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Journal articles on the topic 'German Illustration of books'

Author: Grafiati

Published: 4 June 2021

Last updated: 6 February 2022

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1

Beck Pristed, Birgitte. "Russian Illustration in German Children’s Books of the 1980s-1990s." Children's Readings: Studies in Children's Literature 15 (2019): 262–80. http://dx.doi.org/10.31860/2304-5817-2019-1-15-262-280.

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2

Welsh, Charles. "A German Pedagogist on the Illustration of Books for Children." Journal of Education 51, no. 16 (April 1990): 244–45. http://dx.doi.org/10.1177/002205749005101605.

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3

Feibel, Robert M. "Mortimer Frank, Johann Ludwig Choulant, and the history of anatomical illustration." Journal of Medical Biography 27, no. 3 (January 26, 2018): 143–49. http://dx.doi.org/10.1177/0967772017708648.

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Mortimer Frank (1874–1919) was an ophthalmologist in Chicago, Illinois. He published a number of papers on the history of medicine, and was secretary of the Chicago Society of the History of Medicine and editor of their Bulletin. His major contribution to the history of medicine relates to the history of anatomical illustration. The classic book on that subject had been published in 1852 in German by the physician and historian, Johann Ludwig Choulant (1791–1861). However, by Frank’s time this text was both out dated and out of print. Frank took on the tremendous project of translating Choulant’s German text into English as History and Bibliography of Anatomic Illustration in Its Relation to Anatomic Science and The Graphic Arts. He improved Choulant’s text with the results of his and other scholars’ research, greatly enlarging the text. Frank supplemented the original book with a biography of Choulant, essays on anatomists not considered in the original text, and an essay on the history of anatomical illustration prior to those authors discussed by Choulant. This book, now referred to as Choulant/Frank, has been reprinted several times, and is still useful as a reference in this field, though some of its research is now dated.

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Fomin, Dmitriy. "Brothers Grimm’ fairy tales in illustrations by russian artists." Children's Readings: Studies in Children's Literature 19, no. 1 (2021): 235–67. http://dx.doi.org/10.31860/2304-5817-2021-1-19-235-267.

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The article provides a brief overview of the most interesting illustrative cycles of brothers Grimm’ fairy tales, created by Russian artists in the XX and early XXI centuries, and examines different approaches to visual interpretation of German folklore. Although some successful graphic interpretations of Grimm’ subjects began to appear early in post-revolutionary years, for a number of reasons this valuable literary material long remained outside of attention sphere of the most significant artists of children’s books. The period of the second half of the 1970s-1980s became the happiest and most fruitful in the publishing fate of fairy tales, when such remarkable masters as N. I. Zeitlin, E. G. Monin, M. S. Mayofis, G. A. V. Traugot, N. G. Golts, B. A. Diodorov, etc. took up the illustration. The second part of the article compares graphic interpretations of the most famous fairy tales of brothers Grimm: “The pot of porridge”, “The gingerbread house”, “The Bremen town musicians”, “The brave little tailor”. The author traces how the interpretations of textbook subjects change and become more complex over time, and what artistic means prove their relevance.

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Tsapaeva, Sabina. "Reynke Vosz de olde (Rostock, 1539) in context of the Middle Low German Reynke de Vos tradition in the 15th–16th century." Reinardus / Yearbook of the International Reynard Society 26 (December 31, 2014): 174–97. http://dx.doi.org/10.1075/rein.26.11tsa.

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The present article discusses the beast epic Reynke Vosz de olde (Rostock, 1539) in context of the Middle Low German Reynke de Vos tradition in the 15th–16th century. Emphasis falls on the comparison of the two particularly important Middle Low German editions of the widely-known epic against the socio-historical background in Northern Germany in the Late Middle Ages. This paper proposes to make a contribution to the field of research of the Middle Low German Reynke de Vos tradition in general but primarily examines the printed Reynke Vosz de olde edition from 1539. For this latter purpose the Reynke Vosz de olde text is compared with the 1498 pretext from the Poppy Printer, the Mohnkopf printing house, in a number of respects: typography and illustrations, construction of the book, division in books and chapters, versification, different tendencies in the commentary parts etc. The 1539 Reynke Vosz de olde edition is filtered for tendencies in textual innovations and structural changes as distinct to prototype text as well as motivation and intention cues for those. Further questions like the importance of the quotation analysis of the marginal gloss notes and of the critical question on the glossator’s identity will be highlighted and discussed.

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Campbell, W. Gordon. "The “Last Word” in Pictures: Enhanced Visual Interpretation of Revelation in Luther’s High German Bible (1534)." Postscripts: The Journal of Sacred Texts, Cultural Histories, and Contemporary Contexts 11, no. 1 (September 15, 2020): 5–33. http://dx.doi.org/10.1558/post.17389.

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For the last twenty-five years of his life, Martin Luther and his associates were active in Bible translation, publishing first the New Testament, from 1522 onwards, and by 1534—at roughly the mid-point of these endeavours—the whole Bible in German. Across this entire period, until his death, Luther continuously offered reader-viewers of the final New Testament book, Revelation, not only verbal commentary—in a preface (1522), or replacement preface with accompanying marginal notes (1530)—but visual exegesis, in the form of successive series of woodcut engravings designed to illustrate the text. A set of images commissioned for Luther’s 1534 German Bible was the crowning achievement of this visual interpretation: the 1534 Bible even extended pictorial illustration and adornment to the Gospels and Epistles, as well as Old Testament texts. From the perspective of art history, to regard these acclaimed illustrations as “the last word in pictures” represents no novelty, for the 1534 Luther Bible has long been counted among “the finest things that the art of printing produced in the Reformation period” (Schramm 1923, 22–23; my translation). However, to make the same assertion about the Revelation illustrations specifically, from an explicitly exegetical standpoint—and in English—is new and requires substantiation through supporting evidence. I will provide this through close analysis and evaluation of the interpretative moves that the 1534 images make, in conjunction with Luther’s translation and comment, over and against the visual exegesis of their predecessors created, from 1522 onwards, for Luther’s German New Testament.

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7

Fedotova, Olga Dmitrievna, and Vladimir Vladimirovich Latun. "Formation of self-control skills in foreign study books for teaching reading: features of didactic positions in the 21st century." Moscow University Pedagogical Education Bulletin, no. 1 (March 30, 2019): 32–44. http://dx.doi.org/10.51314/2073-2635-2019-1-32-44.

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The article is devoted to the study of didactic approaches used for creation of self-test blocks in text-books.The system of self-control skills formation is considered on the example of text-books for learning to read. The leading approaches of the text-books authors to the organization of self-control are considered on the basis of content and structure analysis of the ABC-books published in Kyrgyzstan, Kazakhstan, Russia, the Netherlands, Germany, France, Turkey and Greece in Cyrillic, Latin and Greek alphabets.The article characterizesthese publications' didactic features from the standpoint of implementing the possibility of self-verification correctness of the tasks and exercises performed. German, Turkish and Greek study books are highlighted and analyzed in detail, and offer an original self-test system in illustrative and textual form.The types of tasks aimed to develop the schoolchildren'sthinking are distinguished on the basis of cluster analysis. The article draws attention to the similarities and differences in the implementation of the idea of the self-control skills formation on the example of the ABC-books publicationsfrom different countries.

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Zajas, Paweł. "Redaktor wydawniczy jako tłumacz." Między Oryginałem a Przekładem 24, no. 40 (June 30, 2018): 97–122. http://dx.doi.org/10.12797/moap.24.2018.40.06.

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Publishing Editor as Translator: On Translating the work of Cees Nooteboom in the Suhrkamp VerlagCees Nooteboom has been the face of Dutch literature in Germany. His photo, which features on the cover of Niederländische Literaturgeschichte [History of Dutch literature, 2006], a volume edited by Ralf Grüttemeier and Maria-Theresia Leuker, is a telling illustration of this. Usually, his successful market position is related to a eulogy to the book Die folgende Geschichte, delivered by the pope of German literary criticism, Marcel Reich-Ranicki in October 1991 in a TV programme „Das Literarische Quartett”. This paper tells the prehistory of Nooteboom’s success in Germany based on unpublished data drawn from the Siegfried Unseld Archive (Deutsches Literaturarchiv Marbach). The main focus of the discussion is placed on the cooperation between Nooteboom and the publishing editor, Elisabeth Borchers, who exerted a significant influence on the form of his initial publications by Suhrkamp Verlag.

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Subotic, Milan. "The soil and roots of Nazism: Two approaches." Filozofija i drustvo 18, no. 2 (2007): 187–205. http://dx.doi.org/10.2298/fid0702187s.

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The paper discusses two different approaches to Nazism and the Holocaust. The first approach is different versions of the Sonderweg thesis arguing that the explanation of the "German catastrophe" should be sought in the particular features of German history. The second approach rests on searching for external, exogenous factors that played a formative role in the emergence of National Socialism. The examples illustrating these two approaches are recently published books by Aleksandar Molnar and Michael Kellogg, reviewed in detail in the paper. Starting from an interpretation of these books, the author argues that the limitations of both approaches result from the complexity of a historical experience that resists rationalization.

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Mustonen, Tero, Sergei V. Sokolovskiy, Hugh Beach, and Jessica Kantarovich. "Book Reviews." Sibirica 17, no. 2 (June 1, 2018): 121–31. http://dx.doi.org/10.3167/sib.2018.170209.

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The World of the Khanty Epic Hero-Princes: An Exploration of a Siberian Oral Tradition Arthur Hatto (Cambridge: Cambridge University Press, 2017), 246 pp., bibliography, index. $99.99 (hardcover). ISBN 978-1-107-10321-4A. A. Nikishenkov: “Izobretaia traditsiiu” i sozdavaia “voobrazhaemye soobschestva” Edited by E. V. Mis’kova and A. V. Tutorskii (Moscow: Novyi khronograf, 2017), 272 pp., 1 illustration. Moscow State University Historical Department Transactions, Number 90; Series II: Historical Studies, Number 46. Paperback. ISBN 978-5-94881-301-1Leaving Footprints in the Taiga: Luck, Spirits and Ambivalence among the Siberian Orochen Reindeer Herders and Hunters Donatas Brandišauskas (New York: Berghahn Books, 2017), 305 pp., 32 illustrations, bibliography, index. $120.00 (hardcover). ISBN 978-1-78533-238-8Oral History Meets Linguistics Edited by Erich Kasten, Katja Roller, and Joshua Wilbur (Fürstenberg/Havel, Germany: Kulturstiftung Sibirien, 2017), 211 pp., 12 color photos. €26.00 (paperback). ISBN 978-3-942883-30-6

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Oittinen, Riitta. "Where the Wild Things Are." Meta 48, no. 1-2 (September 24, 2003): 128–41. http://dx.doi.org/10.7202/006962ar.

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Abstract Translating picture books is a many-splendored thing: it includes not only the relationship between the verbal and the visual (images and other elements) but also issues like reading aloud and child images. In the following, while mainly concentrating on the visual, I will deal with the other questions as well, as they all interact and influence each other. My starting point is translating as rewriting for target-language audiences – we always need to ask the crucial question: “For whom?” Hence, while writing children’s books is writing for children, translating children’s literature is translating for children. (See Hunt 1990:1, 60-64 and Oittinen 2000.) The reasons why I take such a special interest in translating picture books are twofold: cultural and national as well as individual. In Finland, we translate a lot: 70-80% of all the books published for children annually are translations. From the perspective of picture books, the number may be even higher (and 90% of the translations come from the English language; see Rättyä 2002:18-23). Moreover, being an artist and translator of picture books makes me especially keen on the visual as a translation scholar as well. As a case study, I have chosen Maurice Sendak’s classical picture book Where the Wild Things Are and its translations into German, Swedish and Finnish. At the background of my article is my book Translating for Children (2000) as well as my forthcoming book Kuvakirja kääntäjän kädessä on translating picture books. Due to copyright reasons, I only have picture examples from illustrations of my own.

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Lennon, Heather. "A Good Book Is Universal." ALAN Review 44, no. 3 (June 21, 2017): 67–70. http://dx.doi.org/10.21061/alan.v44i3.a.8.

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In Odd Dog (2012), written and illustrated by Clau-dia Boldt, two dogs live next door to one another (see Figure 1). One jealously guards his apple tree and is just waiting for a delicious apple to ripen. When it finally drops to the ground, it’s on the other side of the fence. The dogs are named Helmut and Igor. The author-illustrator is German, living in Lon-don. (NorthSouth Books bought the book from Ran-dom House UK, where it was originally published.) At NorthSouth, we thought Helmut and Igor were a bit unusual for dog names, so with the author’s permis-sion, we changed the names to the more American Milo and Peanut, which we thought were very cute. Later in the process, we learned that Helmut and Igor were meant to poke fun at a strained relationship between Germany and Russia—two countries histori-cally prone to thinking that the other is always getting the better deal. All this, in a funny little book about dogs in their backyards.

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13

DRABKIN, WILLIAM. "SCHUBERT, SCHENKER AND THE ART OF SETTING GERMAN POETRY." Eighteenth Century Music 5, no. 2 (September 2008): 209–36. http://dx.doi.org/10.1017/s1478570608001498.

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Nearly half a century after gaining a solid footing in the academic world, the achievements of Heinrich Schenker remain associated more with tonal structure and coherence than with musical expression. The focus of his published work, exemplified largely by instrumental music from the eighteenth and early nineteenth centuries, supports this view. There are just five short writings about music for voices: two essays on Bach’s St Matthew Passion, one on the opening number from Haydn’s Creation, and two on Schubert songs. To be sure, romantic lieder appear as music examples for the larger theory books, but there they serve as illustrations of harmony, voice leading and form, rather than the relationship of word to tone.

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Krohn, Deborah L. "Carving and Folding by the Book in Early Modern Europe." Journal of Early Modern History 24, no. 1 (February 20, 2020): 17–40. http://dx.doi.org/10.1163/15700658-12342663.

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Abstract The period 1500-1800 saw the publication of a number of manuals and handbooks containing instructions for carving meat and fruit on the table, and folding napkins and other linens. These books contain information on otherwise invisible aspects of material and social life and are notable for their intriguing and often beautiful illustrations. Part of a larger category of texts that addressed courtesy, etiquette and behavior for household servants, people in charge of them, and those who aspired to this lifestyle, examples of the genre may be found in Italian, French, German, English, Dutch, Spanish and probably other languages as well. Echoes of a suite of engraved illustrations for an Italian carving manual first published in Padua in 1629 can be seen in books printed all over Europe in the seventeenth and eighteenth centuries.

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15

Moore, P. G. "Eric Fitch Daglish (1892–1966): naturalist, illustrator, author and editor." Archives of Natural History 38, no. 2 (October 2011): 229–41. http://dx.doi.org/10.3366/anh.2011.0031.

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Eric Fitch Daglish (1892–1966) was a naturalist by inclination, a free-lance author and editor in business and, by practice, a wood-engraver of high repute. Taught wood-engraving skills by Paul Nash, he was a close friend also of other famous engravers (John Nash, Eric Gill) within the Society of Wood Engravers. He applied these skills to illustrating his own books for popular audiences on topics ranging from flowers to birds, beasts and the English countryside. Fluent in German, he translated books from that language to supplement his income in the years succeeding the First World War. He is perhaps best known for his bird books: Woodcuts of British birds, The life story of birds and Birds of the British Isles, but was also a prolific writer about dogs. His oeuvre is examined, and his contribution compared with other contemporary bird artists who embraced wood-engraving techniques. A bibliography of his natural history works as author and as editor is included.

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Wincencjusz-Patyna, Anita. "Attractive lives on attractive pages. Polish illustrated biographical books for young readers." Problemy Wczesnej Edukacji 34, no. 3 (September 30, 2016): 107–17. http://dx.doi.org/10.5604/01.3001.0009.4847.

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This paper focuses on an exceptionally interesting kind of books dedicated to young readers, quite popular recently in Poland, namely picture biography books for children and teenagers. Polish publishing houses, especially Muchomor from Warsaw, for the last few years have been coming up with a number of intriguing titles, both in the matter of words, and also in their graphic contents, especially the series “Gdansk Trilogy”. Brave ideas, young talents, novel artistic solutions, and original illustrations make the lives of famous people, not so very well-known figures and some unknown names – from both far and near, homeland and neighbourhood history – attractive reading matter. The author also looks back at the history of Polish illustrations included in biographies published in the second half of the 20th century. By combining the traditions of Polish applied graphic art with its up-to-date condition the author wants to trace the impact of the old and the novelty of contemporary books. She wants to stress the expressive power of an image turning illustrations into independent works of art. The number of illustrations and the graphic concept of an up-to-date language of visual forms make them genuine picture stories (especially in the designs by Ignerska). By means of comparative analyses of form and style, as well as a theory of image, she is going to focus on features of the visual side of the aforementioned books. The author would also like to stress the change in the way of perceiving the common history of places with such a complicated history as Gdańsk itself (in which Elisabeth and Johannes Hevelius, Fahrenheit, Schopenhauer, despite their German roots, are treated as part of the common heritage).

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van Leerdam, Andrea. "Popularising and Personalising an Illustrated Herbal in Dutch." Nuncius 36, no. 2 (June 23, 2021): 356–93. http://dx.doi.org/10.1163/18253911-03602006.

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Abstract Who were illustrated herbals intended for, who were the actual readers and how did they use these books? The case of the Dutch herbal Den groten herbarius met al sijn figueren (“The great herbal with all its figures”) sheds light on book producers’ strategies of popularisation and readers’ strategies of personalisation. Between 1514 and 1547, at least six illustrated folio editions appeared, with connections to German and English herbal traditions. The work’s paratexts point to a wide intended audience and to a key role for the illustrations in popularisation strategies. Early modern users’ traces in a corpus of 27 individual copies reveal owners from a variety of backgrounds who seem to share a predominantly practical interest in remedies. The article focuses on three pervasive practices of personalisation that offer new perspectives on readers’ engagement with materia medica: tagging recipes and plant names, attaching pins to the pages, and colouring woodcuts.

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Noblett, William. "Dru Drury, his Illustrations of natural history (1770-82) and the European market for printed books." Quaerendo 15, no. 2 (1985): 83–102. http://dx.doi.org/10.1163/157006985x00081.

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AbstractThis study attempts to show how the English entomologist, Dru Drury (1725-1804) exported his only published book, Illustrations of natural history, which appeared in three volumes between 1770 and 1782. Drury used three contacts on the European mainland: the Amsterdam bookseller, Jan Christian Sepp; the German botanist, Paul Dietrich Giseke and the Danish naturalist, Morten Thrane Brunnich. Drury's letters to these three men form the basis of the study. An examination of them reveal some of the problems encountered in the international book-trade in the eighteenth century (such as parcels going missing and the difficulties of payment) and show some of the formalities that had to be undertaken when exporting.

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Schutz, E. "Driving Germany: The Landscape of the German Autobahn, 1930-1970. By Thomas Zeller. New York: Berghahn Books, 2007. 289 pages + 8 illustrations. $85.00." Monatshefte 100, no. 2 (June 1, 2008): 325–27. http://dx.doi.org/10.1353/mon.0.0014.

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Kirchhoff, Chassica. "Visualizing the Fight Book Tradition: Collected Martial Knowledge in the Thun-Hohenstein Album." Acta Periodica Duellatorum 6, no. 1 (June 1, 2018): 3–45. http://dx.doi.org/10.2478/apd-2018-0001.

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Abstract The Thun-Hohenstein album, long-known as the Thun’sche Skizzenbuch, is a bound collection of 112 drawings that visualize armoured figures at rest and in combat, as well as empty armours arrayed in pieces. The collection gathers drawings that span the period from the 1470s to around 1590. While most of the images were executed in Augsburg during the 1540s, the album’s three oldest drawings date to the late-fifteenth century. Two of these works, which form a codicological interlude between the first and second quires, find parallels in the illustrations of contemporaneous martial treatises. This article traces the pictorial lineages of these atextual images through comparative analyses of fight books produced in the German-speaking lands, and considers how the representational strategies deployed in martial treatises inflected the ways that book painters and their audiences visualized the armoured body. This exploration situates a manuscript from which one of the drawings derives, Peter Falkner’s Art of Knightly Defense, now in Vienna, within the Augsburg book painters’ workshops that would later give rise to the Thun album. Finally, this study considers how the transmission and representation of martial knowledge in late fifteenth- and early sixteenth-century Augsburg contributed to the later depictions of armoured bodies that populate the album.

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Emmerson, Richard Kenneth, and Suzanne Lewis. "Census and Bibliography of Medieval Manuscripts Containing Apocalypse Illustrations, ca. 800–1500 III." Traditio 42 (1986): 443–72. http://dx.doi.org/10.1017/s0362152900004153.

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These pages conclude the Census and Bibliography of Medieval Manuscripts Containing Apocalypse Illustrations begun in Traditio 40 (1984) 337–379 and continued in Traditio 41 (1985) 367–409. They contain the descriptions of nine groups of manuscripts. Three of these groups comprise illustrated Apocalypses: Alexander Minorita Apocalypses (nos. 118–122), Later German Apocalypses (nos. 123–132), and Miscellaneous Apocalypses (133–137). The remaining six groups comprise manuscripts that, although not illustrated Apocalypses, contain five or more illustrations of the Apocalypse: Miscellaneous Bibles (nos. 138–145), Liber Floridus manuscripts (nos. 146–152), Moralized Bibles (nos. 153–158), Historiated Bibles (nos. 159–167), Books of Hours (nos. 168–170), and Miscellaneous Manuscripts (nos. 171–172) R. Emmerson would like to thank Peter Klein for his helpful suggestions. Recognizing that, despite our best efforts, this Census and Bibliography may include some errors and omissions, the authors would be grateful to receive corrections and additions for a future edition.

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Romashina, Ekaterina Yu. "Text and Image: Conversation in Different Languages (Oscar Pletsch’s Book Graphics in Germany, England, and Russia)." Tekst. Kniga. Knigoizdanie, no. 24 (2020): 113–33. http://dx.doi.org/10.17223/23062061/24/6.

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In the second half of the 19th century, children’s picture books became a mass phenomenon in European book publishing practice. The development of printing technology, the formation of psychology as scientific knowledge, the improvement of methods of educational interaction between adults and children led to the appearance of children’s books not only for reading them aloud, but also for looking at pictures in them. However, the connections between the textual and visual narratives of books were not yet strong. Often, for economic reasons, the same illustrations were used in combination with different texts, and translations and reprints added discrepancies. In the article, this is illustrated by materials from the analysis of German, Russian, and English editions with drawings by Oscar Pletsch: Die Kinderstube (Hamburg, 1860), Gute Freundschaft (Berlin, 1865), Kleines Volk (Berlin, 1865), Allerlei Schnik-Schnak (Leipzig, 1866); Malen’kie Lyudi (St. Petersburg, 1869), Tesnaya Druzhba (St. Petersburg, 1869), Pervye Shagi Zhizni (St. Petersburg, 187?), Yolka (St. Petersburg, 1874); Child- Land (London, 1873). The plots Pletsch created are compared with the texts in three languages. As a result of the analysis, significant differences between the texts and the visual range of the editions were revealed. The article identifies the options of transforming meanings and interpreting drawings, reveals the tendency of their use for didactic purposes. The album Gute Freundschaft (initially containing only short captions to the drawings) acquired detailed poetic texts—monologues or dialogues of depicted children—in the Russian translation. The English publisher “scattered” the visual series: in Child-Land, the same drawings were placed randomly and mixed with other illustrations without observing any logic. The London edition contained prosaic texts, many of which did not coincide in meaning with the storyline of the original. The author (translator) sometimes interpreted the images “taken out of context” in a neutral way and sometimes added other (including sharply negative) characteristics to children’s postures, gestures, and movements. In a number of cases, the texts emotionally “loaded” the images in a completely different way than the artist conceived: a gesture of greeting turned into a threat, expectation turned into boredom, and so on. It should be stressed that the Russian publisher Mauritius Wolf treated the German originals more carefully than his English colleagues from S.W. Partridge & C°. The analysis of publications and the comparison of their verbal and visual plots allowed identifying the nature of the interrelation of text and image as a “conversation in different languages”. The reason for the “discord” could be translation problems, general changes in the functional tasks of the publication (for example, towards a didactic purpose), the mismatch of cultural codes in the system of different European languages, and technical difficulties in printing. All this led to the emergence of new senses and meanings—sometimes unexpected, but always important, interesting and never accidental.

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Huttenbach, Henry R. "Vahak N. Dadrian, German Responsibility in the Armenian Genocide: A Review of the Historical Evidence of German Complicity. Watertown, MA: Blue Crane Books, 1996, xvi + 271, illustrations, bibliography, index." Nationalities Papers 25, no. 2 (June 1997): 343–45. http://dx.doi.org/10.1017/s0090599200004682.

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Cirkel-Bartelt, Vanessa. "Beautiful destruction." Approaching Religion 7, no. 2 (November 29, 2017): 37–49. http://dx.doi.org/10.30664/ar.67712.

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Though the term ‘science fiction’ was coined somewhat later, the early twentieth century saw an enormous rise in an interest in technological tales set in the near future, mirroring a general awareness of the growing importance of science. Hans Dominik was one of the most prolific – and successful – German authors of this kind of popular literature. According to estimates millions of copies of his books have been sold, making Dominik’s work an interesting case study illustrating the sorts of ideas about science that German-speaking audiences entertained. Being a trained engineer and a public relations officer by profession, Dominik drew heavily on scientific topics that were headline news at the time and yet he also managed to create something new on the basis of these. One of the methods he employed was the use of religious motifs and topoi. Dominik magnified the relevance of scientific enterprises and depicted the consequences of science – or scientific misconduct, rather – as the beginning of a catastrophe, or even an apocalypse. By the same token, Dominik often introduced the figure of the scientist as a protagonist who would save the world. Thus Dominik was able to draw the attention of a large audience to concepts of the use of atomic energy or nuclear weapons – to name only two – and their creative or destructive potential, decades before such devices were technically feasible.

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Patz, Gerd-Peter. "10 Jahre Graphotek in der Stadtbibliothek Bremen." Art Libraries Journal 11, no. 3 (1986): 31–34. http://dx.doi.org/10.1017/s0307472200004788.

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Although the idea of lending works of art originated in Germany in 1885, the first library to actually do so was that of Newark, U.S.A., through the initiative of John Cotton Dana in 1903-4. Other countries followed suit - Britain before the end of the Second World War, Scandinavia by the late 1950s, and France, where in recent years over 30 picture libraries have been established with state support under Mitterand’s Minister for Culture, Jack Lang.While in East Germany there are over 100 picture libraries lending mainly reproductions, in West Germany there are 61, lending exclusively original works. The Graphotek in Bremen Public Library is the third largest of these, and all citizens over 16 can borrow from its collection of over 2,200 works for eight weeks at a time, choosing either directly or, at any of the six branch libraries, from colour slides and catalogues.The Bremen Graphotek has set out to build up a representative collection of German and international art from all periods, with special emphasis on contemporary art; prints make up the greater part of the collection, and reproductions are excluded. 720 artists are represented; 50% of funding is reserved for Bremen artists. Over 33,000 loans have been made in the Graphotek’s first ten years, with 75%-80% of the collection being out on loan at any given time. There has been a gradual trend towards more borrowing by schools, hospitals, etc.The Graphotek has promoted 88 exhibitions. The last of these, on the occasion of the Graphotek’s 10th anniversary, displayed work by 70 artists illustrative of new directions in art since 1970.The Graphotek also functions as a centre for information on art, artists, art galleries, etc., with reference books and art journals available for consultation.

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Djubo, Boris. "Bilderlosigkeit und anthropomorphe Darstellungen in den deutschen und niederländischen Grammatiken des Barock: sprachwissenschaftlich verursachte und konfessionell motivierte Sichtweise." Neerlandica Wratislaviensia 29 (April 15, 2020): 31–51. http://dx.doi.org/10.19195/0860-0716.29.3.

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Human figures were a suitable means of assigning human qualities to non-human entities, thereby making an abstract phenomenon more concrete and easier to understand. During the baroque period, one of the widely used techniques in the works of German and Dutch grammarians was visual presentation of their material in tables. Illustrative examples or tables and dichotomies were differently preferred as visual material in the language teachings of representatives of the confessions as well as the most important philosophical and grammatical theories, which were respected and had authority in the 17th century. The iconoclasm of the Calvinist authors, that is, aniconism and removal of images from churches, correlated with the reluctance of the grammarians to visualise their subjects in pictures. For presenting the contents, language teachers chose a frugal form, namely the tables and the dichotomic method, which is usually manifest in the composition of grammar books and description of the most important characteristics of the parts of speech.

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Лялина. "The Germans joke seriously." Modern Communication Studies 2, no. 1 (January 14, 2013): 0. http://dx.doi.org/10.12737/180.

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The author of the article attempts to define the constituent parts of the concepts «the Germans» and «comic» as well as reveal the main characteristic features of German comic dicourse. The examples are taken from the book of authentic anecdotes by D. Wackel. The author analyzes various ways of manifestation of humour and humourous effect and gives diagrams illustrating percentage parity of groups with respect to the way of creating a comic effect.

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Kotaba, Katarzyna. "Czy wojna jest dla dzieci? O obrazach wojny w literaturze dla najmłodszych." Annales Universitatis Paedagogicae Cracoviensis | Studia Historicolitteraria 15 (December 13, 2017): 184–92. http://dx.doi.org/10.24917/3934.

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Is war suitable for children? Images of war in children’s literature I drew on poetics of space by Gaston Bachelard to describe the reality of war from a child’s perspective. War stories for children were depicted in following books: Zaklęcie na “w” (The w-word spell) by Michał Rusinek, Asiunia by Joanna Papuzińska, Czy wojna jest dla dziewczyn? (Is war suitable for girls?) by Paweł Beręsewicz and Wszystkie moje mamy (All my moms) by Renata Piątkowska. Happy places, where children can cower and find shelter are typical features of Bachelard’s poetics of space. During the war cellars served as bomb shelters and they were also the places where adults and children looked for a hideaway and safety. Another determiner of poetics of space is a small - big opposition which is carried out e.g. by setting a small child against an adult, a strong German. This opposition is connected with good - bad or white - black dialecticc. The phenomenology of roundness is the next determiner of poetics of space and it is exhibited in children songs and games. Even during the war children desired to have ordinary and happy childhood without fear. Warm embrace of parents and storytelling are also very important. The phenomenology of the hidden is a final determiner of poetics of space and it is expressed e.g. as additional packets which people sewed to their clothes to smuggle food and medicine or as special boxes, which served to transporting children from ghetto. Illustrations are very important, because they supplement the text. During the war children must face up to a new reality. Instead of parents’ love, there are harsh rules of war.Key words: war; children; bombing; ghetto; German;

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Zhang, Chunjie. "Qinna Shen and Martin Rosenstock, eds. Beyond Alterity: German Encounters with Modern East Asia. New York and Oxford: Berghahn Books, 2014. 316 pp. + 32 illustrations." Germanic Review: Literature, Culture, Theory 90, no. 3 (July 3, 2015): 1–3. http://dx.doi.org/10.1080/00168890.2015.1065165.

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Gordin, M. D. "Ghostly Apparitions: German Idealism, the Gothic Novel, and Optical Media. By Stefan Andriopoulos. New York: Zone Books, 2013. 235 pages + 10 b/w illustrations. $28.95." Monatshefte 106, no. 3 (September 1, 2014): 503–5. http://dx.doi.org/10.1353/mon.2014.0064.

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Ph.D, Anastasia Chournazidi. "The Pedagogic Role of Children’s Literature Walter Benjamin’s Theory in Modern Education." World Journal of Educational Research 4, no. 3 (July 5, 2017): 395. http://dx.doi.org/10.22158/wjer.v4n3p395.

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<p><em>This article focuses on the theory of German philosopher and literature critic Walter Benjamin (1892-1940) on the role of children</em><em>’</em><em>s literature and the degree by which his aesthetical theory, as expressed in the early 20th century, may be applied in modern education. Particularly in preschool ages, children’s literature plays a defining role in children</em><em>’</em><em>s development, stimulating learning memory and providing the foundations for the child</em><em>’</em><em>s perception of the world around him/her. Children</em><em>’</em><em>s literature and illustrations of children’s books, introduce children in learning and writing. In his theory, Benjamin describes how literature, and in particular the magic perceived by children’s mentality in fairytale, can and should be an integral part of education that does not apply standardized pedagogic norms or psychological interpretations, but promotes the way in which the child observes the world, imagination and intuitive perception.</em></p>

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Ayanna, Amiri. "Hamburger, Jeffrey F., Schlotheuber, Eva, Marti, Susan, and Fassler, Margot Elsbeth, Liturgical Life and Latin Learning at Paradies bei Soest, 1300–1425: Inscription and Illumination in the Choir Books of a North German Dominican Convent. Münster: Aschendorff Verlag, 2016. Two volumes, 1441 pp., extensive, full-color illustrations in both." Mediaevistik 31, no. 1 (January 1, 2018): 467–68. http://dx.doi.org/10.3726/med012018_467.

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The volumes under review present the rich rewards of interdisciplinary collaboration. The team of authors focuses on a particular location, the northern German Dominican cloister of Paradies bei Soest in Westphalia, literally “Paradise,” and digs deeply into the house’s practices, devotional innovations, texts, artworks, and curation of institutional identity.

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Wibawa, Mahendra, and Anita Wulan Suci. "PERANCANGAN BUKU “KOMUNIKASI DALAM ISYARAT” SEBAGAI MEDIA PENGENALAN HURUF HIJAIYAH UNTUK ANAK TUNARUNGU BERBASIS ILUSTRASI." Gorga : Jurnal Seni Rupa 10, no. 1 (June 24, 2021): 201. http://dx.doi.org/10.24114/gr.v10i1.25523.

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Deaf childrens are children with hearing limitation that can be fully or partial hearing function problems. Deaf childrens can communicate using movement pattern combinations (sign language), accompanied by face expression dan lips reading that can be studied using eyesight. For moslem deaf children, they have limitation on understanding and memorizing hijaiyah alphabets. One of the factors that make it hard to learn is the learning media limitation on Al-Quran for deaf childrens. Media that usually use to learn hijaiyah alphabets is Iqro books, the weak side of this book is there’s no procedure on how to pronounce Al-quran from letters of alphabets or in hijaiyah sign. Start from this limitation on deaf childrens and iqro book’s weaknesses, the idea to designing illustration book of hijaiyah alphabet introduction for deaf children was emerge. The media for the design is a book titled “Komunikasi dalam Isyarat” (“Communicate in sign”) in 20 x 20 cm size with 53 pages and soft covered, the content pages will be in HVS 100g paper. This book will contain hijaiyah alphabets, hijaiyah sign, exercises, evaluation test, and puzzle pieces that will be included in puzzle container.Keywords: book, illustration deaf, sign, hijaiyah.AbstrakAnak tunarungu merupakan anak dengan keterbatasan pendengaran yang kurang berfungsi dengan baik maupun tidak sama sekali. Anak tunarungu berkomunikasi dengan cara menggunakan kombinasi pola gerakan tertentu, juga disertai dengan ekspresi wajah dan gerak mulut yang bisa dibaca secara visual melalui indera penglihatan. Bagi anak tunarungu muslim, keterbatasan lainnya yaitu sulit memahani dan menghafal huruf huruf hijaiyah. Salah satu faktor penyebab sulit memahami huruf hijaiyah adalah keterbatasan media belajar Al-Qur’an khusus untuk anak tunarungu. Media yang selama ini digunakan untuk belajar huruf hijaiyah adalah buku Iqro’, kelemahan pada buku ini karena di dalamnya tidak ada cara membaca Al-Qur’an melalui huruf abjad maupun isyarat hijaiyah. Berawal dari keterbatasan anak tunarungu dan kelemahan pada buku Iqro’, muncullah ide merancang buku ilustrasi pengenalan huruf hijaiyah untuk anak tunarungu. Media yang dirancang merupakan buku berjudul “Komunikasi dalam Isyarat” berukuran 20 cm x 20 dan memiliki 53 halaman, cover buku menggunakan soft cover, dan lembaran halaman menggunakan bahan kertas HVS 100g . Buku ini berisi tentang materi huruf hijaiyah, isyarat hijaiyah, latihan soal, soal evaluasi, dan potongan puzzle yang diletakkan ke dalam puzzle container.Kata Kunci: buku, ilustrasi, tunarungu, isyarat, hijaiyah. Authors: Mahendra Wibawa : Sekolah Tinggi Informatika dan Komputer Indonesia MalangAnita Wulan Suci : Sekolah Tinggi Informatika dan Komputer Indonesia Malang References:38 Lineart. (2019). Kid Knowledges 1. https://www.dafont.com/kids-knowledge.font (diakses tanggal 09 Juni 2021).Darulashom. (2020). Bahasa Isyarat Hijaiyah. https://www.facebook.com/ponpesdarulashom/photos/a.107301890843658/169103007996879 (diakses tanggal 09 Juni 2021).Figuree Studio. (2019). Play Kidz. https://www.dafont.com/playkidz.font (diakses tanggal 09 Juni 2021).Geswein, K. (2017). kg she persisted. https://www.dafont.com/kg-she-persisted.font (diakses tanggal 09 Juni 2021).Gumelar, G., Hafiar, H., & Subekti, P. (2018). Bahasa Isyarat Indonesia Sebagai Budaya Tuli Melalui Pemaknaan Anggota Gerakan Untuk Kesejahteraan Tunarungu. NFORMASI: Kajian Ilmu Komunikasi, 48(1), 66-67.Huda, N. (2019). Aplikasi Bahasa Isyarat Pengenalan Huruf Hijaiyah Bagi Penyandang Disabilitas Tuna Rungu. Jurnal Sisfokom (Sistem Informasi dan Komputer), 8(1), 1-6.. https://doi.org/10.32736/sisfokom.v8i1.582.Ikbal, M. (2021). Huruf Hijaiyah: 30 Huruf Arab yang Luar Biasa [PENJELASAN LENGKAP]. hasana.id. https://hasana.id/huruf-hijaiyah/ (diakses tanggal 09 Juni 2021).Monica, M., & Luzar, L. C. (2011). Efek Warna dalam Dunia Desain dan Periklanan. Humaniora, 2(2), 1084-1096. https://doi.org/10.21512/humaniora.v2i2.3158.Novitasari, D. (2018). Kajian Estetika Melalui Bentuk Keseimbangan Ilustrasi Durga Dengan Teknik Sablon Discharge Sederhana. Jurnal Bahasa Rupa, 1(2), 73–80. https://doi.org/10.31598/bahasarupa.v1i2.263.Rahmawati, A. (2014). Pembelajaran Menggambar Ilustrasi Kartun Siswa Kelas VIII E SMP Negeri 1 Keling Kecamatan Keling Kabupaten Jepara. Eduarts: Jurnal Pendidikan Seni, 3(1), 45–53. https://doi.org/10.15294/eduart.v3i1.4055.Sanyoto, S. E. (2006). Metode Perancangan Komunikasi Visual Periklanan. _______ : Dimensi.Sasongko, M. N., Suyanto, M., & Kurnaiawan, M. P. (2020). Analisis Kombinasi Warna pada Antarmuka Website Pemerintah Kabupaten Klaten. Jurnal Teknologi Technoscientia, 12(2), 153–158.Sesdiawan, M. (2013). Perancangan Media Buku Pop-Up Sebagai Upaya Pencegahan Perilaku Anak Usia 7-12 Tahun Berisiko Obesitas Di Bandung the Design of the Media Book Pop-Up Behavior Prevention Efforts As Thechildren Aged 7-12 Years Are At Risk of Obesity in. e-Proceeding of Art & Design, 2(2), 388–395.Setywan, D. I., Tolle, H., & Kharisma, A. P. (2017). Perancangan Aplikasi Communication Board Berbasis Android Tablet Sebagai Media Pembelajaran dan Komunikasi Bagi Anak Tunarungu. Jurnal Pengembangan Teknologi Informasi dan Ilmu Komputer, 2(8), 2933–2943.The Little Hijabi Homeschooling. (2020). Poster Isyarat Hijaiyah. https://www.facebook.com/thelittlehijabi/photos/pcb.1553988721421966/1553988514755320/ (diakses tanggal 09 Juni 2021).Wibawa, M., & Suci, A. W. (2021). "Kumpulan Foto dan Gambar Penelitian". Hasil Dokumentasi Pribadi: 26 Februari 2021, STIKI Malang.Wisnuwardani, D. P. (2019). Ada 4, Kenali Ragam Disabilitas. Liputan6.Com. https://m.liputan6.com/disabilitas/read/4126110/ada-4-kenali-ragam-disabilitas (diakses tanggal 09 Juni 2021).

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Donlon, Pat. "Artful Books: Illustration in Irish Children's Books." Lion and the Unicorn 21, no. 3 (1997): 402–14. http://dx.doi.org/10.1353/uni.1997.0019.

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Brodsky, Patricia Pollock. "Cold Fusion: Aspects of the German Cultural Presence in Russia. Ed. Gennady Barabtarlo New York: Berghahn Books, 2000. viii, 310 pp. Appendix. Notes. Index. Illustrations. Plates. Photographs. $69.95, hard bound." Slavic Review 60, no. 4 (2001): 884–85. http://dx.doi.org/10.2307/2697547.

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Devlin, Morgana A. "Ribbentrop: First Non-Caricature Portrait." Almanac “Essays on Conservatism” 65 (March 1, 2020): 483–86. http://dx.doi.org/10.24030/24092517-2020-0-4-483-486.

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The article presents the review of the book of Russian historian and political scientist Vasili Molodiakov about one of the major figures of Nazi Germany – Reich minister of Foreign Affairs Joachim von Ribbentrop. This book is the first Russian-language biography of Ribbentrop as well as the first scientific biography of the minister. Molodiakov’s book serves as a perfect illustration of the event time and gives a very good idea of the diplomatic realia of the epoch.

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Ubbens, Wilbert. "German Books." Communication Booknotes 18, no. 1-2 (January 1987): 11–15. http://dx.doi.org/10.1080/10948008709488166.

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Zaitseva, Veronika. "Illustrating Ivan Kotliarevsky’s Poem “Eneidа” by Foreign Artists." ART Space, no. 3 (2018): 76–80. http://dx.doi.org/10.28925/2519-4135.4.2018.3.13.

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The article discusses aspects of visual language of illustrating Ivan Kotliarevsky poem “Еneidа” by prominent foreign artists of book graphics of Germany, Russia, Bulgaria, in particular, Adalbert Shtiren, Maxim Ushakov-Poskochyn, Ivan Beketov, Dmitry Biesty, Danielа Zekinа. It is defined peculiarities of stylistic techniques, means of artistic expression of prominent foreign artists in book design interpretation of literary images of Ivan Kotliarevsky.

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Lechtermann, Christina. "Die geometrischen Diagramme der ‚Geometria Culmensis‘." Das Mittelalter 22, no. 2 (November 7, 2017): 314–31. http://dx.doi.org/10.1515/mial-2017-0019.

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AbstractThe ‘Geometria Culmensis’ (around 1400), the most ancient German educational book on practical geometry, tries to instruct lay surveyors as well as experts in the art of field measurement. The oldest existent manuscript transmits the Latin text together with the German adaption. Both texts show a similar albeit not equal set of diagrams illustrating the geometric and arithmetic problems proposed in the texts. The article tries to explore the ambivalent reference of the diagrams and shows how the ‘Geometria’ itself discusses their status as diagrammatic model and instrument.

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Ubbens, Wilbert. "German Media Books." Communication Booknotes 16, no. 4 (April 1985): 42–44. http://dx.doi.org/10.1080/10948008509488302.

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Holtz-Bacha, Christina, Rudolf Lang, Wilbert Ubbens, Jorge Becker, Reiner Steinweg, Else Bogel, Elger Bluhm, et al. "German Media Books." Communication Booknotes 16, no. 11 (November 1985): 126–31. http://dx.doi.org/10.1080/10948008509488351.

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Ubbens, Wilbert. "German Media Books." Communication Booknotes 17, no. 4-5 (April 1986): 46–50. http://dx.doi.org/10.1080/10948008609488244.

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Ubbens, Wilbert. "German Media Books." Communication Booknotes 19, no. 2 (March 1988): 25–30. http://dx.doi.org/10.1080/10948008809488122.

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Ubbens, Wilbert. "German Communication Books." Communication Booknotes 20, no. 3 (May 1989): 39–42. http://dx.doi.org/10.1080/10948008909488084.

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Ubbens, Wilbert. "German Media Books." Communication Booknotes 21, no. 1 (January 1990): 8–12. http://dx.doi.org/10.1080/10948009009488018.

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Dziki, Sylwester, Hermann Meyn, Norbert Bolz, Michael Kunczik, Joachim Friedrich Staab, Walter Hamberg, Gitta Muhlen-Achs, et al. "German Media Books." Communication Booknotes 22, no. 1 (January 1991): 24–29. http://dx.doi.org/10.1080/10948009109487972.

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Ubbens, Wilbert. "German Communication Books." Communication Booknotes 22, no. 5 (September 1991): 112–15. http://dx.doi.org/10.1080/10948009109488005.

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Ubbens, Wilbert. "German media books." Communication Booknotes 28, no. 2 (March 1997): 27–31. http://dx.doi.org/10.1080/10948009709389880.

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Manique da Silva, Carlos Miguel. "Raul Lino e o programa decorativo da Escola Primária de Alcântara - Lisboa (1917)." Historia y Memoria de la Educación, no. 13 (December 14, 2020): 217. http://dx.doi.org/10.5944/hme.13.2021.26928.

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Using as a reference the Primary School of Alcântara (Lisbon) – designed in 1815 by the architect Raul Lino and inaugurated one year later –, my analysis will focus on the decorative program (set of paintings, dated from 1917) on the walls of the classrooms of this building. My main goal is to examine the impact that the paintings, from the perspective of their author - Raul Lino, whose Anglo German education was strongly influenced by the Arts & Crafts movement – would have on the children. For the architect, images was not just decorative. In fact, they were meant to help the children appreciate nature and art, to educate their sense of taste, and even to develop in them a patriotic sense (an agenda involving the formation of the republican citizen). In this sense, we see the emergence the of an aesthetic education as part of a more general social and political program. In line with the same idea, we can conceive of the curriculum in a wider sense, i. e., as including knowledge and skills obtained in formal lessons, but also values and attitudes received from the impact of school decoration on the students individual and collective memory. Methodologically, itis worth emphasizing that the sources I value are not just visual. In fact, some written texts by Raul Lino, namely, active correspondence and articles, are also used; the triangulation of several sources of evidence is very important. The analysis of the visual sources goes from the description of the elements present in the paintings (mostly, Nature and animals) to close observation of the sources that inspired the author. In relation to this last aspect, I should underline that Raul Lino was an illustrator of children’s books, an experience that he integrated into the school buildings that he planned.

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Classen, Albrecht. "Medieval Combat in Colour: Hans Talhoffer’s Illustrated Manual of Swordfighting and Close-Quarter Combat from 1467, ed. and introduced by Dierk Hagedorn. Barnsley, S. Yorkshire: Greenhill Books, 2018, 319 pp., ill." Mediaevistik 32, no. 1 (January 1, 2020): 548–49. http://dx.doi.org/10.3726/med.2019.01.165.

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The late Middle Ages witnessed the creation of numerous fencing books, mostly in Germany, illustrating the many different techniques, weapons, styles, strategies, and the movements, as Patrick Leiske discussed only recently in his Höfisches Spiel und tödlicher Ernst (2018; see my review here in vol. 32). Some of the true masters and teachers of this sport and fighting technique were Johannes Liechtenauer, Peter von Danzig, Sigmund Ringeck, and Hans Talhoffer, whom Leiske also discusses in a separate chapter.

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