Dissertations / Theses on the topic 'Illustrated children's books'

Thesis (MA)--Stellenbosch University, 2013.
ENGLISH ABSTRACT: This thesis is an exploratory study into the signification potential of contemporary, postmodern picturebooks, specifically focusing on the way in which a seemingly 'simplistic' medium has the potential to initiate a vastly complex play of meanings. Picturebooks are traditionally considered to be a medium which implies a child reader, and conveys a simple linear narrative for educational and entertainment purposes. Traditional picturebooks thus assume a clear division between an author and reader, whereby the author is a 'knowing' adult, who conveys a moral or message to a passive child reader. These assumptions are arguably unsettled by the appearance of postmodern picturebooks, broadly defined as a medium which, while retaining the traditional picturebook format, opens itself up to multiple interpretations, instead of presenting the reader with an encoded message or 'meaning'. A number of postmodern picturebook authors, such as Shaun Tan, intentionally subvert the traditional dynamic between the author and reader of picturebooks by creating complex texts which display a general absence of clear accessible 'meaning', thereby allowing the reader to actively participate in the meaning-making process. With aid of the theories of signification set out by poststructuralist Jacques Derrida, this study aims to illustrate how a purposeful absence of apparent 'meaning' in picturebooks has the potential to allow for unlimited interpretations of a single text, thus by extension widening the 'implied' audience of such picturebooks. The objective is to set postmodern picturebooks apart from other texts (in particular more traditional picturebooks), and to provide a new outlook on the ways picturebooks are created, and the way they are read.
AFRIKAANSE OPSOMMING: Hierdie tesis is 'n ondersoekende studie na die betekenispotensiaal van kontemporêre, post-moderne prenteboeke, met spesiale verwysing na die manier waarop 'n sogenaamde “simplistiese” medium die potensiaal openbaar om 'n hoogs-komplekse verskeidenheid betekenisse te ontlok. Prenteboeke word tradisioneel gesien as 'n medium van eenvoudige, liniêre vertellings gerig op die jong leser met die doel om op te voed of te vermaak. Tradisionele prenteboeke handhaaf dus 'n duidelike afbakening tussen die leser en die outeur, die sogenaamde “alwetende” volwassene, wat 'n morele les/ boodskap aan 'n passiewe, jong leser oordra. Hierdie veronderstelling word egter omvergewerp deur die verskyning van die post-moderne prenteboek wat, alhoewel in die tradisionele formaat van die prenteboek gegiet, die leser die geleentheid bied om veelvoudige interpretasies te maak in plaas van om net die beoogde geënkodeerde betekenis of boodskap van die boek te aanvaar. 'n Aantal post-moderne prenteboekskrywers soos Shaun Tan het die tradisionele dinamiek tussen prenteboekskrywer en -leser bewustelik omver kom werp deur komplekse teks te skep wat gekenmerk word aan die afwesigheid van 'n duidelik waarneembare betekenis en wat die leser dus toelaat om aktief deel te neem aan die interpretasieproses. Die doel van hierdie studie is om met behulp van die betekenispotensiaal-teorie, soos uiteengesit deur post-strukturalis Jacques Derrida, te illustreer hoe die doelbewuste weglating van 'n duidelik waarneembare betekenis of boodskap dit moontlik maak om die teks op veelvoudige maniere te interpreteer en daarmee saam ook die lesersprofiel van prenteboeke te verbreed. Die hoofdoel van hierdie studie is dus om die post-moderne prenteboek te onderskei van die tradisionele prenteboek en ander tekste en om nuwe waarnemings en insigte te verskaf in die wyse waarop prenteboeke geskep en gelees word.

Thesis (MA--Art and Design) -- Auckland University of Technology, 2003.
On cover : 2004 Also held in print (37 leaves : col. ill. ; 30 cm. + CD-ROM) in Wellesley Theses Collection (T 709.93074 AUS)

Thesis (MPhil)--Stellenbosch University, 2012.
ENGLISH ABSTRACT: This thesis is an exploratory study into the feasibility of the use of wordless picture books with the aim to develop a culture of and love for reading within the South African context, as approached from my viewpoint as an illustrator. Despite a growing body of literature that advocates the use of wordless picture books in educational and literacy development, not much research exists on their use within the South African context exists. Additionally, there are few locally published wordless picture books available in South Africa, with the market being dominated by American and European imports. Those that do exist locally lack variety and are largely labelled as educational. In addition, South Africa has a very low general reading rate, with reading and books being viewed as synonymous with an academic activity or obligation. Further, children are not encouraged to read for enjoyment at home, as their parents often do not have a reading culture of their own. Although educational books can be used in the home for joint reading, the use of books that are created for ‘strictly educational purposes’ leads to a risk of losing the magic of reading purely for enjoyment. A risk that runs parallel with this is the perpetuation of this negative view of reading in general. The inherent characteristics of wordless picture books serve as motivating factors that could contribute to developing a more positive attitude to books in general, and as such, foster a culture of reading that parents can transfer to their children. Through a semiotic and narratological analysis of wordless picture books, as well as a conceptualisation of the medium in my practical work, I debate the strengths of the medium as applied to the South African context. An empirical study forms part of this research in an effort to understand better how these books would function in joint reading between a child and their parent or primary caregiver. My fundamental argument is that the creation, production and use of this genre of picture books should be considered more favourably, and warrant further investigation within the South African context.
AFRIKAANSE OPSOMMING: Hierdie verhandeling is ‘n ondersoekende uitvoerbaarheidstudie oor die gebruik van boeke sonder woorde om ‘n kultuur van en liefde vir lees in die Suid-Afrikaanse konteks te ontwikkel ,soos gesien vanuit my uitgangspunt as illustreerder. Ten spyte van ‘n groter wordende omvang van literatuur wat die gebruik van boeke sonder woorde in opvoedkundige- en geletterdheidsontwikkeling voorstaan, bestaan daar weinig navorsing oor hul gebruik in die Suid-Afrikaanse konteks. Daarbenewens is daar min boeke sonder woorde wat plaaslik uitgegee word en word dié mark deur invoere uit Amerika en Europa oorheers. Dit wat wel plaaslik beskikbaar is, toon ‘n gebrek aan verskeidenheid en word meestal as opvoedkundig beskou. Verder het Suid-Afrika ‘n baie lae algemene leesgeneigtheid waar lees en boeke as sinoniem met ‘n akademiese aktiwiteit of verpligting beskou word. Voorts word kinders tuis nie aangemoedig om vir die genot daarvan te lees nie, omdat hul ouers dikwels self nie ‘n leeskultuur handhaaf nie. Hoewel opvoedkundige boeke tuis vir gesamentlike lees gebruik kan word, skep die benutting van boeke van ‘n ‘suiwer opvoedkundige aard’ die risko dat lees bloot vir die genot daarvan, verlore mag gaan. ‘n Risiko wat gelyktydig hiermee ontstaan, is die voortsetting van ‘n negatiewe siening oor lees. Boeke sonder woorde beskik oor inherente eieskappe wat as motivering vir lees dien en sodoende ‘n positiewer ingesteldheid teenoor boeke in die algemeen ontwikkel. Hierdeur kan ‘n kultuur van lees gekweek word wat ouers weer aan hul kinders kan oordra . Deur middel van semiotieke en narratologiese ontleding van boeke sonder woorde, sowel as ‘n konseptualisering van hierdie medium in my praktiese werk, beredeneer ek die sterkpunte van die medium soos toegepas binne die Suid-Afrikaanse opset. ‘n Empiriese studie vorm deel van die navorsing ten einde ‘n beter begrip te kry oor die benutting van dié boeke in gesamentlike lees tussen die kind en sy/haar ouer of primêre versorger. My grondliggende argument is dat die skepping, produksie en gebruik van hierdie genre van prentboeke sonder woorde gunstiger oorweeg behoort te word en verdere ondersoek binne die Suid-Afrikaanse konteks regverdig.

Thesis (MA (VA))--Stellenbosch University, 2011.
ENGLISH ABSTRACT: The hypothesis of this study is that literary theory and theories concerning space, landscape and the construction of identity, are not only applicable to written texts, but also to visual texts. To prove this, the relevant theories were applied in the analyses of four selected Afrikaans and Dutch picture books, as well as to my own picture book, the practical component of this MA study. Space, which is transformed into landscape when observation becomes perception, interacts with the construction of identity in texts in different ways, inter alia because changes regarding space lead to changes regarding identity. Although social identity (how others see us) is important, it can lead to stereotyping, while a focus on selfidentity (how we see ourselves) is conducive in treating children as individuals – as is done regarding adults – with a wide variety of interests and inclinations. Space, landscape and the construction of identity are important vehicles to convey meaning in narratives – not only in literature for adults, but also in picture books, where it can play a role in both written text and illustrations to bring extra depth and dimension. Illustrations are most frequently in a complementary relationship with words because they activate additional meaning, but it can also convey messages in a contrapuntal or even contradictory manner. The utilization of these aspects links with the fact that many South African and Dutch writers and illustrators are of the opinion that both children and adults enjoy really successful children’s books. This study indicates that the use of theories on landscape and identity in the analyses of picture books can lead to the discovery of deeper meanings, which show the literary merit of the texts. In this regard, illustrations should not be regarded as having only an aesthetic, supplementary function, but should be appreciated as an equal partner in conveying meaning, which gives an extra dimension to picture books.
AFRIKAANSE OPSOMMING: Die hipotese in hierdie studie is dat literêre teorie en ander teorieë rakende ruimte en landskap, asook identiteitskonstruksie, nie net van toepassing is op geskrewe tekste nie, maar ook op visuele tekste. Om dit te bewys, is die relevante teorieë toegepas in die analise van vier gekose Afrikaanse en Nederlandse prenteboeke, asook van my eie prenteboek as praktiese komponent van dié Magisterstudie. Ruimte, wat getransformeer word tot landskap wanneer waarneming oorgaan in gewaarwording, hang op verskillende maniere saam met identiteitskonstruksie in tekste, onder andere deurdat ’n verandering in ruimte ook ʼn verandering in identiteit tot gevolg het. Hoewel sosiale identiteit (hoe ander ’n individu of groep sien) belangrik is, kan dit lei tot stereotipering. Daarteenoor lig ’n fokus op self-identiteit (hoe individue hulself sien) uit dat kinders, net soos volwassenes, as individue gesien moet word met ʼn wye verskeidenheid belangstellings en smake. Ruimte, landskap en identiteitskonstruksie is belangrike betekenisdraers in narratiewe – nie alleen in literatuur vir volwassenes nie, maar ook in prenteboeke, waar dit in beide die geskrewe teks én in die illustrasies ’n rol kan speel om ekstra diepte en dimensie te verleen. Die illustrasies staan meestal in ’n komplementêre verhouding tot die woorde deurdat dit bydra tot betekenisverruiming, maar dit kan ook kontrapuntale of selfs teenstrydige boodskappe oordra. Die ontginning van hierdie tipe aspekte sluit aan by die feit dat heelwat Suid-Afrikaanse én Nederlandse skrywers en illustreerders meen dat ʼn werklik suksesvolle kinderboek deur beide kinders en volwassenes geniet kan word. Uit die ondersoek blyk dat die analise van prenteboeke aan die hand van teorieë oor landskap en identiteit kan lei tot die uitlig van dieper betekenisse, wat die letterkundige waarde van prenteboeke bevestig. Illustrasies het hierby nie bloot ’n estetiese funksie as aanvulling tot die geskrewe teks nie, maar kan beskou word as volwaardige draers van betekenis wat ’n waardevolle ekstra dimensie aan prenteboeke verleen.

Thesis (MPhil)--University of Stellenbosch, 2011.
ENGLISH ABSTRACT: This study discusses the role of the indigenous picturebook in South Africa and the positive aspects it holds with regards to developing a reading culture in this country. Specific focus is placed on postmodern picturebooks and it discusses why these types of books are more succesfulsuccessfulin teaching children to read than “traditional” picturebooks, and finally to promote a healthy reading culture. The main argument is that picturebooks occupy a void where different factors such as didactic and economic elements should be taken into consideration. The possible role picturebooks can play in the rehabilitation of the dying Nama language and culture is also considered as well as links between Nama and Afrikaans stories. HibridityHybridity theory is also taken into account and possibilities of merging Afrikaans and Nama to create a bilingual picturebook is also explored. The picturebook is also discussed as a form consisting of different factors.These factors include elements regarding narrative theory and semiotics. The premise of this discussion is based on Roland Barthes’ theory regarding the meaning of signs, namelysemiotics. Narrative theory is also taken into consideration with special reference to Perry Nodelman’s theory regarding the combination of narratology and semiotics in the dissection of picturebooks. In the conclusion it is discussed why it is very important for writers and illustrators to have a sound understanding of the theory regarding picturebooks in order to create quality picturebooks. The main theme in this study is that picturebooks are a perfect medium for children to learn how to read and develop their visual literacy.
AFRIKAANSE OPSOMMING: Hierdie studie bespreek die inheemse kinderprenteboek in Suid-Afrika en die bydrae wat dit kan lewer om hierdie land se agteruitgaande leeskultuur te stuit. Die postmoderne kinderprentboek word uit die oogpunt van 'n illustreerder bespreek deur klem te plaas op die positiewe bydrae wat hierdie tipe boeke tot 'n gemeenskap se leeskultuur kan lewer. Daar word hoofsaaklik geredeneer dat kinderprenteboeke in Suid–Afrika oor die algemeen 'n problematiese ruimte beset waar elemente soos die didaktiese invloed, die ekonomie en ook taal in ag geneem moet word. Hierdie verhandeling ondersoek ook die rol wat die inheemse kinderprenteboek kan speel in die behoud van die sterwende Nama gemeenskap se taal en kultuur, asook die verband tussen Afrikaans en Nama. Deur te kyk na hibriditeitsteorie word ook bepaalof Afrikaans en Nama suksesvol saam in 'n kinderprenteboek kan funksioneer. Die verskillende faktore wat tot die kinderprenteboek as 'n geheel bydra, word ook bespreek, naamlik narratief- en semiotiekteorie. Deur staat te maak op Roland Barthes se semiotiekteorie en Perry Nodelman se narratiefteorie word kinderprenteboeke as 'nkunsvorm bespreek. Die gevolgtrekking van hierdie studie bespreek waarom dit vir illustreerders en skrywers van kinderprenteboeke noodsaaklik is om te besef hoe kinderprenteboeke as 'n visuele teks funksioneer om sodoende'nkwaliteit produk vir kinders te kan skep. Die kinderprenteboek is 'nideale medium waarin kinders kan leer om teks en beeld bymekaar te bring.

Thesis (MPhil)--Stellenbosch University, 2012.
ENGLISH ABSTRACT: This study comprises a comparative visual analysis of three picture books, illustrated by Steven Kellogg, Posy Simmonds and Edward Gorey. The illustrators reinterpret the cautionary tale, Matilda, who told lies and was burned to death by Hilaire Belloc (1908). Not only does this study present a brief historical overview of the genre but it also interrogates the manner in which different styles of illustration underscore the pedagogical didactic narrative. The visual interpretations of these three illustrators are compared in order to establish whether or not they have succeeded in sustaining the subversive or grotesque elements of this cautionary tale. Belloc’s narrative as well as the illustrations are analysed in terms of gender. I discuss my own version of Belloc’s cautionary tale as a parody of this tale that serves to exaggerate the sometimes overt gendering of girl characters in cautionary tales.
AFRIKAANSE OPSOMMING: Hierdie skripsie behels die visuele analise van drie verskillende prenteboeke, onderskeidelik geillustreer deur Steven Kellogg, Posy Simmonds en Edward Gorey. Al drie illustreerders bied ʼn visuele herinterpretasie aan van die vermaan-vers Matilda, who told lies and burned to death deur Hilaire Belloc. Die skripsie bied nie net ʼn geskiedkundige oorsig oor die genre nie, maar ondersoek die manier waarop verskillende illustrasie-style die opvoedkundige, didaktiese narratief onderstreep. Die illustreerders se prenteboeke word vergelyk en daar word vasgestel of hulle daarin geslaag het om die subversiewe en selfs groteske elemente in hierdie vermaan-verhaal te behou. Belloc se narratief en die illustrasie daarvan is ook in terme van gender geanaliseer. Ek bespreek my eie weergawe van Belloc se vermaan-verhaal, wat ek aanbied as ʼn parodie om die soms duidelike “gendering” van meisie-karakters in vermaan-verhale te oordryf.

Introduction There is a peculiar place that inhabits the immense space of children’s literature, a place in which children enjoy a “special statute”. This is a place where, unlike other fields and due to the illustrated book’s structural specificity according to which the story is narrated through images, children can hold an equal dialogue with adults, and, if properly stimulated, show unsuspected liveliness and reading ability sometimes greater than those of adults. This special place dwells in the literary space of the picturebook. Traditionally employed with very young children (nursery and infant school) as an instrument of initiation into the pleasure of reading, the picturebook is proving to be an excellent resource for reading promotion also with older children. Objectives The research intends to examine the potential of the picturebooks and illustrated books to develop cognitive and emotional processes of visual literacy, artistic awareness and formation of critical and imaginative thought. Description The research is divided into two parts. The first part of the research concerns an international investigation on the picturebook, aiming to delineate the state of the art, in Italy and abroad, of the features, nature , potential and future perspectives of the contemporary picturebook. Such investigation has been accomplished by gathering the opinions expressed by a selected group of experts using Delphi Method. The investigation has involved some of the most important scholars of the international scientific community. Three categories of experts have been identified: professors and critics, illustrators, publishers. The expert group involved was formerly formed of 38 experts coming from Italy and the rest of the world: Europe (France, Germany, Great Britain, Portugal, Slovakia), Northern America (USA and Canada), Central America (Mexico) Africa (Senegal), Asia (Korea), and Australia. The second part of the research has employed the information gathered in the first part of the research to accomplish an observation research on the field. The field research has taken place in a primary school of the Province of Padua. Using the participant observation, the research group has observed the modalities of interaction, the response typology and the preferences expressed by children (6, 8 and 10 years) about the picturebooks and the illustrated books presented. The research has lingered over a the reading, analysis and iconic interpretation of the illustrated version of Red Riding Hood, Hansel & Gretel and Bluebeard. Children have been incited to move and orient themselves inside the aesthetic-visual dimension, and will be invited to express their critical evaluation through the comparison of seven different illustrated versions of the same fairy tale. The instruments of analysis employed for the observation research have been integrated by the use of a diary on the part of the child and of his family. A figurative questionnaire has been used too. Results The results have pointed out that there is a connection between the formation of the aesthetic-visual dimension and the formation of critical and imaginative thought: teaching to look into and through things and visual-emotional literacy are deeply tied to the constructivist mental operation of meaning attribution and “meaning making”.
Introduzione C’è un luogo singolare che abita lo spazio sterminato della letteratura per l’infanzia, un luogo in cui i bambini godono di uno statuto speciale. È un luogo in cui, a differenza di altri ambiti e grazie al peculiare linguaggio della narrazione, i bambini possono dialogare alla pari con gli adulti e, se opportunamente sollecitati, dimostrano vivacità e abilità di lettura insospettabili, a volte perfino superiori a quelle degli adulti. Questo luogo speciale dimora nello spazio letterario degli albi illustrati, altresì denominati picturebook. Tradizionalmente utilizzato con i bambini più piccoli (asilo nido e scuola dell’infanzia) quale strumento di iniziazione al piacere di leggere, il picturebook si sta rivelando un’ottima risorsa anche per la promozione della lettura nei ragazzi più grandi. Obiettivi Focus della presente ricerca è quello di studiare le potenzialità che l’albo e il libro illustrato hanno di sviluppare processi emozionali e cognitivi di visual literacy, di formazione del pensiero critico e immaginifico nei bambini in età scolare. Descrizione La ricerca è suddivisa in due parti. La prima parte riguarda una ricognizione internazionale sul picturebook che ha l’obiettivo di delineare lo stato dell’arte, in Italia e all’estero, delle caratteristiche, della natura, delle potenzialità di utilizzo e le prospettive dell’albo illustrato contemporaneo. Tale ricognizione è stata effettuata raccogliendo i pareri espressi da un selezionato gruppo di esperti attraverso la tecnica Delphi. La ricerca ha coinvolto gli studiosi più accreditati della comunità scientifica internazionale che, oltre a fornire i paradigmi più significativi della ricerca sul territorio mondiale, hanno orientato il successivo lavoro di sperimentazione sul campo. Il gruppo di esperti coinvolto nella prima parte della ricerca è costituito da 28 esperti provenienti dall’Italia e da altri paesi europei ed extraeuropei: Francia, Germania, Gran Bretagna, Portogallo, Slovacchia, USA e Canada, Senegal, Messico, Corea e Australia. La seconda parte della ricerca consiste nella restituzione dei risultati di una sperimentazione osservativa sul campo, a partire dalle indicazioni raccolte nella prima parte della ricerca stessa. Durante la sperimentazione, attuata in una scuola primaria della provincia di Padova, si sono osservate le modalità di interazione, la tipologia di risposta e le preferenze espresse dai bambini (6, 8 e 10 anni) rispetto ad alcuni albi e libri illustrati di fiabe. La ricerca si è soffermata sulla lettura, sull’analisi e sull’interpretazione iconica di Cappuccetto Rosso, Hansel & Gretel, Barbablù. I bambini sono stati sollecitati a muoversi e orientarsi all’interno della dimensione estetico-visiva e invitati a formulare una propria valutazione critica attraverso il confronto di sette diverse versioni illustrate della stessa fiaba. Oltre alle note etnografiche, si sono utilizzati ulteriori strumenti di indagine quali il diario di bordo e di famiglia e un questionario figurativo. Risultati I risultati hanno evidenziato che esiste una relazione tra il piacere della lettura e la formazione della dimensione estetico-visiva, del pensiero critico e immaginifico. E, ancora, quanto l’educazione allo sguardo e l’alfabetizzazione visivo-emozionale siano intimamente legate all’operazione mentale di stampo costruttivista dell’attribuzione di senso, del “fare significato”. Grazie alla loro articolata struttura visiva, gli albi e i libri illustrati hanno suscitato, attraverso il coinvolgimento emotivo e il sentimento della curiosità, una lettura “sensuale” del libro, hanno favorito nel giovane lettore l’attitudine all’osservazione, hanno incoraggiato una maggiore partecipazione nell’interpretazione della storia.

Many people believe that the analogue picture book is a dying media due to the increase of digital media. Contrary to popular belief, the publishing of children’s book in Sweden is continually increasing, which makes mapping the field quite significant. But to regulate the creation of a children’s picture book is problematic, because one does not want to impede the personal style of the writer or the illustrator of the children’s book. If the children’s book creator has an understanding of how to better communicate with children, the children’s book might have a grater impact on the child. Little research has been performed on what one should think about when creating a children’s book, which makes this study highly relevant. My approach to the problem was to make a literature review over preceding research and to test the different directives, by creating an original children’s picture book and then testing the book, and thereby the directives, on the targeted audience. Consequently the picture book and the associated data gathered, suggest 20 design guidelines for picture books for children between 3 and 6 years. Each subcategory, of the guidelines suggested, should be investigated to confirm validity and reliability.
Att digitala medier tar allt större plats i människors liv har lett till att många tror att den analoga barnboken är ett utdöende medium. Dock har utgivningen av analoga barnböcker ökat i Sverige de senaste åren, vilket indikerar motsatsen. Detta gör att en kartläggning av ämnesområdet både blir relevant och angeläget. Däremot är det problematiskt att ta fram riktlinjer för bilderboken då riktlinjerna inte bör hämma barnbokskapares personliga stil, utan snarare underlätta för dem. Min tro är att om barnboksskapare vet hur de på bästa sätt kan kommunicera med barn, kan barnboken göra ett djupare intryck på barnet. Det finns inte mycket forskning om vad man som barnboksförfattare eller illustratör bör tänka på vid skapandet av en barnbok, vilket gör denna studie betydelsefull. Studien genomfördes genom att jag gjorde en litteraturgenomgång av tidigare forskning samt testade de teorier som forskningen föreslår genom att använda mig av dem vid skapandet av en egen bilderbok. Därefter testade jag bilderboken på målgruppen för att se om bilderboken var barnanpassad. Min undersökning resulterade i 20 designriktlinjer för skapandet av en bilderbok för barn mellan 3 och 6 år. Riktlinjerna är indelade i tre underkategorier: format och layout, bilduppbyggnad och text. Den praktiska delen av mitt arbete är en bilderbok som bygger på dessa riktlinjer. Min förhoppning är att genom att följa dessa designriktlinjer blir barnboksskapare mer medvetna om hur deras barnbok bättre kan kommunicera med barn.

Estudio del Álbum Sin Palabras tiene como objetivo principal definir, analizar y categorizar los álbumes sin palabras destinados principalmente al público infantil y juvenil dando a conocer sus características, peculiariades y diversidad tipológica, para facilitar las tareas de análisis y de mediación de investigadores, educadores, bibliotecarios y cualquier persona interesada en los libros con imágenes. En el capítulo titulado «Un nuevo mapa para los Libros Sin Palabras» situamos el Álbum Sin Palabras en el panorama editorial integrándolo en una clasificación que se basa en distinguir entre libros no narrativos (Imagiarios y los Libros-juego) y libros narrativos (Flipbooks, Cómics y Álbumes). En el capítulo titulado «Guía de viaje para explorar el País del Álbum Sin Palabras» describimos los ítems que conforman el instrumento de análisis diseñado y que hemos dividido en cinco apartados: peritextos, aspectos narrativos (historia y discurso), aspectos formales (libro e imagen), vías comunicativas y fórmula descriptivo-narrativa. Además de definir y contextualizar los diferentes conceptos, creamos tipologías y ejemplificamos las categorías con obras representativas. El estudio se completa con un listado bibliográfico de Álbumes y otros Libros Sin Palabras, Casi-sin-palabras, Con secuencias-sin-palabras y Falsos-sin-palabras.
The main objective of the Study of Wordless Picturebooks is to define, analyse and categorise wordless picturebooks destined mainly for children and young people, publicising their characteristics, peculiarities and diverse typology, in order to facilitate analytical tasks and mediation of researchers, educators, librarians and whoever is interested in books with images. In the chapter titled «A new map for Wordless Books» we situate Wordless Picturebook in the publishing arena, integrating it in a classification which is based on distinguishing between non-narrative books (Concept books and Visual Game-Books) and narrative books (Flipbooks, Comics and Picturebooks). In the chapter titled «Guidebook to exploring the Country of the Wordless Picturebook» we describe the items which define the designed analytical tool and which we have divided into five sections: peritexts, narrative aspects (story and discourse), formal aspects (book and image), communicative ways and descriptive-narrative formula. As well as defining and contextualising the different concepts, we create typologies and give examples of the categories with representative works. The study concludes with a bibliographical list of Picturebooks and other Wordless Books, Almost-Wordless, Wordless-in-parts and False-Wordless.

Au lendemain de la défaite de 1967 appelée la naksa, une génération d’intellectuels syriens, égyptiens et libanais s’engagent dans l’écriture et l’illustration pour les enfants. Ce faisant ils se racontent et dessinent leur avenir idéalisé. La création arabe en littérature pour la jeunesse qui se développe dans les années 1970 est profondément animée par le souffle idéologique de son temps. Elle pose les jalons structurels, thématiques et graphiques qui inspirent la production contemporaine. Les auteurs, illustrateurs et éditeurs entendent parler à l’enfant arabe du monde dans lequel il grandit. Ils mènent une réflexion sur les thématiques, sur les niveaux de langue arabe, sur l’image figurative, ses héritages, sa structure et ses codes. Leur quête est littéraire, artistique et identitaire : ils sont les initiateurs d’une renaissance, une nahda pour les enfants. Ces questionnements sont les pierres d’angle de notre recherche. Celle-ci se concentre sur le mouvement avant-gardiste de création arabe en littérature pour la jeunesse des années 1970 à nos jours, elle ambitionne d’en étudier les rouages et les ouvrages, d’observer l’articulation entre l’œuvre, son intention, son mode de production et son message. Il s’agit d’une part d’archiver les mémoires et les histoires collectives et individuelles, d’élucider les héritages et les filiations de ces créateurs, de suivre l’évolution de leurs motivations idéologiques, artistiques, économiques. Il s’agit d’autre part de faire une lecture au plus prés de notre corpus, une étude de l’évolution des thématiques au fil du temps mais aussi une analyse des albums eux-mêmes, dans leur structure linguistique et graphique
After the defeat of 1967, known as the naksa, a generation of Syrian, Egyptian and Lebanese intellectuals began writing and illustrating children's books. In doing so they gave form to an idealized future. Children's literature that developed in the Arab world during the 1970s was greatly influenced by the ideological climate of the time. It laid the structural, thematic and graphical foundations on which today's work is based. The goal of authors, illustrators and publishers was to produce works for Arab children which described the world in which they were growing up. Their work was centered on themes, on the different levels of Arabic, on the figurative image, its heritage, its structure and its codes and conventions. Their objective was literary, artistic, and a quest for cultural identity. They were the vanguard of a renaissance, a nahda for children.These questions form the basis of this research. It concentrates on the avant-guard movement in children's literature from the 1970s to the present day. It attempts to study the way it worked and what was published, to observe the connections between the work itself, its aims, the way it was produced and its message. The research involves, on the one hand, documenting recollections and stories, both collective and individual, tracing the heritage and interconnections among of those involved, to follow the development of their ideological, artistic and economic motivation. It will also involve a detailed study of illustrated books for children, an examination of the thematic evolution over time, as well as a semiological reading of the books themselves, with reference to their linguistic and graphic structure

For my Senior project as a Fine Arts Major at Scripps College, I spent the fall semester exploring the history and possibility of the digital and analog artist book form. After going through a number of foundational changes, my project concept was eventually grounded in the form of a web-based hypertext artist book. Based on my pre-existing interest in storytelling and my previous study of mental immersion in possible worlds, I started the process by compiling an artistic representation of what it means to be a young girl discovering the possibilities for creation and empowerment available to her through storytelling. Wonder/Wander is the culmination of my experimentation with digital art, hypertext, and visual storytelling. It is my contribution to the artist book form as I have considered it and its evolution into the digital age.

The present doctoral work finds its motivation in a deficiency and an intent. The deficiency (and, in certain countries, even absence) regards the availability of Tactile Illustrated Books (TIB); tactile picture books, created for children of pre-school age who are blind or with visual impairment. The Baby Infant Tactile Illustrated Books (BITIB) Group attempts to address such shortage by developing prototypes of some such books. One of these book prototypes was entrusted to the University for evaluation of some of its characteristics, with the aim of receiving feedback useful to determine necessary adjustments in view of a large publication run. The aim of the present research is, therefore, to contribute to the qualitative improvement of this editorial product (which it is desired should transcend the specialist editorial niche to become a book for all) further elaborating operative instructional details for its reading as a joint activity between child and adult (whether educator or parent). The indicator used for research are the questions formulated by children of pre-school age who are blind or with visual impairment during reading. Therefore, the present research explore the joint activity of reading a TIB by an adult and child, understood as context for the manifestation of questions on the part of the child. The First Part contextualises the research within a wider framework, composed of references originating in scientific literature, in legislation as well as from reflections expressed by professionals working with blind or visually impaired children on a daily basis. Starting from an unavoidable introduction to visual impairment, we analysed how reading and books contributed to the developing literacy of children who are blind or with visual impairment, elaborating a role of cognitive and affective mediation. The interesting thematic of mental images in subjects with visual impairment introduces the importance of reading tactile illustrated books, especially if realised within the transactional format of joint reading between adult and child. There follows then the focus of the research, namely the thematic (scarcely explored in the literature) of the questions formulated by children in general, and children with visual impairment in particular; conscious that "there is no better introduction to a child's logic than the study of his spontaneous questions" (Piaget). In the second section we report the research results, involving 33 children aged between 2 and 6 years who are blind or with partial sight/visual impairment, their educators and parents in the reading of a TIB, which took place on the premises of the Fondazione Hollman in Padua and Cannero Riviera. First, the differences between subgroups defined by a selection of variables from the reference group (extent of visual impairment, presence or absence of additional impairments, sex) were explored; such differences regard the percentage/proportion of questions expressed and their distribution, in the succession of video recordings and the different categories by content (analysis of variables) Secondly, an analysis of content relating to some of the elements present in the TIB (tactile illustration, character, writing in traditional print and Braille) was carried out, with the purpose to also return to the BITIB Group and the publisher Les Doigts Qui Rêvent some useful reflections for the purpose of adjusting the content of the book in view of its wider publication. The analysis results for single variables highlight that children in subgroups further compromised by their disability (blind versus visually impaired, children with additional disability versus those without) ask a higher proportion of questions compared to children less compromised by their disability (visually impaired versus blind, children without additional disability versus those with). It emerges, further, that rereading the book after a six months interval reignites the questioning behaviour in the subgroups further compromised by their disability (blind versus visually impaired, children with additional disability versus those without), but not in those in subgroups less compromised by their disability (visually impaired versus blind, children without additional disability versus those with). Finally, in the analysis of distribution of codes in the content categories, we found that children more compromised by their visual impairment (blind) formulate proportionally more questions than less compromised children (visually impaired), mostly in the Information and Relationship categories. Considering, instead, additional disability; children with additional disability formulated proportionally more questions than children without additional disability, mostly in the Information and Relationship categories. Further exploration, obtained by cross tabulation of the two variables "visual deficit" and "additional deficit", highlighted that the overall percentage of questions was highest for blind children without additional disability, to then decrease in the subgroup of visually impaired children with additional disability, blind children with additional disability and, lastly, visually impaired children without additional disability. Analyses of the distribution of questions between the four subgroups, in the four video recordings, led us to the hypothesis that, in the absence of additional disability, the variable level of gravity of visual impairment may influence the number of questions asked, but have not much influence on their distribution in the four video recordings. From the analysis of contents, there emerged several pointers for the revision of the book, destined to the BITIB Group and the publisher Les Doigts Qui Rêvent: the main one is always to research the maximum possible level of correspondence between the adjectives used in the text to define the materials of which the images are composed ("rough", "cold", "spiky") and the actual tactile sensation they transmit to the children. The children should be involved in the research, giving them the means to express opinion and disagreement, also through the formulation of questions. To conclude, from the present research arises the following intent: to paraphrase the Madrid Declaration of 2002, "no tactile books for visually impaired children without the contribution of visually impaired children". Such contribution can be achieved also through the questions, which represent a valuable form of active participation of the child to the reading of the TIB which, in its guise of mediator, facilitates the relational exchange with the adult.
Il presente lavoro di dottorato trova la sua motivazione in una carenza e in un intento. La carenza (e, in certi Paesi, addirittura l’assenza) riguarda la disponibilità di TIB (Tactile Illustrated Books), cioè di libri tattilmente illustrati, pensati per bambini con deficit visivo in età prescolare. A tale carenza ha cercato di dare risposta il Gruppo internazionale di lavoro e di ricerca BiTiB (Baby infant Tactile illustrated Books), elaborando alcuni prototipi di libri. Uno di essi è stato affidato all’Università per essere valutato in alcuni aspetti, con l’obiettivo di ricevere dei feedback utili alla sua messa a punto, in vista di una pubblicazione in larga tiratura. L’intento della presente ricerca è, quindi, quello di contribuire al miglioramento qualitativo di questo prodotto editoriale (che si vorrebbe uscisse dalla nicchia dell’editoria speciale per diventare un libro “per tutti”), elaborando, inoltre, delle indicazioni operativo-didattiche per la sua lettura congiunta tra bambino e adulto (educatore o genitore). L’indicatore usato per la ricerca è rappresentato dalle domande formulate dai bambini con deficit visivo nel corso della lettura: pertanto, la presente ricerca esplora l’attività di lettura congiunta di un TIB tra adulto e bambino, intesa come contesto per l’esplicitazione di domande da parte del bambino stesso. La Prima Parte contestualizza la ricerca all’interno di una cornice più ampia, composta da riferimenti provenienti dalla letteratura scientifica, dalla legislazione ma anche da riflessioni espresse da professionisti che, quotidianamente, operano con i bambini ciechi e ipovedenti. Partendo da un’imprescindibile introduzione al deficit visivo, si è analizzato come la lettura e i libri concorrano all’alfabetizzazione emergente dei bambini ciechi ed ipovedenti, svolgendo un ruolo di mediatori cognitivi e affettivi. L’interessante tematica delle immagini mentali nei soggetti con deficit visivo introduce l’importanza della lettura di libri tattilmente illustrati, soprattutto se realizzata all’interno del formato transattivo della lettura congiunta tra adulto e bambino. Si giunge, quindi, al focus della ricerca, cioè la tematica (scarsamente indagata in letteratura) delle domande poste dai bambini, in generale, e dai bambini con deficit visivo, in particolare, nella consapevolezza che “non c’é introduzione migliore alla logica del bambino che lo studio delle sue domande spontanee (Piaget, 1958)”. Nella seconda parte vengono riportati gli esiti della ricerca, che ha coinvolto 33 bambini ciechi ed ipovedenti di età compresa tra i 2 e i 6 anni, i loro educatori e genitori nella lettura di un TIB, presso le sedi della Fondazione Hollman di Padova e Cannero Riviera. In primo luogo, sono state esplorate le differenze tra i sottogruppi determinati da alcune variabili del gruppo di riferimento (entità del deficit visivo, presenza o assenza del deficit aggiuntivo, sesso); tali differenze riguardano la percentuale di domande espresse e la loro distribuzione, nella successione delle riprese e nelle diverse categorie di contenuto (analisi per variabili). In secondo luogo, è stata realizzata un’analisi del contenuto relativa ad alcuni degli elementi presenti nel TIB (illustrazioni tattili, personaggio, scrittura in nero e in Braille…), anche al fine di restituire al Gruppo BiTiB e alla Casa Editrice Les Doigts Qui Rêvent alcune riflessioni, utili per la messa a punto del libro, in vista di una sua pubblicazione. I risultati dell’analisi per singole variabili evidenziano che i bambini appartenenti a sottogruppi più compromessi dai deficit (i ciechi rispetto agli ipovedenti, i bambini con deficit aggiuntivo rispetto a quelli senza deficit aggiuntivo) pongono percentuali di domande più alte dei bambini meno compromessi dai deficit (gli ipovedenti rispetto ai ciechi, i bambini senza deficit aggiuntivo rispetto a quelli con deficit aggiuntivo). Emerge, inoltre, che la rilettura del libro dopo sei mesi di intervallo riaccende il comportamento di domanda nei bambini appartenenti ai sottogruppi più compromessi dai deficit (i ciechi rispetto agli ipovedenti, i bambini con deficit aggiuntivo rispetto a quelli senza deficit aggiuntivo), ma non in quelli appartenenti ai sottogruppi meno compromessi dai deficit (gli ipovedenti rispetto ai ciechi, i bambini senza deficit aggiuntivo rispetto a quelli con deficit aggiuntivo). Infine, nell’analisi della distribuzione dei codici nelle categorie di contenuto, riscontriamo che i bambini più compromessi dal deficit visivo (ciechi) formulano percentuali di domande più alte dei bambini meno compromessi (ipovedenti), principalmente nelle categorie dell’Informazione e della Relazione. Considerando, invece, il deficit aggiuntivo, i bambini con deficit aggiuntivo formulano percentuali di domande più alte dei bambini senza deficit aggiuntivo, principalmente nelle categorie della Relazione e dell’Informazione. Un ulteriore approfondimento, ottenuto tramite l’incrocio delle due variabili “deficit visivo” e “deficit aggiuntivo”, ha evidenziato che la percentuale complessiva delle domande è risultata massima per i bambini ciechi senza deficit aggiuntivo, per poi diminuire nel sottogruppo dei bambini ipovedenti con deficit aggiuntivo, dei bambini ciechi con deficit aggiuntivo e, infine, dei bambini ipovedenti senza deficit aggiuntivo. L’analisi della distribuzione delle domande dei quattro sottogruppi, nelle quattro riprese, ci ha fatto ipotizzare che, in assenza di deficit aggiuntivo, il diverso livello di gravità del deficit visivo influisca sul numero di domande poste, ma non molto sulla loro distribuzione nelle quattro riprese; mentre, in presenza di deficit aggiuntivo, il diverso livello di deficit visivo influisca non tanto sul numero delle domande poste, quanto sulla loro distribuzione nelle quattro riprese. Dall’analisi per contenuti, sono emerse numerose indicazioni per la messa a punto del libro, destinate al Gruppo BiTiB e alla Casa Editrice Les Doigts Qui Rêvent: la principale è quella di ricercare sempre il massimo livello di corrispondenza tra gli aggettivi usati nel testo per definire i materiali di cui sono composte le immagini (“ruvido”, “freddo”, “che punge”) e la reale sensazione tattile da essi trasmessa ai bambini. Essi vanno coinvolti in prima persona in questa ricerca, dando loro modo di esprimere opinioni ed eventuali perplessità, anche tramite la formulazione di domande. In conclusione, dalla presente ricerca emerge il seguente intento: parafrasando la dichiarazione di Madrid 2002 , “niente libri tattili per i bambini con deficit visivo senza l’apporto dei bambini con deficit visivo”. Tale apporto può essere fornito anche tramite le domande, che rappresentano una preziosa modalità di partecipazione attiva del bambino alla lettura del TIB il quale, nella sua veste di mediatore, favorisce lo scambio relazionale con l’adulto.

Thesis (Ph. D.)--Ohio State University, 2004.
Title from first page of PDF file. Document formatted into pages; contains xiii, 167 p.; also includes graphics. Includes bibliographical references (p. 146-152).

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior
A ideia central da pesquisa foi promover uma aproximação das narrativas visuais de Getúlio Damado e Roger Mello e a partir daí evidenciar os processos cognitivos e as estratégias que envolveram a estruturação de suas identidades sociais e linguagens artísticas contemporâneas, bem como destacar o ludismo e o acesso ao universo da infância e a cultura popular que ambos ressignificam em suas obras. Além disso, buscou-se comentar e avaliar momentos específicos de desprestígio e repúdio versus consagração ocorridos com os artistas. Para tal, essas produções foram contextualizadas como produções culturais em constante processo de mutação, do qual participam tanto eventos históricos como de inovação tecnológica, em contínua construção. Essas linguagens estão submetidas a uma grande velocidade e a superposição de influências. Outro ponto destacado nas analises foi o caráter de subjetividade dessas produções, identificadas como práticas estéticas promotoras de transformação política; de mobilização; ou também por sua capacidade de operar com o uso simbólico dos brinquedos e livros infantojuvenis recuperando-lhes o uso original. Os devaneios, o ludismo infantil e a cultura popular presentes nos objetos feitos de sucata e livros ilustrados foram confrontados com práticas consoantes, ou de discursos abrangentes, correntes no mundo da arte ou outras vezes aproximados de enfoques locais. Além da possibilidade de convergência entre as produções foram destacadas também muitas diferenças, e, sobretudo evidenciadas as potencialidades que podem advir da cultura popular como campo exploratório de pesquisa, bem como de sua ressignificação
The central idea of the research was to reconcile the visual narratives of Getúlio Damado and Roger Mello and henceforth to highlight the cognitive processes and strategies involved in structuring their social identities and contemporary artistic languages, as well as to emphasize the playfulness, and access to the universe of childhood and popular culture to reframe both their works. Additionally, this paper tried to comment and evaluate specific moments of prestige and repudiation versus consecration occurred with these artists. To this end, these productions were contextualized as cultural productions in a constant process of mutation, which involved both historical events and technological innovation in continuous construction. These languages are subjected to a high speed and overlapping influences. Another point emphasized in the analysis was the character of subjectivity of these productions, aesthetic practices identified as promoters of political transformation, mobilization, or also by its ability to operate with the symbolic use of toys and childrens books recovering their original use.. Daydreams, the childish playfulness and the popular culture present in those objects made of waste and illustrated books were confronted with consonant practices or embracing speeches, currents in the world of art or sometimes familiar to local approaches. Besides the possibility of convergence between the productions of the two artists, the research also spotted many differences, and pointed out particularly the potentiality that can come from popular culture as an exploratory field of research, as well as its redefinition

Le territoire de l’album de jeunesse contemporain, multiforme, inventif paraît fluctuant. Partagé entre l’image et le texte, il se présente comme une forme hybride aux frontières mouvantes entre livre illustré, album de bande dessinée, roman graphique. Notre corpus volontairement restreint concerne, parmi l’album de langue française tel qu’il se développe de 1945 à nos jours, une sélection significative d’œuvres d’auteurs illustrateurs. Il nous permet d’interroger les influences qui ont façonné son visage d’aujourd’hui : statut de l’enfant dans la société, impact de la technologie, des impératifs commerciaux, des grands courants artistiques. A partir de l’analyse des rapports entre l’image et le texte, il nous conduit à questionner la place de l’album dans l’environnement iconotextuel. Est-il possible de dégager sa singularité et de nous poser la question du genre ? Après avoir repéré aux sources de l’album la rencontre mouvementée de l’image et des mots de la Renaissance au XIXe siècle, nous analysons l’émergence de l’album contemporain, sa séparation avec l’album de bande dessinée entre 1900 et 1939. Nous voyons dans le rapport très particulier qui s’installe entre le support du livre et le fonctionnement de l’iconotexte, la constitution d’un genre de l’entre-deux
The domain of contemporary picture books for children, in their multiple forms, is inventive and without formalized borders. It is shared between image and text, and presented as a hybrid form at with movable frontiers between illustrated books, picture books, comic books, and graphic novels. Our references are deliberately restrained to concern French language picture books and their development from 1945 to today, with a significant selection of works from author-illustrators. This makes visible the influences that have shaped today’s position: the status of the child in society, impact of technology, commercial needs, and major artistic trends. The analysis of the relationship between image and text takes us to question the place of the album in the iconotextuel environment. Is it possible to separate its singularity and for us to ask questions of the genre? After tracing the sources of picture books with the meeting dynamic of images and words from the Renaissance to the XXIst century, we analyze the emergence of the contemporary picture book, and its separation from comic books between 1900 and 1939. We can see that the very particular relationship that has developed between the physical book and the functioning of the iconotext, has led to the creation of a type between the two

This thesis examines the role of children's picture books in constructing cultural ideologies. It aims to analyse the dominant cultural ideologies inscribed in Thai and Australian children's picture books, with specific emphasis on how such identities are constructed through verbal and visual language. The analysis focuses on the changes, if any, in the construction of cultural ideologies in Thai and Australian children's picture books that won national awards from 1987 to 2006, and how the changes correspond to the impact of social change. The corpus chosen for analysis consists of 60 children's books, comprising 30 from Thailand and 30 from Australia. The picture books have either won the Thai National Book Development Committee Award or the Picture Book of the Year Award given by Children's Book Council of Australia (CBCA). The thesis is structured around three themes based on the ideological construction of power in the books, including the construction of age relations, gender relations and community relations. Despite the fact that Thai society has undergone enormous change over the last two decades, the analysis shows that award-winning Thai children's books have been written mainly from a conservative point of view. They work by providing the foundations for social harmony and respect of order in a patriarchal and hierarchical society where all members are expected to know their proper place and live their lives in ways that contribute to the benefit of the whole community. Some slight changes can be detected in the way perspectives on those cultural ideologies have shifted at certain periods. These include the way of giving more emphasis to a child's self discovery over adult authority, the attempt to create non sexist picture books, and changes in the meaning and implication of unity and cohesion. Yet the analysis reveals that an ethos of conservative discourse still informs the books. It highlights the use of representation to control the overall appearance of idealised discourse in Thai society. In contrast, there is much variety and range in the way cultural ideologies have been constructed in award winning Australian children's books. While an ethos of conservative discourse can still be detected in the corpus, a number of books show that such ways of seeing the world can be challenged, questioned and even proved to be inadequate. Unlike the Thai books, the representation of patriarchal and hierarchical society can be overturned by giving more prominence to children's sense of agency and imagination and by portraying male and female characters in a more symmetrical way. In contrast to the depiction of the smooth and harmonious relationship between people of the same cultural and community groups in the Thai books, some recent Australian picture books emphasise the conflicts and disputes between different social groups. These changes are analysed in the context of the impact of social change. Social and political topics, such as the emancipation of women through the feminist movement and issues relating to contemporary politics including refugees, border control and cultural difference are taken into account.

碩士
國立臺灣師範大學
美術學系
99
This research, categorized as creative thesis, explores the statements and the presentation methods of the issue about self-identity in children picture books. It also analyzes the way about how to transmit the issue through picture books. By collecting and generalizing related data, it provides useful references for personal research. There are five sections in this research. A brief introduction about present development of the picture book industry in Taiwan. To expound researcher’s creation manner, which is hoping to show respect and a positive attitude on the issue of self-identity by picture book creation. Besides combining current social situation, this picture book mirrors the life style of this generation. Investigating related picture books and documents. At first, it talks about the self-identity process of children, which starts from establish their self-concept at childhood to identify their own bodies, abilities, attitude and behaviors at later age. Secondly, from the aspect of Internet virtual community to discuss the psychological change of the users when they are seeking self-identity in social network. After explain the picture books’ meaning of nowadays, finally it focus on analyze the content structures of picture books with the topic of self-identity. Concept and process of creation. Continue on the previous analysis to make a deeper investigation of the story characters design, and extend the significance of the role of anthropomorphic animal characters in picture books. Afterward it presents the first draft - the story, the characters design, the storyboard and each step - of researchers creation. Content analysis of creative picture book-Oma, which includes each page’s concept explanations and the arrangements of final work’s display. Conclusion that illustrates the main topic –self identity- of this research. By using picture book with bright and cute style to moderate the strict feeling of this issue and become easier to be accessed by readers.

碩士
臺北市立教育大學
視覺藝術研究所
96
Since most analyses of picture books aim at the subjects and the stories; systematical analyses of the authors and the works are rarely seen. However, the authors and the works are the foundation for researching picture books. This study focuses on Lai-Mai’s self-authored and illustrated picture books. The methodology includes the literature review, the content analysis, and the interview of the artist and the editor. The literature review is to develop a structure for picture books’ style analyses. The content analysis and the interview methods were used for further analyses of Lai-Mai works. The results are the followings: A. Indices of picture books’ style analyses include (1) content analysis, (2) icon analysis, and (3) editorial design; B. Characteristics of Lai-Mai’s picture books are (1) warm, creative, interesting, and humorous story, (2) multi-dimensional application of picture and text relations, (3) plain and simple wordings, (4) natural and naïve image, (5) employing many animal roles, (6) decorative sense, and (7) live and integrated editorial style; C. Suggestions to the reader, the picture book researcher, and the creator are (1) background management should echo the subject, (2) Aesthetic sense in writing should be enhanced, (3) enrich scenario effect by making good use of the picture and text relationship, and (4) editorial design should be closely connected to the stories.

碩士
國立臺中教育大學
美術學系碩士班
101
The foundations of Art history about 2000 to 3000 illustrators from more than forty countries enter Bologna Children's Book Fair-Illustrator Exhibition. After election, only about 80 of fiction and non-fiction illustrators can be selected, so this exhibition is called "The Oscar Academy Award of Illustration." According to the 2011 record of Taiwan school web page affair, one to six illustrators are selected to earn the honor every since 1989. By entering this exhibition, not only Taiwanese illustrators, illustrations and publishers can be seen around the world, but the standard of local illustrations will be improved by Taiwanese illustrators and editors. The purpose of this study focuses on the Taiwanese art works that are selected in the exhibition; through methods of this study included literary analysis and content analysis, to discuss deeply about the quality and style of the illustrations that have been selected and the connection of the developement of Taiwanese children's book. Moreover, the study can offer people who love illustrations to understand the art work selected in the exhibition more and offer illustrators other creative ways and improve the number and quality of Taiwanese illustration creation in the future. The conclusions of this study are the following: 1) The qualities of the Taiwanese illustrators' illustrations selected in the exhibition are taking people as topics, using multiple materials, free skills application, showing realistic forms, and showing maturity in illustrative forms; 2) The styles of selected art work in the exhibition of Taiwanese illustrators are mostly compound, "adultlike", decoration first in the strategies by which apporoached "childlike" styles; 3) The connections between Taiwanese illustrators who are selected in Bologna Children's Book Fair-Illustration Exhibition and the developement of Taiwanese children's book are as follow: 1) A cooperative relationship among publishers; 2) The presentation of publishers' taste; 3) An opportunity for unpublished illustrations to earn the honor; 4) The cultural encouragement of government policy; and 5) An international show case for Taiwanese children's books.

碩士
國立中山大學
教育研究所
94
The aim of this study is on the development of young children''s arithmetic and geometric concepts. To achieve this aim, teachers motivated young children''s curiosity through the use of interesting illustrated books. In particular, the target is the advance in young children''s knowing and understanding of geometric figures and numbers within 10. There were altogether three phases. In the first phase, the investigator designed a mathematical activity (a pre-test) for the teacher to capture young children''s entry behavior. The second phase referred to the use of illustrated books in ordinary instruction. During the third phase, the mathematical activity (identical to that of phase 1) was carried out again, in order to find out if advancement in young children''s mathematical ability was present. Data collection and administration included investigator''s observation notes; video analyses; notes on teacher interviews; and investigator''s self reflections record. Data analyses and results were two: geometric concepts and arithmetic concepts. Geometric concepts. Using illustrated books could advance in understanding and increase in curiosity of young children; also to promote young children''s recognition in variation in polygon; and arouse young children''s imagination and creativity in individual figures and combination of patterns. Arithmetic concepts. Using illustrated books could cause the interests in change of numbers; cultivate young children''s sensitivity in the addition and subtraction of numbers; and promote the ability of combination and decomposition of numbers within 10. The findings of this study suggested that illustrated books are important and useful in assisting young children to explore mathematical concepts. Illustrated books encourage young children to think and allow room for oral presentation, clarifying and reflecting one self. Finally, teachers are suggested to integrate the use illustrated books in teaching mathematics, and follow up with related mathematics activities, to upgrade young children''s development in various mathematics concepts.

This thesis explores perceptions of violence in picturebooks by children’s literature gatekeepers in educational settings. The main aims of the study are to better understand how controversial picturebooks are selected and curated by teachers, librarians and parents. The research participants are teachers and librarians from Australia and Ukraine. The research is informed by grounded theory methodology. The research methods include interviews, and thematic analysis of the interviews. The findings reveal that gatekeepers of children’s literature in Australian and Ukrainian contexts follow a complex and often semi-conscious decision-making process when selecting picturebooks for children. This process can be explored through child-centred, book-centred, and contextual dimensions. The gatekeepers pay attention to the levels of maturity and sensitivity of young readers, to picturebook genres, characters and settings which create different levels of fictionality and to illustrations. In addition, they consider the place and purpose of violence within picturebooks, the mode of reading used for a selected picturebook, and the context. When sharing controversial books with children, preferred modes of reading are classroom discussion with empathetic teachers and family reading with parents. Furthermore, the decisions are influenced by the gatekeepers’ cultural backgrounds. In the process of picturebook selection, the role of teachers seems to be more significant in Australia, whereas parental authority seems to be greater in Ukraine. In summary, the research shows that teachers, librarians and parents make complex decisions to select what they deem to be appropriate reading for children and use a range of strategies to curate picturebooks representing violence.

碩士
國立臺東大學
兒童文學研究所
98
Using David Shannon’s self-authored and illustrated picture books as texts, this paper aims to analyze and categorize the images of children and adult characters, discussing the features of pictures and stories, and examining the values of upbringing and educating presented in the texts from the interaction between children and adults. David Shannon’s works are known for tension, drama, and foreseeable aftermath. His early style resembles illustrated books, and later emphasized the interaction between pictures and words, hence brought a considerable difference to his image forming on children characters. Shannon’s careful observing upon children can be seen from his very first work which turns a boy into a hero, his using urban children as a prototype, a naught five-year-old boy created according his own experience, and a girl being in the stage of imaging and cares about others’ opinion. These characters all showed how children may act at different stages. On presenting the images of adults, there are three aspects based on the techniques of pictures and words: written words, images of part, and the whole of the body. Other than this, adult characters are shaped as parents and educators at home; through the eyes of children characters, readers will be able to realize how adults are viewed by children. Shannon’s works revealed different issues of upbringing, such as expectation upon children, overly accompanying, lack of fully understand, and spoiling. Also, the imperfect personalities of children in his works imply that values have changed and modern parents can accept children in picture books to be naughty and misbehaving.

Relatório de estágio de mestrado em Educação Pré-Escolar e Ensino do 1.º Ciclo do Ensino Básico
O estudo da receção dos textos informativos, nomeadamente dos dicionários ilustrados ou dos primeiros dicionários, por parte de pré-leitores ou de leitores em fase inicial, é ainda uma temática pouco investigada em Portugal, sendo estes objetos igualmente pouco mobilizados no quotidiano em educação pré-escolar ou primeiro ciclo do ensino básico. Assim, estas duas constatações constituem os motivos-base que originaram a escolha deste tema para a investigação-ação, ao longo de todo o processo de formação/prática pedagógica. A problemática selecionada representa, também, um domínio habitualmente pouco explorado pelas crianças, representando, ainda, uma das áreas para com a qual estas estão menos despertas. Este estudo procura averiguar o contributo dos textos informativos, nomeadamente dos dicionários, no estímulo para a leitura e a escrita, e o desenvolvimento de várias aprendizagens em todos os domínios em contexto de pré-escolar e 1.º ciclo. Com o intuito de dar resposta às questões formuladas, procedeu-se à investigação no que se refere à distinção entre literatura e livros para a infância, à definição de livros não ficcionais (livros informativos), à sua panorâmica em Portugal, às diferentes tipologias e aos seus contributos para a formação de pré-leitores e leitores iniciais. Faz-se, ainda, uma abordagem à definição de dicionário para a infância, às diferentes tipologias e potencialidades formativas e, por fim, uma análise do corpus textual dos dicionários utilizados no projeto de investigação-ação desenvolvido. A metodologia adotada para o projeto, em contexto de pré-escolar, foi a investigaçãoação. Em contexto de 1.º ciclo, foram realizadas intervenções pontuais e foram recolhidos dados através da observação, permitindo, assim, que se realizasse uma reflexão final, comparando a incidência temática nos dois contextos.
The study of informative texts, in particularly the illustrated dictionaries or the first dictionaries, by pre-readers or readers in initial fase, is a theme sparsely investigated in Portugal. These objects are equally poorly mobilized in everyday life in preschool or primary school. So, these two findings are the main reasons that led to the choice of this theme for research and action during all the process of pedagogical formation /practice. The selected question also represents a domain usually less explored by children, representing one of the areas for which they are least awake. This study explores the contribution of the informative texts, specially the dictionaries, in the promotion of reading and writing, and the development of several learnings in all domains at preschool and 1st cycle (primary school) context. In order to answer these questions, we aim at distinguish children’s literature and books for children, a definition of nonfictional books (informative books), its panorama in Portugal, different typologies and its contributions in the development of pre and early readers. It was also made an approach to the definition of children’s dictionary, the different typologies and its formative potentialities as well as an analysis of the textual corpus composed by the dictionaries used in this action-research project. The methodology used for this project, in preschool context, was the action- research. In the 1st cycle context, specific interventions were performed and data were collected through observation, thus allowing for a final reflection, comparing the thematic incidence in the two contexts.

Este trabalho tem por objetivo traduzir o texto e refletir acerca das dificuldades encontradas, à luz de teorias de tradução atuais, em Ciclone: Diário de uma Montanha-Russa – livro infantil ilustrado, publicado pela editora Orfeu Negro. Trata-se de um livro ilustrado, cujo conteúdo semântico é transmitido tanto pelo texto quanto pelas palavras. Passando também pela análise dos diversos aspetos que definem e enquadram este livro dentro de um ou mais géneros literários específicos, tiveram-se em consideração vários pontos de vista de vários autores e tradutores. A relação complexa e heterogénea do texto de partida e do texto de chegada é alvo de escrutínio, explicado, assim, o porquê da maneira adotada de se passar uma determinada mensagem, que provém de contexto português, a um público-alvo estrangeiro, de língua inglesa materna ou não.
The objective of this work is to translate the text and reflect upon the difficulties encountered, in the light of the current translation theories, in Cyclone: Diary of a Roller Coaster – a children’s book, published by Orfeu Negro. It is a picture book in which the semantic content is carried as much by the text, as by the words. In order to analyse the various aspects which define and frame this book within one or more specific literary genres, viewpoints of various authors and translators were taken into account. The complex and heterogeneous relationship between source text and target text and source audience and target audience is placed under scrutiny, using analytic tools to unravel this duality of realities and explain the adopted way to convey a given message that comes from Portuguese context, to a foreign target audience, whose mother tongue may or may not be the English.

碩士
國立新竹教育大學
進修部美勞教學碩士班
93
Abstract The research is to arise the child's feeling out of their mind by reading the illustrated book language to convey the story. In the process of the teaching, we teach the child how to read the picture book, how to observe the illustrated and how to spread their diffusible thought. After discussing the story content, The child feel happy when they had learned the illustrated book from observing cognition describing the character analysing realizing to explaining the illustrated true meaning. We hope the child can be move by the illustrated book language for they knowing, feeling and development to the independent thinking. It’s not faraway for the child if they had set up their own value, they would have good behavior in painting and have good sight for the paint. The research subject is from 6 to 9 years old children. The main goal for the research are (a)to the realize the true meaning of the illustrated book language . (b)to discover the main affection between the illustrated book language and the child’s painting. Through the methods including: literature analysis and experimental organum. The literature analysis is to know the meaning of the child’s picture book, the importance of the child’s picture book, the real meaning of the illustrated book language and the patter of art. The experimental organum is to research how to enjoy readind a illustrated book, using the painting subject and realize the above reason for the child’s effection.The content includs: (a)To show the bady-dynamic role play in the paint. (b)To display the facial feeling in the paint. (c)To emphasize the delicacy in detail. (d)To control the funny parts. (e)To use colors in different level. (f)To paint the structure pattern. (g)To mark a situation of space configuration. (h)To convery the illustrated. (i)To meet the subject in assordance with imagination. (j)To control the whole different situation. The result of the research are as follows: (a) For the six-year-old child’s show in the paint, they have different and dominant achievement in displaying their painting ability, body-dynamic show, emphaisizing the delicacy in detail, converying the illustrated, coloring the paint in different level, after they have admired the illustrated book language. (b) For the seven-year-old child’s show in the paint, they have dominant achievement in displaying their paint in facial fefling, emphaisizing the delicacy in detail, different and dominant achievement in displaying their painting ability, controling the interesting thing , coloring the paint in different leve show, structure pattern, make a good situation of space configuration, converying the illustrated, in accord with the subject and the show of imagination, after they have admired the illustrated book language. (c) For the eight-year-old child’s show in the paint, they have dominant achievement in displaying their paint ability, body-dynamicshow, displaying their paint in facial feeling, emphaisizing the delicacy in detail, controling the interesting thing, coloring the paint in different leve show, structure pattern, make a good situation of space configuration, converying the illustrated, in accord with the subject and the show of imagination, after they have admired the illustrated book language. (d) For the nine-year-old child’s show in the paint, they have dominant achievement in displaying their paint ability, emphaisizing the delicacy in detail, different and dominant achievement in displaying their painting ability, body-dynamic show, displaying their paint in facial feeling, emphaisizing the delicacy in detail, coloring the paint in different leve show, structure pattern, make a good situation of space configuration, converying the illustrated, in accord with the subject and the show of imagination, controling the whole diffferent situation, after they have admired the illustrated book language. Keyword：picture book 、the illustrated book language、child’s painting.

O projeto a seguir busca descrever as etapas envolvidas na construção de uma coletânea infantil, tendo como base a obra Conto em casa, publicada pela Editora Raiz, em novembro de 2020, bem como a importância em se publicar temas atuais e sensíveis para crianças, de forma a preencher os quesitos pedagógicos, sociais, psicológicos e artísticos – responsabilidade inerente à profissão de um editor – em um período de confinamento e isolamento social por conta da pandemia causada pelo novo coronavírus. Desta forma, o presente trabalho objetiva expor tanto as etapas quanto a dinâmica editorial que envolve as decisões tomadas por um editor no processo de produção de um livro. Busca também contribuir com o mercado editorial ao evidenciar a relação de uma editora com outros agentes editoriais, quando o lançamento físico já não é possível em época de pandemia, e as ações digitais precisam ser redefinidas para se alcançar público, venda e, principalmente, incentivar a leitura.
The following project seeks to describe the steps involved in the construction of a children's collection, based on the work Conto em casa, published by Editora Raiz in November 2020. It also aims at examining the importance of publishing current and sensitive themes for children, in order to fulfill the pedagogical, social, psychological, and artistic requirements – responsibility inherent to the profession of an editor – in a period of confinement and social isolation due to the new corona virus pandemic. Thus, the present work aims to expose both the stages and the editorial dynamics that involve the decisions made by an editor in the process of producing a book. It seeks to contribute to the publishing market by highlighting the relationship of a publisher with other publishing agents, when the physical release is no longer possible in times of pandemic, and digital actions need to be redefined in order to reach the public, sales, and especially to encourage reading.