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Submitted by Renata Lopes (renatasil82@gmail.com) on 2016-01-11T09:45:38Z No. of bitstreams: 1 lucianafreesz.pdf: 7787942 bytes, checksum: 7780bae5591001ec08183042e5631936 (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2016-01-25T16:57:55Z (GMT) No. of bitstreams: 1 lucianafreesz.pdf: 7787942 bytes, checksum: 7780bae5591001ec08183042e5631936 (MD5) / Made available in DSpace on 2016-01-25T16:57:55Z (GMT). No. of bitstreams: 1 lucianafreesz.pdf: 7787942 bytes, checksum: 7780bae5591001ec08183042e5631936 (MD5) Previous issue date: 2015-04-08 / CAPES - Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Esta dissertação investiga a trajetória de criação das imagens realizada entre o autor e o ilustrador nas duas narrativas escritas por Lewis Carroll, Alice no País das Maravilhas e Alice no País do Espelho. Publicadas no século XIX, ambas as obras foram ilustradas pelo ilustrador e cartunista inglês John Tenniel. Temos como objetivo reunir informações que esclareçam e facilitem a compreensão do processo de tradução do texto literário para a criação de imagens gráficas. O título “Texto e Imagem” é uma tentativa de agregar estas duas linguagens, observando, por meio do conceito de suplemento de Jacques Derrida, como ambas trabalham intrinsecamente dentro do livro ilustrado. Nas narrativas de Alice, essas linguagens seriam dependentes? Existe uma dominação ou uma exclusividade do texto verbal diante do texto visual? Seriam as imagens fundamentais para o entendimento da narrativa e, assim, o ilustrador seria também autor da obra? Para percorrer estes meandros, em primeiro lugar abordamos as narrativas de Alice em seu texto escrito e constatamos a tendência imagética de sua linguagem verbal. Em segundo lugar conceituamos e levamos em conta o que constitui uma imagem, explorando o livro ilustrado como um meio literário repleto de especificidades. Em terceiro lugar buscamos, por meio das correspondências trocadas entre autor e ilustrador, da análise das imagens e de comentários a respeito das ilustrações, explicar a construção visual do texto e mostrando a sua repercussão. Ao final, pensamos sobre o que se considera “imagem”, refletindo sobre as palavras, seu sentido e sua representação gráfica, a disposição do texto e os pequenos detalhes de formatação que costumam passar despercebidos aos olhares interpretativos dos leitores. Para desenvolver esta pesquisa utilizamos como corpus teórico autores que dialogam a respeito das particularidades entre o texto e a imagem; o livro ilustrado, as histórias em quadrinhos, a palavra-imagem, a poesia concreta e os escritos de artistas. O referencial bibliográfico expõe as teorias de Sophie Van der Linden, Maria Nikolajeva, Maria Scott, Martine Joly, Julio Plaza, Décio Pignatari, Haroldo e Augusto de Campos, Will Eisner, Scott McCloud, Umberto Eco, entre outros. Os autores Morton N. Cohen e Martin Gardner forneceram informações curiosas e dados biográficos sobre Lewis Carroll e John Tenniel. / This dissertation investigates the process of creation of images performed between the author and the illustrator in the two narratives written by Lewis Carroll, Alice in Wonderland and Though the Looking-Glass. Published in the nineteenth century, both works were illustrated by British illustrator and cartoonist John Tenniel. We intend to gather information that would clarify and facilitate the understanding the translation process of literary text into the creation of graphic images. The title "Text and Image" is an attempt to add these two languages, watching through the concept of supplement by Jacques Derrida, as both work intrinsically within the picture book. In Alice's narratives, these languages would be dependent? There is a domination or exclusivity to the verbal text on the visual text? Would be the images the key for understanding the narrative and, therefore, the illustrator is also author of the work? To go through among that complexity, first, it was necessary to approach Alice's narratives in his written text and and verify the tendency to imagery for his verbal language. Second, we conceptualize and take into account what constitutes an image, exploring the illustrated book as a literary media full of peculiarities. Third, we explore through correspondence sent between author-illustrator, the image analysis, comments about the illustrations that explain the visual construction of the text and we concluded showing its repercussions. Finally, we think about what is considered "image", reflecting on the words, their meaning and their graphical representation, text layout and development of the small details that often get overlooked by the readers. To develop this research we use authors that analyze the singularities between text and image; the book illustrated, comics, the word-image, concrete poetry and writings of artists. The theoretical framework involves the theories of Sophie Van der Linden, Maria Nikolajeva, Mary Scott, Martine Joly, Julio Plaza, Decius Pignatari, Haroldo and Augusto de Campos, Will Eisner, Scott McCloud, Umberto Eco, among others. The authors Morton N. Cohen and Martin Gardner contributed interesting information and biographical data about Lewis Carroll and John Tenniel.

The purpose of the essay was to analyse and compare four illustrations, two by John Tenniel and two by Tove Jansson, with each other. But also connect the illustrations with the era and with its painter’s personal context. The methods used in this essay was hermeneutic and Panofskys iconological analysis method, the first one with finding sources and the second, to see more sides of the illustrations. Material or sources was primarily two versions of the book Alice in Wonderland, the original from 1865 and the second one from 1966. Narrative analysis was used to put the illustrations into their context with the texts and books. The conclusion of the essay is that Tenniel and Jansson both did their own thing with the illustrations, they both used different techniques and the publishing of the two books were different because of the developments since the first book was published. They both had free hands in their depiction, which made it easier for them to do their own interpretations of the characters and the environment.

Sir John Tenniel worked for the Victorian magazine Punch for over fifty years, from 1850 to 1901, and served as head cartoonist for the latter thirty-seven years of his tenure at the magazine. Tenniel's cartoons effectively became the heart of Punch's visual lineup, and the sentiments expressed by these cartoons both reflected and influenced the opinions of the magazine']s vast middle class readership. However, they did not generally reflect the opinions of the cartoonist himself: Tenniel had little to no say in decisions regarding the content or stance of his cartoons. The artist ostensibly had no problem with this arrangement, once telling a historian, "As for political opinions, I have none… [I] profess only those of my paper." This project argues that the artist did indeed inject a degree of personal opinion into his work, albeit in hidden and unconscious ways. Instead of using the medium of cartoons as an overt vehicle for his opinion, Tenniel's values and views come out in his use of iconography and his choice of models for his drawings. As a conservative Victorian man operating in the rapidly changing world of the latter nineteenth century, Tenniel used his drawings as a way to tap into the England of his youth and possibly reclaim the art world he originally studied to join as a young man. His iconography frequently looked back to medieval England, framing current events within these themes until the end of his career. Furthermore, Tenniel doggedly refused to update his mental drawing models for certain forms of technology, even when his depictions became obviously anachronistic. This thesis examines these tendencies through the threefold lenses of Material Culture Studies, Social Constructivism, and Nostalgia Studies in an attempt to link Tenniel's treatment of medieval iconography and depiction of modern technology with the nostalgic past. / Master of Arts