Dans cette étude nous nous proposons de mettre au jour ce qui assure la cohérence du texte dans quatre récits autobiographiques d’André Breton : Nadja, Les Vases communicants, L’Amour fou et Arcane 17. Nous proposons de les appeler « tétralogie » bretonienne. Après avoir montré que les approches en narratologie ne sont pas adaptées à cette fin, nous verrons que l’argumentation ayant pour but de transmettre l’idée du surréalisme donne un cadre intégrateur à ces récits pour en assurer la cohérence. Chaque texte doit selon nous être considéré comme une situation de communication entre le lecteur et l’auteur, c’est-à-dire dans sa dimension pragmatique et énonciative. L’illustration photographique, présente dans trois récits de la « tétralogie », fait partie des moyens mis en œuvre par l’acte d’argumenter. Elle contribue au mieux à cette communication-argumentation. Nous démontrons que ces récits doivent être considérés comme des « livres illustrés » modernisés par la photographie. Dans cette optique, nous examinons le rôle et l’évolution de la photographie à travers la « tétralogie ».Nous montrons que la situation de communication est figurée dans chacun des quatre récits comme un espace théâtral car chacun d’eux est construit comme un théâtre virtuel et fantasmatique. La théorie freudienne du rêve et du théâtre nous permet d’explorer la théâtralité de la « tétralogie » tout en résolvant le paradoxe du théâtre chez BRETON. / This study aims at clarifying the textual coherence in four autobiographical narratives of the Surrealist Poet André Breton: Nadja, Les Vases communicants, L’Amour fou and Arcane 17, which we propose to call “bretonian tetralogy”. Our main thesis is the central importance, in this “tetralogy”, of acts and means of convincing the reader of the genuineness of Surrealism. And the author succeeds in establishing a dynamic tête-à-tête relation with his reader, which endows each narrative with its inward coherence. Photography plays a key role in this rhetoric scheme, and we put forward the interpretation of “bretonian tetralogy” as a variation of 19th century’s illustrated book modernized by the medium and visualization device. On the basis of Freud’s theory about dream and theatricality, we demonstrate that these narratives must be considered as virtual theatres since incorporated theatricality is a way of reminding and exploiting, in the shape of a text, the discourse situation underway between communication partners; Breton and his reader.

Au Cambodge, des patrimoines archéologiques exceptionnels ont été révélés. Matériels et immatériels, leur préservation s'avère délicate. Dès le XIXème siècle, des travaux savants ont constitué une mémoire sur la culture, l’histoire, l’archéologie, l’évolution de l’architecture et des styles. Ensuite, des années de guerre ont détruit une grande partie des structures sociales du pays. L’Éducation est aujourd'hui confrontée au défi contemporain de stabiliser une identité nationale, autour d’une mémoire, d’une culture et d’une langue communes. Dans cette logique, cette thèse tente de contribuer à la préservation de ces patrimoines et leur transmission aux jeunes générations. Elle est consacrée au vocabulaire de l’architecture khmère. Elle en caractérise des spécificités constructives, spatiales religieuses, à travers des temples brahmaniques ou bouddhiques et monastères, et spatiales civiles, à travers des édifices traditionnels. Elle traite des difficultés méthodologiques sur la fiabilité des informations liées à des terminologies anciennes. Elle questionne les logiques de choix, de définition, d'acceptions et de niveau de précision des notions. Elle aborde l'adossement de la culture architecturale à la langue, fortement enracinée dans la culture khmère, ainsi que le lien étroit entre l’histoire de la construction et celle de la société. Sans prétendre à une exhaustivité, de nombreux termes littéraires ou familiers à l’abandon, de nombreux mots perdus et liés à la conception architecturale, à la caractérisation spatiale, au chantier et aux usages sont révélés ou rétablis. Un effort d'illustration, sous la forme de dessins et croquis originaux, aident mieux saisir les techniques et contextes d'intervention. L'accent a été mis sur la précision et la clarté du texte, en français et en khmer. / In Cambodia, exceptional archaeological heritage site was revealed. Tangible and intangible, preservation proves difficult. From the nineteenth century, scientists have established a work memory on culture, history, archaeology, evolution of architecture and styles. Then the years of war have destroyed much of the social structure in the country. Actually, education faces the challenge of stabilizing a contemporary national identity around a memory, a culture and a common language. In this logic, this thesis tries to contribute to the preservation of this heritage and its transmission to the young generations. It is devoted to the vocabulary of Khmer architecture. It characterizes the specificities of various construction and religion space, through Brahman or Buddhist temples and monasteries, then the civil space, through traditional housing. It discusses the methodological difficulties on the reliability of information related to the ancient terminology. It issues the logical choice, the meaning and the precision of the notions. It addresses the backing of architectural culture to language, strongly rooted in Khmer culture, as well as the close relationship between the history of the building and that the society. Without pretending to exhaustive, many literary and familiarly words abandoned, lost and many words related to architectural design, spatial characterization, and usages on site were found or recovered. An illustrations effort, in the form of drawings and original sketches, help better understanding of the technical and operational contexts. The focus was placed on the precision and clarity of text, in French and Khmer.

The purpose of this study was to compare the effectiveness of a context approach to learning reading vocabulary with the effectiveness of the context approach accompanied by illustrations. Subjects were 152 fourth graders from 19 reading classes in 8 elementary schools. Materials included illustrated and nonillustrated vocabulary cards, a researcher-made multiple-choice instrument, and a widely used achievement test, which was used to identify the subjects as good or poor readers. The researcher made instrument was administered as a pretest during the first week of the study. Forty-eight vocabulary words were taught during the second through fifth weeks. The instrument was given again as a posttest during week six and as a delayed posttest during week twelve. Results were analyzed with the analysis of covariance procedure.

"In spite of being noted for their materialism, Americans have advanced further than any other country in both stimulating and satisfying children's curiosity and respecting their individuality by providing them with inviting libraries overflowing with good literature. In accomplishing this the United States has fostered the work of many foreign writers and artists, who have blended their own heritage and culture with modern American life. Among these foreign born author-artists of children's books is Kate Seredy, whose creative work in such books as The Good Master and The White Stag gives her a rightful place among the outstanding artists of this age. The purpose of this paper is to show how her early Hungarian life and her later absorption into American society influenced her stories and pictures to contribute to the vast wealth of children's books. This will be done by a brief biography of her life and a discussion of her works"--Introduction. / Typescript. / "January, 1955." / "Submitted to the Graduate Council of Florida State University in partial fulfillment of the requirements for the degree of Master of Arts." / Advisor: Agnes Gregory, Professor Directing Paper. / Includes bibliographical references (leaves 64-67).

The problem of this study is to determine what elements are significant in creating a periodical for LDS youth that will be competitive with the attractions of other published materials currently available to youth without sacrificing LDS standards.

This dissertation conducts the first systematic study of illustrated Shahnama manuscripts from Qajar Iran (1789-1925). The Shahnama is a Persian epic, composed by the poet Firdawsi (940-1020 or 1025) in the eleventh century. Over time, the Shahnama became the most frequently illustrated Persian text and manuscript copies of the epic continued to be made in nineteenth-century Iran. However, rather than studying the continued production of illustrated manuscripts, scholarship on Qajar Iran has thus far privileged monumental oil paintings, photography, and lithography. I propose that in nineteenth-century Iran, illustrated Shahnama manuscripts were a potent tool for the ruling class and other ambitious individuals to express and build their identity, lineage, and power, despite the availability of other—and more public—ways to communicate the same message. A vibrant network of manuscript painters, who also worked in other media, produced these illustrated Shahnama copies in dialogue with novel forms of cultural production. Specifically, I argue that illustrated manuscripts and lithographed editions of the epic were created by overlapping circles of artists and they demonstrate how Iran and India were part of a shared cultural zone. By explaining how these two media existed in a dialogical relationship, affecting one another, this project challenges the narrative of teleological progression from one medium to the next. I center my discussion around eleven illustrated Shahnama examples and examine the manuscripts both as individual units and as interrelated parts of a group. I focus on their contexts of production, including patronage, intended audience, and artist workshop and pedagogical relationships. In Chapter 1, I study two early-nineteenth-century illustrated manuscripts (Or. 4906 in the British Library and Lewis O.58 in the Free Library) and explain how each underscored the Qajars’ royal identity and dynastic legitimacy during a period of intense competition for the throne and territorial instability. Chapter 2 explains that military leaders and elite administrators were key drivers of illustrated Shahnama manuscript production. I anchor my discussion around MS 535 in the Matenadaran Library in Armenia to outline how non-royally-commissioned manuscripts mirror the patrons’ political aspirations. Chapter 2 also traces the shared motifs that link one manuscript to another and shows that Shiraz was a major production center for illustrated Shahnama manuscripts. The visual repetitions and adaptations I identify in these manuscripts show that the period’s landscape of artistic production was a tightly woven network of artists’ pedagogical and working relationships. Chapters 3 and 4 focus on the Shahnama books from the latter half of the nineteenth century, including lithographed editions printed in Bombay and illustrated manuscripts made in Iran. Images in these books display the flexibility of the artists as they began to work on both manuscripts and lithographed books; developed unique compositions rooted in the cultural and economic ties connecting Shiraz and Bombay; and expressed artistic agency and authorship as they produced for a speculative market. The four chapters together offer a fresh perspective on the Qajar dynasty’s imperial and ideological usages of the epic, the period’s active non-royal patronage and vibrant workshop practices, and Qajar society’s cultural connections to India, all of which distinctively contributed to building a visual language unique to nineteenth-century Iran.

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Sport media has been a known producer of traditional gender images that reflect inequality between sexes. Sport media has been studied endlessly, but one aspect that has not fostered as much attention is sport media, advertising, and children. Sports Illustrated for Kids is the only sport media print magazine for children, with a readership age of 8-15 years old. Images and gender stereotypes have been used continuously by advertising companies to sell products to consumers. Children in particular cannot accurately determine between content that is meant to inform and content that is meant to sell. This study examined whether editorial and advertising images in Sports Illustrated for Kids reflects actual participation rates of athletic activities based on gender in issues from the past decade. Utilizing past research, this study looked at overall numbers and stereotypes by examining factors such as state of dress, photo angle, and motion in photograph. Findings show that females are still under and misrepresented in SIK. Even so, findings of this study suggest representation of women in team neutral sport such as soccer and basketball is on the rise. Findings could have implications for SIK's young readership as well as highlight a need for more education about advertising and editorial practices being implemented. / Master of Arts / Sport media has been a known producer of traditional gender images that reflect inequality between sexes. Sport media has been studied endlessly, but one aspect that has not fostered as much attention is sport media, advertising, and children. Sports Illustrated for Kids is the only sport media print magazine for children, with a readership age of 8-15 years old. Images and gender stereotypes have been used continuously by advertising companies to sell products to consumers. Children in particular cannot accurately determine between content that is meant to inform and content that is meant to sell. This study examined whether editorial and advertising images in Sports Illustrated for Kids reflects actual participation rates of athletic activities based on gender in issues from the past decade. Utilizing past research, this study looked at overall numbers and stereotypes by examining factors such as state of dress, photo angle, and motion in photograph. Findings show that females are still under and misrepresented in SIK. Even so, findings of this study suggest representation of women in team neutral sport such as soccer and basketball is on the rise. Findings could have implications for SIK’s young readership as well highlight a need for more education about advertising and editorial practices being implemented.

De toutes les régions de France, la Bretagne est celle qui attira le plus les artistes entre le milieu du XIXe siècle et le milieu du suivant. Si sa présence dans la peinture est connue, il n’en va pas de même dans le domaine de l’estampe. L’objet de cette thèse est de combler cette lacune en analysant sa place, comme thème, chez les graveurs sur bois français et étrangers. L’étude s’appuie sur un corpus fondé sur le dépouillement des fonds publics et privés. Son analyse révèle l’importance de la thématique dans chaque phase de l’évolution de la gravure sur bois occidentale entre 1850 et 1950. Pour chacune sont étudiées les contributions des graveurs les plus représentatifs. L’apparition de la Bretagne dans la gravure professionnelle d’interprétation est retracée, puis précisée sa place dans la gravure sur bois originale entre 1880 et 1900. Les partis opposés des coloristes et des tenants du noir et blanc divisent en deux sections les chapitres suivants. L’étude des premiers met en évidence l’impact des procédés japonais de gravure et d’impression. Elle se poursuit par la résurgence du camaïeu puis le retour au coloriage après impression. L’analyse de la production en noir met en lumière les pôles autour desquels gravitent presque toutes les représentations de la Bretagne : inspiration maritime et thématique rurale. Elle souligne la contribution régionale à la vogue du livre illustré en gravure sur bois dans l’entre-deux-guerres. Enfin, la présentation d’une production militante constitue un épisode de ce panorama d’une production qui, pour être régionale dans son inspiration, n’en constitue pas moins un exemple représentatif de l’histoire d’un art et d’une technique. / Brittany is the region of France which attracted the greatest number of artists between the mid-19th and 20th centuries. The presence of painters is known, but the same cannot be said for the field of etching. The aim of this thesis is to contribute towards filling that gap.The study is based around the creation of a corpus. Its analysis reveals the importance of the theme adopted during each of the main periods of the development of western woodcut printing between 1850 and 1950. The definitions of these themes form the internal dynamic of the thesis.First of all the appearance of Brittany in professional interpretive etching is related. Then its place in the birth of original wood block printing is detailed. The following chapters are devoted to the opposing groups of artists, those who used colour and those who held to the aesthetic of black and white prints. The study of the colourists begins by highlighting the impact of Japanese wood-block techniques. It is followed by the resurgence of camaïeu and then the return to the western tradition of colouring after printing.Analysis of the more technically homogenous black print production focuses attention on the two themes around which almost all representations of Brittany revolve: the sea and the countryside. It underlines the regional contribution to the vogue for books illustrated with woodcut prints during the period between the wars. Finally, the presentation of militantly Breton works marks a specific episode of this panoramic overview of artistic output which, despite its regional origins, symbolises no less a part of the history of the art and technique of wood-block carving.

"The purpose of this paper is three-fold: to give a brief sketch of the life of James Daugherty and the development of his art; to summarize the contemporary criticism of his work as to his ability as an author-illustrator for children; and to assemble a bibliography of his contributions to art and literature. The portion concerned with critical analysis has been limited to those books both written and illustrated by Mr. Daugherty"--Introduction. / Typescript. / "August, 1955." / "Submitted to the Graduate Council of Florida State University in partial fulfillment of the requirements for the degree of Master of Science." / Advisor: Agnes Gregory, Professor Directing Paper. / Includes bibliographical references (leaves 49-52).