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1	Interface Rhetoric, or A Theory for Interface Analysis: Principles from Modern Imagetext Media -- Late 18th Century to Present Neill, Frederick Vance January 2009 (has links) 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. comics illustrated books imagetext interface technology video games
2	Mellan ideal och vetenskap: bild-textdissonanser i framställningar av djur i Svenska Familj-Journalen 1877–1882 Andrén, Sara January 2023 (has links) This thesis examines the Swedish 19th century family magazine, Svenska Familj-Journalen, and the interaction between bourgeois attitudes, science, and depictions of animals. My main purpose is to demonstrate how image-text divergences can discover ruptures between 19th century bourgeoise ideology and science. The study consists of a selection of illustrations and texts, the majority being popular zoology depictions that were published in the magazine between 1877–1882. By using nature-culture oppositions as well as art historian Sonya Petersson’s concept of the counteractive illustration, I am able to elucidate differences between texts and images. The texts and images are subsequently analyzed by relating them to contemporary scientific discourses, as well as to the early Swedish animal welfare and nature conservation movements. The results of this study are that image-text divergences reveal 1) that images of animals could depict the animal as such, rather than as a symbol of bourgeois ideals, 2) an insecurity in the magazine’s attitudes toward Darwin’s theory of sexual selection, illustrating circumstances where the magazine chose to adhere to its ideological dispositions rather than accept Darwinian consensus, 3) that the magazine, in publishing texts that were critical of wild life exploitation, diverged from its progress oriented narrative, and that its use of images counteracted these messages. Animals animal welfare movement Darwin illustrated newspapers illustrations image-text divergences imagetext nature conservation movement nature-culture scientific discourses zoology 19th century Djur djurskyddsrörelsen Darwin illustrerade tidskrifter illustrationer bild-textdissonanser imagetext naturskyddsrörelsen natur-kultur vetenskapliga diskurser zoologi 1800-tal Art History Konstvetenskap

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Interface Rhetoric, or A Theory for Interface Analysis: Principles from Modern Imagetext Media -- Late 18th Century to Present

Mellan ideal och vetenskap: bild-textdissonanser i framställningar av djur i Svenska Familj-Journalen 1877–1882