Dissertations / Theses on the topic 'Illustrative narrative'

Made available in DSpace on 2017-07-10T16:21:15Z (GMT). No. of bitstreams: 1 toni_ bandeira.pdf: 7332691 bytes, checksum: 750c16a0ca17ed3f8de238eaaf0a2cfb (MD5) Previous issue date: 2016-09-02
Coordenação de Aperfeiçoamento de Pessoal de Nível Superior
ABSTRACT: In this research we analyze the representation of the native tribe Kaingang presented in a series of 39 illustrations produced by Joaquin José de Miranda about the tenth expedition destined to brave the so called sertões of the area of Tibagi in the Paraná State. This expedition was commanded by Alfonso Botelho in the year of 1771. The native tribe of the Kaingang is the third in number os population in Brazil, with 37,470 individuals. (IBGE, 2010). The integrants of this group live in the three States of the South and also in the west part of the Sate of São Paulo. They speak the Kaingang language which is connected to the linguistic Jê family, from the principal root of Macro-jê. In 1771, Botelho established contact with the Kaingang from the fields of Guarapuava and two weeks later the natives ge to organize an ambush in which they killed seven from Botelhos‟s soldiers. So he had no choice but leaving the area. In this sense, we reflect about the ways of the natives‟ resistance in front of the invasion of their territory and in the same way we reflect also about the idea of the demographic emptiness by which the idea of the existence of groups of natives in the territory of the nowadays State of Paraná is just denied and there is just the reproduction of de discourse that this land was uninhabited until the Portuguese-Brazilian or immigrants from others countries could come and cultivate them. Concerning this thematic, the theoretical studies done by Mota (1994) and Ribeiro (2002) are fundamental. Once we face Miranda‟s illustrations a dialogue with the works by Belluzzo and Piccoli (2003), Amoroso (2003) and Sevcenko (2003) is established, as well as Alfonso Botelho‟s very own report about the happenings of the expedition (SAMPAIO E SOUZA, 1956) which is crucial to the understanding of Miranda‟s drawings. Among the fundamental studies about the Kaingang‟s culture, history and language we highlight those done by Ambrosetti (1895), Baldus, (1937), Borba (1908), D‟Angelis (2002), Lima (1842), Mota (2009) and Veiga (2006). By the analisis os the illustrations we can say that Miranda‟s imagetic narrativeis a material of great value to the history of the Kaingang people once through it it is possible to reflect about the chocks between the colonizers and the Kaingang people in the fields of Gaurapuava. These illustrations also show up the inconsistence of the thesis of a geographical emptiness as well as they reveal the resistance movement of the Kaingang against the invasion of their territory.
RESUMO: Nesta pesquisa, analisamos a representação imagética do povo Kaingang no conjunto de trinta e sete estampas produzidas por Joaquim José de Miranda sobre a décima das expedições destinadas a desbravar os chamados sertões do Tibagi, no Estado do Paraná, expedição esta comandada por Afonso Botelho, no ano de 1771. O povo indígena Kaingang é o terceiro em número de população no Brasil, com 37.470 indivíduos. (IBGE, 2010). Seus integrantes vivem nos três estados da região Sul do país e também no oeste de São Paulo, são falantes da língua Kaingang, a qual se filia à família linguística Jê, do tronco Macro-Jê. Em 1771, Botelho entrou em contato com os Kaingang dos Campos de Guarapuava, duas semanas depois os indígenas prepararam uma emboscada e lograram matar sete soldados de Botelho, o qual não teve outra opção a não ser retirar-se da região. Nesse sentido, refletimos sobre as formas de resistência indígena ante a invasão de seu território, bem como sobre a ideia do vazio demográfico , na qual a existência de grupos indígenas no atual estado do Paraná simplesmente é negada, reproduzindo-se o discurso de que essas terras eram desabitadas, até que os luso-brasileiros ou imigrantes de outros países viessem cultivá-las. Em relação a essa temática, são fundamentais como base teórica os estudos de Mota (1994) e Ribeiro (2002). Ao abordarmos as estampas de Miranda, dialogamos com os trabalhos de Belluzzo e Piccoli (2003), Amoroso (2003) e Sevcenko (2003), além do relatório do próprio Afonso Botelho sobre os acontecimentos da expedição (SAMPAIO E SOUZA, 1956), o qual é crucial para a compreensão dos desenhos de Miranda. Dos estudos fundamentais para a cultura, história e língua Kaingang destacamos os de Ambrosetti (1895), Baldus, (1937), Borba (1908), D‟Angelis (2002), Lima (1842), Mota (2009) e Veiga (2006). Por meio da análise das estampas, podemos dizer que a narrativa imagética de Miranda é um material de grande valor para a história do povo Kaingang, por meio do qual é possível refletir sobre o embate entre os colonizadores e os indígenas nos Campos de Guarapuava, notando-se a inconsistência da tese do vazio demográfico , bem como a resistência Kaingang à invasão de seu território.

Made available in DSpace on 2017-07-10T18:56:00Z (GMT). No. of bitstreams: 1 toni_ bandeira.pdf: 7332691 bytes, checksum: 750c16a0ca17ed3f8de238eaaf0a2cfb (MD5) Previous issue date: 2016-06-02
Coordenação de Aperfeiçoamento de Pessoal de Nível Superior
ABSTRACT: In this research we analyze the representation of the native tribe Kaingang presented in a series of 39 illustrations produced by Joaquin José de Miranda about the tenth expedition destined to brave the so called sertões of the area of Tibagi in the Paraná State. This expedition was commanded by Alfonso Botelho in the year of 1771. The native tribe of the Kaingang is the third in number os population in Brazil, with 37,470 individuals. (IBGE, 2010). The integrants of this group live in the three States of the South and also in the west part of the Sate of São Paulo. They speak the Kaingang language which is connected to the linguistic Jê family, from the principal root of Macro-jê. In 1771, Botelho established contact with the Kaingang from the fields of Guarapuava and two weeks later the natives ge to organize an ambush in which they killed seven from Botelhos‟s soldiers. So he had no choice but leaving the area. In this sense, we reflect about the ways of the natives‟ resistance in front of the invasion of their territory and in the same way we reflect also about the idea of the demographic emptiness by which the idea of the existence of groups of natives in the territory of the nowadays State of Paraná is just denied and there is just the reproduction of de discourse that this land was uninhabited until the Portuguese-Brazilian or immigrants from others countries could come and cultivate them. Concerning this thematic, the theoretical studies done by Mota (1994) and Ribeiro (2002) are fundamental. Once we face Miranda‟s illustrations a dialogue with the works by Belluzzo and Piccoli (2003), Amoroso (2003) and Sevcenko (2003) is established, as well as Alfonso Botelho‟s very own report about the happenings of the expedition (SAMPAIO E SOUZA, 1956) which is crucial to the understanding of Miranda‟s drawings. Among the fundamental studies about the Kaingang‟s culture, history and language we highlight those done by Ambrosetti (1895), Baldus, (1937), Borba (1908), D‟Angelis (2002), Lima (1842), Mota (2009) and Veiga (2006). By the analisis os the illustrations we can say that Miranda‟s imagetic narrativeis a material of great value to the history of the Kaingang people once through it it is possible to reflect about the chocks between the colonizers and the Kaingang people in the fields of Gaurapuava. These illustrations also show up the inconsistence of the thesis of a geographical emptiness as well as they reveal the resistance movement of the Kaingang against the invasion of their territory.
RESUMO: Nesta pesquisa, analisamos a representação imagética do povo Kaingang no conjunto de trinta e sete estampas produzidas por Joaquim José de Miranda sobre a décima das expedições destinadas a desbravar os chamados sertões do Tibagi, no Estado do Paraná, expedição esta comandada por Afonso Botelho, no ano de 1771. O povo indígena Kaingang é o terceiro em número de população no Brasil, com 37.470 indivíduos. (IBGE, 2010). Seus integrantes vivem nos três estados da região Sul do país e também no oeste de São Paulo, são falantes da língua Kaingang, a qual se filia à família linguística Jê, do tronco Macro-Jê. Em 1771, Botelho entrou em contato com os Kaingang dos Campos de Guarapuava, duas semanas depois os indígenas prepararam uma emboscada e lograram matar sete soldados de Botelho, o qual não teve outra opção a não ser retirar-se da região. Nesse sentido, refletimos sobre as formas de resistência indígena ante a invasão de seu território, bem como sobre a ideia do vazio demográfico , na qual a existência de grupos indígenas no atual estado do Paraná simplesmente é negada, reproduzindo-se o discurso de que essas terras eram desabitadas, até que os luso-brasileiros ou imigrantes de outros países viessem cultivá-las. Em relação a essa temática, são fundamentais como base teórica os estudos de Mota (1994) e Ribeiro (2002). Ao abordarmos as estampas de Miranda, dialogamos com os trabalhos de Belluzzo e Piccoli (2003), Amoroso (2003) e Sevcenko (2003), além do relatório do próprio Afonso Botelho sobre os acontecimentos da expedição (SAMPAIO E SOUZA, 1956), o qual é crucial para a compreensão dos desenhos de Miranda. Dos estudos fundamentais para a cultura, história e língua Kaingang destacamos os de Ambrosetti (1895), Baldus, (1937), Borba (1908), D‟Angelis (2002), Lima (1842), Mota (2009) e Veiga (2006). Por meio da análise das estampas, podemos dizer que a narrativa imagética de Miranda é um material de grande valor para a história do povo Kaingang, por meio do qual é possível refletir sobre o embate entre os colonizadores e os indígenas nos Campos de Guarapuava, notando-se a inconsistência da tese do vazio demográfico , bem como a resistência Kaingang à invasão de seu território

The objective of this paper – Trusting the reader: On impressionistic narrating in Stig Claesson's writings with the novel Brev till en hembygdsgård as starting point – is to examine narrative techniques used by the Swedish author Stig Claesson, specifically some which fall within the broad field known as literary impressionism: e.g. omission, repetition, juxtaposition, episodic narration and how access to the narrator’s as well as individual characters' consciousness is handled. The method used for the study will be that of illustrative comparison. The analysis will seek its theoretical grounds in the works by Gerard Genette and Jonathan Culler. In the major parts of the study, narrative techniques used by Claesson in the novel Brev till en hembygdsgård (1974), is examined with the help of Robert Paul Lamb and James Nagel, and their studies concerning the crafts of Ernest Hemingway and Stephen Crane. In addition, other novels by Claesson are used in order to find, illustrate and then compare his craftsmanship with techniques already studied and described by scholars and critics. The main result from the analysis is that a need to trust the reader follows from Claesson’s choice of narrative techniques; by having the narrating instance mainly represent perception – without allowing the narrator, or the characters of the narrative, to interpret what’s rendered – the reader is left to experience sensation on her own. To assist the reader, Claesson binds together his episodic narration with a frequent use of juxtaposition, in which colors, objects and scenes already used, are re-used – hence having one scene charge the next, and so on, with previously evoked emotions. Furthermore, Claesson frequently uses omission in conjunction with repetition as a narrative technique; often when the narrator returns to an already used scene, she is excluding some of the information given to the reader earlier in exchange for some previously omitted information or for elements belonging to other scenes. The study finds that a consequence of Claesson’s combination of the above mentioned techniques, is that his texts calls for a reader to take an active part in creating meaning both from the text and from their own experience. Finally, the study suggests that Claesson, like any craftsman, recognized that once the work is done and delivered, it is up to the recipient to use it according to their own ability, imagination and discretion.

Den här kvalitativa studien syftar till att undersöka hur bildstöd är utformat i tre skönlitterärt uppbyggda läroböcker på ingångsnivå riktade mot årskurs 1 i svenska för att stödja elevers läsinlärning. Studien tar avstamp i Richard E. Mayers (2014) teori om multimodal inlärning: Cognitive Theory of Multimedia Learning. Teorin bygger på idén att människor lär bättre och djupare från text och bild än från enbart text. Läroböckerna analyseras utifrån Lundh och Limbergs (2012) kategorier när det gäller bildstöd: dekorativ, illustrativ, narrativ och förklarande. I läroböckerna analyseras även förhållandet mellan text och bild samt vilka tidigare kunskaper eleverna behöver för att förstå bildstödet. Resultatet visar att alla de tre läroböckerna använder sig av bildstöd i berättelsen. Det bildstöd som används mest i läroböckerna är narrativt, samtidigt som dekorativt bildstöd saknas helt. Förhållandet mellan bild och text ser genomgående olika ut i läroböckerna men visar sig ha stor betydelse speciellt för elevernas läsförståelse. Precis som med allt annat i vardagen behöver eleverna ha tidigare kunskaper för att kunna “läsa” och förstå bilderna i läroböckerna. Av studiens resultat kan slutsatsen dras att läroböckerna använder sig av bilder avsiktligen för att stödja läsningen, att bilderna ger bäst stöd om de berättar samma sak som texten gör samt att eleverna måste kunna ”läsa” och förstå bilderna för att få full läsförståelse.

I study painting and composition for its own sake, and in this program I am pursuing it from a narrative or pictorial stance, much as did earlier artists, and doing so in contemporary terms. Distinguished examples of illustrators could include such artists as Raphael, Michelangelo, Rembrandt and Rubens, and modern practitioners such as Wyeth and Baskin. The illustrator needs not only control of his means, but also other qualities in addition to those of a studio painter. He needs an imagination that will allow portrayal of scenes and viewpoints that can't be arranged in a studio. The artist's memory and invention are primary requisites for illustrations involving distant times and places.

Propor ao aluno formas de valorização do pensamento crítico em relação a si e ao que o rodeia foi um dos referenciais para a Prática de Ensino Supervisionada descrita neste documento. Ao longo deste relato de experiência pedagógica, a tónica manteve-se nas competências relativas à capacidade do aluno para definir planos de trabalho com vista à solução dos enunciados propostos. Os alunos foram motivados para o desenvolvimento de competências que lhes permitiram delinear previamente objectivos a atingir, desenvolver mecanismos de autonomia na resolução de problemas, equacionar soluções e avaliar processos e resultados. Para as práticas pedagógicas aqui descritas propôs-se preparar o aluno para a criação de metodologias de trabalho - individual e de grupo – fomentando a sua autonomia e segurança para que as possa reproduzir e aplicar noutras aprendizagens e desempenhos; ABSTRACT:Propose ways of valuing the student's critical thinking about themselves and what surrounds them was one of the benchmarks for the Supervised Teaching Practice described in this document. Throughout this report of teaching experience, the focus remained on the skills and the ability to define work plans that seek for solutions for assigned tasks. Students were encouraged to develop skills that allowed them to draw objectives in advance, to develop mechanisms of autonomy in solving problems, to consider solutions and evaluate processes and outcomes. The pedagogical practices described herein were meant to prepare the students for the establishment of working methods - individual and group - encouraging their independence and self-assurance so they apply them in other learning and accomplishments.

Thesis (MA)--Stellenbosch University, 2006.
ENGLISH ABSTRACT: Collage, as a verbal and visual medium, epitomises the heterogeneity, indeterminacy and fragmentation of the postmodern moment. In this thesis I argue that visual collage - in the context of book illustration - presents an ideal form with which to illustrate the state of contemporary (postmodern) narrative. Postmodernism, as a term or concept, evades any form of absolute or definitive account. Hence, in my discussion of the postmodern condition I move towards an understanding of this complex theoretical and cultural phenomenon. Postmodern cultural artifacts reflect the state of a modernised, Western-orientated, globalised consciousness, which resists arborescent structures in past and contemporary texts. In both postmodern narratives and in literary fictional narratives the condition of artifice is amplified. Thus, this thesis explores various characteristics evident in postmodern fiction in order to understand and demonstrate the changes manifest in contemporary narratives in general. Many of the stylistic and figurative devices employed in the postmodern novel foreground the excessive appropriation and self-reflexive textualism of contemporary texts - these literary devices often reflect particular collage-like tendencies or characteristics. Contemporary literary theory, in addition, provides many useful terms and concepts with which to describe visual texts and, for the purposes of this discussion, narrative illustration. This thesis is centred primarily on an analysis of the practical component completed as part of the Master of Arts degree in Fine Arts. The discussion of the practical work is embedded in the wider fields of book art - particularly the postmodern artist's book (livre detourne) - and in contentious debates around the role of visual narrative illustration. In both the thesis and the illustrated book objects, I challenge the secondary and supplementary position traditionally held by illustration in the context of the book. I argue for a form of visual narrative that is not required to function as a mere translation of the primary verbal text. Instead - working within the context of the artist's book and through the utilisation of collage as a visual (and verbal) medium - I demonstrate that illustration may complement, supplement or subvert the written text. Furthermore, I show that illustration may assume the role of the primary text in the context of the codex. Finally, this study creates a space for a creative and participatory reader who, through the intertextual processes made evident in the book objects, becomes an active 'reader-writer' of the visual and verbal narratives under discussion.
AFRIKAANSE OPSOMMING: Collage, as beide 'n verbale en visuele medium, verpersoonlik die onbesliste, gefragmenteerde, heterogene moment van postmodemisme. In hierdie tesis voer ek aan dat visuele collage, binne die konteks van boekillustrasie, 'n ideale vorm van uitbeelding hied om die toestand van kontemporere (postmodeme) narratief te illustreer. Postmodemisme, as 'n term of konsep, ontwyk enige volslae of beslissende betekenis. Gevolglik poog ek in my bespreking van die postmodeme toestand om nader aan 'n begrip van hierdie komplekse teoretiese en kulturele , fenoneem te beweeg. Postmodeme kulturele artefakte reflekteer die toestand van 'n gemodemiseerde, Westers-georienteerde, geglobaliseerde bewustheid wat liniere strukture in tekste uit die verlede en die hede weerstaan. In beide postmodeme narratiewe en fiktiewe literere narratiewe word die gesteldheid van kunsskepping toegelig. Dus ondersoek hierdie tesis verskeie opvallende eienskappe van postmodeme fiksie ten einde die veranderinge wat in die algemeen in kontemporere narratiewe manifesteer te verstaan en te demonstreer. Vele van die stilistiese en figuratiewe tegnieke van die postmodemistiese roman plaas die oormatige toe-eining en selfrefleksiewe tekstualisme van konteporere tekste op die voorgrond; die literere gebruikswyses reflekteer dikwels bepaalde collage-agtige tendense of eienskappe. Hierbenewens, bied kontemporere literereteorie vele nuttige terme en konsepte waarmee visuele tekste sowel as, vir die doe] van hierdie ondersoek, visuele narratiewe, beskryf kan word. Hierdie tesis is hoofsaaklik gevestig op 'n analise van die praktiese werk wat dee) van die Magister Artuim-graad in Beeldende Kunste uitmaak. Die bespreking van die praktiese werk is veranker in die wyer terreine van boekkuns - spesifiek die postmodeme kunstenaarsboek (livre detourne) - en in kontensieuse debatte oor die rol van visuelenarratief-illustrasie. In beide die tesis en die gelllustreerde boekobjekte bevraagteken ek die tradisionele siening dat illustrasie binne boekkontekse 'n sekondere of aanvullende posisie inneem. Ek argumenteer ten gunste van 'n vorm van visuele narratief waarvan daar nie bloot verwagword om as 'n beskrywing van die primere verbale teks te funksioneer nie. In plaas daarvan, deur binne die konteks van die kunstenaarsboek te werk en deur collage as 'n visuele (en verbale) medium te benut, demonstreer ek dat illustrasie die geskrewe teks kan aanvul, daartoe kan toevoeg of dit kan ondergrawe. Verder toon ek dat illustrasie die rol van die primere teks in die konteks van die kodeks kan inneem. Laastens skep hierdie studie die geleentheid vir 'n kreatiewe en bydraende leser - vanwee 'n intertekstuele proses wat in die boekobjekte aan die Jig kom - om as 'n aktiewe 'leser-skrywer' van die visuele en verbale tekste onder bespreking op te tree.

Thesis (Ph.D.)--Indiana University, Dept. of English, 2005.
Title from PDF t.p. (viewed Dec. 2, 2008). Source: Dissertation Abstracts International, Volume: 66-02, Section: A, page: 0590. Chair: Eva Cherniavsky.

This paper discusses how the author created a comic as a way to explore their personal suffering and the suffering of those around them throughout schooling. It defines the inspirations, both personal and technical for how the comic was produced and how it will expand to a graphic novel after college.

Texte remanié de: Diss.--Neuphilologische Fakultät--Heidelberg--Ruprecht-Karls-Universität, 2002. Titre de soutenance : Sprichwortbild und Sprichwortschwank : die metaphorische Inversion als strukturbildendes Verfahren in der deutschsprachigen Literatur um 1500.
Bibliogr. p. [368]-399. Index.

The Living Chain is a body of work built to apply and analyze mythological narrative and traditional printmaking techniques. The work is a collection of prints telling an original narrative that derives much of its visual and thematic style from the works of the Baroque and Medieval periods, as well as significant influence from the prints of Gustave Doré. The purpose of this paper is to explore the ideas, mythologies, histories, and symbols found in and inspiring the work, in order to better understand the work’s purpose and its technical challenges. Additional focus is given to the historical significance and cultural impact of meaningful, mythological narratives and the differences between modern and historic narratives told through sequential works of art.

PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO
FUNDAÇÃO DE APOIO À PESQUISA DO ESTADO DO RIO DE JANEIRO
BOLSA NOTA 10
Esta Tese apresenta os resultados de uma pesquisa realizada pela triangulação de um método quantitativo e outro qualitativo que teve por objetivo detectar como a incorporação de animações interfere na compreensão de histórias por crianças. Desde o advento do livro infantil, este passou por inúmeras transformações conceituais e técnicas e evoluiu de gravuras e desenhos de linha a uma ampla gama de estilos. Hoje, livros infantis exibem milhões de cores e texturas diversas elaboradas com técnicas e recursos muito variados. No final do século XX, as mídias digitais interativas já configuravam um novo suporte para narrativas literárias. Acredita-se que possam promover um novo tipo de relacionamento entre o sujeito que as lê e as histórias que para ele se desvendam na medida em que interage com os conteúdos apresentados. No meio digital, as ilustrações, sempre presentes em contos infantis, ganham novos contornos: poderão contar com a animação. Com os livros eletrônicos digitais – e-readers – que hoje são realidade, as crianças passam a ter a possibilidade de explorar narrativas onde as imagens poderão ganhar movimento. Os resultados podem colaborar, com designers, escritores, ilustradores, pedagogos e docentes principalmente no esforço de estimular o prazer de ler no período que segue ao da alfabetização.
This Thesis presents the results of a research made by the triangulation of a qualitative and a quantitative method design try to find out how children may understand narrative content when stories are presented in different forms: as a traditional hard copy book and as an animated e-book in a digital platform such as an e-reader. Since the very first storybook for children, the illustrations that have always been included in such books have gone through many conceptual and technical changes and has evolved from simple line drawings do a wide range of styles. Today we see story books showing colors and textures created through various techniques and resources. Interactive digital media offer a new supporting structure for literary narrative and may provide the means to create a new kind of relationship involving the subject who reads and the unfolding stories as he interacts with the narrative content. In this media, illustration, which has always made part children of story books, acquires a new form, for there is a possibility to explore sensorial resources beyond those enhanced by verbal text and printed illustration and, thus, creates a new way to practice and develop the act of reading. The collected data and the research results can be used by designers, writers, illustrators, pedagogy professionals and school teachers as aiding tools in the effort to stimulate the pleasure of reading by small children after they have learned the alphabet and during the time they struggle to became fully literate.
Esta Tesis presenta los resultados de uma investigación realizada por triangulación de um método quantitativo y otro qualitativo que tuvo por objetivo detectar como la incorporación de animaciones interfiere em la compreensión de historias por niños. Desde que existe el libro infantil, ya pasó por inúmeras transformaciones conceptuales y técnicas y evolucionó de dibujos simples a uma ampla gama de estilos. Hoy, libros infantiles exhiben millones de colores y diversas texturas elaboradas con técnicas y recursos muy variados. Al final del siglo XX, los medios digitales interactivos ya configurabam un nuevo soporte para narrativas literárias. Se cree que este tipo de narrativa pueda promover nuevas formas de relacionamento entre el sujeito que las lee y las historias que se Le desvendam em la medida en que interacciona con los contenidos presentados. Em el medio digital, las ilustraciones, siempre presentes en cuentos infantiles, adquieren nuevos contornos: podrán contar com la animación. Con los libros eletrónicos digitales – e-readers – que soy hoy realidade, los ninõs pasaron a tener la posibilidad de explorar narrativas donde las imágenes podrán moverse. Los resultados pueden colaborar, com diseñadores, escritores, ilustradores, pedagogos y docentes, principalmente em lo que significa el esfuerzo de estimular el gusto por la lectura, el placer de leer, en los años posteriores al período de alfabetización.

This research took place to explore the role of narrative in nonfiction picturebooks and provide a better understanding of children’s nonfiction picturebooks from the perspective of the picturebook artist. The study evolved from an observation that within the children’s picturebook genre there exists an undefined category of picturebooks that present nonfiction material using fictional stories. It coincided with a moment in time when books of nonfiction content were becoming increasingly popular, evidenced by increased sales and market growth, contrary to the rest of the book market. The use of reflective-in-action and reflective-on-action methods was based on a theoretical framework of three approaches (design practice, design exploration and design study) and led to an understanding of both the practice and the nonfiction picturebook as an object with multiple functions. The approaches allowed a critical evaluation of a series of experiments and this in turn informed the practice and allowed theories and new understandings to be reached. The investigation identified four types of narratives for picturebooks: visual fiction and nonfiction and verbal fiction and nonfiction and proposes a model for analysing the interaction of the narratives. An opportunity to investigate the use of glow-in-the-dark ink in a narrative context presented itself during the course of the experiments. The result of this part of the research is presented in a concertina book that uses glow-in-the-dark ink to create a nonfiction narrative. The research concludes that whilst most picturebooks are composed of all four narratives to some degree, nonfiction picturebooks are made up of a larger overlap of these narratives. Nonfiction picturebooks offer more opportunities for counterpoint and are therefore particularly exciting. As such a differentiation between fiction and nonfiction in the genre of picturebooks is suggested.

O presente trabalho investiga aspectos históricos acerca da estética e da funcionalidade da Ilustração de Moda. A partir da hipótese norteadora de que a Ilustração de Moda possui engrenagens cujos papéis se modificam através do tempo no processo de adaptação ao mercado, este trabalho analisa tal fenômeno mediante, predominantemente, a revisão e interpretação de obras de autores que se debruçaram sobre a historiografia da moda e da ilustração de moda ocidental, associados à análise de trabalhos no segmento em questão. A pesquisa é baseada em metodologia qualitativa de coleta de dados e interpretação de conteúdo artístico, referenciada pelo trabalho de Rui de Oliveira. São referenciados, também, teóricos de áreas correlatas como João Braga, Daniela Calanca, Paula Sibila, Ernest Gombrich, Mônica Moura e Dijon de Moraes, a fim de construir, de forma mais coesa, os assuntos abordados em textos que relacionam áreas como História da Moda, Comunicação Social, História da Arte, Design e Desenho de Moda. Sob essas diretrizes, é construída uma narrativa cronológica contextualizada, que serve como instrumento para analisar e compreender os fatores que constituem o mercado de moda em diferentes épocas e que adaptam e ressignificam uma das técnicas mais antigas de comunicação de moda, mantidas até os dias atuais
The present work investigates historical aspects of the aesthetics and functionality of the theoretical field of Fashion Illustration. Based on the guiding hypothesis that the Fashion Illustration has gears whose roles change over time in the process of adaptation to the market, this work analyzes this phenomenon, mainly by reviewing and interpreting the work of authors who have studied the historiography of fashion and Western fashion illustration, associated with the analysis of works in the segment of fashion illustration. The research is based on a qualitative methodology of data collection and interpretation of artistic content, referenced by the work of Rui de Oliveira. Theorists such as João Braga, Daniela Calanca, Paula Sibila, Ernest Gombrich, Mônica Moura, and Dijon de Moraes are referred in order to build the subjects discussed in texts of related areas as Fashion History, Social Communication, History of Art, Design and Fashion Design. Under these guidelines, a contextualized chronological narrative is constructed that serves as an instrument to analyze and understand the factors that constitute the fashion market in different times that adapt and re-signify one of the oldest techniques of fashion communication maintained until the present day

Thesis (MPhil)--Stellenbosch University, 2012.
ENGLISH ABSTRACT: This thesis explores an analysis of autobiographical illustration, as it relates directly to autobiographical devices employed in Bitterkomix and my own visual journals. The result is a practitioner-specific approach that frames my own work within a discourse of comics and consequently within the larger discourse of visual narrative. These devices are analysed in the works of artists in Bitterkomix who employ autobiography, not only as a means of effecting more intimate interactions between the reader and the narrative, but also as a form of legitimising narrative. A principal deduction that I have made is that autobiographical writing operates through the filter of memory and language translation. A divergence occurs within Bitterkomix, as well as within my own work, between the artist as himself and the artist as his autobiographical self - the two are never identical. I choose to define autobiographical illustration as an interpretative and experimental visual writing process used to affirm and negate perceived concepts of self through the filters of memory, language translation and imagination. Imagination acts as an extension of current memory from which perceived past, present and future identity constructs emanate and extend. These constructs are by no means indicative of historical fact but often appear to be so given autobiography's association as a referential text. The visual journal as an autobiographical object, like Bitterkomix, seeks to legitimise itself in 'naturalising narrative' by feigning to make it the outcome of a documentative process. It is exactly the tension between autobiography's perceived characteristic as a genre that involves 'real' experiences and its actual function as a narrative construction of identity that merits its use as a strategic device. I argue how my visual journals constitute autobiographical narrative objects and archives of autobiographical illustrative form and content. This tension is amplified in my visual journals in their association as deeply personal objects and as a result of what is perceived to be the artist's natural process. Most importantly, these narrative objects are placed within the public's gaze and are made to be read as autobiographical texts, ultimately as documents of this process.
AFRIKAANSE OPSOMMING: Hierdie tesis ondersoek outobiografiese illustrasie wat direk verband hou met outobiografiese praktyke wat in Bitterkomix en in my eie visuele joernale gebruik word. Die resultaat is 'n praktisyn-spesifieke aanslag wat my eie werk binne die diskoers van stripkuns plaas, en sodoende binne die groter diskoers van visuele narratief. Hierdie praktyke word geanaliseer in die werk van Bitterkomix-kunstenaars wat outobiografie gebruik, nie net as 'n manier om meer intieme interaksies tussen die leser en die narratief te bewerkstellig nie, maar ook om die narratief legitiem te maak. Ek maak die afleiding dat outobiografiese skryfwerk deur die filters van geheue en taal werksaam is. In beide Bitterkomix en my eie werk is 'n skeiding tussen die kunstenaar self en die kunstenaar se outobiografiese self sigbaar – die twee is nooit identies nie. Ek verkies om outobiografiese illustrasie te definieer as 'n interpretatiewe en eksperimentele visuele skryfproses wat gebruik word om waargenome begrippe van die self deur die filters van geheue, vertaling en verbeelding te bevestig en te negeer. Die verbeelding dien as 'n voortsetting van huidige geheue waaruit waargenome identiteitskonstrukte van die verlede, hede en toekoms voortvloei. Hierdie konstrukte is geensins aanduidend van historiese feite nie, maar kom dikwels so voor gegewe outobiografie se assosiasie as verwysende teks. My argument is dat my visuele joernale beide outobiografiese narratiewe objekte én argiewe van outobiografiese illustratiewe vorm en inhoud is. Visuele joernale as outobiografiese objekte, soos in die geval van Bitterkomix, probeer sigself legitiem maak deur middel van 'naturaliserende narratief', deur voor te gee dat dit die resultaat van 'n dokumenterende proses is. Dit is juis die spanning tussen outobiografie se aard as 'n genre wat gegrond is op 'ware' ervaringe, en outobiografie se funksie as 'n narratiewe konstruksie, wat die gebruik daarvan as 'n strategiese middel die moeite werd maak. Hierdie spanning word in my visuele joernale verhoog deur hulle diep persoonlike aard, en as gevolg van wat gesien word as die kunstenaar se natuurlike proses. Belangriker nog is dat hierdie narratiewe objekte binne die publiek se sigveld geplaas word om as outobiografiese tekste gelees te word, en ook uiteindelik as dokumente van die proses.

Denna studie är ett examensarbete i informationsdesign med inriktningen informativ illustration. Arbetet har genomförts i samarbete med läromedelsförlaget Natur & Kultur som arbetar med en re-design av PULS SO-boken Grundbok för årskurs 1–3. I kapitlet som behandlar kartor ska en förklarande metafor för sambandet mellan en jordglob och en platt världskarta läggas till. Detta utgör grunden för examensarbetet.  Läroböcker för barn i yngre åldrar är vanligtvis rikligt fyllda med illustrationer som hjälper till att förklara svåra fenomen. Syftet med arbetet är att utforska hur aktuell metafor kan gestaltas och förklaras genom olika visuella narrativ, samt undersöka hur detta tas emot och förstås av målgruppen.  Genom datainsamling i form av intervjuer och bildanalyser, samt sett till teorier om kognition, semiotik och visuella narrativ, utformades tre illustrationer som gestaltade samma metafor genom olika visuella narrativ. Genom ytterligare intervjuer med sakkunniga och med målgruppen sammanställdes lärdomar och en fjärde illustration skapades som en konkretisering av diskussionen.  Resultatet av undersökningen påvisar att de olika visuella narrativen som undersöktes gav upphov till olika slutsatser och diskussioner vid utprovning. Huruvida det finns något narrativ som är bättre än något annat är svårt att fastslå, men en sambandsanalys mellan intervjuresultat från utprovning mot målgrupp och utprovning mot sakkunniga konstaterar vissa fördelar med ett visuellt narrativ med en väl strukturerad och metodisk läsordning, mindre stycken med text, samt att textens alla nyckeldelar är konkretiserade visuellt.
This essay is a thesis in Information Design with focus on Informative Illustration. The study is in collaboration with the publishing company Natur & Kultur, who’s currently working on a re-design of PULS SO-boken Grundbok, a teaching aid intended for primary school children ages 7–9 years old. In a chapter concerning maps, an explanatory metaphor for the relationship between a globe and a plane world map is added. This forms the basis for the study.  Children’s factual literature is usually richly filled with explanatory illustrations as an aid in understanding complex phenomena. The aim of this study is to explore how the metaphor in question can be embodied and explained through various visual narratives, and to investigate how this is received and understood by the target group.  Through data collection in the form of interviews and image analyzes, as well as theories of cognition, semiotics and visual narratives, three illustrations were designed that embodied the same metaphor through different visual narratives. Through further interviews with experts and with the target group, lessons were compiled, and a fourth illustration was created as a concretization of the discussion.  The result of the study shows that the different visual narratives that were explored gave rise to different conclusions and discussions when tested. Whether there is any narrative that is better than the others is difficult to determine, but a relationship analysis between interview results from the target groups and expert interviews establishes certain advantages of a visual narrative with a well-structured and methodical reading system, smaller sections with text and that all key parts of the text are visually concretized.

The Swedish Traffic Educator's National Association (STR) is an organization for traffic training companies that conducts vocational driver training. They are responsible for creating the driver's license books that are used at all Swedish traffic schools for pupils and teachers. This material includes all the rules and knowledge you need to know to take a driver’s licenses. The material is the same for everyone, but there is a desire from students and teachers to have more in-depth information about the driver's license than is available today, to gain a better understanding.In this thesis which is for the program focus informative illustration at Mälardalen University, a design proposal in the form of an animated information film has been created in order to be able to convey theoretical elements that are for students who study for moped class 1 driver’s license. The purpose of the film is to provide a broader understanding of students as they study for the moped class 1 driver’s licenses. The study examines how students today study today and what they have for general views on animated teaching material. The survey will raise questions about what kind of narrative would work for learning and whether the style of the illustrations has an influence in the animated teaching material. During work there will be theory gathering and empirical data collection that includes the construction of narratives, multimodal methods, semiotics, and rhetoric.
Sveriges trafikutbildarens riksförbund (STR) är en organisation för trafikutbildningsföretag som bedriver yrkesmässig förarutbildning. De ansvarar för att skapa körkortsböckerna som används på svenska trafikskolor för elever och lärare. Detta material omfattar alla regler och kunskaper man behöver veta för att kunna ta ett körkort. Materialet är lika för alla, men det finns ett önskemål från elever och lärare att ha mer fördjupande information om körkortet än vad som finns idag, för att få bättre förståelse. I detta examensarbete som är för programinriktningen informativ illustration på Mälardalens högskola har ett gestaltningsförslag i form av en animerad informationsfilm skapats för att kunna förmedla teoretiska moment som är till för elever som studerar till moped klass 1 körkortet. Syftet med filmen är att ge en breddare förståelse för elever när de studerar teori för moped klass 1. Studien undersöker hur elever idag har för slags studievanor och vad de har för generella åsikter om animerat undervisningsmaterial. I undersökningen kommer det uppstå frågor om vilket slags narrativ som skulle fungera för inlärningen och om stilen på illustrationerna kommer ha en påverkan i det animerade material. Under arbete kommer det ske teoriinsamling och empirisk datainsamling som infattar om uppbyggnad av narrativ, multimodala metoder, semiotik och retorik.

This practice-based research investigates the relationship between the process of making layered images and narratives of walked journeys. Two such journeys – Franz Schubert’s song cycle, Winterreise, and the autobiographical account of John Clare’s escape from an asylum, Reccolections &c Of Journey From Essex – were examined and compared through a body of drawings, prints and paintings. A study of the construction of the two narratives highlighted their layered composition: Winterreise is experienced as a synthesis of Wilhelm Müller’s poems and Schubert’s musical setting; whilst the full impact of Clare’s account is appreciated in the context of his poetry and biography. The research began with a bookwork, a visual response to the layering of information observed in the song cycle of Winterreise, and led to the formulation of a method of interpreting narratives using Thomas De Quincey’s model of The Palimpsest. De Quincey identified the effacements, amendments and aggregation of material in a palimpsest manuscript with the absorption of experience. In paintings made to interpret the experience of Winterreise, abrading layers of a picture surface elicited the compound characteristics of the narrative: allowing one idea to be seen through another. The fictive identity of the song cycle emerged in a suite of monoprints, through their assembly of layered imagery. Conversely, John Clare’s account is that of an actual journey, physically walked. The research culminated in a focus on the terrain of the two narratives. The metaphorical landscape of Winterreise is contrasted with Clare’s more visceral relationship with earth and trees through a series of paintings based on Journey From Essex. The research discovered new possibilities in the narratives’ meaning through the invention of a visual language to describe both physical nature of walking and a distinctive sense of place.

Cette thèse porte sur le principe même de séquentialité d’images fixes, pour comprendre la différence entre la Bande Dessinée et les différentes formes de narration par images fixes, même les autres arts. Cela nous aide à comprendre pourquoi la Bande Dessinée est devenue un art autonome, pourquoi la Bande Dessinée s’est plus developpée que d'autres formes de narration par images, et quelles sont plus précisément les origines de la Bande Dessinée.Analyser la naissance de la Bande Dessinée signifie donc tracer un parcours à travers des oeuvres, des auteurs ou des mouvements fondamentaux, et considérer les thèmes, les poétiques, les technologies qui l'ont définie à telle ou telle époque. Ce travail vise donc à identifier les oeuvres qui forment une ligne de partage entre le Moyen Âge et l'Âge Moderne. Une analyse historique, mais également paradigmatique, aidera à mieux comprendre comment la Bande Dessinée a évolué, quelles influences ont eu les autres formes d'art (comme la peinture, la littérature, la caricature ou le théâtre) mais surtout, quelles techniques et stratégies ont été mises en place et ont fait évoluer la Bande Dessinée vers un système narratif à base iconique
This thesis focuses to question the very principle of sequentiality of still images, that is to understand how in Sequential Art this dynamic takes different forms, but at the same time, how Sequential Art can be differentiated from other Arts. This help us to understand why it became an autonomous art, why it has developed more than any other sequential art, how and when the Comic was actually created.Analyze the rise of the Comics means tracing a path through the works, authors and the basic movements, considering the new poetics, themes, techonologies, that have defined this. This work aims to identify works which form a connection between the Middle Ages and the Modern Age. A historical analysis, but also paradigmatic one, will help to better understand how Comics evolved, what influences have had other forms of art (such as painting, literature, theater or caricature) but, above all, which techniques and strategies have been implemented and have changed Comics toward a narrative system based on images

Thesis (MPhil (Visual Arts. Illustration))--University of Stellenbosch, 2009.
When dealing with emergent literacy in South Africa, the didactic aspects of picture books are often privileged over their aesthetic quality and the idea of reading for pleasure. The themes of the books are not always locally relevant and for economic reasons, they often fail to reach the communities that need them the most. By looking at the history of relief printing within a community environment, I hope to highlight how communities themselves may be able to develop locally relevant children’s picture books, instituting a ‘grassroots’ approach rather than the paternalistic ‘top down’ approach of the past. I will also be looking at the narrative and stylistic elements of relief printing that are complimentary to the picture book genre and how these can be utilised for a pleasurable rather than didactic approach to the narratives.

En el presente trabajo de investigación tiene como meta evaluar sobre el uso de aspectos visuales utilizados dentro del rubro del diseño editorial en el libro “Historias Mágicas, Leyendas del Perú adaptadas para niños y niñas”. Por el cual se debe examinar la eficiencia comunicativa de las ilustraciones contenidas en el cuento infantil. Además, de analizar los aportes visuales y narrativos que aporten a la educación de los estudiantes del nivel inicial. Los resultados de la investigación aclaran que el sector escolar es el que consume más cuentos ilustrados, a diferencia del mercado de libros infantiles abiertos para el público. Cabe destacar que dentro del sector escolar, los maestros son los encargados de seleccionar los cuentos infantiles a usar en su clase a diferencia del mercado abierto al público en el cual los infantes tienen libertad de poder seleccionar el cuento que gusten. Además, que las ilustraciones contenidas en el libro son de carácter aportativo para los niños y su desarrollo. Gracias a ello se puede concluir que el cuento infantil ha venido progresando su consumo con el paso de los años dentro del país, y su producción ha venido en aumento en el mercado abierto al público durante los últimos ocho años.
The objective of this research work is to evaluate the use of visual aspects used within the field of editorial design in the book "Magical Stories, Legends of Peru adapted for boys and girls". By which the communicative efficiency of the illustrations contained in the children's story should be examined. In addition, to analyze the visual and narrative contributions that they contribute to the education of the students of the initial level. The research results clarify that the school sector consumes the most illustrated stories, unlike the market for children's books open to the public. It should be noted that within the school sector, teachers are responsible for selecting children's stories to use in their class, unlike the market open to the public in which infants are free to select the story they like. In addition, that the illustrations contained in the book are of a contributing nature for children and their development. Thanks to this, it can be concluded that the children's story has been progressing its consumption over the years within the country, and its production has been increasing in the market open to the public during the last eight years.
Trabajo de investigación

Thesis (MPhil)--Stellenbosch University, 2014.
ENGLISH ABSTRACT: This is a study about the inner workings of an illuminated poem – about the dialogue that develops between poetry and illustration when they encounter each other on the page. However, the illuminated poem is more than just a relation between words and images, it is also a composite art in its own right. This study explores the dynamic of this particular type of imagetext by firstly claiming that the illuminated poem embodies a moment of indiscipline and secondly, by positing that illustration should contribute to this pairing by acting as a manifestation of illumination, instead of posturing as merely ‘illustrative’ or decorative. The inherent indisciplinarity of the illuminated poem as an imagetext is dissected – it is simultaneously two independent art forms and an integrated one; it can therefore be seen as both an interdisciplinary concern and a new art form. The illuminated poem as a visual art blurs the boundaries between words and images, upending the traditional, rigid boundaries of image-­‐text discourse. Additionally, a meandering narrative is set in motion when poetry and illustration engage in an illuminated poem – a slower, involved, cross-­‐pollinating reading that results in the activation of a reader’s imagination. The idea of Illumination is thus examined as both an orchestrated, visual choice and an active, conjuring process. Various strategies of illumination – with which illustration can open up a poem to new conceptual and narrative possibilities – are also discussed. These theories of interplay and interaction are then applied to an analysis of And all men kill the thing they love, an illuminated poem by Sara Fanelli and Oscar Wilde, revealing some of the ways in which illustration and poetry act as co-­‐conspirators and collaborators when they engage in a moment of indiscipline.
AFRIKAANSE OPSOMMING: Hierdie is ‘n ondersoekende studie na die dieperliggende werking van ‘n “illuminated” gedig. Die studie fokus op die dialoog wat ontstaan wanneer ‘n gedig en illustrasies mekaar op papier ontmoet. Die “illuminated” gedig is egter soveel meer as net die saamgestelde som van woord en beeld – dit is ook ‘n verstrengelde nuwe kunswerk in eie reg. Hierdie studie verken die dinamiek van dié besondere soort beeldteks deur, eerstens, te verklaar dat “illumination” ‘n moment van ongedissiplineerdheid behels en, tweedens, deur te verwag dat die illustrasies bydra tot hierdie verhoudingsdinamika deur ‘n manifestasie van “illumination”, pleks van net ‘illustrerend’ of dekoratief, te wees. Die inherente ongedissiplineerdheid van die “open-­‐ended” gedig as beeldteks word ondersoek – dit vorm tegelykertyd twee onafhanklike kunsvorms en ‘n geïntegreerde geheel; dit kan dus beskou word as beide ‘n interdissiplinêre kunswerk en ‘n nuwe kunsvorm. Die ‘mengsel’-­‐gedig as visuele kunsvorm oorskry die bekende grense tussen woorde en beelde en gooi alle rigiede, streng-­‐tradisionele riglyne van die beeldteks-­‐geding omver. Die verhaaltrant volg kronkelpaaie wanneer digkuns en illustrasie slaags raak op papier of meedoen aan die “open-­‐ended” gedig – ‘n stadiger, meer betrokke, kruisbestuiwende leestempo word afgedwing, wat sodoende die leser se verbeelding aktiveer. Die idee van “illumination” word dus ondersoek as beide ‘n georkestreerde, visuele keuse en ‘n meelewende (verwonderings)proses. Verskeie verhelderings-­‐ moontlikhede – waardeur illustrasie ‘n gedig kan ontsluit om nuwe konseptuele en vertellingsmoontlikhede te ontgin – word ook bespreek. Hierdie teoretiese benadering van ‘n heen-­‐en-­‐weer-­‐spel se wisselwerkende interaksie word dan toegepas op ‘n analise van And all men kill the thing they love, ‘n “illuminated” gedig deur Sara Fanelli en Oscar Wilde. Verskeie wyses waarop illustrasie en digkuns as samesweerders en samewerkers kan optree wanneer hulle hulself in ‘n oomblik van ongedissiplineerdheid bevind, word aangetoon.

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

L'elaborato propone una traduzione dal giapponese dell'opera di narrativa illustrata per l'infanzia "Kujirada!" del celebre autore giapponese Gomi Taro. La narrativa illustrata per l'infanzia presenta delle caratteristiche peculiari, non riscontrabili nella letteratura per adulti: la componente visiva, infatti, è parte integrante dell'opera e insieme alla componente verbale e all'interazione con essa, rappresenta il nucleo degli albi illustrati. Partendo da un'analisi descrittiva e funzionale delle due componenti e degli effetti risultanti dalla loro interazione, l'elaborato prosegue con la presentazione dell'autore scelto, in qualità di esempio di scrittore di albi illustrati per bambini, prima di procedere con l'esame delle principali teorie di traduzione per l'infanzia. Tramite degli esempi mirati tratti dagli studi di traduzione della letteratura per l'infanzia, si delineano le metodologie per affrontare il processo traduttivo. La seconda parte della tesi si dedica all'analisi dell'opera in oggetto, con la presentazione dei temi culturali e psicologici, quali la caccia alla balena e la rappresentazione della natura umana. Inoltre, vengono delineate le caratteristiche linguistico-stilistiche della lingua giapponese presenti nel testo, prima di fornire una descrizione delle difficoltà riscontrate in fase di traduzione, relative alle differenze tra la lingua giapponese e la lingua italiana, e delle scelte traduttive effettuate, corredate da esempi tratti dall'opera. L'elaborato si conclude con una proposta di traduzione dell'albo illustrato.

The Prodigal Daughter (1736) is a poem that, on the surface, appears to be an approachable text that was likely geared towards a children’s audience during New England’s first Great Awakening, within the approachable format of a chapbook. However, when explored further, The Prodigal Daughter reveals a complicated textual history during a time of theological and social revival in New England. This thesis considers the historical context of The Prodigal Daughter’s narrative, as well as the poem’s publication history. The text’s transmission is carefully examined and encapsulated in this edition—giving the reader a transcription that is the result of collating twenty-eight surviving witnesses of The Prodigal Daughter. This thesis serves as a critical edition of The Prodigal Daughter, with an introduction which includes a careful consideration of gendered theology, homiletics, the literary marketplace, and the role of the devil in the female conversion narrative during New England’s first Great Awakening.

This research investigates critical methods for approaching aesthetic design decisions in illustration. As a method of communication illustration qualifies its subjects through aesthetic choices, or modalities. The qualifying nature of these modalities can affect communication in an image and this research seeks an explicit understanding of how this communication occurs. This practice-based research project employs two aesthetic extremes, line and tone, in the creation of four historic visual narratives designed to fill visual gaps in the history of 1 Commando Fiji Guerillas. Line and tone are tendered as a means of visually negotiating the informing records of the Fiji Commando experience, records characterised by both conflict and absence. Can these disparate, conflicting, yet necessary records of experience be visually acknowledged in an illustrated expansion of the Fiji Commando's visual history? This position serves as the point of departure for research. An understanding of the communicative properties of line and tone is followed by investigation into their relationship to the propositions they represent, with initial research suggesting that modalities reflect the social contexts from which they encode. This relationship implied a means to negotiate the historic records necessary in a contemporary visual articulation of the Fiji Commando experience through the strategic use of aesthetic modalities to acknowledge the nature of informing source material. This practice-based approach to research allowed the consolidation of both the possible and the probable in the creation of a new visual, historic text, while revealing analytical approaches to aesthetic choice.

Submitted by Johnny Rodrigues (johnnyrodrigues@ufcg.edu.br) on 2018-06-11T19:08:30Z No. of bitstreams: 1 ANÁLIA ADRIANA DA SILVA FERREIRA - DISSERTAÇÃO PPGDsign 2017..pdf: 10863421 bytes, checksum: f502d4a8a5cd3ca66fe6947e9da120a5 (MD5)
Made available in DSpace on 2018-06-11T19:08:30Z (GMT). No. of bitstreams: 1 ANÁLIA ADRIANA DA SILVA FERREIRA - DISSERTAÇÃO PPGDsign 2017..pdf: 10863421 bytes, checksum: f502d4a8a5cd3ca66fe6947e9da120a5 (MD5) Previous issue date: 2017-05-03
Esta pesquisa tem por objetivo investigar a comunicação visual e a relação palavraimagem mediada pelo design em livros ilustrados, para isso, selecionou-se o acervo da Fundação Nacional do Livro Infantil e Juvenil, FNLIJ, especificamente a categoria Criança. Realizou-se estudo panorâmico de caráter histórico-cultural do livro infantil no Brasil, observando temáticas, concepções gráficas, autores, ilustradores e a narrativa visual com o intuito de compreender o objeto e identificar a participação do design gráfico no mesmo; levantamento e discussão sobre as classificações do livro infantil, as necessidades de leitura de imagens e os aspectos do design na organização visual também foram contemplados nesta dissertação. Os livros selecionados passaram por análise sintática e semântica para melhor observar as articulações entre as narrativas visual e verbal. Para análise sintática utiliza-se as teorias da Gestalt como norteamento, observando formas, cores, tipografia e composição. Para análise semântica o uso da Semiótica, identificando ícones, índices e suas simbologias. A metodologia seguiu as etapas propostas pelo Método Feldman de Leitura de Imagens e precisou ser adaptado para o livro ilustrado com aplicação das teorias mencionadas. Como resultado destaca-se a diversidade de concepções na narrativa visual e as experimentações que o design possibilita ao livro. Espera-se por meio deste trabalho contribuir para a ampliação de estudos do design no livro infantil, fomentar a discussão sobre leitura de imagens e as práticas de projetos de comunicação para criança.
This research aims to investigate visual communication in picturebooks and the text-image relation mediated by the design. Therefore the collection of the FNLIJ, Brazilian version of International Board on Books for Young People – IBBY, specifically the Child category was selected. In order to understand the object and identify the participation of graphic design in it, a panoramic historical-cultural study of the children's book in Brazil was carried out, emphasizing its thematic, graphic conceptions, authors, illustrators and visual narrative. This study also comprises a selection and discussion about the child book classifications, the need to foment for reading images, and the aspects of design in the visual organization of the information. The selected books were analyzed syntactically and semantically to better observe the articulations between the visual and verbal narratives. The syntactic analysis followed Gestalt theories as a guide, observing forms, colors, typography and composition. The semantic analysis was conducted through semiotics theories to identify icons, indexes and their symbologies. The methodology was an adaptation of the steps proposed by the Feldman Method of Reading Images redirecting to the Picturebook with application of the mentioned theories. As a result, this research highlights the diversity of composition of the visual narrative and the experimentation that the design makes possible to the book. Moreover, it seeks to contribute to the growth of design studies in children's books, to stimulate the discussion about reading images and for the practices of communication projects for children.

CASTRO, Vicky Temóteo Nóbrega de. A escrita por imagens: as ilustrações literárias de Poty Lazzarotto para Corpo de Baile, de João Guimarães Rosa. 2017. 126f. – Dissertação (Mestrado) – Universidade Federal do Ceará, Programa de Pós-Graduação em Comunicação Social, Fortaleza (CE), 2017.
Submitted by Gustavo Daher (gdaherufc@hotmail.com) on 2017-05-03T11:51:44Z No. of bitstreams: 1 2017_dis_vtncastro.pdf: 2834359 bytes, checksum: 66d141b4624673ec1c03751d1ef27105 (MD5)
Approved for entry into archive by Márcia Araújo (marcia_m_bezerra@yahoo.com.br) on 2017-05-03T14:39:17Z (GMT) No. of bitstreams: 1 2017_dis_vtncastro.pdf: 2834359 bytes, checksum: 66d141b4624673ec1c03751d1ef27105 (MD5)
Made available in DSpace on 2017-05-03T14:39:17Z (GMT). No. of bitstreams: 1 2017_dis_vtncastro.pdf: 2834359 bytes, checksum: 66d141b4624673ec1c03751d1ef27105 (MD5) Previous issue date: 2017
Em 1956 e 1964, o artista plástico Poty Lazzarotto ilustra as capas Corpo de baile, obra do escritor mineiro João Guimarães Rosa. A articulação entre palavra e imagem, ou melhor, entre o texto rosiano e o desenho de Poty é a questão central desta pesquisa. A partir do conceito de tradução intersemiótica, cunhado por Roman Jakobson e discutido no âmbito da arte contemporânea por Júlio Plaza, é possível pensar a tradução para além dos limites da língua, alcançando outros horizontes de linguagens. O conceito de tradução intersemiótica refere-se ao processo de interpretação de um sistema sígnico em outro, ou seja, a tradução criativa de um sistema de linguagem para outra. Neste estudo, debruçamo-nos sobre a obra Corpo de baile, produzida pela Livraria José Olympio Editora, sobretudo a primeira edição, publicada em 1956, inicialmente em dois volumes; e a terceira edição, em 1964, dividindo a obra desde então em Manuelzão e Miguilim; No Urubuquaquá, no Pinhém; e Noites do sertão. Sublinhamos as aproximações e afastamentos entre a palavra e a imagem a fim de discutirmos os aspectos plásticos e textuais nessas duas narrativas, tanto escrita quanto imagética. Corpo de baile é composto por sete novelas que convergem entre si, estórias que contam estórias. A partir do deslocamento de personagens e estórias que se cruzam, alguns autores percebem unidade nesta narrativa. Entendemos que a unidade neste texto rosiano ganha dimensão plástica nas imagens de Poty, que propõem novas formas de interpretação e diálogo.

Chez Ramón Gómez de la Serna, prolifique écrivain avant-gardiste espagnol de la première moitié du XXe siècle, la place de l’image dans la création littéraire amène à considérer plusieurs hypothèses concernant les modalités d’interrelation texte-image qui existent dans ses œuvres. Un nouvel éclairage est à envisager plus particulièrement sur l’auteur à travers les allusions et les références picturales dont il fait usage dans un corpus déterminé, celui des recueils de microrécits d’inspiration goyesque (Caprichos). Le questionnement autour de l’insertion de l’image dans les récits de Ramón Gómez de la Serna peut s’établir selon divers axes d’étude depuis la complexe intégration explicite ou implicite de l’œuvre picturale-source jusqu’à la plus simple illustration produite par l’écrivain lui-même.Ces cas d’intermédialité picturo-littéraire s’expliquent tout d’abord dans cette étude par une contextualisation de l’approche artistique ramonienne. Puis, dans un deuxième temps, l’expérience intermédiale à travers divers procédés (translation et traduction de la source picturale, ekphrasis, insertion intratextuelle et plus globalement principe de la transposition d’art) argumente en faveur d’un dispositif de systématisation intermédiatique dans les récits brefs de l’auteur. Enfin, il est question dans certains recueils (Gollerías, Trampantojos) d’analyser l’origine et la portée des auto-illustrations de Ramón Gómez de la Serna. La pratique artistique de l’auteur madrilène propose une nouvelle interprétation de ses écrits en considérant les gravures et les peintures de multiples artistes comme des substrats à une création littéraire déterminée à laisser librement entrer l’image
In Ramón Gómez de la Serna’s case, prolific writer of the Spanish vanguard in the first half of the XX century, the place of the picture into his literary creation brings to consider various hypothesis about the picture-text interrelation modalities in his works. A new lighting is worth to see by the hints and references about image in a determinate corpus: the collections of short stories with Goya’s inspiration (Caprichos). The question about image inserted in Ramón Gómez de la Serna’s text is established according to several lines of study from explicit or implicit and complex integration of the original picture until the more simple illustration drawn by the writer himself.Those cases of image-text intermediality are explained first of all by a contextualization of Gómez de la Serna’s artistic way of life. Then, in a second time, the intermediatic experience through various process (stylistic and translation of the image origin, ekphrasis, art transposition…) promote the idea about the reality of an intermediatic system into the writer’s short stories. Finally, in some of stories collections (Gollerías, Trampantojos), we must analyze the root and the reach of the illustration by the author himself.Ramón Gómez de la Serna’s art practice suggest a new interpretation of his texts by considering engravings and paintings of a lot of artists like substrates that allow the image to enter in a determinated literary creation

Mirrors and Vanities is a multi-modal collection which showcases the diversity of working in long and short storytelling forms. Featured in this thesis are fiction, nonfiction, graphic narrative, and screenplay. Using unconventional approaches to storytelling in order to achieve emotional resonance with the audience while maintaining high standards for craft, these stories and essays explore the costs inherent to the subtle nuances of interpersonal relationships. The fiction focuses on the complications of characters keeping secrets. A husband discovers the truth behind his wife's miscarriage. A girl visits her fiance in purgatory. A boy crosses a line and loses his best friend. Meanwhile, the nonfiction centers on self-discovery and gender roles associated with power struggles. A schizophrenic threatens to ruin my mother's wedding. I rediscover my relationship with my father through food writing. Sword-work teaches me to fail and succeed at making martial art. The title work of the thesis is a collaged story highlighting the tribulations of a physicist fixated on recovering his lost love by manipulating the multiverse. The multi-modal format implicates the nebulosity of physics theories and how different aspects of the narrative can be presented in various formats to best suit the nature of the storytelling. Through the interactions of characters in mundane and extraordinary circumstances, the works in this thesis examine the consequences of choice, the contrast between reality and expectation, coming of age, and the Truth of narrative.
M.F.A.
Masters
English
Arts and Humanities
Creative Writing

Au lendemain de la Seconde Guerre mondiale, dans les plus grands titres de la presse américaine, les nouveaux immeubles équipés de murs rideaux et de l’air climatisé sont présentés comme un « futur déjà arrivé dans le présent ». Le récit médiatique des projets de Mies Van der Rohe, S.O.M. ou Welton Becket est instrumentalisé à des fins de publicité et de divertissement, comme espace de projection dans le futur pour un public en mal d’horizons concrets. Cette thèse interroge la place de l’architecture dans une profonde reconfiguration du régime d’historicité, dans le sillage de l’imaginaire technoscientifique débridé qui caractérise la période – à l’instar de l’Atomic Age, du Space Age ou du Jet Age. Suivant une définition anthropologique de la culture comme production sociale de sens, la thèse met en évidence le rôle des professionnels de l’image (photographes et illustrateurs), de la communication et de l’édition dans le succès de l’architecture ultra-moderne comme proposition culturelle. Le principal cadre méthodologique du projet est la description du contexte de production et de réception du récit de l’architecture ultra-moderne dans la presse grand public. L’analyse conjugue une prise en compte des situations, des processus et des jeux d’acteurs propres au projet d’architecture et à sa médiatisation, avec un appareil interprétatif issu de l’histoire et de la théorie des arts et des images. A l’aune de son récit médiatique, l’architecture ultra-moderne apparaît comme un support de croyances et d’aspirations qui tenaient du mythe, autant que du projet technologique et rationnel revendiqué par les architectes. En tissant l’histoire de l’architecture, l’histoire du récit médiatique, et l’histoire du rapport au temps, cette thèse entend forger un cadre pour l’historiographie des mythes. La mise en œuvre des images d’architecture dans le récit du futur, qui s’appuie sur un imaginaire de la concrétisation, offre un prisme inédit pour revisiter la question de la performance des images, au cœur du champ des études visuelles
In the aftermath of the Second World War, in the headlines of the American press, new buildings equipped with curtain walls and air conditioning were presented as a "future already arrived in the present". The media account of the projects of Mies Van der Rohe, S.O.M. or Welton Becket was used for publicity purposes, as a space for future projections for an audience lacking concrete horizons. This thesis questions the place of architecture in a profound reconfiguration of the regime of historicity, in the wake of the unbridled technoscientific imagination that characterized the period – in the same way as the Atomic Age, the Space Age or the Jet Age. Following an anthropological definition of culture as a social production of meaning, the thesis highlights the role of photographers and illustrators, public relations and publishing profesionnals in the success of ultra-modern architecture as a cultural object. The main methodological framework of the project is the description of the context of production and reception of the narrative of ultra-modern architecture in the mainstream press. The analysis combines a consideration of the situations, processes and agents specific to the architectural project and its publicity, with an interpretative apparatus based on the history and theory of arts and images. In the light of its media narrative, ultra-modern architecture appears to be a support for beliefs and aspirations akin to a myth, as much as the technological and rational project claimed by the architects. By weaving together the history of architecture, the history of media narrative, and the history of the relationship to time, this thesis aims to forge a framework for a historiography of myths. The implementation of architectural images in the narrative of the future, which is based on an imaginary of concretization, offers a new prism to revisit the question of the performativity of images, at the heart of the field of visual studies

碩士
朝陽科技大學
工業設計系碩士班
99
Narrative illustration map is an interface using to describe space information, not only its position, but also its characteristics. This study based on the point sets up the perspective view and the intent of main topics of the maps, and develops their visual elements, such as the outline of map, the words of topic and the picture frames, the compass, the situation illustration, the anthropomorphic characters, and the images of scenes. Thus, according to the analysis about the resource and its characteristics, the maps build up the specific situation story, and using pictures and words to describe the history of the place, and its present state. Therefore, narrative illustrated map is not only full of the function of overview, also with vivid illustrations inside it, and these details will raise up the level of the work and the cultural cultivation, which points out the resource and characteristics of one place, with the function of communication and education. The study is divided into four part： The first part discusses the documents and theory with maps, illustrations and the narrative design theory. The second part is the analysis of narrative illustrated map examples, with the cultural symbols, visual communication, and aesthetics of illustration, to build up the analysis and design methods of narrative illustrated map. The third part is the creation of narrative illustration maps of Yi-Lian Distillery, Bu-Dai Fields Salt, Chi-Gu Salt Fields, Xi-Hu Sugar Factory, Hu-wei Sugar Factory, Tsung-Yeh Sugar Factory, Hua-Lian Sugar Factory, and Tai-Tung Sugar Factory. The forth part analyzes the creation result, to compare the differences between the creations and ordinary illustration maps, and comes with conclusion and suggestions. The process and result of creation which exams the theory point will present the value of the study.

碩士
輔仁大學
應用美術學系碩士班
100
Recently, people gradually focus on the characteristic and personal products. Thus, the solid metalwork made from planar illustration is increasing nowadays. From artistic decoration to accessories, they not only add interesting but also pull the distance closer between the user and metalwork. The narrative illustration metalwork , expressing situation and contents with the method of “Story-telling“ and makes the theme concept visible, molds more imaginational space through the sign with symbolic hints. Then making the product surrounded by the atmosphere created by the designer, which convey the meaning of product to the audience. The purpose of the research includes: 1. The symbol analysis of narrative illustration applied to metalwork. 2. The feasibility of narrative illustration applied to metalwork. 3. Apply narrative design method into illustration metalwork. The research includes narrative illustration applied to metalwork and the connections between products and symbols. We use the method of paper survey and the method of case-analyzing, then choose the metal work of Bruce Metcalf、Cynthia Toops、Chuck Domitrovich、Ken Cory、Robin Kranitzky and Kim Overstreet as example for analysis. Thus, we realize how the author delivers concept with illustration and symbols as its creative method. The narrative illustration applied to metalwork not only inspires the interest between products and audiences, but also catches on the story that the designer want to tell us profoundly. We hope the research could deliver the method of narrative illustration applied to metalwork, and provide the reference of narrative illustration metalwork for the designer and researcher.

碩士
國立臺灣藝術大學
圖文傳播藝術學系碩士班
101
The expanding and background of Taiwan digital graphic design because early resources and equipment were insufficient. It was been ignore, but along with the increasing of popularizing of computers, internet equipment, and information of software. The related industries were also focusing on this area, and the publishing industry was focusing on the computer graphics textbook market. Some education centers and cram schools were also focusing on this area, and there were other companies designing digital graphic software. Those things made Taiwan digital graphic design increase really fast, and the digital graphic design is not longer to be strange. If different tools are using for different designs, then the ways to use digital graphic software and digital hardware are different. Is there have any different technique and design journey? The different views of design company and designer, and this is my analysis motivation and purpose. This research comes from an interview with experts; through these interviews, to validate the contentions of our department’s designation and creation of narrative illustration.The interrviewee were digital tools of hardware design companies, digital graphic manipulation, software design companies, and digital graphic designers. The interviews were divided into four main areas: basic background, creative Processes, digital tools, and graphic express. The research shows: First, in Taiwan, the current digital graphic learning environment is very well-developed, and it is important that learning to use tools to express designs. Second, from traditional tools transferred to digital tools, there is not much different to design process. Finally, using digital tools can help you do whatever you want, and using the advantages and characteristics to try various designs. All of above have verified the contentions that our department has brought out.

碩士
台南應用科技大學
視覺傳達設計系碩士班
103
Illustration is a kind of highly infectious visual communication form whose concise words can better express image interpretation and attract people''s attention. Illustration has various definitions, and mainly refers to represent words, thinking, or stories in visual method. Its subject matter is quite diverse, for example, medicine, machinery, nature, advertising, etc. It has a wide range of applications, such as books, magazines, newspapers, brochures, novels, and other publications. Illustration is a kind of artistic expression which combines images and text (nonverbal and verbal text). In the past the definition for illustration is always “text-based, supplemented by graphics”, but more and more scholars think that text and graphics are parallel “text”, both can co-correspond to the themes the overall text desires to display, mutual combination can even achieve complementary effects, graphic itself is to “narrate” stories, therefore graphics have the characteristics of “text”. This series of creation apart from utilizing the “narrative nature” of illustration to express the “dreams” the dreamers talk about, it also adds the dreamers “interpretation”, using “meta narrative”, and “interpret” both then combine them. This is different from surrealism through which the dreams are simply redisplayed in the works after the creators have interpreted them. In recent years, a variety of styles of "illustration" have sprung up, and illustration has become an important visual communication form in modern design. This series of creation adapts "narrative" illustration to display "dreams", hence the literature discussion includes the exploration of Eastern and Western dream culture in addition to the discussion of illustration, narrative illustration and so on, and in terms of the creation format, via discussing the artists who have influenced this creation, making their creation spirit and format content as the creation basis, such as "surrealism technique of expression", "fantasy space expression", "black and white art" and "illustration construction elements" so on and so forth, enabling theories through actual practices and realization, using creation formats and techniques to illustrate the story and work content and ideals, finally compose the whole conclusion into a report. The study results can serve as references for future illustration creation related studies and as the foundation stone to inspect individual creation formats, content and to develop future creation directions.

This report is a chronicle of my research and design practice at The University of Texas at Austin in pursuit of the MFA in Design. It traces my interest in visual narrative, specifically in the component relationships evident in a close study of comics as they relate to questions of dimensionality and form. Key elements in this trajectory include the application of humor, sequential illustration, paper engineering and the adaptation of texts to works of visual and dimensional narrative. Along with a documentation of my working methods and experience, an appropriately distilled version of my extensive study of literature, comics, diorama, and pop-up books can be found in the following pages.
text

This doctoral thesis is part of a research project on the development of the cognitive compre-hension of film at Würzburg University that was funded by the German Research Foundation (Deutsche Forschungsgemeinschaft) between 2013 and 2019 and awarded to Gerhild Nied-ing. That project examined children’s comprehension of narrative text and its development in illustrated versus non-illustrated formats. For this purpose, van Dijk and Kintsch’s (1983) tri-partite model was used, according to which text recipients form text surface and textbase rep-resentations and construct a situation model. In particular, predictions referring to the influ-ence of illustrations on these three levels of text representation were derived from the inte-grated model of text and picture comprehension (ITPC; Schnotz, 2014), which holds that text-picture units are processed on both text-based (descriptive) and picture-based (depictive) paths. Accordingly, illustrations support the construction of a situation model. Moreover, in line with the embodied cognition account (e.g., Barsalou, 1999), it was assumed that the situa-tion model is grounded in perception and action; text recipients mentally simulate the situation addressed in the text through their neural systems related to perception (perceptual simulation) and action (motor resonance). Therefore, the thesis also examines whether perceptual simula-tion takes place during story reception, whether it improves the comprehension of illustrated stories, and whether motor resonance is related to the comprehension of text accompanied by dynamic illustrations. Finally, predictions concerning the development of comprehending illus-trated text were made in line with Springer’s (2001) hypotheses according to which younger children, compared with older children and adults, focus more on illustrations during text comprehension (perceptual boundedness) and use illustrations for the development of cogni-tive skills (perceptual support). The first research question sought to validate the tripartite model in the context of children’s comprehension of narrative text, so Hypothesis 1 predicted that children yield representations of the text surface, the textbase, and the situation model during text reception. The second research question comprised the assumptions regarding the impact of illustrations on text comprehension. Accordingly, it was expected that illustrations improve the situation model (Hypothesis 2a), especially when they are processed before their corresponding text passages (Hypothesis 2b). Both hypotheses were derived from the ITPC and the assumption that per-ceptual simulation supports the situation model. It was further predicted that dynamic illustra-tions evoke more accurate situation models than static ones (Hypothesis 2c); this followed from the assumption that motor resonance supports the situation model. In line with the ITPC, it was assumed that illustrations impair the textbase (Hypothesis 2d), especially when they are presented after their corresponding text passages (Hypothesis 2e). In accordance with earlier results, it was posited that illustrations have a beneficial effect for the text surface (Hypothesis 2f). The third research question addressed the embodied approach to the situation model. Here, it was assumed that perceptual simulation takes place during text reception (Hypothesis 3a) and that it is more pronounced in illustrated than in non-illustrated text (Hypothesis 3b); the latter hypothesis was related to a necessary premise of the assumption that perceptual sim-ulation improves the comprehension of illustrated text. The fourth research question was relat-ed to perceptual boundedness and perceptual support and predicted age-related differences; younger children were expected to benefit more from illustrations regarding the situation model (Hypothesis 4a) and to simulate vertical object movements in a more pronounced fash-ion (Hypothesis 4b) than older children. In addition, Hypothesis 4c held that perceptual simu-lation is more pronounced in younger children particularly when illustrations are present. Three experiments were conducted to investigate these hypotheses. Experiment 1 (Seger, Wannagat, & Nieding, submitted).compared the tripartite representations of written text without illustrations, with illustrations presented first, and with illustrations presented after their corresponding sentences. Students between 7 and 13 years old (N = 146) took part. Ex-periment 2 (Seger, Wannagat, & Nieding, 2019) investigated the tripartite representations of auditory text, audiovisual text with static illustrations, and audiovisual text with dynamic il-lustrations among children in the same age range (N = 108). In both experiments, a sentence recognition method similar to that introduced by Schmalhofer and Glavanov (1986) was em-ployed. This method enables the simultaneous measurement of all three text representations. Experiment 3 (Seger, Hauf, & Nieding, 2020) determined the perceptual simulation of vertical object movements during the reception of auditory and audiovisual narrative text among chil-dren between 5 and 11 years old and among adults (N = 190). For this experiment, a picture verification task based on Stanfield and Zwaan’s (2001) paradigm and adapted from Hauf (2016) was used. The first two experiments confirmed Hypothesis 1, indicating that the tripartite model is appli-cable to the comprehension of auditory and written narrative text among children. A benefi-cial effect of illustrations to the situation model was observed when they were presented syn-chronously with auditory text (Hypotheses 2a), but not when presented asynchronously with written text (Hypothesis 2b), so the ITPC is partly supported on this point. Hypothesis 2c was rejected, indicating that motor resonance does not make an additional contribution to the comprehension of narrative text with dynamic illustrations. Regarding the textbase, a general negative effect of illustrations was not observed (Hypothesis 2d), but a specific negative effect of illustrations that follow their corresponding text passages was seen (Hypothesis 2e); the latter result is also in line with the ITPC. The text surface (Hypothesis 2f) appears to benefit from illustrations in auditory but not written text. The results obtained in Experiment 3 sug-gest that children and adults perceptually simulate vertical object movements (Hypothesis 3a), but there appears to be no difference between auditory and audiovisual text (Hypothesis 3b), so there is no support for a functional relationship between perceptual simulation and the situ-ation model in illustrated text. Hypotheses 4a–4c were investigated in all three experiments and did not receive support in any of them, which indicates that representations of illustrated and non-illustrated narrative text remain stable within the age range examined here
Die vorliegende Doktorthesis ist Teil eines Forschungsprojektes zur Entwicklung des kogni-tiven Filmverständnisses an der Universität Würzburg, das von der Deutschen Forschungs-gemeinschaft im Zeitraum 2013 – 2019 als Zuwendung an Gerhild Nieding finanziert wurde. In diesem Projekt wurde das Verständnis narrativer Texte mit und ohne Illustrationen bei Kindern sowie dessen Entwicklung untersucht. Zu diesem Zweck wurde van Dijk und Kintschs (1983) Drei-Ebenen-Modell verwendet, demzufolge Textrezipient*innen eine Re-präsentation der Textoberfläche und der Textbasis bilden sowie ein Situationsmodell kon-struieren. Im Speziellen wurden Vorhersagen in Bezug auf den Einfluss von Illustrationen auf diese drei Textrepräsentationsebenen vom integrierten Modell des Text- und Bildver-ständnisses (ITPC; Schnotz, 2014) abgeleitet; dieses nimmt an, dass Text-Bild-Einheiten sowohl auf einem textbasierten (deskriptiven) als auch auf einem bildbasierten (depiktiven) Pfad verarbeitet werden. Demzufolge unterstützen Illustrationen den Aufbau eines Situati-onsmodells. Darüber hinaus wurde mit Bezug auf den Ansatz der verkörperten Kognition (z.B. Barsalou, 1999) angenommen, dass das Situationsmodell im Wahrnehmen und Han-deln begründet ist; Textrezipient*innen simulieren demnach die im Text dargestellte Situati-on durch die neuronalen Systeme, die mit Wahrnehmung (perzeptuelle Simulation) und Handlung (motorische Resonanz) in Verbindung stehen. Deshalb untersucht diese Thesis auch, ob perzeptuelle Simulation während der Textrezeption stattfindet, ob diese das Verste-hen illustrierter Geschichten verbessert und ob motorische Resonanz einen Bezug zum Ver-stehen von Texten mit dynamischen Illustrationen aufweist. Schließlich wurden Vorhersagen bezüglich der Entwicklung des Verständnisses illustrierter Texte anhand von Springers (2001) Hypothesen getroffen, wonach jüngere Kinder während des Textverstehens stärker auf Illustrationen fokussieren als ältere Kinder und Erwachsene (perzeptuelle Gebundenheit) und wonach sie Illustrationen für die Entwicklung kognitiver Fertigkeiten nutzen (perzeptu-elle Unterstützung). Die erste Forschungsfrage zielte darauf ab, das Drei-Ebenen-Modell im Zusammenhang mit dem Verständnis narrativer Texte bei Kindern zu validieren, daher sagte Hypothese 1 voraus, dass Kinder während der Textrezeption Repräsentationen der Textoberfläche, der Textbasis und des Situationsmodells aufweisen. Die zweite Forschungsfrage umfasste Annahmen be-züglich des Einflusses von Illustrationen auf das Textverständnis. Demnach wurde erwartet, dass Illustrationen das Situationsmodell verbessern (Hypothese 2a), vor allem, wenn diese vor den ihr jeweils zugeordneten Textpassagen verarbeitet werden (Hypothese 2b). Beide Hypothesen wurden hergeleitet aus dem ITPC sowie aus der Annahme, dass perzeptuelle Simulation das Situationsmodell unterstützt. Es wurde ferner vorhergesagt, dass dynamische Illustrationen genauere Situationsmodelle hervorrufen als statische (Hypothese 2c); dies folg-te aus der Annahme, dass motorische Resonanz das Situationsmodell unterstützt. In Überein-stimmung mit dem ITPC wurde angenommen, dass Illustrationen die Textbasis beeinträchti-gen (Hypothese 2d), vor allem, wenn diese nach den ihnen zugeordneten Textpassagen prä-sentiert werden (Hypothese 2e). Basierend auf früheren Ergebnissen wurde für die Textober-fläche die Hypothese aufgestellt, dass Illustrationen sich günstig auswirken (Hypothese 2f). Die dritte Forschungsfrage nahm Bezug auf den verkörperten Ansatz des Situationsmodells. Hierbei wurde postuliert, dass perzeptuelle Simulationen während der Textrezeption stattfin-den (Hypothese 3a) und dass diese stärker ausgeprägt sind bei illustriertem im Gegensatz zu nicht-illustriertem Text (Hypothese 3b); letztere Hypothese stand in Zusammenhang mit ei-ner notwendigen Voraussetzung der Annahme, dass perzeptuelle Simulation das Verständnis illustrierter Texte erhöht. Die vierte Forschungsfrage stand im Kontext der Annahmen perzeptueller Gebundenheit und perzeptueller Unterstützung und sagte Altersunterschiede voraus; es wurde erwartet, dass jüngere im Gegensatz älteren Kindern in Bezug auf das Situa-tionsmodell mehr von Illustrationen profitieren (Hypothese 4a) und vertikale Objektbewe-gungen stärker simulieren (Hypothese 4b). Zudem nahm Hypothese 4c an, dass die perzeptu-elle Simulation bei jüngeren Kindern vor allem dann stärker ausgeprägt ist, wenn Illustratio-nen gezeigt werden. Zur Überprüfung dieser Hypothesen wurden drei Experimente durchgeführt. Experiment 1 (Seger, Wannagat & Nieding, eingereicht) verglich die drei Repräsentationsebenen bei schriftlichem Text ohne Illustrationen, schriftlichem Text mit Illustrationen, die vor dem jeweiligen Text erschienen und schriftlichem Text mit Illustrationen, die danach erschienen. Schüler*innen im Alter von 7 bis 13 Jahren (N = 146) nahmen daran teil. Experiment 2 (Se-ger, Wannagat & Nieding, 2019) erforschte die drei Repräsentationsebenen bei auditivem Text, audiovisuellem Text mit statischen Illustrationen und audiovisuellem Text mit dyna-mischen Illustrationen in einer Stichprobe von Kindern desselben Alters (N = 108). In bei-den Experimenten wurde eine Satzrekognitionsmethode ähnlich der von Schmalhofer und Glavanov (1986) angewendet. Diese Methode ermöglicht die simultane Messung aller drei Repräsentationsebenen. Experiment 3 (Seger, Hauf & Nieding, 2020) untersuchte die perzep-tuelle Simulation von vertikalen Objektbewegungen bei der Rezeption auditiver und audio-visueller narrativer Texte bei Kindern im Alter von 5 bis 11 Jahren sowie bei Erwachsenen (N = 190). Hierbei wurde eine Bildverifikationsaufgabe verwendet, die auf Stanfield und Zwaans (2001) Paradigma aufbaut und von Hauf (2016) adaptiert wurde. Die ersten beiden Experimente bestätigen Hypothese 1, was darauf hindeutet, dass das Drei-Ebenen-Modell auf den Kontext des Verständnisses auditiver und schriftlicher narrativer Texte bei Kindern angewendet werden kann. Eine günstige Auswirkung von Illustrationen auf das Situationsmodell wurde beobachtet, wenn diese synchron mit auditivem Text (Hypo-these 2a), jedoch nicht wenn diese asynchron mit schriftlichem Text präsentiert wurden (Hy-pothese 2b); dies stellt eine partielle Bestätigung der ITPC in diesem Punkt dar. Hypothese 2c wurde verworfen, demnach trägt motorische Resonanz nicht zusätzlich zum Verständnis narrativer Texte mit dynamischen Illustrationen bei. Im Hinblick auf die Textbasis wurde kein genereller negativer Effekt von Illustrationen beobachtet (Hypothese 2d), jedoch ein spezifischer negativer Effekt wenn diese der ihnen jeweils zugeordneten Textpassage folgten (Hypothese 2e); letzteres Ergebnis steht ebenfalls im Einklang mit der ITPC. Die Textober-fläche (Hypothese 2f) scheint von Illustrationen bei auditivem, jedoch nicht bei schriftlichem Text zu profitieren. Die Ergebnisse von Experiment 3 legen nahe, dass Kinder und Erwach-sene vertikale Objektbewegungen perzeptuell simulieren (Hypothese 3a), es scheint jedoch diesbezüglich keinen Unterschied zwischen auditivem und audiovisuellem Text zu geben (Hypothese 3b); folglich wird die Annahme nicht unterstützt, dass perzeptuelle Simulationen beim Aufbau des Situationsmodells bei illustrierten Texten eine funktionale Rolle spielen. Die Hypothesen 4a–4c wurden in allen drei Experimenten untersucht und in keinem davon bestätigt; daraus folgt, dass Repräsentationen illustrierter und nicht illustrierter narrativer Texte innerhalb des untersuchten Altersbereichs stabil bleiben

Thesis submitted in fulfilment of the requirements for Doctor of Philosophy, University of the Witwatersrand.
In South Africa, difficulties with learners solving word problems has been a recurrent problem identified through national standardised assessments extending from Foundation Phase into the Senior Phase. As is evident globally, particular difficulties have been identified with young children solving ‘compare-type problems’ where the numbers of objects in two disjoined sets are compared. This design experiment provides empirical data of young South African learners trying to make sense of compare-type problems. The task design from this design experiment suggested that engaging learners in narrative processes where they are expected to model the problem situations and then retell and vary the word problems, to become fluent in using the sematic schemata may assist them to become more experienced and better able to make sense of compare-type problems. This finding contradicts the advice offered in official South African government documentation. The study was a three-cycle classroom-based design experiment which took place over 10 consecutive school days with Foundation Phase learners in a full service township school where the majority of learners were English Language Learners (ELLs), learning mathematics in English when their home language has not English. This study set out to research a ‘narrative teaching approach’ for a specific mathematics topic: additive relation word problems. At the heart of the study therefore, was a question relating to the efficacy of a teaching strategy: To what extent do young children’s example space of additive relations expand to include compare type word problems? This design experiment reveals that when adequately supported with careful task design and effort in monitoring and responding to learner activity, Grade 2 ELL children in a township school can improve their additive relations problem solving, in a relatively short time frame. The majority of the learners in this design experiment were able to solve compare-type problems at the end of the 10-day intervention. These learners were also able to produce evidence of movements towards more structured representations, and towards better learner explanation and problem posing using storytelling. III The design experiment intervention showed promise in expanding young children’s example space for additive relations word problems. In both cycles the mean results improved from pre-test to post-test. The gains evident immediately after the intervention were retained in a delayed post-test administered for the third cycle which showed further improvements in the mean with a reduced standard deviation. The effect sizes of the shifts in means from pre-test to post-test was 0.7 (medium) in both cycles, while the effect size of shifts in the mean from pre-test to delayed post-test was 1.3 (large). T-tests established that these shifts in means were statistically significant. The core group showed the greatest learning gains, suggesting that the intervention was most successful in ‘raising the middle’ of the class. Particular patterns of children’s reasoning about additive relations word problems are documented from the South African ELL children in this design experiment. For example many ELLs in this design experiment initially responded to compare word problems like ‘Mahlodi has 12 sweets. Moeketsi has 8 sweets. How many more sweets does Mahlodi have than Moeketsi?’ with: ‘Mahlodi has 12 sweets’. New actions and contrasts relating to additive relations are brought into focus. For example the empirical results indicated that inserting attention to 1:1 matching actions was found to be useful to helping learners to deal with static compare situations. This study has helped to extend the theoretical foundations of what is meant by a ‘narrative approach’ as the theoretical features of the narrative approach are now situated within a broader theoretical framework of orienting theories, domain specific instructional theories, and related frameworks for action. The findings of this design experiment have been promising in the local context of the focal school. Should the intervention task design be found to yield similar results in other South African Foundation Phase contexts, when implemented by teachers other than the researcher, then it may be appropriate to use the research findings to improve the guidance provided to Foundation phase teachers (in curriculum documentation and through professional development offerings).
MT2017

碩士
中原大學
文創設計碩士學位學程
106
Consumption patterns in Taiwan have changed over the recent years and the public has begun to shift towards more efficient spending. The gradual decrease in the desire to purchase customization suits that require a longer time to produce has resulted in a shrinking market over the years. The reason behind this phenomenon is a general lack of public understanding about customization suits. Many people think that ready-to-wear suits from a value brand have a guaranteed level of quality, yet they tend to miss the fundamental point about wearing a suit – its customizability and bespoken nature. If a suit is unable to complement the wearer’s silhouette and physique, or even worse, it is unable to make the wearer exude confidence, it would be a failure. The biggest value of the customization suit is its bespoken nature. During the process of making the suit, the tailor will make a custom pattern designed according to the consumer’s physique and produce a suit that conforms to the shape of the consumer. During the fitting process, the tailor will further assist in making any required alterations – such is the greatest difference between a ready-to-wear suit and a customization suit. Since modern people generally lack an understanding of the customization suits, this study seeks to highlight the value of a customization suit via the creation of an illustrated picture book, so that the public may come to a deeper understanding of the value and characteristics of the customization suit through the process of reading. Humans are largely visual creatures who tend to learn faster via images as compared to words. Therefore, the public can be educated about customization suits via illustrations. We strongly believe that the market for customization suits will grow over the years and eventually gain popularity among the younger generation.

Relatório de estágio de mestrado em Ensino de Educação Visual e Tecnológica no Ensino Básico
Esta investigação insere-se no âmbito do segundo ciclo escolar, do ensino básico, do mestrado profissionalizante, com vista à aplicação de um método de investigação em forma de estudo de caso numa turma na área de Educação Visual e Tecnológica (EVT). O estudo integra os alunos que frequentam o 6º ano de escolaridade, de uma escola do distrito de Braga. Compreende a análise de trabalhos gráficos e questionários realizados pelos alunos. Este trabalho tem um carácter exploratório e auto refletivo e o seu objeto de estudo é sobre as capacidades interpretativas das crianças na forma como ilustram uma história. Através das imagens, pretende-se estudar o impulso criativo, tendo como suporte a imaginação e a memória relativamente à forma como a criança descreve e ilustra as suas ideias. O tema nasce da procura de fundamentar que a arte de desenhar está inerente à fantasia e à imaginação, sendo estes elementos fundamentais para uma real aprendizagem, que pode ter impulso nas palavras, uma vez que, estas são por vezes uma fonte criativa. Ver nas histórias um trampolim para a criatividade ou a magia de podermos ser quem quisermos. Espero que este trabalho contribua para uma melhor valorização do ato criativo e fomente o recurso aos livros como motor sugestivo do instinto criador. Acima de tudo, possa contribuir para uma melhoria das práticas, para melhor formar o indivíduo, como estratégia de desenvolvimento pessoal e profissional, integrada no processo de investigação ação, que promoveu a minha reflexão sobre novas formas, novas abordagens metodológicas, nas atividades educativas.
This research falls within the scope of the second cycle basic school education,integrated in a professional master’s degree, with a view to the application of a method of investigation in the form of study case in a class of Visual and Tecnological Education. The study includes students who attends the 6 th grade at a school in the distrct of Braga. Comprises the analysis of questionaires and graphic works by students. This study has an exploratory and self reflective way and its object of study is the interpretative skills of children and how they illustrate a story. The theme comes from looking for reasons that the art of drawing is inherent in the fantasy and the imagination,which are essential to a real learning. It may also have a boost in the words, since these are sometimes a creative source. To see stories as a springboard for creativity and the magic that we can be who we want. I hope this work will contribute for a better appreciation of the creative act and encourages the use of books as a creative instinct engine. Above all may it contributes to an improvement of practices, to better train individuals,to be used as strategy for a personal and professional development, integrated into the research process that promoted my reflection on new forms and new approaches in educational activities.

This project is an attempt to review and explore the strengths and limitations of the technologies and tools in the web-based sequential art medium in order to find a process with which one can create more efficiency in delivering impactful sequential images to convey a narrative. The information gathered and analyzed here is then used to inform creative decisions in forming the final work, which is a web-based original sequential art narrative. The final web-based narrative endeavors to function as a ‘proof of concept’ for the topics discussed and analyzed.

Orientação: Maria Constança Pignateli de Sousa e Vasconcelos
O presente relatório, elaborado no âmbito do Mestrado em Ensino de Artes Visuais no 3º Ciclo do Ensino Básico e no Ensino Secundário, compreende a descrição pormenorizada e justificada das práticas desenvolvidas em sala de aula no âmbito da cadeira de Prática de Ensino Supervisionada, em duas turmas do 8º ano, com a orientação pedagógica da docente da disciplina. Nasce da possibilidade de relacionar práticas contemporâneas do desenho para o desenvolvimento criativo dos alunos, através de um conjunto alargado de experiências voltadas para a interpretação de obras literárias. Mais concretamente, o projeto de investigação procura explorar o modo como a produção gráfica de um conjunto de alunos do Agrupamento de Escolas D. Filipa de Lencastre em Lisboa poderá incentivar a leitura e interpretação de obras literárias, e simultaneamente estimular o reconhecimento de objetos e ideias independentemente da sua presença física ou imediata. Centra-se no modo como a experiência do desenho poderá incentivar o desenvolvimento de diferentes processos de leitura e interpretação dos estudantes, e seguidamente, o que deriva dessa experiência que possa ser aplicável na estruturação de uma proposta de ação pedagógica diferenciada para o ensino do desenho. No âmbito deste estudo estivemos cerca de quatro meses em trabalho de sala de aula, em contato direto com as duas turmas que estabeleceram a unidade de análise de investigação. Os dados foram recolhidos através de diversas técnicas e meios, privilegiando uma abordagem metodológica qualitativa que valoriza a capacidade expressiva do desenho, o conhecimento que se dá através da ação, a sensibilidade e capacidade para lidar com o imprevisto e a experimentação sem receio. Os fenómenos são descritos de forma exploratória e descritiva, e a informação recolhida desdobra-se sob a forma de questionário, grelhas de observação das aulas, produção gráfica dos estudantes e fichas de autoavaliação. Por último, poderá afirmar-se que a presente investigação coloca a descoberto a grande potencialidade do desenho contribuir para o desenvolvimento de alunos ativos e com capacidade crítica, capazes de trabalhar sobre ideias, palavras e conceitos próprios.
This report, prepared within the context of the Master's Degree in Visual Arts Teaching in the 3rd Cycle of Basic Education and Secondary Education, comprises a detailed and justified description of the classroom practices developed in the class of Supervised Teaching Practice. It involves two 8th grade classes and the pedagogical supervision provided by the teacher of the subject. It arose out of the possibility of connecting contemporary practices of drawing towards the creative development of students, through a wide range of experiences directed at the interpretation of literary works. More specifically, the research project seeks to explore how the graphic production of a group of students from the D. Filipa de Lencastre Schools Group in Lisbon could encourage the reading and interpretation of literary works and, at the same time, stimulate the recognition of objects and ideas regardless of their physical or immediate presence. It is focused on how the experience of drawing can encourage the development of different processes of reading and interpretation by students. Afterwards, the results from this experiment may be useful to construct a differentiated pedagogical action proposal for the teaching of drawing. Within the framework of this study we spent about four months doing classroom work in direct contact with the three classes that comprised the research analysis unit. The data were collected through the use of several techniques and means, favouring a qualitative methodological approach that values the expressiveness of drawing, the knowledge that can be perceived through action, the sensitivity and ability to deal with the unexpected and the possibility of experimenting without fear. The phenomena are described in an exploratory and descriptive way, and the information collected resulted from a questionnaire, class observation grids, graphical production by students and self-evaluation sheets. In conclusion, one can state that this research reveals the enormous potential of drawing as a contributing fator to the development of ative and critical students capable of working on their own ideas, words and concepts.

Zimbabwe is suffering from an acute shortage of teachers mainly as a result of teacher emigration to South Africa and abroad. The southern migration of Zimbabwean teachers has received little research attention which has mainly focused on the migration of medical personnel. The purpose of this study is to uncover the factors that drive the migration of teachers from Zimbabwe to South Africa and to explain how these factors function within a grounded theory approach to teacher migration. To achieve this, a review of literature and an empirical study of a small sample of migrant Zimbabwean teachers resident in South Africa were undertaken. A constructivist grounded theory design was used. A theoretical sampling method generated a sample group of thirteen participants who were all qualified Zimbabwean teachers who had migrated to South Africa and been in the country for between one and five years. Data generation and collection consisted of two phases: in the first phase the participants were asked to write a life history narrative or provide a verbal narrative of their life history focussing on their migration. In the second phase they participated in individual interviews to clarify or expand on issues raised in the first phase. Three stages of coding were used in the analysis of the data, namely initial, intermediate and advanced coding. This led to the generation of a grounded theory on teacher migration. The grounded theory indicated that Zimbabwean teachers see migration as the best way to attain an ideal status. An ideal status is conceived to be the ideal interplay between the work conditions, standard of living and social esteem which teachers believe befits members of their profession. Depending on various criteria, teachers fall into one of the following status categories: further diminished status, diminished status, ideal status or ideal status surpassed. Migration is a drastic and demanding way to improve one’s status and it is adopted by teachers only after other strategies to this end have been exhausted. Weighed against existing theories of migration, the grounded theory contributes to understanding teacher migration and retention through the innovative use of the core category status.
Educational Studies
D. Ed. (Socio-Education)