Thesis (MPhil)--University of Stellenbosch, 2011. / ENGLISH ABSTRACT: This study discusses the role of the indigenous picturebook in South Africa and the positive aspects it holds with regards to developing a reading culture in this country. Specific focus is placed on postmodern picturebooks and it discusses why these types of books are more succesfulsuccessfulin teaching children to read than “traditional” picturebooks, and finally to promote a healthy reading culture. The main argument is that picturebooks occupy a void where different factors such as didactic and economic elements should be taken into consideration. The possible role picturebooks can play in the rehabilitation of the dying Nama language and culture is also considered as well as links between Nama and Afrikaans stories. HibridityHybridity theory is also taken into account and possibilities of merging Afrikaans and Nama to create a bilingual picturebook is also explored. The picturebook is also discussed as a form consisting of different factors.These factors include elements regarding narrative theory and semiotics. The premise of this discussion is based on Roland Barthes’ theory regarding the meaning of signs, namelysemiotics. Narrative theory is also taken into consideration with special reference to Perry Nodelman’s theory regarding the combination of narratology and semiotics in the dissection of picturebooks. In the conclusion it is discussed why it is very important for writers and illustrators to have a sound understanding of the theory regarding picturebooks in order to create quality picturebooks. The main theme in this study is that picturebooks are a perfect medium for children to learn how to read and develop their visual literacy. / AFRIKAANSE OPSOMMING: Hierdie studie bespreek die inheemse kinderprenteboek in Suid-Afrika en die bydrae wat dit kan lewer om hierdie land se agteruitgaande leeskultuur te stuit. Die postmoderne kinderprentboek word uit die oogpunt van 'n illustreerder bespreek deur klem te plaas op die positiewe bydrae wat hierdie tipe boeke tot 'n gemeenskap se leeskultuur kan lewer. Daar word hoofsaaklik geredeneer dat kinderprenteboeke in Suid–Afrika oor die algemeen 'n problematiese ruimte beset waar elemente soos die didaktiese invloed, die ekonomie en ook taal in ag geneem moet word. Hierdie verhandeling ondersoek ook die rol wat die inheemse kinderprenteboek kan speel in die behoud van die sterwende Nama gemeenskap se taal en kultuur, asook die verband tussen Afrikaans en Nama. Deur te kyk na hibriditeitsteorie word ook bepaalof Afrikaans en Nama suksesvol saam in 'n kinderprenteboek kan funksioneer. Die verskillende faktore wat tot die kinderprenteboek as 'n geheel bydra, word ook bespreek, naamlik narratief- en semiotiekteorie. Deur staat te maak op Roland Barthes se semiotiekteorie en Perry Nodelman se narratiefteorie word kinderprenteboeke as 'nkunsvorm bespreek. Die gevolgtrekking van hierdie studie bespreek waarom dit vir illustreerders en skrywers van kinderprenteboeke noodsaaklik is om te besef hoe kinderprenteboeke as 'n visuele teks funksioneer om sodoende'nkwaliteit produk vir kinders te kan skep. Die kinderprenteboek is 'nideale medium waarin kinders kan leer om teks en beeld bymekaar te bring.

Thesis (MPhil)--Stellenbosch University, 2012. / ENGLISH ABSTRACT: This study comprises a comparative visual analysis of three picture books, illustrated by Steven Kellogg, Posy Simmonds and Edward Gorey. The illustrators reinterpret the cautionary tale, Matilda, who told lies and was burned to death by Hilaire Belloc (1908). Not only does this study present a brief historical overview of the genre but it also interrogates the manner in which different styles of illustration underscore the pedagogical didactic narrative. The visual interpretations of these three illustrators are compared in order to establish whether or not they have succeeded in sustaining the subversive or grotesque elements of this cautionary tale. Belloc’s narrative as well as the illustrations are analysed in terms of gender. I discuss my own version of Belloc’s cautionary tale as a parody of this tale that serves to exaggerate the sometimes overt gendering of girl characters in cautionary tales. / AFRIKAANSE OPSOMMING: Hierdie skripsie behels die visuele analise van drie verskillende prenteboeke, onderskeidelik geillustreer deur Steven Kellogg, Posy Simmonds en Edward Gorey. Al drie illustreerders bied ʼn visuele herinterpretasie aan van die vermaan-vers Matilda, who told lies and burned to death deur Hilaire Belloc. Die skripsie bied nie net ʼn geskiedkundige oorsig oor die genre nie, maar ondersoek die manier waarop verskillende illustrasie-style die opvoedkundige, didaktiese narratief onderstreep. Die illustreerders se prenteboeke word vergelyk en daar word vasgestel of hulle daarin geslaag het om die subversiewe en selfs groteske elemente in hierdie vermaan-verhaal te behou. Belloc se narratief en die illustrasie daarvan is ook in terme van gender geanaliseer. Ek bespreek my eie weergawe van Belloc se vermaan-verhaal, wat ek aanbied as ʼn parodie om die soms duidelike “gendering” van meisie-karakters in vermaan-verhale te oordryf.

This thesis examines the articles the Brazilian writer Lima Barreto (1881-1922) published in the popular satirical magazine Careta. It argues that Careta epitomises Lima Barreto’s aim to create social impact through literature, as it provided him with the largest readership he enjoyed in his lifetime, reaching hundreds of thousands of readers weekly nationwide and internationally. The thesis expands the knowledge about the strategies Lima Barreto used to convey his ideas, showing how he endeavoured to engage with mass audiences in order to combat social fragmentation and intellectual alienation in early twentieth century Brazil. The significance of this thesis is evident on two levels. First, I demonstrate throughout the chapters that Barreto fully engaged with Careta to convey his ideas to a mass audience, choosing the magazine as his main periodical voice in the last years of his life. This argument challenges the idea that Lima Barreto was a marginal writer in the First Republic. Second, the originality of this thesis lies in locating and uncovering almost one hundred and fifty hitherto unknown texts, most of them published pseudonymously in Careta. Chapter one discusses the militancy of Barreto's works. Chapter two argues that Barreto elected magazines, more than newspapers, to convey his message to a large audience. Chapter three relates the early history of Careta. Chapter four suggests that Barreto incorporated pictorial strategies into his articles. Chapter five argues that Barreto embraced Careta's central theme derived from the Commedia dell'Arte. Chapter six discusses systematically the pseudonyms attributed to Barreto in Careta and provides robust evidence that he published many hitherto unknown texts pseudonymously. Finally, I conclude that Careta encapsulates Barreto's efforts to reach a mass readership and communicate with readers beyond literary circles.

Ce mémoire de maitrise porte sur la représentation de l’ailleurs véhiculée aux lecteurs d’images, au Québec, par les gravures du journal illustré L’Opinion publique. Effectivement, si l’Histoire commence avec les premières traces écrites, elle pose le problème de l’étude historique de ceux qui n’ont pas laissé de tels témoignages, les personnes qui ne sont pas ou peu alphabétisées. Nous proposons d’étudier ces personnes par le biais de l’image, médium auquel elles ont pu avoir accès. Nous avons ainsi cherché à savoir quelle connaissance de l’ailleurs a pu être véhiculée aux lecteurs d’images à travers les gravures du journal. Nous considérons que les gravures sont comprises par tous. Celles-ci représentent la moitié des pages du périodique, nous pensons que ce journal a pu être accessible à chacun, à ceux que nous appelons les lecteurs d’images. Nos conclusions montrent que ces illustrations ont pu étendre la connaissance de l’espace des Québécois, à travers la représentation de l’actualité. Il est à noter que ces gravures proviennent en partie de journaux français et montrent la France et ses colonies. La population montréalaise se trouve donc au contact d’une certaine influence française, dont les élites se font les vecteurs. Une comparaison avec le Canadian Illustrated News révèle de profondes différences. Ainsi, ce journal du même propriétaire indique un intérêt marqué pour l’Empire britannique. Ce journal qui vise un public plus cultivé que celui de son homologue francophone donne à voir un espace plus large à ses lecteurs. Ainsi, chaque ligne éditoriale se fait l’écho de représentations différentes, transmises à ses lecteurs, populaires ou moins, francophones ou anglophones. / This master’s thesis focuses on the representation of the idea of “elsewhere” as conveyed by the illustrated newspaper L’Opinion publique’s engravings to the pictures’readers in Quebec. Indeed, if history did commence with the written word alone, challenges would arise with regards to the historical study of those who did not leave behind such accounts, namely the illiterate or barely literate. We propose to study this audience by means of the printed picture. Thus, we explored how “elsewhere” was portrayed to the newspaper’s readers through the medium of the picture. We believe that the pictures were understood by everyone. Considering half of the newspaper consisted of illustrations, we assume L’Opinion publique would have been accessible to everyone. Our conclusions show that these illustrations could have expanded knowledge of space of the Quebecers, through the representation of the news. We notice a part of these engravings come from French newspapers and depict France and her colonies. Through the elite, Montreal population is in contact with a degree of French influence. A comparison with the Canadian Illustrated News reveals significant differences. This newspaper, owned by the same person, indicates a marked interest in the British Empire. The Canadian Illustrated News aims at a public more cultured than the French-speaking counterpart, indicated by the broader array of topics covered. Thus both papers explored different points-of-views, which were transmitted to its readers, working class or not, French or English speaking.

Ce mémoire a pour objet le socioréalisme victorien, un moment de l’art anglais pendant lequel s’est développée une déclinaison originale de la tendance réaliste qui a laissé sa marque un peu partout en Europe dans le courant du 19e siècle. À une époque où l’Angleterre s’affirme comme le haut lieu de la modernité industrielle, les dures conditions de vie imposées par les transformations socio-économiques en train de s’accomplir trouvent peu à peu à s’exprimer dans les arts, où leur représentation met à mal les canons esthétiques établis et l’idéologie qui les sous-tend. Alors qu’en France la figure du paysan est le plus souvent associée à la vision et au programme des réalistes, c’est vers le prolétaire urbain que vont se tourner des artistes anglais interpellés, à l’instar de certains écrivains, intellectuels, législateurs et spécialistes divers, par les ravages humains que cause la course aveugle vers le progrès et vers le profit. Si le roman « industriel » à la Dickens donne le ton en nous offrant quelques victimes types des bas-fonds de Londres, des illustrateurs emboîtent le pas, notamment grâce à la presse illustrée. Une iconographie du pauvre, où l’enfant et la femme occupent l’avant-scène, se met en place et se diffuse largement grâce à la capacité d’invention que permettent les nouveaux médiums de reproduction mécanique. Le journal The Graphic retient notre attention parce que certains de ses imagiers –Francis Montague Holl (1845-1888), Samuel Luke Fildes (1843-1927) et Hubert von Herkomer (1849-1914) - ont aussi pratiqué la peinture et transposé, dans des tableaux aux dimensions imposantes, des sujets qu’ils avaient déjà exploités dans la gravure. Prenant pour corpus une production visuelle qui semble avoir pour projet de rendre le réel en direct, dans toute sa dureté, notre mémoire explore cependant les aspects fictionnels et les manipulations rhétoriques auxquelles les imagiers doivent se prêter pour faire passer leur message. Certaines de ces manipulations sont imposées de l’extérieur, par la nécessité de ne pas confronter les bien nantis à une situation de révolte potentielle, mais de les inciter à la charité en les apitoyant sur le sort des plus démunis. D’autres dérivent des médiums eux-mêmes, le passage de la gravure à la peinture et du petit au grand format, de la consommation privée à l’exposition publique, imposant des stratégies compositionnelles et des factures différentes. / The subject of this thesis is Victorian social realism, a spell of British Art during which Realism tends to grow everywhere in Europa during the 19th century. During this period of time, Great Britain reaches its summit with the industrial modernity. At the same time, this fast-changing world is causing a serious class struggle that artists try to represent through a new estheticism and a new ideology. Whereas in France, the figure of the peasant is mostly associated with Realism, British artists relate more to the urban worker and so do novelists, intellectuals, and legislators, who witness the devastation of the human condition caused by the shameless race for progress and profit. Industrial novels written by Dickens introduced a certain type of low-class character of London and illustrators follow the lead in illustrated newspapers. An iconography of the poor, in which the child and the woman are the main characters, starts to take place and spreads largely through the new medium of mechanical reproduction. The illustrated newspaper The Graphic caught our attention because some of its illustrators – Francis Montague Holl (1845-1888), Samuel Luke Fildes (1843-1927), and Sir Hubert von Herkomer (1849-1914) – were also painters and transposed subjects they already exploited in woodcarving on to canvas. In this thesis, we will explore the fictional aspects and rhetorical manipulations used by the illustrators and the painters to get across their message. Certain of these manipulations are imposed by the historical and political context, by the need of not shocking the rich classes by showing them a potential insurrection, but rather by encouraging charity. Others prefer to change medium, by switching from engraving to painting, form small to big canvas, from private buyers to public exhibition, and thereby imposing new and different compositional strategies.

The thesis "A content analysis of photographs in Pestry tyden and LIFE magazine" analyses two successful magazines of the first half of the 20th century. Intentionally, two periodicals of different origin (Czechoslovakia and the United States) are compared to investigate the assumption that the different origin has major influence on the overall concept and focus of the periodicals. The subject of this study is the selection of volumes of 1937-1945, the period of the greatest success of both magazines. The study aims not only at describing the contents of the periodicals but also at situating them into social, political and art-historical context. The study is based on a theoretical part which gives a general overview of photojournalism and tracks the slow beginning of journalistic photography and the birth of the first illustrated magazines. This part also deals with technological development which made possible quality image journalism. The study does not leave out numerous restrictions, e. g. censorship, which were a frequent point of struggle for the magazines' authors. Key words: illustrated magazines, magazine photography, photojournalism, documentary photography, war photography, censorship, propaganda

René Burri est un photoreporter, membre de l’Agence Magnum Photos depuis 1955. Certaines de ses photographies sont aujourd’hui considérées comme des icônes de l’histoire de la photographie. L’analyse du système de diffusion de son travail, à travers la presse illustrée, tentera de répondre à la question de la fabrique de ces images en tant que symboles. Cette dense production est traitée en quatre chapitres. Le premier introduit le contexte photographique et éditorial dans lequel arrive René Burri, en 1955. Le deuxième suit l’ordre des publications liées à une prise de vue photojournalistique, événement après événement. Le troisième accompagne, thématiquement, les sujets développés par le photoreporter, quand le troisième replace la photographie au moment de sa reconnaissance institutionnelle. Le travail de René Burri subit dès lors, par la presse illustrée, une sélection par l’icône.Quelle est la relation entre l’œuvre de René Burri et la presse illustrée ? L’analyse des politiques éditoriales des plus grands titres de la deuxième moitié du XXe siècle soutient le discours et atteste de la place de la photographie de René Burri dans la presse illustrée. Cette recherche, au corpus inédit, permet de montrer l’œuvre du photographe sous une approche singulière et, au- delà, permet de voir en quoi la presse illustrée participe à un mode de diffusion exclusif de certaines photographies. En effet, certains clichés, qui avait été sujets à de nombreuses publications sont aujourd’hui oubliés, alors que d’autres, qui n’avaient pas été publiées au moment de leur réalisation, sont aujourd’hui, avec quelques unes qui résonnent toujours, représentatives du parcours du photoreporter. / René Burri, member of Magnum Photos agency since the middle of the fifties, is a famous photographer. Thanks to an exhaustive inventory of all of his published production, the study will bring it out. Through the analysis of the way the work of this swiss photographer has been edited, we could understand how, today, some pictures are kind of iconic. Four chapters analyse this dense production. The first one introduces the photographic and editorial context in which René Burri begins working in 1955. The second, following the order of the publications, event after event, deals with a photojournalistic photography. The third one handles the investigation photography of René Burri, trough a thematic construction. The last section is about the institutional recognition of the photography as an Art, so as some of the photographs are published like pieces of a photographic heritage. René Burri’s work is then broadcasted undergoing an iconic selection. What is the relationship between the work of René Burri and periodicals? The analysis of some greatest titles of the second half of twentieth century’s editorials politics attests of the importance of photography; and furthermore, of René Burri’s pictures. Through an unpublished corpus, the purpose of this study is to show the work of the photograph through an original approach; and, beyond, to see how the press can give a selective vision of this work. Indeed, some of photographs often published by the past are now unknown, although others, which did not appear in periodicals at the moment they were taken, are now very famous. Today, those ones, among vintages ones that still echoe, are representatives of René Burri’s work.

Ao analisar um conjunto de livros infantis nos quais a materialidade do objeto atua como fundamento para o projeto das imagens, pretende-se sublinhá-los como representantes de uma tipologia, a dos livros-ativos, na qual uma ou mais imagens incorporam o próprio objeto em sua significação, sem que com isso o formato tradicional do códice seja modificado. / By analysing a group of childrens books in which the materiality of the object is crucial for the images design, the aim is to show they are able to represent a typology, the active-books one, in which one or more images include the object itself in its meaning, without any changes in the tradicional codex format.

A Vida Paulista semanário ilustrado de humorismo, crítica e arte foi publicada na cidade de São Paulo entre 1903 e 1905. Naquela época, a indústria gráfica estava em expansão e o jornalismo se convertia em empreendimento lucrativo, acompanhando o desenvolvimento urbano e comercial das principais cidades do país. Na capital paulista, desde a última década do século XIX, a imprensa periódica proliferava e assumia funções diversas. A Vida Paulista delimitou o seu escopo pelo trinômio humorismo, crítica e arte, mas abordou assuntos vários e defendeu um programa fundado no bom-senso dos comentários e na independência da opinião. Os diretores do semanário pretendiam fazer dele um caleidoscópio do viver multiforme e cosmopolita da capital artística do Brasil. No alvorecer do século XX, o estado de São Paulo e sua capital passavam por grandes transformações e foram palcos de tramas diversas, das quais a Vida Paulista foi testemunha e agente. No presente trabalho, pretendemos apresentar o semanário ilustrado fundado por Arlindo Leal e Peregrino de Castro, disponibilizá-lo em versão digital para futuras pesquisas e oferecer caminhos sem qualquer ambição de esgotar as infinitas possibilidades de leitura da Vida Paulista como fonte de conhecimento sobre o passado. Nosso objetivo é nutrir a revista de alguns pressupostos necessários à sua utilização como documento histórico, restituindo-lhe parte da inteligibilidade que o tempo e o esquecimento removeram. / Vida Paulista illustrated weekly magazine of humor, criticism and art was published in São Paulo (city) between 1903 and 1905. By that time, graphic industry was expanding and journalism was converting into a profitable enterprise, following the urban and commercial development of the main cities of Brazil. At São Paulos capital, since the last decade of nineteenth century, the periodical press proliferated and assumed various functions. Vida Paulista delimited its own scope by the trinomial humor, criticism and art, even though it addressed several issues and defended a program based on a good judgment of their reviews and independence of opinion. The heads of the magazine intended to make it a kaleidoscope of the multiform and cosmopolitan way of living of Brazils artistic capital. At the beginning of the twentieth century, the state of São Paulo and its capital went through major transformations and worked as stage for several plots, of which Vida Paulista was witness and agent. In this work, we seek to present the illustrated weekly magazine founded by Arlindo Leal and Peregrino de Castro, make it available in digital form for future researches and offer ways with no ambition to deplete the unlimited possibilities to read Vida Paulista as a source of knowledge about the past. Our goal is to foster the magazine with some assumptions that are needed for its utilization as historical document, restoring part of the intelligibility that time and oblivion has removed from it.

Como não há pleno consenso, atualmente, entre as múltiplas definições dos conceitos de \"design\" e de \"design de produto\", as fronteiras do campo de atuação do designer de produto resultam percebidas e determinadas, em grande parte, por exemplos visuais veiculados por livros, revistas e jornais acessíveis ao grande público e a estudantes, designers ou aqueles envolvidos com esta área de projeto. Uma observação inicial, anterior a esta pesquisa, percebeu que em publicações de design ilustradas, havia hipertrofia na representação de certos produtos de design e rarefação na de outros, situação que podia chegar, no limite, à inexistência de referência até mesmo de produtos familiares e comuns. A presente investigação se propôs, assim, quantificar, objetivamente, este desequilíbrio na representação de produtos existentes em bibliografia da área, por meio de contagem das imagens de objetos em livros de design. A par desta contagem de ocorrências de imagens de produtos, foram também identificadas, claramente, em outras fontes, situações de forte demanda da atividade do design de produto na vida cotidiana de sociedades contemporâneas. Estas demandas, ao final da pesquisa, apontaram para a existência de um espectro mais amplo e objetivo do campo do design de produto o que permitiu aferir, por comparação, se havia fidedignidade no mapeamento do campo, como havia sido delineado pelo levantamento numérico de imagens. Na primeira parte do problema deste estudo, foi conduzida uma extensa contagem direta de imagens de objetos de design de produto, do modo como estes se apresentavam na bibliografia. Esta bibliografia foi selecionada após o estabelecimento de critérios nítidos, antecipadamente definidos. Com a finalidade de efetuar contagem dos produtos de maneira organizada, foram estabelecidas categorias às quais cada objeto foi alocado por suas características. Os resultados das contagens foram traduzidos em tabela e gráficos, que permitiram fazer comparações numéricas (digitais) e visuais (analógicas) entre as diversas categorias de produtos contabilizados ou entre os vários livros selecionados ou ainda entre categorias de produtos em um mesmo dado volume e, sobretudo, em uma terceira fase, entre os produtos contados quando confrontados com necessidades reais, que podem ser atendidas pelo design de produto. Estes dados de realidade estão amparados em números oficiais. 7 As análises, assim conduzidas, permitiram concluir que, de fato, interpretações mais comuns acerca da natureza e dos limites do campo do design de produto se revelaram severamente distorcidas. Adicionalmente, a consulta aos livros ilustrados de design de produto indicou que existe certo modelo de seleção de imagens, tomado por padrão contemporâneo do design, que tende a ser mimetizado entre obras bibliográficas. Esta distorção pode acarretar, assim, efeitos compreensivelmente indesejáveis do que seja design no entendimento de clientes em potencial. O mesmo fato pode afetar negativamente a percepção de alunos, designers, professores, profissionais de áreas afins e ainda daqueles que modelam políticas relativas ao design, que tomam conhecimento de uma realidade apenas parcial do campo do design de produto, mediada e filtrada por decisões editoriais orientadas por ênfases reducionistas acerca do espectro real e possível da atividade. / Since, presently, there is no consensus with regard to various definitions of the concepts of \"design\" and \"product design\", the boundaries of the product designers\' field are perceived and shaped, to a great extent, by visual examples supplied by books, magazines and newspapers that are accessible to the general public, as well as to students, designers, and to those in any way connected to the design area. Initial research conducted before this one showed that in illustrated design publications, certain design products were presented in an excessive way, while others barely appeared, a situation that could reach the point of no representation at all of even familiar or common products. The present study is meant to measure, therefore, in an objective way, the lack of balance in the presentation of products in the design bibliography, by counting pictures of the objects in design books. Simultaneously with thepicture counting, an effort was made while using different sources of information to clearly identify situations of strong demand for product designer skills in everyday life of contemporary societies. These demands, at the end of this study, pointed towards a much broader and objective spectrum of the field of design, which permitted, by comparison, checking how true to reality was the portrait of product design presented by the counting of pictures. In the first part of this research, an extensive counting of design products was done, taking into consideration in the bibliography the way in which they were presented. This bibliography was selected after clear criteria of choice were established. With the purpose of counting products in an organized way, categories were established where each object would fit, depending upon its particular characteristics. The results of the counting were translated to a table and several graphs, which allowed for making numerical comparisons (digital) or visual comparisons (analogical) between several product categories, in general, and between data in several books, several product categories in the same book, and most importantly, the results allow for comparing the numbers of the counting to real needs that can be answered by product design. The real life situation data is supportedby official numbers. 9 The analysis thus conducted, in fact, led to the conclusion that the usual interpretation concerning the nature and limits of the field of design suffered from severe distortion. Additionally, the examination of design books revealed a certain bias in image selection, and this is taken as the contemporary model of what design should be and tends to be copied by other similar books. Therefore, this distortion may understandably lead to undesirable effects on potential customers\' understanding about what the meaning of design is. The same misunderstanding may negatively affect the way the subject is perceivedby students, designers, teachers, professionals working in similar areas and also by those who are responsible for shaping political decisions concerning design: they get in touch with only a partial reality of the field of product design, a reality that suffers mediation and filtering of editorial decisions that decide which is the real and possible spectrum of the design field, oriented as they are by a reductionist emphasis.