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"Visualisation in English Popular Fiction" explores the important
yet often neglected tradition of illustrated fiction in English.
Author Stuart Sillars suggests new analytical approached for the
study of illustrated fiction by offering detailed discussions of a
range of representative texts.
Sillars provides an in-depth account of the growth of the
illustrated text in 19th century England, and discusses also some
of the implications of Roland Barthes' ideas of narratology as they
may be applied to this compound form. Following studies in the book
explore a range of issues raised by texts of various kinds, such as
the visual sense in popular fiction without illustrations, the use
of visual narrative in comic strips, and the precise nature of the
relocation which occurs when a novel is translated to film.
The author brings to the subject extensive experience of lecturing
and writing on the relations between visual and verbal texts. The
intersection between art and literature is of ever increasing
interest, and this insightful and cross-disciplinary text is a
valuable contribution to the debate.
This eighth volume of The Shakespearean International Yearbook
presents a special section on 'European Shakespeares', proceeding
from the claim that Shakespeare's literary craft was not just
native English or British, but was filtered and fashioned through a
Renaissance awareness that needs to be recognized as European, and
that has had effects and afterlives across the Continent. Guest
editors Ton Hoenselaars and Clara Calvo have constructed this
section to highlight both how the spread of 'Shakespeare'
throughout Europe has brought together the energies of a wide
variety of European cultures across several centuries, and how the
inclusion of Shakespeare in European culture has been not only a
European but also a world affair. The Shakespearean International
Yearbook continues to provide an annual survey of important issues
and developments in contemporary Shakespeare studies. Contributors
to this issue come from the US and the UK, Spain, Switzerland and
South Africa, Canada, The Netherlands, India, Portugal, Greece,
France, and Hungary. In addition to the section on European
Shakespeares, this volume includes essays on the genre of romance,
issues of character, and other topics.
This eighth volume of The Shakespearean International Yearbook
presents a special section on 'European Shakespeares', proceeding
from the claim that Shakespeare's literary craft was not just
native English or British, but was filtered and fashioned through a
Renaissance awareness that needs to be recognized as European, and
that has had effects and afterlives across the Continent. Guest
editors Ton Hoenselaars and Clara Calvo have constructed this
section to highlight both how the spread of 'Shakespeare'
throughout Europe has brought together the energies of a wide
variety of European cultures across several centuries, and how the
inclusion of Shakespeare in European culture has been not only a
European but also a world affair. The Shakespearean International
Yearbook continues to provide an annual survey of important issues
and developments in contemporary Shakespeare studies. Contributors
to this issue come from the US and the UK, Spain, Switzerland and
South Africa, Canada, The Netherlands, India, Portugal, Greece,
France, and Hungary. In addition to the section on European
Shakespeares, this volume includes essays on the genre of romance,
issues of character, and other topics.
Visualisation in Popular Fiction 1860-1960 explores the important
but neglected tradition of illustrated fiction in English. It
suggests new analytical approaches for its study by offering
detailed discussions of a range of representative texts, including
Mary Webb's Gone to Earth and Daphne du Maurier's Rebecca. Among
the issues and genres Sillars explores are: * Victorian 'narrative'
paintings * Edwardian fictional magazines * comic strips *
illustrated children's stories * the translation of novels into
film An insightful and highly informative work, Visualisation in
Popular Fiction will be of value to students of literature,
cultural studies, visual art and film.
A richly illustrated study of the interplay of word and image in
representations of the English countryside, built environment, and
domestic space during the interwar period. During the 1920s and
30s, words and pictures in print were the main way in which people
received ideas and entertainment, the two working together in a
great variety of forms. Many books of the twenties argued against
the loss of the countryside because of suburban building. But the
demand for post-war building was great and, following the lead of a
government report, many books appeared that showed house designs,
allowing readers to design or imagine their ownership. Book designs
became attractive, helped by colourful dust jackets and internal
pictures. Magazines developed individual talents and special
interests for both men and women. And, at the periods close, word
and image were combined to publicise the growing RAF and give
advice about protecting houses from bombing. In all these, words
and images worked together as a complex form of art, communication,
and entertainment.
This book explores key texts - Howards End , The Rainbow , and the
poetry of Owen, Sassoon and Edward Thomas - to show the mingled
continuation and rejection of convention as their characteristic
achievement, exploring features often seen as failures. It also
discusses the writing's increasing concern with the inadequacies of
language, seeing it within the frame of contemporary society and
deconstructive theory, and attempting to locate them in relation to
high Modernism.
This book explores key texts - Howards End , The Rainbow , and the
poetry of Owen, Sassoon and Edward Thomas - to show the mingled
continuation and rejection of convention as their characteristic
achievement, exploring features often seen as failures. It also
discusses the writing's increasing concern with the inadequacies of
language, seeing it within the frame of contemporary society and
deconstructive theory, and attempting to locate them in relation to
high Modernism.
An examination of the ways in which the artists and writers of the
1940s developed and extended approaches from earlier English
romanticism to provide a direct and compassionate response to the
reality of contemporary destruction.
Extending the Book introduces the largely-forgotten art of
extra-illustration -- individually adding portraits or other
illustrations to published books -- and explores what this
personalized form of book design reveals about the history of
reading.--It includes a brief introduction to the concept of
designing and creating a unique book by adding external material
and an overview of the phenomenon's history and its heyday in the
later eighteenth and nineteenth centuries. The works of Shakespeare
-- the most popular single author for extra-illustration --
exemplify the practice as it changed over time.--From the
beginning, extra-illustrators had to defend the "exquisite
handicraft" (in the words of an 1890 proponent) against accusations
of "breaking up a good book to illustrate a worse one" (in the
words of an 1892 critic). This book examines the art and the
practice of extra-illustration, from crudely altered books to
beautiful new creations.-
This book describes the role of communication in business -
including the effects of information technology - and aims to
develop the skills necessary for effective business communications.
It provides syllabus coverage for the following examinations - LCCI
English for Business and English for Commerce (1st and 2nd levels);
Pitman English for Business Communication (Intermediate and
Advanced); RSA Communication in Business (Stages I and II); Group
Secretarial Examinations; City and Guilds Communication Skills.
While over the past four hundred years numerous opinions have been
voiced as to Shakespeare's identity, these eleven essays widen the
scope of the investigation by regarding Shakespeare, his world, and
his works in their interaction with one another. Instead of
restricting the search for bits and pieces of evidence from his
works that seem to match what he may have experienced, these essays
focus on the contemporary milieu-political developments, social and
theater history, and cultural and religious pressures-as well as
the domestic conditions within Shakespeare's family that shaped his
personality and are featured in his works. The authors of these
essays, employing the tenets of critical theory and practice as
well as intuitive and informed insight, endeavor to look behind the
masks, thus challenging the reader to adjudicate among the
possible, the probable, the likely, and the unlikely. With the
exception of the editor's own piece on Hamlet, Shakespeare the Man:
New Decipherings presents previously unpublished essays, inviting
the reader to embark upon an intellectual adventure into the
fascinating terrain of Shakespeare's mind and art.
While over the past four hundred years numerous opinions have been
voiced as to Shakespeare's identity, these eleven essays widen the
scope of the investigation by regarding Shakespeare, his world, and
his works in their interaction with one another. Instead of
restricting the search for bits and pieces of evidence from his
works that seem to match what he may have experienced, these essays
focus on the contemporary milieu-political developments, social and
theater history, and cultural and religious pressures-as well as
the domestic conditions within Shakespeare's family that shaped his
personality and are featured in his works. The authors of these
essays, employing the tenets of critical theory and practice as
well as intuitive and informed insight, endeavor to look behind the
masks, thus challenging the reader to adjudicate among the
possible, the probable, the likely, and the unlikely. With the
exception of the editor's own piece on Hamlet, Shakespeare the Man:
New Decipherings presents previously unpublished essays, inviting
the reader to embark upon an intellectual adventure into the
fascinating terrain of Shakespeare's mind and art.
Illustrations have been an important element of many of the most
extensively read editions of Shakespeare's plays, from the
frontispieces to Nicholas Rowe's 1709 edition to the multiple
images placed within the text of Victorian editions. Through
symbols the illustrations have explored language and character; by
allusion to earlier paintings they have offered critical readings;
and by gesture, setting and costume they have redesigned the plays
within the visual vocabulary of their own times. In all these ways
they offer important exchanges with contemporary social, aesthetic
and critical concerns, and, despite being largely ignored by
scholars, are central to the plays' reception. Highly illustrated,
including many images not previously reproduced, the book allows
the reader to share the experience of early readers of the plays.
Building on the author's earlier work in Painting Shakespeare it
offers a fresh address to the tradition of visual criticism and
assimilation of Shakespeare's plays.
Time and the visual sense were two essential preoccupations of the
Victorians, and both were central to their presentations of
Shakespeare's plays. In this extensive new study, Stuart Sillars
examines multiple facets of this complex relationship. The desire
for authenticity in production, in the work of Charles Kean and his
followers, leads to elaborate sets that define and direct the
performances' movement through time. Visual artists of all kinds
fracture and extend the plays' movements, the Pre-Raphaelites
through new techniques and approaches, illustrators through new
forms of engraving and printing, and photographers through the
emerging forms of the medium. The book also considers the multiple
forms in which performances were recorded and re-created visually,
and absorbed into the memories of their viewers. With many
previously unpublished images, it draws together multiple fields to
offer a new perspective on one of the most productive and various
periods of Shakespeare activity.
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