Nie tylko o Buce. Egzemplifikacje i ewolucje motywu lęku w książkach o Muminkach Tove Jansson

The article discusses the motif of fear in nine illustrated books about the Moomins by Tove Jansson. Methodologically, the study is a qualitative analysis from the perspective of the double address, the psychological differentiation between the concepts of fear and anxiety, and the iconotextual reading. Although Moomin Valley has been traditionally perceived as a literary arcadia, the plot of the books is surprisingly often interwoven with disasters and dangers, including a volcanic eruption, a freezing winter, a comet, floods, and frequent storms. Jansson employed these motifs — evoking fear triggered by substantive causes — in the contents addressed to inexperienced recipients. She did it intentionally and was convinced that children enjoy fear as long as the story ends happily. In this context a particularly sophisticated character is the Groke, which is usually considered as the most terrifying monster in the series. She appears in four volumes — Finn Family Moomintroll (1948), The Exploits of Moominpappa (1950), Moominland Midwinter (1957), Moomin pappa at Sea (1965) — and the analysis proves that her characterization signifi cantly evolves. Her nuanced nature is from the beginning available to more experienced readers, since it is included in the visual representation, disputing the verbal. Furthermore, the Groke appears to be a hybrid character, as she evokes both fear relating to a specific object and anxiety stemming from an unknown threat — in fact, there are no rational reasons for fearing her.

“Thief in the Name of Kidd”: Unscrupulous Opportunism and Cheap Print in Late Regency London

William Kidd saw himself as a struggling small publisher of illustrated books operating during the 1830s in a marketplace that favoured large scale firms. His response to his perceived disadvantages was twofold. In seeking to reach a rapidly expanding cohort of leisure-based readers, Kidd deployed aggressive marketing policies that frequently sailed close to the law and generated considerable controversy. He was also less than honest about just who had written or illustrated his books. At the same time, he initiated new genres of relatively cheap illustrated publications based on the recreational interest and habits of an emerging lower middle class and artisan reading public. In particular, he took advantage of the wood engraving as a cheap reprographic medium, and employed highly capable draughtsmen such as Robert Cruikshank, Robert Seymour and George Bonner to illustrate his books and pamphlets. His pocket guides to British seaside resorts, his development of the illustrated reprints known as jeu d’esprit or Facetiae and his packaging up of sayings, mottos and nuggets of information into small format gatherings all show a lively minded and innovative response to the rapidly changing literary marketplace. Kidd’s career suggests both the legally chaotic nature of the literary marketplace and the entrepreneurial opportunities offered to a shrewd if unscrupulous publisher in late Regency London.

'To the Curious Enquirer': Depictions of Pacific Peoples in Popular Illustrated Books from Paris and London c.1775-1810

<p>This study considers a range of illustrated encyclopaedias published in London and Paris in the late eighteenth and early nineteenth centuries depicting peoples of the Pacific or Oceania. Using a framework of curiosity, exoticism, and costume iconography, as well as considering relevant contemporary developments, I argue that, despite the widespread appeal to 'curiosity', the books reveal a fairly superficial interest, at a popular level, in other peoples: one that is mainly interested in contrasting 'civilised' Europe with less civilised or 'savage' others. The genres to which these books belonged developed in the sixteenth century, and the books considered in this study followed their genre traditions, fitting the 'new discoveries' of Oceania into these existing traditions. The frontispieces set the tone of the books, and embodied moral value judgements revealing European views of political, social and economic relations between Europe and other peoples and countries at that time. They were also following an iconographic tradition set down much earlier and generally failed to acknowledge recent events that challenged these prevailing views. I consider how the images of Oceanic peoples in the French costume books were developed (or as I argue 'invented') from the source material, which was mainly images in the published accounts of Captain Cook's three voyages. In inventing images designed to please the eye, the sources chosen reveal the prejudices and expectations of European readers. But how were the 'new' Oceanic peoples incorporated into these books? By seeing Oceanic peoples as part of America it was easy to fit them into existing prejudices about 'savages' and into existing pictorial conventions for depicting 'savages'. For an audience expecting to see 'savages' wearing grass skirts and feather headdresses these images would have appeared 'authentic'. My study will highlight more popular views rather than the views of philosophers, or the voyagers' accounts, which understandably have been given more academic attention. These books are overlooked today because they are derivative and their images are not necessarily ethnographically accurate; yet they were popular in their time. They represent a conservative Eurocentric viewpoint and their inclusion of new material from Oceanic voyages did not challenge these views. Images and texts such as these likely reinforced European views of their own superiority and made it easy to justify missionary activity and colonisation in various parts of the world, particularly Oceania.</p>

Chronological Evolution of the Urashima Taro Story and its Interpretation

<p>The present thesis examines the evolution of the Urashima story. In modern Japan traditional Japanese tales have been presented in the form of illustrated books for young children. It is generally regarded that these tales contain common motifs or moral lessons; however, the Urashima story, one of the most well-known stories in Japan, seems to differ greatly from other folktales. Scholars believe that the Urashima story was a popular pre-written orality-based story among the coastal dwelling ama group of people in ancient times in Japan. The introduction of a writing system from China made it possible to record the Urashima story as a written text. However, the first recorded version of the Urashima story, putatively in the late seventh century, was quite different from later versions in terms of plot, purpose and the characters. The ideology of immortality, suggesting Chinese Daoist origins, was the main purpose of the story for several centuries, overlain by Buddhist influences. The present study finds that the major turning point in the tale from an orality-based story to a literary text was in Otogizōshi in the Muromachi Period (14th–16th centuries), when people still seemed to be attuned to orality-based puns and the satirical and witty use of word plays through the exchange of songs. During the ensuing Edo Period, the Urashima story was transformed into a book for reading material. It changed at this time due to social developments, such as the widespread manufacture of paper and the technological development of woodblock printing. A shift in its themes and motifs such as immortality to Buddhist and social moral lessons occurred along with changing the cultural values of society, increase in literacy, and the appearance of new genres of literature and their writers in the Edo Period. The establishment of the formal compulsory education system in the Meiji Period, accompanied by a shift in readership from educated adults to school children, further changed the story and its purpose, and resulted in the standardisation of the Urashima Tarō story that is well known today. Much of the well-known content of the current Urashima story in modern day Japan has appeared only within the last 150 years. Therefore, from this thesis it is apparent that the Urashima story evolved as a reflection of Japanese society’s changing views. In short, this study identifies and analyses significant changes to the original recorded story that have appeared over the past fourteen hundred years.</p>

Chronological Evolution of the Urashima Taro Story and its Interpretation

<p>The present thesis examines the evolution of the Urashima story. In modern Japan traditional Japanese tales have been presented in the form of illustrated books for young children. It is generally regarded that these tales contain common motifs or moral lessons; however, the Urashima story, one of the most well-known stories in Japan, seems to differ greatly from other folktales. Scholars believe that the Urashima story was a popular pre-written orality-based story among the coastal dwelling ama group of people in ancient times in Japan. The introduction of a writing system from China made it possible to record the Urashima story as a written text. However, the first recorded version of the Urashima story, putatively in the late seventh century, was quite different from later versions in terms of plot, purpose and the characters. The ideology of immortality, suggesting Chinese Daoist origins, was the main purpose of the story for several centuries, overlain by Buddhist influences. The present study finds that the major turning point in the tale from an orality-based story to a literary text was in Otogizōshi in the Muromachi Period (14th–16th centuries), when people still seemed to be attuned to orality-based puns and the satirical and witty use of word plays through the exchange of songs. During the ensuing Edo Period, the Urashima story was transformed into a book for reading material. It changed at this time due to social developments, such as the widespread manufacture of paper and the technological development of woodblock printing. A shift in its themes and motifs such as immortality to Buddhist and social moral lessons occurred along with changing the cultural values of society, increase in literacy, and the appearance of new genres of literature and their writers in the Edo Period. The establishment of the formal compulsory education system in the Meiji Period, accompanied by a shift in readership from educated adults to school children, further changed the story and its purpose, and resulted in the standardisation of the Urashima Tarō story that is well known today. Much of the well-known content of the current Urashima story in modern day Japan has appeared only within the last 150 years. Therefore, from this thesis it is apparent that the Urashima story evolved as a reflection of Japanese society’s changing views. In short, this study identifies and analyses significant changes to the original recorded story that have appeared over the past fourteen hundred years.</p>

'To the Curious Enquirer': Depictions of Pacific Peoples in Popular Illustrated Books from Paris and London c.1775-1810

<p>This study considers a range of illustrated encyclopaedias published in London and Paris in the late eighteenth and early nineteenth centuries depicting peoples of the Pacific or Oceania. Using a framework of curiosity, exoticism, and costume iconography, as well as considering relevant contemporary developments, I argue that, despite the widespread appeal to 'curiosity', the books reveal a fairly superficial interest, at a popular level, in other peoples: one that is mainly interested in contrasting 'civilised' Europe with less civilised or 'savage' others. The genres to which these books belonged developed in the sixteenth century, and the books considered in this study followed their genre traditions, fitting the 'new discoveries' of Oceania into these existing traditions. The frontispieces set the tone of the books, and embodied moral value judgements revealing European views of political, social and economic relations between Europe and other peoples and countries at that time. They were also following an iconographic tradition set down much earlier and generally failed to acknowledge recent events that challenged these prevailing views. I consider how the images of Oceanic peoples in the French costume books were developed (or as I argue 'invented') from the source material, which was mainly images in the published accounts of Captain Cook's three voyages. In inventing images designed to please the eye, the sources chosen reveal the prejudices and expectations of European readers. But how were the 'new' Oceanic peoples incorporated into these books? By seeing Oceanic peoples as part of America it was easy to fit them into existing prejudices about 'savages' and into existing pictorial conventions for depicting 'savages'. For an audience expecting to see 'savages' wearing grass skirts and feather headdresses these images would have appeared 'authentic'. My study will highlight more popular views rather than the views of philosophers, or the voyagers' accounts, which understandably have been given more academic attention. These books are overlooked today because they are derivative and their images are not necessarily ethnographically accurate; yet they were popular in their time. They represent a conservative Eurocentric viewpoint and their inclusion of new material from Oceanic voyages did not challenge these views. Images and texts such as these likely reinforced European views of their own superiority and made it easy to justify missionary activity and colonisation in various parts of the world, particularly Oceania.</p>

Book graphics in the creation of the plastic artist Liudmyla Kozhokar

The fine arts artist Liudmyla Kozhokar had professional studies in Ukraine: the Arts Studio in Kherson (1975–1978) and the Ukrainian Polygraphic Institute „I. Fyodorov” in Lvov (1978–1983). Since 1984, Liudmyla Kozhokar participates in fine art exhibitions in Chisinau and abroad. Since then, the artist has collaborated with various Moldovan publishing houses, combining publishing with teaching in the field of fine arts. Since 1999 Liudmyla Kozhokar is a full member of the UAP of the Republic of Moldova, and since 2001 – a member of the A.I.A.P. UNESCO, Paris, France. Liudmyla Kozhokar’s works are in the collections of the National Art Museum of Moldova and in private ones in Romania, the Republic of Moldova, France, USA, Iraq, Italy, Germany, Japan, England, etc. The graphic designer illustrated books of different kinds: ABC books, textbooks, children’s stories, encyclopedic literature, etc. Liudmyla Kozhokar perceives each graphic book separately, finding new plastic formulas and stylistic methods, delving into the text and studying it to the last sentence.

‘The Great Bowyer Bible’: Robert Bowyer and the Macklin Bible1

This article examines an iconic example of grangerizing: the Macklin Bible extra-illustrated in 45 volumes by London artist and bookseller Robert Bowyer (1758‐1834) in the first quarter of the nineteenth century (Bolton Libraries and Museums, Bolton, United Kingdom). The principal focus is on the Bowyer Bible as an example of an extra-illustrator’s close engagement with its source publication. The author argues that Bowyer’s practice responds not only to the Bible or the King James Bible, in general, but also to the Macklin Bible, in particular. The article discusses how the Bowyer Bible engages with the Macklin Bible specifically and how it reflects a broader range of concerns in its visual engagement with the Bible. It demonstrates that Bowyer’s curation of biblical visual material evidences both his professional interests as a connoisseur of prints and his personal interests in the visual culture of the Bible that reflect his own piety as well as contemporaneous developments in the study of the scriptures. Other matters discussed in the article are the original function of this Bible, as well as the extent to which it reflects and is distinctive from contemporaneous extra-illustrated books.

Illustrations for the ABC book in the works of Moldovan artists (1945-2015). Preliminary research of the genesis and evolution of aesthetic values

The ABC book is the most important book that affects the cognitive the aesthetic development of the child. The history of this book goes back several centuries, and its prehistory can be traced back to the days of the appearance of writing. This article is dedicated to the study of the processes associated with the evolution of the principles of illustrating ABC books in the works of artists of the Soviet and post-Soviet periods. Among the famous Moldovan artists, who illustrated books of this didactic nature, are: Valentina Nechaeva, Valentina Rusu-Ciobanu, Leonid Grigorashenco, Ilya Bogdesco, Evgheni Merega, Boris Brânzei, Igor Vieru, Lică Sainciuc, Isai Cârmu, Alexei Colîbneac,Vasile Movileanu, Aurel Guțu-Resteu, Vasili Tsehmister, Anna Evtushenco, Violeta Zabulica-Diordiev, Elena Leshcu, Mihail Brunea, Oleg Cojocari, Elvira Voloshin-Cemortan and others. The study of ABC illustrations in the works of Moldovan book graphic artists provided an opportunity to analyze the genesis and evolution of its aesthetic aspects, and to identify the main artistic values of this branch of fine arts.

A Conservation Survey of Photographic Albums and Photographically Illustrated Books from the National Gallery of Canada

This applied thesis project demonstrates a methodology for a conservation survey of photographic albums and photographically illustrated books applied to the Photograph Collection of the National Gallery of Canada, in Ottawa, Ontario. The conservation survey captures basic descriptive and condition information and employs a priority classification system for treatment and housing recommendations for roughly one hundred and twenty bound structures in which there are mounted or inserted photographic prints. While the needs and requirements of conservation surveys are dependant on the history, scope and nature of individual collections, this thesis attempts to provide an example, or baseline, for the development of conservation surveys for similar collections or collections with similar needs. Additionally, this thesis presents a visual glossary that illustrates and serves as a reference for the identification of the leaf and binding structures of photographic albums and photographically illustrated books occurring most frequently in museum collections.