Relevant bibliographies by topics / Frontispice

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Frontispice'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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Journal articles on the topic "Frontispice"

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Marin, Louis. "Les enjeux d’un frontispice." L'Esprit Créateur 27, no. 3 (1987): 49–57. http://dx.doi.org/10.1353/esp.1987.0020.

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Andries, Lise. "Les images et les choses dans Robinson et les robinsonnades." Études françaises 35, no. 1 (2006): 95–122. http://dx.doi.org/10.7202/036128ar.

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Résumé II s'agit de montrer de quelle manière les illustrations qui figurent dans les éditions de Robinson Crusoé et dans les robinsonnades permettent de tracer une histoire de la réception des textes. Depuis le frontispice de la première édition anglaise de 1719 jusqu'aux gravures des années 1960, des évolutions fondamentales peuvent se lire, qui sont à la fois d'ordre culturel et politique. Les images mettent en scène, au fil des rééditions, les différentes facettes de Robinson, qui est tour à tour marin, colonisateur, inventeur, homme des Lumières et qui, à la fin du XIXe siècle, devient la bonne — et la mauvaise — conscience de l'Occident.
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Gallat-Morin, Élisabeth. "Une oeuvre musicale de « John James » Rousseau à Québec : une curiosité de notre patrimoine." Les Cahiers de la Société québécoise de recherche en musique 12, no. 1-2 (2018): 115–20. http://dx.doi.org/10.7202/1054207ar.

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La présence dans la bibliothèque du Séminaire de Québec des romances de Jean-Jacques Rousseau, Les Consolations des misères de ma vie, suscite la curiosité. De format in-8 (l’édition originelle de 1781 est en format in-folio), le volume ne porte aucune indication d’éditeur ni de date. Plusieurs gravures anglaises y sont insérées dont, en page frontispice, un portrait de « John James » Rousseau. Comment situer cette édition des Consolations ? Les recherches ont permis de la retracer dans les Oeuvres complètes publiées à Paris de 1788 à 1793. L’étude des exemplaires appartenant à la Bibliothèque nationale de France a révélé que le contenu de ces volumes n’est pas toujours agencé de la même manière; le volume de Québec présente des similitudes avec certains exemplaires, mais est unique sous d’autres aspects.
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Rops, Félicien, and Hélène Védrine. "Le frontispice de La Vie Moderne ou la genèse d'un déplacement. Présentation." Genesis 24, no. 1 (2004): 146–68. http://dx.doi.org/10.3406/item.2004.1322.

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Gevrey, Françoise. "Ce que dit un frontispice sur la réception des contes de fées." Féeries, no. 11 (December 19, 2014): 41–46. http://dx.doi.org/10.4000/feeries.936.

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Aujac, Germaine. "À propos d’un frontispice : la science grecque dans l’Angleterre du xvie siècle." Anabases, no. 3 (March 1, 2006): 27–54. http://dx.doi.org/10.4000/anabases.2686.

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Martin, Marie-Pauline. "Décrire le système des arts, du Discours préliminaire (1750) au frontispice de l’Encyclopédie (1764)." Nouvelles de l'estampe, no. 233-234 (March 1, 2011): 6–17. http://dx.doi.org/10.4000/estampe.1209.

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Rodríguez Camilloni, Humberto. "The retablo-façade as transparency: A study of the frontispice of San Francisco, Lima." Anales del Instituto de Investigaciones Estéticas 16, no. 62 (1991): 111. http://dx.doi.org/10.22201/iie.18703062e.1991.62.1598.

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Lemerle, Frédérique. "Le cardinal Georges d’Armagnac et Guillaume Philandrier : le frontispice de la cathédrale Notre-Dame de Rodez." Histoire et littérature de l'Europe du Nord-Ouest, no. 40 (January 1, 2009): 121–34. http://dx.doi.org/10.4000/hleno.223.

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Pietrini, Sandra. "Anti-Rhetorical Strategies in Early Modern Images of Comic Actors: Harlequin’s Iconography and its Surviving Medieval Features." Early Modern Culture Online 5 (February 25, 2018): 53. http://dx.doi.org/10.15845/emco.v5i0.1290.

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The Compositions de Rhétorique by Tristano Martinelli were published in 1600 as a present to Maria de’ Medici for her marriage. The book is composed by blank pages interposed by images and the frontispice shows the famous actor as an almost hellish figure, bearing a pannier full of little Harlequins. A similar iconography pattern is to be seen in theRecueil Fossard, though as part of a dramatic context, and could ultimately derive from the iconography of Hellequin, as it is shown in a miniature of the Roman the Fauvel, where the hellish figure leads a cart with dead unchristened children. Discussing the hellish origin of Harlequin, most of scholars have neglected the evidence that some of his attributes are rooted in the sinful world of medieval entertainment. The pannier full of little kids or apes, for instance, recurs in medieval iconography of jesters, and since the XIVth century it begins to occur also in the depictions of devils, who assume some comical connotations. Exploring the context of medieval miniatures in relation to later iconography of actors, the article aims at rediscussing the vexed question of the hellish origin of Harlequin, providing some examples of a puzzling intertwining of elements and patterns.
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Dissertations / Theses on the topic "Frontispice"

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Kintzinger, Marion. "Chronos und Historia : Studien zur Titelblattikonographie historiographischer Werke vom 16. bis zum 18. Jahrhundert /." Wiesbaden : Harrassowitz, 1995. http://catalogue.bnf.fr/ark:/12148/cb36693703s.

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Varela, Sarmiento Eugenia. "Usages et enjeux de la gravure dans le roman libertin du XVIIIe siècle." Thesis, Paris 8, 2015. http://www.theses.fr/2015PA080068/document.

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Les objets d’étude de cette thèse sont les livres imprimés, le roman libertin français du XVIIIème siècle et les gravures qui accompagnent ces textes. Nous explorons concrètement la dualité de la gravure libertine, établie entre l’aspect explicite de ses thèmes et la condensation tacite d’une idée. Cette étude part, dans le premier chapitre, d’une synthèse historique générale de l’utilisation de l’image depuis l’Antiquité jusqu’au XVIIIème siècle, en explorant aussi bien les usages du passé classique dans la manufacture de la gravure libertine, que son changement dans le temps et ses caractéristiques historico-culturelles particulières. Le deuxième chapitre approfondit ce même univers, mais en se centrant sur les rôles de genre attribués aux corps représentés sur les gravures, la notion de sexualité imprimée en elles et l’effet rhétorique et intimiste que les textes et les images établissent entre l’auteur et le lecteur. Dans le troisième chapitre, nous abordons la lecture des gravures allégoriques. Elles se trouvent dans les frontispices du roman libertin et représentent leur aspect le plus important. En effet, c’est en eux que se trouvent les empreintes permettant d’établir des continuités dans leur dimension esthétique, représentées par l’appropriation d’éléments stylistiques et thématiques de l’Antiquité Classique et la « condensation », caractéristique essentielle des images de ce type de gravures. Finalement, dans le quatrième chapitre, nous étudions la relation entre la gravure et l’Art, représenté particulièrement par la Peinture. Dans cette optique, et à partir d’un schéma d’analyse prédéterminé, divisé en sujets spécifiques, nous nous concentrons sur les singularités qui permettent d’établir ce qui était considéré, ou non, comme étant de l’Art au XVIIIème siècle
The objects of study of this thesis are printed books, the French libertine novel of the 18th century and the illustrations that go with these texts. We explore concretely the duality of libertine illustration, created between the explicit aspect of its topics and the tacit condensation of an idea. This study starts, in the first chapter, with a general historical synthesis of the use of picture since Antiquity until the 18th century, and explores the uses of a classical past in the manufacture of libertine illustrations, as well as its change in time and its specific historic-cultural characteristics. The second chapter goes deeper into this same universe but focuses on the gender roles given to bodies represented on illustrations, on the notion of sexuality printed in them and on the rhetoric and intimate effect that texts and pictures set up between the author and the reader. In the third chapter, we look at the reading of allegoric illustrations. These are found in the frontispieces of libertine novel and represent their most important aspect. Indeed, these frontispieces contain the traces that establish continuities in their esthetical dimension, represented by the appropriation of stylistic and thematic elements of Classical Antiquity and “condensation”, an essential characteristic of the pictures on this type of illustrations. Finally, in the fourth chapter, we study the relation between illustration and Arts, particularly represented through Painting. In this perspective, and from a predetermined analysis scheme divided into specific topics, we focus on the singularities that permit establishing what was considered, or not, as Arts in the 18th century
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Plessing, Heidemarie. "Giebelskulpturen in Paris von 1660 - 1860 Figurenprogramme der Frontons an öffentlichen Gebäuden." Frankfurt, M. Berlin Bern Bruxelles New York, NY Oxford Wien Lang, 2006. http://d-nb.info/988941481/04.

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LaBarge, Maria S. "Francois Valentijn's Oud En Nieuw Oost Indien and the Dutch Frontispiece in the 17th and 18th Centuries." Scholarly Repository, 2008. http://scholarlyrepository.miami.edu/oa_theses/120.

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In this thesis I analyze the Dutch frontispiece to Francois Valentijn?s 1726 book Oud en Nieuw Oost Indien and demonstrate that it is a significant artistic statement, original in its rich and imaginative iconography and emblematic program. I describe and explain the image and its iconographic program and emblematic structure. I compare the frontispiece to many other Dutch frontispieces and artworks that likewise feature the four continent allegories and other iconographic elements. I demonstrate the ways in which the frontispiece superbly and comprehensively summarizes and visualizes the text, which is the primary purpose of frontispieces. I also show how the image emulates early eighteenth-century Dutch culture by reflecting the period?s nostalgia for Golden Age styles and subjects. In conclusion I clarify the way in which the image functions emblematically and explain the twofold meaning of the emblem and proving that the image is exceptional and unique within the context of the historiography of Dutch frontispieces.
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Wilson, Kelsey. "Visualizing the imperial mission of the Salvation Army : the frontispiece of 'In darkest England and the way out'." Thesis, University of British Columbia, 2011. http://hdl.handle.net/2429/38194.

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In 1890 William Booth, the founder and “General” of the Salvation Army, a working class evangelical missionary organization, published In Darkest England and the Way Out. Booth’s book proposed an elaborate tripartite scheme to address the desperate situation of unemployment and poverty in East London and other urban centres in Britain in the late nineteenth-century. The publication outlined three successive stages in this project for social reform. A “City Colony” and a “Farm Colony” would provide food, shelter, training and work for the destitute and unemployed. Ultimately emigration to a “Colony Across the Sea” would offer new futures and new lives for those rehabilitated by the Salvation Army scheme. Two components of the book played key roles in the marketing of this project. One was a fold-out colour lithograph that featured a compelling image of the book’s reformative scheme and its slogan of ‘Work for All.’ The second was the book’s opening chapter that constructed an extended analogy between England’s urban centres and the recently published best-seller, Henry Morton Stanley’s In Darkest Africa (1890). Both this chapter and the book’s fold-out chromolithograph frontispiece drew on imperial and Christian tropes to attract the reader and to sell the Salvation Army’s project of social rehabilitation and colonial settlement. This thesis examines the imperial and Christian rhetoric at work in Darkest England, and in particular explores the persuasive role of the visual in the book’s frontispiece in articulating Booth’s complex and problematic scheme. To this end I explore the tensions inherent in Booth’s proposal in light of other philanthropic and social reform projects in late nineteenth-century Britain that targeted urban poverty, unemployment and emigration to the colonies. Set within this context, I argue that the representational strategies at work in the frontispiece image encouraged a powerful and performative enactment of the spiritual and social salvation that was a central goal of In Darkest England and the Way Out. I also argue that the visual modes employed in the colour illustration work to both mediate and contain the contradictory agendas that are revealed in Booth’s text.
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Elmqvist, Söderlund Inga. "Taking possession of astronomy : Frontispieces and illustrated title pages in 17th-century books on astronomy." Doctoral thesis, Stockholms universitet, Konstvetenskapliga institutionen, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-38873.

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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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Pierron, Saidou Anne-Isabelle Grignon Georges. "LA LECON D'ANATOMIE ETUDE HISTORIQUE ET ARTISTIQUE DE QUELQUES TABLEAUX ET FRONTISPICES, DE L'ANTIQUITE A NOS JOURS, EN EUROPE /." [S.l.] : [s.n.], 2000. http://www.scd.uhp-nancy.fr/docnum/SCDMED_T_2000_PIERRON_SAIDOU_ANNE_ISABELLE.pdf.

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Luscombe, Desley School of History UNSW. "Inscribing the architect :the depiction of the attributes of the architect in frontispieces to sixteenth century Italian architectural treatises." Awarded by:University of New South Wales. School of History, 2004. http://handle.unsw.edu.au/1959.4/31896.

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This study investigates the changing understanding of the role of the ???architect??? in Italy during the sixteenth century by examining frontispieces to published architectural treatises. From analysis of these illustrations four attributes emerge as important to new societal understandings of the role of ???architect.??? The first attribute is the desire to delineate the boundaries of knowledge for architecture as a discipline, relevant to sixteenth-century society. The second is the depiction of the ???architect,??? as an intellectual engaged in the resolution of practical, political, economic and philosophical considerations of his practice. The third represents the ???architect??? having a specific domain of activity in the design of civic spaces of magnificence not only for patrons but also for the city per se. The fourth represents the ???architect??? and society as perceiving a commonality of an architectural role beyond the boundary of individual locations and patrons. Five treatises meet the criteria set for this study: Sebastiano Serlio???s Regole generali di architetura sopra le Cinque maniere de gli edifici cio??, Toscano, Dorico, Ionico, Corinthio, et Composito, con gli essempi dell???antiquita, che, per la magior parte concordano con la dottrina di Vitruvio, 1537, his, Il Terzo libro nel qual si figurano, e descrivono le antichita di Roma, 1540, Cosimo Bartoli???s translation of Alberti???s De re aedificatoria titled L???architettura di Leonbattista Alberti, tradotta in lingua fiorentina da Cossimo Bartoli, Gentilhuomo, & Academico Fiorentino, 1550; Daniele Barbaro???s translation and commentary on Vitruvius??? De???architetura titled, I dieci libri dell???architettura di M. Vitruvio tradutti et commentati da monsignor Barbaro eletto Patriarca d???Aquileggia, 1556; and Andrea Palladio???s I quattro libri dell???architettura, 1570. A second aim for the study was to review the usefulness of frontispieces as an historical archive. It was found that frontispieces visually structure important ideas by providing a narrative with meaning as an integral part of the illustration. In this narrative frontispiece illustrations prioritise concepts found in the accompanying text and impose a hierarchical structure of importance for fundamental ideas.
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Tucci, Daniel Eid. "Vico, a imaginação da imaginação." Pontifícia Universidade Católica de São Paulo, 2015. https://tede2.pucsp.br/handle/handle/11686.

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Made available in DSpace on 2016-04-27T17:27:11Z (GMT). No. of bitstreams: 1 Daniel Eid Tucci.pdf: 2413357 bytes, checksum: 6b5167fc04d712802563472d458b86a2 (MD5) Previous issue date: 2015-08-14
This dissertation aims to examine the role of imagination in the work New Science of the Neapolitan philosopher Giambattista Vico (1668-1744). The focus of the research is to present the imagination as a concept of unity of knowledge and function of knowledge. For this purpose the dissertation begins with the image title page analysis present in the Scienza Nuova of 1744. This analysis will explore the design, trends and influences that led to the drafting of the image on the title page. An explanation of key concepts relevant follows for interpretation of the viquian opus, decoded from the hieroglyphs present on the title page. After showing the inventiveness of Vico to apply his imagination theory in his own work to achieve the reader, the research seeks to deepen the imagination of the theme as sensorial knowledge of the first people, the poetic wisdom, universal fantastic, the operation of the poetic mind and its requirements as a viquian topical and common sense. This intent aims to understand the contemporary attitude of Vico in his time, his conflicts against divergent school of thought and his concern for the future of humanity
A dissertação tem por objetivo analisar o papel da imaginação na obra Ciência Nova do filósofo napolitano Giambattista Vico (1668-1744). O enfoque da pesquisa é apresentar os conceitos da noção de imaginação como unidade e função do conhecimento. Para tal propósito a dissertação inicia com a análise do Frontispício presente na Scienza Nuova, de 1744. Tal análise irá explorar a concepção, tendências e influências que levaram à elaboração do Frontispício. Segue-se uma explicação dos principais conceitos relevantes para uma interpretação do opus viquiano, decodificados a partir dos hieróglifos presentes no Frontispício. Após mostrar a inventividade de Vico na aplicação de sua teoria da imaginação em sua própria estratégia para atingir o leitor de sua obra, a pesquisa busca aprofundar o tema da imaginação como conhecimento sensorial dos primeiros povos; a sabedoria poética, os universais fantásticos, o funcionamento da mente poética e seus requisitos como a tópica viquiana e o senso comum. Tal intento visa a compreender a postura contemporânea de Vico , seus conflitos contra a divergente corrente de pensamento e sua preocupação com o futuro da humanidade
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Chen, Chia-Chi, and 陳家齊. "Giant, Sea Monster and the State of Fear:Leviathan’s Frontispiece." Thesis, 2007. http://ndltd.ncl.edu.tw/handle/95587884166334990592.

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碩士
國立臺灣大學
歷史學研究所
95
This is a small inquiry about Leviathan’s title page. The essay will argue, the picture shown on the frontispiece of the book written by Thomas Hobbes has extensive linkages to its content. To achieve this, the essay will discuss Leviathan’s argument’s, Leviathan’s Biblical meanings and the metaphor of Giant in Leviathan’s arguments. Hobbes chose a Biblical metaphor to represent his thought on commonwealth in Leviathan, and he took a giant’s figure to articulate this Leviathan’s image, both can fit in the theses he displayed in Leviathan. This essay will also show, Leo Strauss’s interpretation of Leviathan still holds great insight to Leviathan’s ideas.
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Books on the topic "Frontispice"

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Calaferte, Louis. Frontispice: 1967 ; suivi de, Labyrinthe : 1967. Tarabuste, 1997.

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Institutul de Istorie "George Bariț" din Cluj-Napoca, ed. Documenta Masonica Hungarica: Frontispicii și peceți = frontispieces and stamps. Editura Argonaut, 2013.

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Ottmann, Henning. Titelblätter, Titelkupfer, Frontispize. J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05721-1.

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Mokuhan kuchie sōran: Meiji, Taishōki no bungaku sakuhin o chūshin to shite. Bunsei Shoin, 2005.

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Literarisches Monstrum und Buch der Welt: Grimmelshausens Titelbild zum "Simplicissimus Teutsch". M. Niemeyer, 2004.

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Taking possession of astronomy: Frontispieces and illustrated title pages in 17th-century books on astronomy. Center for History of Science at the Royal Swedish Academy of Sciences, 2010.

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Art et langage: Les frontispices allégoriques de la science à l'Âge classique. L'Harmattan, 2011.

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Baldacchini, Lorenzo. Aspettando il frontespizio: Pagine bianche, occhietti e colophon nel libro antico. S. Bonnard, 2004.

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Picturing the scientific revolution: Title engravings in early modern scientific publications. Saint Josephs University Press, 2011.

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Helmbold, Anita. Understanding the manuscript frontispiece to Corpus Christi College Cambridge MS 61: The political language of a Lancastrian portrait. Edwin Mellen Press, 2009.

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Book chapters on the topic "Frontispice"

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Camus, Marie-Thérèse. "Le frontispice de L’Étude sur l’Architecture lombarde, de Fernand de Dartein." In Culture et société médiévales. Brepols Publishers, 2005. http://dx.doi.org/10.1484/m.csm-eb.3.395.

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Fauré, Hélène, and Danièle Roberge. "Evolution du Frontispice Dans les Ouvrages de Medecine du XVIème au XVIIIème Siecle." In Health Information Management: What Strategies? Springer Netherlands, 1997. http://dx.doi.org/10.1007/978-94-015-8786-0_109.

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Roth, Wolff-Michael. "Frontispiece." In On Meaning and Mental Representation. SensePublishers, 2013. http://dx.doi.org/10.1007/978-94-6209-251-8_1.

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Thomas, Julia. "Frontispiece." In Nineteenth-Century Illustration and the Digital. Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-58148-4_1.

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Ottmann, Henning. "Embleme in Hülle und Fülle (Picinelli)." In Titelblätter, Titelkupfer, Frontispize. J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05721-1_15.

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Ottmann, Henning. "„Historia magistra vitae“ (Raleigh)." In Titelblätter, Titelkupfer, Frontispize. J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05721-1_9.

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Ottmann, Henning. "Was man mit einem Schachspiel so alles machen kann (von Ammenhausen, August von Braunschweig-Lüneburg, Middleton)." In Titelblätter, Titelkupfer, Frontispize. J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05721-1_2.

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Ottmann, Henning. "Die astronomische Revolution (Apian, Bayer, Kepler, Wilkins, Galilei, Lansbergen, Hevelius, Cellarius)." In Titelblätter, Titelkupfer, Frontispize. J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05721-1_12.

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Ottmann, Henning. "Prometheus entfesselt (Nietzsche)." In Titelblätter, Titelkupfer, Frontispize. J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05721-1_28.

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Ottmann, Henning. "Es werde Licht (Kircher, Voltaire)." In Titelblätter, Titelkupfer, Frontispize. J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05721-1_21.

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