No description available.

In the 150 years since Lewis Carroll and John Tenniel (1865/1866) first published Alice's Adventures in Wonderland, various illustrators have found inspiration in this story to recreate its images again and again. Since Carroll and Tenniel, Wonderland has concerned itself with sociocultural ideas and the work of artists who re-illustrated this story provide ways to trace history of these ideas. Accordingly, the purpose of this project was to examine connections and breaks with tradition in illustration that contribute to an evolution of meaning in the Wonderland story. Additionally, through this project, I worked to interpret ideas from different artists in different times and spaces in an attempt to understand intersecting ideas of culture and Wonderland illustration. Through this work, I developed the concept of curation as a visual research methodology in order to make sense of and share my discoveries. Wonderland offers a rich context to explore and elucidate the arts-based qualitative methodology of curation because of its literary merits, artistic interpretations, and persistence and pervasion worldwide over the last century and a half. Curation allowed me flexibility in thinking about thematic interpretations of the illustrations I studied. Specific curatorial methods led me to identify the scene of Alice's decent to Wonderland, visual characterizations of the Hatter character, and depictions of the playing card characters as signals of sociocultural changes. When examined together, these interpretations point to an ever-shifting relationship between author, illustrators, and readers in classic, illustrated novels. Specifically, through the illustrations in Wonderland, Alice is no longer portrayed as a particular girl and illustrators over time have placed readers as the subject of the adventures. In recent times, Wonderland has gained some ability to cross over from its pages into the real world and take a look at its readers. This shift in perspective in Wonderland speaks to a current sociocultural environment wherein reality is hyper-subjective and nothing is quite as it seems.

The rapid emergence of the middle class in England during the nineteenth century affected many aspects of Victorian society. New social ideals required alterations to what had previously been perceived as correct values, and this era has become infamous for its repression. The new middle classes were especially insecure as to what constituted appropriate behaviour, and so sought guidance from authority figures. Middle class women found this guidance in magazines such as publisher Samuel Beeton's monthly magazine, Myra's Journal of Dress and Fashion. Advice was provided in Myras editorial column, Spinnings in Town, written by Myra Browne. The counsel was given through clever advertorial plugs written into the monthly column. Social ideals were also communicated in illustrated advertisements via their imagery.<p>Advertisements for commercially manufactured soap were especially significant in recommending proper middle class behaviours and responsibilities. Victorian soap advertisements and recommendations not only sold the product to the consumer, they also created an idea of what constituted middle class behaviour and sold that to the willing and eager female consumers. Beauty was a main nonmaterial commodity sold via soap advertisements to the middle classes, and quickly became integral to the creation and maintenance of the middle class female identity. Despite their intentions, acceptance of the concepts of appropriate and actual deportment were not always consistent. Even the purveyors themselves could become susceptible to censure due to the whims of the marketplace, ill health, or awkward social compromises. Such was the case with the house that Beeton built.

The rapid emergence of the middle class in England during the nineteenth century affected many aspects of Victorian society. New social ideals required alterations to what had previously been perceived as correct values, and this era has become infamous for its repression. The new middle classes were especially insecure as to what constituted appropriate behaviour, and so sought guidance from authority figures. Middle class women found this guidance in magazines such as publisher Samuel Beeton's monthly magazine, Myra's Journal of Dress and Fashion. Advice was provided in Myras editorial column, Spinnings in Town, written by Myra Browne. The counsel was given through clever advertorial plugs written into the monthly column. Social ideals were also communicated in illustrated advertisements via their imagery.<p>Advertisements for commercially manufactured soap were especially significant in recommending proper middle class behaviours and responsibilities. Victorian soap advertisements and recommendations not only sold the product to the consumer, they also created an idea of what constituted middle class behaviour and sold that to the willing and eager female consumers. Beauty was a main nonmaterial commodity sold via soap advertisements to the middle classes, and quickly became integral to the creation and maintenance of the middle class female identity. Despite their intentions, acceptance of the concepts of appropriate and actual deportment were not always consistent. Even the purveyors themselves could become susceptible to censure due to the whims of the marketplace, ill health, or awkward social compromises. Such was the case with the house that Beeton built.

The aim of this study is on the development of young children's arithmetic and geometric concepts. To achieve this aim, teachers motivated young children's curiosity through the use of interesting illustrated books. In particular, the target is the advance in young children's knowing and understanding of geometric figures and numbers within 10. There were altogether three phases. In the first phase, the investigator designed a mathematical activity (a pre-test) for the teacher to capture young children's entry behavior. The second phase referred to the use of illustrated books in ordinary instruction. During the third phase, the mathematical activity (identical to that of phase 1) was carried out again, in order to find out if advancement in young children's mathematical ability was present. Data collection and administration included investigator's observation notes; video analyses; notes on teacher interviews; and investigator's self reflections record. Data analyses and results were two: geometric concepts and arithmetic concepts. Geometric concepts. Using illustrated books could advance in understanding and increase in curiosity of young children; also to promote young children's recognition in variation in polygon; and arouse young children's imagination and creativity in individual figures and combination of patterns. Arithmetic concepts. Using illustrated books could cause the interests in change of numbers; cultivate young children's sensitivity in the addition and subtraction of numbers; and promote the ability of combination and decomposition of numbers within 10. The findings of this study suggested that illustrated books are important and useful in assisting young children to explore mathematical concepts. Illustrated books encourage young children to think and allow room for oral presentation, clarifying and reflecting one self. Finally, teachers are suggested to integrate the use illustrated books in teaching mathematics, and follow up with related mathematics activities, to upgrade young children's development in various mathematics concepts.

This study sought to determine the principles of interface rhetoric through a review of the relevant history and theory involved in imagetext media. Defining interface as the surface that limits the view of an artifact’s content, it focuses on the media of the illustrated book, comics, and the video game, particularly artifacts of those media inspired by the content of Lewis Carroll’s Alice books. Methodologically, it used the history of aesthetics and technology related to imagetext and the theories of these media in order to discern the rhetorical principles of interface distinctive to each medium. It takes the perspective of W. J. T. Mitchell’s concept of "imagetext," Umberto Eco’s sense of semiotics, Maurice Merleau-Ponty's phenomenology of perception, and Don Ihde's phenomenology of technology in its analysis of the media’s artifacts. The results of the analyses are a group of rhetorical principles for each medium that explain the operation of logos, pathos, and ethos in each medium’s interface. The explanations refer to Wayne Booth’s “implied author” and Kenneth Burke’s "terminological screens." In the final analysis, this study argues for understanding the relative ubiquity of imagetext in media stemming from the 1830s to present. It takes the stance that changes in aesthetics and technology enabled the rise of imagetext interfaces and the media that had them. More importantly, it formulates the architectonic principles of interface rhetoric regardless of the specific media.

Thesis (MA)--University of Stellenbosch, 2006. / On title page: MA in Klassieke Letterkunde. Bibliography. Also available via the Internet.

Thesis (Ph. D.)--University of Oklahoma, 1995. / "UMI number: 9532360." eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references.

Thesis (Ph. D.)--Florida State University, 1995. / Typescript. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references.

Thesis (M.A.)--Brigham Young University, Dept. of Art. / Includes bibliographical references (leaves 92-93).