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The explosive proliferation of pictures in advertising and pop culture, mass media, and cyberspace following World War II, along with the profusion of critical thinking that tries to make sense of it, has had wide-ranging implications for cultural production as such. Pictures into Words explores how this proliferation of graphic images has profoundly affected narrative writing in France, especially, as Ari J. Blatt argues, the structure, content, and symbolic logic of contemporary French fiction. By examining a specific corpus of narratives by authors Claude Simon, Georges Perec, Pierre Michon, and Tanguy Viel—books that originate amid, conjure up, and indeed are essentially about pictures—Blatt addresses the most salient questions pertaining to the relationship between literature and visual culture today. Each of the novels considered here engages the work of several postwar artists, from Robert Rauschenberg, Andy Warhol, Vincent van Gogh, and Orson Welles to Jeff Koons, Joseph L. Mankiewicz, Pierre Huyghe, and Marcel Duchamp. As Blatt’s cross-disciplinary readings show, despite their gleeful raiding of the visual archive to generate and enrich their stories, many contemporary narratives that tell tales about pictures simultaneously express a cautious skepticism toward vision and visual representation. Pictures into Words examines how such novels, while seemingly complicit with the visual, simultaneously “write back” against the images they exploit, reclaiming some of literature’s lost ground in our visually inundated world.
New Yorker Bob Gill is a multi-award-winning graphic deisgner whose effortless, witty designs are admired and imitated around the world. This book is an exploration of his graphic design process. It is packed full of thought-provoking practical examples and inspiration.
This book contains selected poems from my collection, although very simple in content, they represent and depict many experiences that I have been through over the past two years. Writing poetry has helped me express feelings that otherwise would be locked away, and consequently, I believe that as a result of writing poetry, I have gained a degree of healing, and have been able to air many frustrations, coming to terms with some of the bad decisions that I have made. Many of the poems within the book, become pictures in my mind, and will hopefully mean many things to many readers. The natural world and nature inspire me in many of my writings, and they are often used as a vehicle to convey my thoughts.
In Psalm 18 in Words and Pictures: A Reading Through Metaphor, Alison Gray engages in an in-depth study of the figurative language of Psalm 18, demonstrating the necessity of a dynamic approach to metaphor interpretation within a given textual unit. As one of the longest and most elaborate in the Hebrew Bible, Psalm 18 provides fertile soil for studying the interplay between words and images. While previous studies of the Psalm have focused on questions of form, structure, or unity - as well the relation to its Doppeltext of 2 Samuel 22 - Alison Gray explores the ways in which a metaphor-oriented hermeneutic enriches the psalm’s translation and exegesis.
In the living room were gathered my four sisters Elise, Jeanette, Nita, Rosemary, and me (Keller Paul Madere) along with my wife Carolyn and Charles Stalfort, Nitas husband. After a lot of chit chat back and forth reminiscing about old family stories and happenings, Charles (or Chuck as we know him) brought out his tape recorder. Quizzically, he posed this simple question, What can you tell me about PaPa? He was referring to our father Ernest Hubert Madere. With feelings of unified dismay, none of the five of us were able to provide Chuck with any new information about PaPa other than what he already knew.Consequently, in order for the children of Carolyn and me, namely Joni, Colin, and Lana, to have some inkling regarding where I lived, what I did, and get a glimpse into my psyche before they were born and then grew up knowing me, this tome will provide some insight. Our children will have historical and genealogical information concerning their ancestry in words, pictures, and other relative and associated odds and ends. Nowadays, family members tend to get scattered hither and yon. Children often get permanently displaced regarding their backgrounds and family records. Items like birth certificates, report cards, names of 1st and 2nd cousins, aunts, uncles, close friends, associates, and similar pertinent items gets lost in the shuffel as time steadily marches on.Hopefully, this ponderous volume will soothe many misgivings our children may have about who they are, the backgrounds of their ancestors, and precisely where they came from. Amen!
A pioneering study of a unique narrative form, Words about Pictures examines the special qualities of picture books--books intended to educate or tell stories to young children. Drawing from a number of aesthetic and literary sources, Perry Nodelman explores the ways in which the interplay of the verbal and visual aspects of picture books conveys more narrative information and stimulation than either medium could achieve alone. Moving from "baby" books, alphabet books, and word books to such well-known children's picture books as Nancy Ekholm Burkert's Snow White and the Seven Dwarfs, Gerald McDermott's Arrow to the Sun, Maurice Sendak's Where the Wild Things Are, and Chris Van Allsburg's The Garden of Abdul Gasazi, Nodelman reveals how picture-book narrative is affected by the exclusively visual information of picture-book design and illustration as well as by the relationships between pictures and their complementary texts.
This volume represents the current state of research on picture books and other adjacent hybrid forms of visual/verbal texts such as comics, graphic novels, and book apps, with a particular focus on texts produced for and about young people. When Perry Nodelman’s Words about Pictures: the Narrative Art of Children’s Picture Books was published almost three decades ago, it was greeted as an important contribution to studies in children’s picture books and illustration internationally; and based substantially on it, Nodelman has recently been named the 2015 recipient of the International Grimm Award for children’s literature criticism. In the years since Words About Pictures appeared, scholars have built on Nodelman’s groundbreaking text and have developed a range of other approaches, both to picture books and to newer forms of visual/verbal texts that have entered the marketplace and become popular with young people. The essays in this book offer 'more words' about established and emerging forms of picture books, providing an overview of the current state of studies in visual/verbal texts and gathering in one place the work being produced at various locations and across disciplines. Essays exploring areas such as semiological and structural aspects of conventional picture books, graphic narratives and new media forms, and the material and performative cultures of picture books represent current work not only from literary studies but also media studies, art history, ecology, Middle Eastern Studies, library and information studies, and educational research. In addition to work by international scholars including William Moebius, Erica Hateley, Nathalie op de Beeck, and Nina Christensen that carries on and challenges the conclusions of Words about Pictures, the collection also includes a wide-ranging reflection by Perry Nodelman on continuities and changes in the current interdisciplinary field of study of visual/verbal texts for young readers. Providing a look back over the history of picture books and the development of picture book scholarship, More Words About Pictures also offers an overview of our current understanding of these intriguing texts.
Ricci's book ranges widely over Calvino's oeuvre to illustrate the accuracy of the idea articulated by Calvino himself that a visual image lies at the origin of all his narrative. The book's main theme is the difficult interface between word and image that Calvino struggled with throughout his career, the act of perception that rendered visible that which was invisible and transformed what was seen into what is read. Ricci holds that Calvino's narrative has an 'imagocentric' program and that his literary strategy is 'ekphrastic' i.e. it is characterized by literary description of visual representation, real or imaginary. The book is interdisciplinary in nature and will interest not only scholars of literature but also those who work with the visual arts and with information technology.
He offers seven thought-provoking pieces, three of which are new and written specifically for this book. While Baxandall focuses on works of the fifteenth century, his essays transcend this period and show with fresh insight how words match the experience of looking at paintings and sculptures."--BOOK JACKET.