O Village, Sai Kung" / Schedule of Accomodations / Proposed Client / Alpha Beta Club / Precedent / "Wagramerstrasse, Vienna, Eric Owen Moss" / Stage 2 --- p.p15-p26 / The process of caligraphy writing 1 / The process of caligraphy writing 2 / The process of caligraphy writing 3 / Explorations on stroke-writing / Chinese caligraphic Tools / Content of Writing / What am I looking at/have observed / process / A Narrative of Caligraphy Writing / Analysis 1 / Anaiysis 2 / Analysis 3 / Stage 3 --- p.p27-p30 / Introduction / Installation -A Simulation Process / Stage 4 --- p.p31-p40 / Introduction / Special Features / Conservation / Recreation / Fishing / Tidal Change / Getting There / A Narrative of Marine Biology Study / A Narrative of Diving / A Narrative of Hiking / A Narrative of Caligraphy Writing / An Impression of Site from Caligrapher's eyes / Stage 5 --- p.p41-47 / Facts & Issues Development / Caligraphy + Architecture = Calitecture / Stage 6 --- p.P48-59 / Design Proposal / design concept --- p.-p49 / design development --- p.-p50-59 / Final Design / schedule of accommodation --- p.-p60 / site setting out --- p.-p61 / building plans --- p.-p62-63 / movement pattern --- p.-p64-65 / building models --- p.-p66-67 / Stage7 --- p.p68-79 / Construction / general structure --- p.-p69-70 / special structure --- p.-p71-72 / construction sequence --- p.-p73 / Environmental / use of energy --- p.-p74 / waste water treatment system --- p.-p75 / water use strategy --- p.-p76-77 / sun tracking device --- p.-p78 / Life Safety / means of escape --- p.-p78 / feedback --- p.-p79 / Appendix / sketches --- p.-p80-91 / calligraphy exploration --- p.-p92-101 / Bibliography --- p.p102

Orientador: Milton Jose de Almeida / Tese (doutorado) - Universidade Estadual de Campinas, Faculdade de Educação / Made available in DSpace on 2019-01-04T15:20:10Z (GMT). No. of bitstreams: 1 Rodrigues_UbirajaraAlencar_D.pdf: 41150719 bytes, checksum: dd62e343c9b0c326b696000c59b681f4 (MD5) Previous issue date: 2011 / Resumo: Este é um estudo e uma pesquisa sobre imagens em literatura, cinema, letras e textos em manuscritos e miniaturas árabes e persas. O estudo passa pela novela O colar da pomba, de Ibn Hazm, andaluz do século XI, e suas aparições nem sempre claras no filme de Nacer Khemir, O colar perdido da pomba. O estudo aqui apresentado está relacionado ao meu estudo central sobre as letras e a caligrafia árabes, e sobre o modelo de biblioteca árabe medieval, nos séculos 8 e 9, o Bayt ak-Hikma, A casa da sabedoria, como designavam os persas, e depois os árabes. / Abstract: This is a study and a research of images in literature, film, letters and texts in Arabic and Persian manuscripts and miniatures. The study permeates the novel The Ring of the Dove by the Andalusian Ibn Hazm, written about the eleventh century, and how it implicity appears in Nacer Khemir's film, The Dove Lost Necklace. The study presented here relates to my study on the letters and Arabic calligraphy, and a model of medieval Arabic library of the 8th/9th, the Bayt al-Hikma, the House of Wisdom, as denominate by the Persian and the Arabs. / Doutorado / Educação, Conhecimento, Linguagem e Arte / Mestre em Educação