Procuramos neste trabalho tratar o carnaval e o humor no Rio de Janeiro, através da ótica difundida pelas revistas ilustradas Fon-Fon! e Careta, através de textos e ilustrações elaboradas por grandes nomes da caricatura e da literatura e de jornalistas que ficaram no anonimato por conta de suas crônicas e artigos não conterem assinaturas. Através destas publicações, é possível perceber a importância do carnaval na vida destes homens de letras e pincéis e quão importante foi a contrapartida que eles forneceram não apenas ao público leitor, mas a nós historiadores, pois é possível resgatar e reconstruir através destas publicações não apenas a história do carnaval, mas também compreender o contexto do período, os problemas políticos, a moda, as inovações e mudanças na vida da população carioca. É possível também entender o quanto era importante o carnaval e o humor , não apenas para a saúde financeira das empresas jornalísticas e editoriais, pois a abordagem e o tema agradavam o público leitor, mas principalmente na vida destes escritores e artistas, que não apenas escreviam sobre esta festa de forma irreverente, mas participavam ativamente dela como foliões e portanto, eles mesmos eram também artífices desta história. / This work analyzes carnival in Rio de Janeiro through the irreverent view disclosed by the illustrated magazines Fon-Fon! and Careta. For such purpose, texts and illustrations elaborated by great names in caricature and literature were used, as well as by journalists who remained anonymous due to the fact that their chronicles and articles did not carry their signatures. The way in which carnival was dealt with in said publications, was intimately related to the world view which intellectuals enjoyed, the Belle Epoque, and to the readers of these magazines: the urban middle classes and part of the elite. To understand both the view and the type of humoristic approach used, songs and the works of chronicle writers, memorialists and historians who worked on the theme were also investigated. At the end, what could be verified through the study of these publications was the importance that carnival enjoyed in the lives of those men of letters and brushes, and how relevant was the counterpart which they made possible not only to readers, but also to us, historians. Through these publications, it is possible to redeem and reconstruct part of the history of carnival as well as understand the context of the period, political problems, stylishness, innovations and changes in the lives of Rio de Janeiro (carioca) dwellers. So much attention to the theme from the illustrated press denotes the importance of carnival to the financial health of newspaper companies, since the subject and its well-humored approach pleased readers, besides showing that not only did those writers and artists write about the festivities in an irreverent manner, but they also actively participated in them as carnival merrymakers, and therefore they were, themselves, artificers of that history.

Procuramos neste trabalho tratar o carnaval e o humor no Rio de Janeiro, através da ótica difundida pelas revistas ilustradas Fon-Fon! e Careta, através de textos e ilustrações elaboradas por grandes nomes da caricatura e da literatura e de jornalistas que ficaram no anonimato por conta de suas crônicas e artigos não conterem assinaturas. Através destas publicações, é possível perceber a importância do carnaval na vida destes homens de letras e pincéis e quão importante foi a contrapartida que eles forneceram não apenas ao público leitor, mas a nós historiadores, pois é possível resgatar e reconstruir através destas publicações não apenas a história do carnaval, mas também compreender o contexto do período, os problemas políticos, a moda, as inovações e mudanças na vida da população carioca. É possível também entender o quanto era importante o carnaval e o humor , não apenas para a saúde financeira das empresas jornalísticas e editoriais, pois a abordagem e o tema agradavam o público leitor, mas principalmente na vida destes escritores e artistas, que não apenas escreviam sobre esta festa de forma irreverente, mas participavam ativamente dela como foliões e portanto, eles mesmos eram também artífices desta história. / This work analyzes carnival in Rio de Janeiro through the irreverent view disclosed by the illustrated magazines Fon-Fon! and Careta. For such purpose, texts and illustrations elaborated by great names in caricature and literature were used, as well as by journalists who remained anonymous due to the fact that their chronicles and articles did not carry their signatures. The way in which carnival was dealt with in said publications, was intimately related to the world view which intellectuals enjoyed, the Belle Epoque, and to the readers of these magazines: the urban middle classes and part of the elite. To understand both the view and the type of humoristic approach used, songs and the works of chronicle writers, memorialists and historians who worked on the theme were also investigated. At the end, what could be verified through the study of these publications was the importance that carnival enjoyed in the lives of those men of letters and brushes, and how relevant was the counterpart which they made possible not only to readers, but also to us, historians. Through these publications, it is possible to redeem and reconstruct part of the history of carnival as well as understand the context of the period, political problems, stylishness, innovations and changes in the lives of Rio de Janeiro (carioca) dwellers. So much attention to the theme from the illustrated press denotes the importance of carnival to the financial health of newspaper companies, since the subject and its well-humored approach pleased readers, besides showing that not only did those writers and artists write about the festivities in an irreverent manner, but they also actively participated in them as carnival merrymakers, and therefore they were, themselves, artificers of that history.

A study of Gothic influences and eidetic imagery evident in eight Blake color plates to demonstrate that, when interpreted together with key Blake poems, unity of body and soul can be accomplished by means of the visionary imagination.

<p>Denna uppsats jämför illustrationer av läraren i svenska och brittiska bilderböcker. I uppsatsen diskuteras nationella likheter och skillnader av lärarillustrationerna. Fokus ligger på hur bilderböckerna bidrar till att socialisera in barnen i förberedelserna inför skolstarten. Bildanalyserna jämförs även med den brittiska läroplanen The National Curriculum, och den svenska läroplanen, Lpo94, för att se hur pass realistisk den presenterade bilden av läraren är.</p><p>Vi har valt att analysera illustrationer från tre böcker från vardera land, alla med ordet ”school” eller ”skola” i titeln. Alla böckerna är skrivna under varje lands rådande läroplan. För att kunna analysera bilderna har vi hämtat inspiration från analysmetoden polariserande bildanalys.</p><p>Både Sverige och Storbritannien delar västvärldens syn på skola och lärande, båda länderna visar genom sina illustrationer läraren som en positiv och trevlig person som ständigt ler. Bilden av skolan blir därigenom god, frågan är hur pass realistisk denna bild är?</p><p>Skillnaderna mellan de två länderna har mer att göra med kön och etnicitet. I en brittisk bok är läraren en skallig man, i en annan en mörkhyad ung kvinna och den tredje en medelålders kvinna. I de svenska bilderböckerna är bilden av läraren mer generell. Alla lärare är vita kvinnor, det som skiljer dem åt är deras skiftande åldrar. Det finns endast en manlig lärare med i de undersökta svenska bilderböckerna, en träslöjdslärare, stereotypen för manlighet. Vi fann i studien att fokus i de brittiska bilderböckerna ligger mycket mer på läraren än i de svenska. De brittiska lärarna är uppmuntrande, populära ledare. De svenska lärarna är ofta placerade i bakgrunden och hade en mer passiv roll. I de svenska bilderböckerna är det elevernas relationer med varandra som står i fokus.</p><p>Eftersom urvalet av våra böcker endast täcker en bråkdel av alla bilderböcker för barn är inte tanken att vi ska komma med något absolut gällande resultat, men vi hoppas kunna se tendenser till generella slutsatser. Vi är öppna för att denna uppsats används för vidare studier.</p> / <p>This essay compares illustrations in picture books for children in Sweden, and the United Kingdom. The aim for this essay is to discuss national differences and similarities in how teachers are illustrated in picture books for children. Our focus is the illustrations and how they connect to the way the societies socialise children in preparation for starting school.</p><p>The analysis of the illustrations is also compared to The National Curriculum and Lpo94, to see how the curriculum has influenced the authors and illustrators. We want to see how the pre-school socialisation, in the world of illustrations in picture books, is realistic if you compare it to the school system and curriculum with a background in cultural and sociological studies.</p><p>We have chosen to analyse three picture books from each country, with the word “school” or “skola” in the title. The books have to have been printed during the ruling curriculum. The analysis of the pictures is inspired of a so called polarising picture analysis. Both countries share western culture and standards however, the picture of the teacher as a positive and nice person was something the both countries had in common. The illustration of the almost always smiling teacher made us draw some conclusions about how adults paint up a beautiful picture about starting school that is not necessarily realistic.</p><p>The differences between the two countries had more to do with ethnicity and gender. In one book from The United Kingdom the teacher is a bold man, in another a black woman and in the third the teacher was a young lady with brown hair. In the Swedish children books all teachers were woman, there was only one male teacher, posted as a wood workshop teacher, a stereotype for males. There was however some variations in age among these women, but in other ways they are similar, smiling white women that are nice to children. We also found more of a focus on the teacher in the British children books, the teachers were the supported leaders, all very popular with the children. In the Swedish children books, the teachers are more passive, the relation between the pupils takes more of the focus.</p><p>Since this essay only deals with a selection of picture books, we do not aim to make a clear conclusion. This essay is more likely a beginning of a further study.</p>

Denna uppsats jämför illustrationer av läraren i svenska och brittiska bilderböcker. I uppsatsen diskuteras nationella likheter och skillnader av lärarillustrationerna. Fokus ligger på hur bilderböckerna bidrar till att socialisera in barnen i förberedelserna inför skolstarten. Bildanalyserna jämförs även med den brittiska läroplanen The National Curriculum, och den svenska läroplanen, Lpo94, för att se hur pass realistisk den presenterade bilden av läraren är. Vi har valt att analysera illustrationer från tre böcker från vardera land, alla med ordet ”school” eller ”skola” i titeln. Alla böckerna är skrivna under varje lands rådande läroplan. För att kunna analysera bilderna har vi hämtat inspiration från analysmetoden polariserande bildanalys. Både Sverige och Storbritannien delar västvärldens syn på skola och lärande, båda länderna visar genom sina illustrationer läraren som en positiv och trevlig person som ständigt ler. Bilden av skolan blir därigenom god, frågan är hur pass realistisk denna bild är? Skillnaderna mellan de två länderna har mer att göra med kön och etnicitet. I en brittisk bok är läraren en skallig man, i en annan en mörkhyad ung kvinna och den tredje en medelålders kvinna. I de svenska bilderböckerna är bilden av läraren mer generell. Alla lärare är vita kvinnor, det som skiljer dem åt är deras skiftande åldrar. Det finns endast en manlig lärare med i de undersökta svenska bilderböckerna, en träslöjdslärare, stereotypen för manlighet. Vi fann i studien att fokus i de brittiska bilderböckerna ligger mycket mer på läraren än i de svenska. De brittiska lärarna är uppmuntrande, populära ledare. De svenska lärarna är ofta placerade i bakgrunden och hade en mer passiv roll. I de svenska bilderböckerna är det elevernas relationer med varandra som står i fokus. Eftersom urvalet av våra böcker endast täcker en bråkdel av alla bilderböcker för barn är inte tanken att vi ska komma med något absolut gällande resultat, men vi hoppas kunna se tendenser till generella slutsatser. Vi är öppna för att denna uppsats används för vidare studier. / This essay compares illustrations in picture books for children in Sweden, and the United Kingdom. The aim for this essay is to discuss national differences and similarities in how teachers are illustrated in picture books for children. Our focus is the illustrations and how they connect to the way the societies socialise children in preparation for starting school. The analysis of the illustrations is also compared to The National Curriculum and Lpo94, to see how the curriculum has influenced the authors and illustrators. We want to see how the pre-school socialisation, in the world of illustrations in picture books, is realistic if you compare it to the school system and curriculum with a background in cultural and sociological studies. We have chosen to analyse three picture books from each country, with the word “school” or “skola” in the title. The books have to have been printed during the ruling curriculum. The analysis of the pictures is inspired of a so called polarising picture analysis. Both countries share western culture and standards however, the picture of the teacher as a positive and nice person was something the both countries had in common. The illustration of the almost always smiling teacher made us draw some conclusions about how adults paint up a beautiful picture about starting school that is not necessarily realistic. The differences between the two countries had more to do with ethnicity and gender. In one book from The United Kingdom the teacher is a bold man, in another a black woman and in the third the teacher was a young lady with brown hair. In the Swedish children books all teachers were woman, there was only one male teacher, posted as a wood workshop teacher, a stereotype for males. There was however some variations in age among these women, but in other ways they are similar, smiling white women that are nice to children. We also found more of a focus on the teacher in the British children books, the teachers were the supported leaders, all very popular with the children. In the Swedish children books, the teachers are more passive, the relation between the pupils takes more of the focus. Since this essay only deals with a selection of picture books, we do not aim to make a clear conclusion. This essay is more likely a beginning of a further study.

Uppsatsen syftar till att lyfta fram bilderboksillustratören som konstnär och framförallt peka på Sven Nordqvists stil. Detta görs genom tre olika analyser. Först en ikonotextuell analys där text-och bildsamspelet undersöksi Nordqvists böcker.En bildanalays försöker utröna speciella stildrag i böckernas illustrationer och ytterligare en analys försöker se sambandet mellan omslag, försättsblad, titelsida och själva berättelsen. / The essay aims to highlight the picture book illustrator as an artist and above all indicate the style of Sven Nordqvist. This is implemented througt three different analyses. First an ikonotexual analysis where the text and picture interaction in Nordqvist’s books is investigated. An image analysis hightlights the specific style of the books illustrations and an additional analysis is trying to see a connection between the book cover, flyleaf, title-page and the actual story.

Mémoire professionnel PLC2--Histoire-Géographie--IUFM, Académie de Grnoble, 2004. / Bibliogr. p. 41-42.

Mémoire d'étude diplôme de conservateur des bibliothèques : Bibliothéconomie : Villeurbanne, ENSSIB : 2004.

Thèse de doctorat : Sciences de l'information et de la communication : Université Nancy 2 : 2007. / Titre provenant de l'écran-titre. Bibliogr.

Reproduction de : Thèse de doctorat : Sciences de l'éducation : Lyon 2 : 2005. / Titre provenant de l'écran-titre. Bibliogr.