"Vorliegende Arbeit wurde im Juli 1932 von der Philosophischen Fakultät der Universität Leipzig als Dissertation angenommen." / "Katalog": p. 83-118. "Literatur": p. vii-viii.

Thesis (Ph. D.)--Stanford University, 1979. / Includes bibliographical references (p. [412]-426).

Orientador: Luiz Carlos da Silva Dantas / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-08T10:19:35Z (GMT). No. of bitstreams: 1 Alves_AndreaLima_D.pdf: 7208057 bytes, checksum: 584c925af827442cf05c62eeae5b38f9 (MD5) Previous issue date: 2007 / Resumo: A presente tese buscou averiguar a maneira pela qual texto e ilustração se relacionam nos illuminated books de William Blake, o conjunto de livros escritos e ilustrados pelo próprio artista, principalmente através de uma dessas obras, America, a Prophecy. Apesar de me voltar mais detalhadamente para apenas um de seus livros busquei pelo modo que em geral tal diálogo entre texto e imagens pictóricas se dá em sua obra como um todo, como se atesta em um dos capítulos onde procurei evidenciar as características mais essenciais das linguagens verbal e visual nesse tipo de arte composta criada pelo artista. Estudos que se voltem para essa questão são necessários uma vez que a qualidade das ilustrações de Blake é altamente alegórica e nada óbvia: elas nunca interagem com o texto que ilustram de maneira direta ou indicial apresentando uma cena, situação ou personagem exatamente como aparecem no texto; pelo contrário, geralmente as cenas representadas em suas ilustrações trazem situações e personagens sequer mencionados no texto, demandando do espectador a procura pela analogia possível com o texto a que pertencem para que sua interpretação seja bem lograda. Por causa desse caráter indireto de sua linguagem visual (característica também essencial de sua linguagem verbal) há na presente tese uma discussão sobre os conceitos de símbolo e de alegoria no contexto da obra blakeana / Abstract: This dissertation looks at the nature of the relationship between text and illustration in the illuminated books of William Blake, the set of works written and illustrated by the artist himself, mainly through one of these books, America, a Prophecy. Although attention was focused mainly on only one book, the author searched for the general way in which such a dialogue between text and pictures relate to each other in his work as a whole, as can be attested by one of the chapters where the essential features of both languages in this kind of composite art created by the artist, verbal and visual, are examined. Studies that investigate this question are necessary as the quality of Blake's illustrations is highly allegorical and not obvious at all: they never interact with the text that they illustrate in a direct or indicative way, such as presenting a scene, situation or characters exactly as they appear in the text; the opposite is usually true: the scenes represented in his illustrations contain situations and characters that were not even mentioned in the text, and by so doing they require the reader to search for the possible analogy with the text to which they belong in order to make an attempt at interpretation. This is why the dissertation at hand also presents a discussion of the concepts of symbolism and allegory in the context of Blake's work / Doutorado / Literatura Geral e Comparada / Doutor em Teoria e História Literária

Thesis (MA (Dept. of Ancient Studies) -- University of Stellenbosch, 2005. / Throughout the centuries artists have visualised the imaginative works of Publius Vergilius Maro in a variety of art forms. Paintings, frescoes, sculptures and even tapestries have made the wordscenes of his great epic, the Aeneid, concrete. The thesis investigates only the illustration of the epic in manuscripts and printed texts or translations. The illustrations of scenes in Book VI – the journey of Aeneas in the underworld – are studied using the reception-historical approach. This is to determine whether the illustrations of the Trojan hero’s journey in the underworld reflect the reception of the Aeneid in the different eras or periods. The illustrator is a “reader” of the Aeneid text or translation and consequently his/her illustration of a particular scene reflects his/her own visual interpretation thereof. Illustrations of Book VI in manuscripts like the Vergilius Vaticanus of late Antiquity and the mid- 15th century Riccardiana Vergilius of Apollonio di Giovanni are examined. A study of illustrations in printed texts or translations range from the 1502 Grüninger edition of Vergil edited by Sebastian Brant to the Book VI illustration of Thom Kapheim in a textbook published in 2001. The aim is to establish how illustrators associated with Book VI, interpreted it, how their environment and the spirit of the age influenced their visualisation and how their illustrations reflect the reception of the epic throughout the centuries. Such a study hopes to provide a contribution to Vergilian reception and Nachleben. In the process a better understanding can be obtained for the importance and changing role of Aeneid VI and the whole epic in different eras. It is found that the illustrators of the Aeneid – influenced by the different spirit of their times and environments – brought forth unique visual interpretations of scenes in Book VI that suggest a particular reception of the epic at that specific point of time. The illustrative spectrum of Book VI throughout the centuries can be summarised as follows: revival, allegorisation, pedagogic, realistic decoration and eventually increasingly unrealistic decoration. From late Antiquity to the beginning of the 21st century, the illustrative visualisation of the journey of Aeneas in the underworld indicates that there has always been a definitive response to Vergil and his epic.

Dans le cadre de cette étude, deux catalogues ont été établis : le premier dresse une liste critique et mise à jour des éditions attribuées à Antoine Vérard ; le second répertorie toutes les gravures figurant dans ces dernières, ainsi que leurs occurrences. Cette double recension a permis de mettre en évidence le travail de treize dessinateurs, dont le Maître de Robert Gaguin et, peut-être, le Maître de la Chroniques scandaleuse. Vérard, qui était vraisemblablement déjà libraire avant de se lancer dans l'édition, se serait surtout inspiré de l'œuvre des imprimeurs-libraires parisiens, lyonnais et strasbourgeois plutôt que des manuscrits. La façon dont il fit usage des gravures évolue au cours du temps. Cette évolution est probablement l'expression d'une mutation des attentes des lecteurs, toujours plus nombreux et possédant des bibliothèques de plus en plus fournies aux XVe et XVIe siècle. Le génie de notre libraire fut de s'adresser concurremment à toutes les catégories sociales de lecteurs, quelle que soit leur richesse (en particulier grâce à la personnalisation des exemplaires). Il contribua donc largement à la diffusion de l'art parisien du livre illustré. / For the purpose of my study, two catalogues were put together. The first one is a critical list of the editions attributed to Vérard (updating those of John Macfarlane and Mary Beth Winn). The second one is a list of all the cuts used in those editions with their occurrences. My analysis shows that these cuts were based on drawings of at least 13 artists. The Master of Robert Gaguin and, perhaps, the Master of the Chroniques scandaleuse were among them. Vérard probably sold books some time before he started publishing. The study shows that his use of woodcuts was inspired by bookseller-publishers from Paris, Lyons and Strasburg instead of following the manuscripts. The way Vérard used the cuts changed during his career. It could indicate an evolution in the way people read illustrations. Indeed, during the XVth and XVIth centuries, the number of book owners was continuously increasing, and so was the amount of books possessed by each of them. Vérard was probably one of the very few publishers able to produce books for every kind of reader (merchants, nobility, clergy, scholars, women), regardless of their wealth (thanks to the customisation of the copies). That is why we can say that he contributed greatly to the growing popularity of the Parisian art of illustrated books.

The present study inquires into the problematization of attention in the reception and distribution of photography in 19th-century Sweden. It investigates how photography’s alleged abundance of detail and indiscriminate reproduction became a problem in the reception of the medium. The problem became urgent when photographs were put to use by established discourses; specifically, when used in printed publications meant for a public. The thesis therefore argues that the problem of attention had a profound influence on how printed photographic or photographically illustrated editions (photo-texts) were modelled and arranged. For this purpose, the study affirms a particular focus on attention practices: the various ways in which the printed editions aim to regulate the reader’s attention before the supposedly distractive image. Specifically, the thesis focuses on how texts in these printed editions are arranged or juxtaposed in relation to the image, how they speak of and to the images, what values they reflect, and what effects they could be said to produce. Consequently, the present study is more than an investigation of a problem; it is also an inquiry into the various attempts to overcome this problem. The problem and its responsive practices will have different characteristics in the various contexts of individual discourses. Therefore, the study situates the problem of attention in four prominent genres of 19th-century photography: the topographical albums of photographic views, art books with photographic reproductions, the scientific atlas, and the photographically illustrated travelogue. These genres and forms of publication, as well as the discourses of attention relating to them, are discussed in separate chapters. Every chapter departs from a specific Swedish photographic edition from the nineteenth-century. In sum, the thesis aims – with its focus on the problematization of attention – at giving a new historical perspective on the emergent relation between photography and the printed word.

Thesis (MPhil)--Stellenbosch University, 2012. / ENGLISH ABSTRACT: This thesis is an exploratory study into the feasibility of the use of wordless picture books with the aim to develop a culture of and love for reading within the South African context, as approached from my viewpoint as an illustrator. Despite a growing body of literature that advocates the use of wordless picture books in educational and literacy development, not much research exists on their use within the South African context exists. Additionally, there are few locally published wordless picture books available in South Africa, with the market being dominated by American and European imports. Those that do exist locally lack variety and are largely labelled as educational. In addition, South Africa has a very low general reading rate, with reading and books being viewed as synonymous with an academic activity or obligation. Further, children are not encouraged to read for enjoyment at home, as their parents often do not have a reading culture of their own. Although educational books can be used in the home for joint reading, the use of books that are created for ‘strictly educational purposes’ leads to a risk of losing the magic of reading purely for enjoyment. A risk that runs parallel with this is the perpetuation of this negative view of reading in general. The inherent characteristics of wordless picture books serve as motivating factors that could contribute to developing a more positive attitude to books in general, and as such, foster a culture of reading that parents can transfer to their children. Through a semiotic and narratological analysis of wordless picture books, as well as a conceptualisation of the medium in my practical work, I debate the strengths of the medium as applied to the South African context. An empirical study forms part of this research in an effort to understand better how these books would function in joint reading between a child and their parent or primary caregiver. My fundamental argument is that the creation, production and use of this genre of picture books should be considered more favourably, and warrant further investigation within the South African context. / AFRIKAANSE OPSOMMING: Hierdie verhandeling is ‘n ondersoekende uitvoerbaarheidstudie oor die gebruik van boeke sonder woorde om ‘n kultuur van en liefde vir lees in die Suid-Afrikaanse konteks te ontwikkel ,soos gesien vanuit my uitgangspunt as illustreerder. Ten spyte van ‘n groter wordende omvang van literatuur wat die gebruik van boeke sonder woorde in opvoedkundige- en geletterdheidsontwikkeling voorstaan, bestaan daar weinig navorsing oor hul gebruik in die Suid-Afrikaanse konteks. Daarbenewens is daar min boeke sonder woorde wat plaaslik uitgegee word en word dié mark deur invoere uit Amerika en Europa oorheers. Dit wat wel plaaslik beskikbaar is, toon ‘n gebrek aan verskeidenheid en word meestal as opvoedkundig beskou. Verder het Suid-Afrika ‘n baie lae algemene leesgeneigtheid waar lees en boeke as sinoniem met ‘n akademiese aktiwiteit of verpligting beskou word. Voorts word kinders tuis nie aangemoedig om vir die genot daarvan te lees nie, omdat hul ouers dikwels self nie ‘n leeskultuur handhaaf nie. Hoewel opvoedkundige boeke tuis vir gesamentlike lees gebruik kan word, skep die benutting van boeke van ‘n ‘suiwer opvoedkundige aard’ die risko dat lees bloot vir die genot daarvan, verlore mag gaan. ‘n Risiko wat gelyktydig hiermee ontstaan, is die voortsetting van ‘n negatiewe siening oor lees. Boeke sonder woorde beskik oor inherente eieskappe wat as motivering vir lees dien en sodoende ‘n positiewer ingesteldheid teenoor boeke in die algemeen ontwikkel. Hierdeur kan ‘n kultuur van lees gekweek word wat ouers weer aan hul kinders kan oordra . Deur middel van semiotieke en narratologiese ontleding van boeke sonder woorde, sowel as ‘n konseptualisering van hierdie medium in my praktiese werk, beredeneer ek die sterkpunte van die medium soos toegepas binne die Suid-Afrikaanse opset. ‘n Empiriese studie vorm deel van die navorsing ten einde ‘n beter begrip te kry oor die benutting van dié boeke in gesamentlike lees tussen die kind en sy/haar ouer of primêre versorger. My grondliggende argument is dat die skepping, produksie en gebruik van hierdie genre van prentboeke sonder woorde gunstiger oorweeg behoort te word en verdere ondersoek binne die Suid-Afrikaanse konteks regverdig.

This thesis examines the history of collaborations between poets and photographers in the Anglophone world, from 1845 to 2015, and argues for a new form of art distinct from the photobook. It identifies a new body of work, ‘photopoetry', and develops this discovery into a critical exegesis of its forms and potentials. Proceeding chronologically, this thesis explores photopoetic history from its nineteenth-century roots to modern-day collaborations between renowned poets and photographers. Chapter I examines early experiments in photopoetic form, including scrapbooks and stereographs, and identifies two thematic trends characterising photopoetic history to the present day: the picturesque and the theatrical. The second chapter focuses on the identity politics of photopoetic books in the late-nineteenth and early-twentieth centuries, exploring how the relationship between poem and photograph can both perpetuate and subvert representations of the objectified other, from British India to the American South. Chapter III theorises Imagism from a photographic perspective, examining how, in the absence of any discernibly modernist photopoetry book, the most important dialogue between poem and photograph was enacted within Imagist verse. It proceeds to examine the introduction of urban environments into early-to-mid-twentieth-century photopoetry. Chapter IV analyses the reinterpretation of photopoetic topography in mid-to-late-twentieth-century collaborations, exploring how picturesque landscapes in nineteenth-century photopoetry were reinvented as immersive environments that echoed the rise of photopoetic co-authorship and the development of more symbiotic, less literal photopoetic relationships. The fifth chapter expands upon ideas analysed in Chapter IV, arguing how, in narrowing both poetic and photographic focus to objects rather than picturesque vistas, twenty-first-century photopoetry encourages a non-linear approach to reading and viewing, abandoning the ‘journey' paradigm of earlier photopoetry. Overall, this thesis represents the first book-length history of photopoetry, and expounds both a new area of analysis for scholars of text and image, and a new critical discourse for such analyses.

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.

Entre les années 1600 et 1750 au Japon, de nombreux manuscrits enluminés (Nara ehon et Nara emaki) ont été produits. Ils ont néanmoins fait l’objet d’assez peu de recherches. Cette thèse aborde ce genre en trois temps, à travers l’étude d’un récit, le « Récit de Bunshô » (Bunshô sôshi). Nous considérons d’abord le processus d’élaboration de ces œuvres. Peints par des artisans anonymes, les rouleaux et les codex enluminés sont parfois signés de leur calligraphe ou portent un sceau de boutique. Travaillant pour des boutiques concurrentes, calligraphes et peintres ne forment pas véritablement avec ces dernières un atelier. Les boutiques peuvent également agir comme les maîtres d’œuvre en coordonnant les peintres et les calligraphes. Il a été souvent dit que les rouleaux et les codex enluminés ont été élaborés pour faire partie de trousseaux de mariage (yomeiri-bon). En confrontant les sources historiques aux œuvres conservées, nous soulignons, dans la seconde partie, que cette affirmation est loin de se vérifier. Enfin, nous consacrons un développement à l’évolution de l’iconographie du Bunshô sôshi. Histoire de l’élévation sociale d’un saunier et romance amoureuse entre la fille de ce dernier et un aristocrate, le Bunshô sôshi comporte des scènes problématiques du point de vue de l’échelle sociale. Ces manuscrits comportent également des images spécifiques représentant le jeune héros aristocrate comme un personnage androgyne (wakashu), en combinaison avec des compositions génériques qui rappellent d’autres récits.Ce travail constitue une première synthèse des recherches sur ces rouleaux et livres enluminés en français. / In the years between 1600 and 1750 AC, many anonymous illuminated handscrolls and manuscripts were produced in Japan, which are now collected under the name of Nara Ehon and Nara Emaki. Although they are very numerous, very few is known about them. This study is focused on those related to the tale of Bunshô (Bunshô sôshi) and proceeds in three steps.First, it examines the making process of these scrolls and manuscripts. Although the painters remained anonymous, a calligrapher's signature or the seal of a painting shop can sometimes be found. Calligrapher and painters could be working for several rival shops. Painting shops did not only sell painted scrolls or illuminated manuscripts, but worked the connections between the calligrapher and the painters as well.Then, our study reconsiders the place of illuminated scrolls and manuscripts in marriages' dowries, called yomeiri-bon. From what we know about marriages through historical sources and the surviving illuminated manuscripts, it can be stressed that very few manuscripts can be considered as yomeiri-bon.Finally, an analysis of Bunshô Sôshi's iconography throughout the years says a lot about how this tale was understood. As it tells about social ascension and how a saltmaker's daughter and an aristocrat lived a romance together, there is in this tale some problematic scenes, where the social scale is turned upside down. Also, specific compositions with an androgenic character (wakashu) as the hero are employed with more generic compositions echoing other stories as well.The present study represents a first extensive summary in French about those illuminated manuscripts.