The shift to e-books and digital publishing is challenging the basic models of copyright and contracts that underlie the functioning of book publishing—a mature business with 500 years of ...history—making it hard to predict what shape the business will take in the years to come. This article looks at two of those challenges: first, the tension between a fast-changing technological marketplace and the standard book contract that locks in book rights for life of copyright; and second, the specific complications presented by image rights. There are, however, first steps being taken to allow books to make the transition to the digital marketplace with all their rights information intact and easily accessible, facilitating future transactions between agents, publishers, and new trading partners. The final section looks at the work begun by the Book Industry Study Group to create a standardized rights framework for this purpose.
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Cette thèse porte sur les livres auto-illustrés réalisés par l'Autrichien Alfred Kubin (1877-1959), le Tchèque Josef Váchal (1884-1969) et le Polonais Bruno Schulz (1892-1942). En rapprochant les ...œuvres de ces auteurs et illustrateurs relativement méconnus et considérés comme marginaux selon les canons culturels de leur époque, ce travail souhaite démontrer qu'un paradigme se fait jour dans la pratique de l'auto-illustration et l'imaginaire du livre qui lui est associé. En tenant compte du contexte de la culture centre-européenne dans l'entre-deux-guerres et de la dimension technique de l'histoire du livre, dont les enjeux coïncident avec les réflexions contemporaines sur l'originalité et la reproductibilité mécanisée, la thèse définit la démarche d'auto-illustration comme la quête d'un « livre total de pacotille ». Mais il s'agit aussi de lui donner un cadre théorique en se focalisant sur l'analyse des rapports entre le texte et l'image afin de révéler certains traits récurrents qui défient le processus d'illustration classique : l'antériorité ou la simultanéité de l'image, qui permet l'information mutuelle des codes iconique et linguistique sur la page ou la favorise dans le texte, inverse aussi le principe de « transposition » inhérent à l'illustration, voire l'excède pour lui substituer un « dialogisme » intersémiotique. Ces phénomènes confirment l'importance du geste réflexif présidant à l'auto-illustration, qui suppose une hyperconscience du dispositif illustré mais prend aussi en compte l'omniprésence transgressive du créateur, qui envahit les seuils de l’œuvre, se figure en texte et en images, et en auteur, illustrateur, narrateur et personnage(s).
This dissertation deals with self-illustrated books by the Austrian Alfred Kubin (1877-1959), the Czech Josef Váchal (1884-1969) and the Pole Bruno Schulz (1892-1942). Comparing the works of these writers and illustrators, who are not quite famous and were considered to be on the margins of the cultural models of their time, the dissertation shows that a creative paradigm is to be found through self-illustration and the book imagery that goes with it. Taking into account the context of central-european culture during the interwar period, and the technical aspects of book history, which are linked to contemporaneous debates about originality and technical reproductibility, this study defines the production of these writers-ilustrators as a search for a « cheap total bookwork ». It is based on a theoretical framework which focuses on the relations between text and image in order to reveal recurring features which challenge the classical illustrating process : images being produced prior to or at the same time as the text provide for the mutual exchange of properties between words and pictures on the page and in the text itself. This practice also reverses the principle of « transposition » inherent to illustration, or even replaces it with an intersemiotic « dialogism ». These phenomena confirm the importance of the reflexive nature of self-illustration : not only does it require a high level of awareness of the illustrated apparatus but it also explains the transgressive omnipresence of the creator who invades the « paratext » and represents himself in texts and images as writer, illustrator, narrator and character(s).
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.
Cet article souhaite mettre en exergue l’importance du livre illustré bilingue comme matériel majeur à prendre en compte pour façonner un environnement bilingue chez les plus jeunes s’initiant à la ...lecture. L’étude sémiotique d’une oeuvre type Little Polar Bear / Le voyage de Plume, et plus précisément des niveaux narratif, figuratif et thématique de son récit, révèle les représentations de l’apprentissage et de l’enseignement tacites tout au long du livre. Ces représentations conduisent l’enfant à s’identifier au héros, l’invitant à envisager son propre apprentissage du monde et des langues qu’il rencontre. L’activité de lecture relative à cet ouvrage est examinée sous plusieurs angles pour apprécier concrètement les systèmes d’indices contribuant à la construction du sens, l’acquisition linguistique de deux codes distincts. Son examen permet de saisir comment le facteur de répétition et l’affect en émanant deviennent simultanément des sensibilisateurs et des déclencheurs de langage.This paper highlights the idea of using a bilingual illustrated book to set a bilingual environment for children who start learning how to read. The studies of the narrative, figurative and thematic levels from a semiotic approach of a typical children’s story Little Polar Bear / Le voyage de Plume, disclose to us the teaching and learning representations tacitly expressed in it. Those representations instill into the children self-identification with the book’s hero, encouraging them to foresee a way to interact with their surrounding and to consider their position regarding learning languages. At the same time, we take a close look at the activity of reading this book to assess three signs systems which lead to the construction of meaning, and the acquisition of two different languages. Also, the examination of the reading activity makes us understand how the affect and the repetition factors increase children’s awareness of the language and become a trigger for it.
Based on the practical archives preservation operations of the Pacific Manuscripts Bureau, Australian National University, identifies and tracks a range of Oceanic photographic collections. Source: ...National Library of New Zealand Te Puna Matauranga o Aotearoa, licensed by the Department of Internal Affairs for re-use under the Creative Commons Attribution 3.0 New Zealand Licence.
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Sherman Alexie’s The Absolutely True Diary of a Part-time Indian, The Invention of Hugo Cabret by Brian Selznick, American Born Chinese by Gene Luen Yang, Leviathan by Scott Westerfeld and ...illustrated by Keith Thomspon, Shaun Tan’s The Arrival and Tales from Outer Suburbia, have in common that they are all illustrated books for young adults. That is, much of their narrative is conveyed in sophisticated illustrations that require as close a reading as does the written text. All have won awards nationally and internationally, and not only in the categories of young adult books, but in the case of Shaun Tan, in the adult field. This paper will explore the appeal and challenge of the illustrated book to adolescent and adult audiences using as a particular example, Shaun Tan’s Tales from Outer Suburbia. Appropriating Foucault’s (1986) concept of heterotopia, this paper argues Tan’s unique, hybrid form of visual and verbal narrative, constructs a counter site, a ‘crisis heterotopia’ (Foucault, 1986) which challenges the dominant Australian culture in complex ways unavailable to words alone.
We developed a system to reduce the information retrieval work of a farmer who has little knowledge about plant protection. This system has a function that refers to three database (a plant ...protection guidebook, an illustrated book of disease injury and pests, and an agricultural chemicals catalog) with an integrated WWW interface. The difference in word indication between the database is unified by using the agricultural term dictionary which we made. All the programs of the present version were developed in the Perl language, and it can be implemented on a general WWW server system. WWW browser that is equipped. A retrieval can be started from either the crop protection guidebook, the illustrated book, the agricultural chemicals catalog. Other database are also looked up if necessary. The results are integrated and indicated by displayed. We named this system "PaDB."
The thesis is a survey of 291 frontispieces and illustrated title pages in European books on astronomy from the 17th century. It is a quantitative and qualitative survey of how motifs are related to ...consumption, identification and display. Elements in the motifs related to factual content as opposed to those aimed to raise the perceived value of astronomy are distinguished. The quantitative study shows that astronomical phenomena (90 per cent) and scientific instruments (62 per cent, or as much as 86 per cent if only titles with illustrations occupying an entire page are considered) are the most common motifs to inform the reader of the genre. Besides these, a wide range of depicted features indicate the particularity of each title. Different means for raising the value of astronomy and its attributes are identified. The interplay of “real” or “credible” elements with fictional ones was used to attract attention, create positive associations and promote acquisition and reading. The motifs mainly promote delectation and erudition, although some attract attention through their deliberately enigmatic design and a few through fear. The survey determines prevalent settings (palaces, the theatre, gardens, the wilderness and the heavens), activities (skilful use of instruments, conversations or disputes), references to the ancients and heraldic components. They present both the self-image of astronomers at the time and ideal components that contain connotations of an enhanced reality. This self-image also contributed to the definition of normative values for astronomers in the 17th century. The affinities between painters and astronomers are examined. In addition, an analysis of descriptions of frontispieces is undertaken, which shows that the user of the book was expected to devote considerable time to the frontispiece in order to understand all of its particular features and that the illustrations were suitable for display and learned digression.
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