جستجوی مقالات مرتبط با کلیدواژه « کتاب تصویری » در نشریات گروه « ادبیات و زبان ها »

Semanalysis is a method composed of psychoanalysis and semiotics that Kristeva invented to study the subjectivity process. According to Kristeva, human is a divided subject made of two different dimensions of language: one is the masculine dimension of language, known as the symbolic, and the other is its feminine dimension, known as the semiotics. The process of signification (and, correspondingly, the process of subjectivity) begins with the abjection of the mother's body and the leaving of Chora. From the lexical point of view, Chora means the mother's womb, and from the conceptual point of view, it is the reservoir of semiotic matter and the physical place for the formation of the first signs. Language, as the embodiment of the symbolic, determines the boundaries of the subject's identity by withdrawing the semiotic; But the rejected semiotic does not disappear; Rather, in the form of "desire to return to Chora", it always keeps the boundaries of the speaking subject's constructed identity under threat. Kristeva considers the only channel to restore the feminine semiotic and return to the maternal Chora as "revolution in poetic language". Kristeva means this language revolution, defiance of the systems based on male symbolic. The picturebook "Celestial Stone" is one of the titles of the ten-volume series "The Bald Athlete and Her Horse Kori" written by Ms. Parirokh and illustrated by Ms. Keiqobadi (1400) for +8 age group. Based on this, I will use the qualitative content analysis method of comparative type, while re-reading the mentioned work on how the relationship between returning to maternal chora and relieving the depression of modern man. The result of the research shows that the modern subject, who is depressed due to the dominance of the symbolic dimension of language and the loss of maternal chora, can achieve balance by restoring the semiotic.

Anti-war literature is a subset of peace literature. Peace is portrayed in both negative and positive ways. Positive peace is defined on the basis of the concept of moral cosmopolitanism, while negative peace is in contrast to the concept of war. Accordingly, the cosmopolitan stories represent the utopia and the anti-war stories represent the ruined city. The data of this research are picture books with anti-war stories of age groups B and C. This article was written using the analytical-descriptive method and based on the formalist approach to answer how common devices (common formal patterns) are in children's anti-war stories. The result of this research shows that anti-war stories are divided into three categories according to the dominant element of the story based on the part of the triple process of beginning, middle and end of the war: beginning-centered, middle-centered and end-centered. Each of these three categories is further divided into subcategories based on the devices they use. The acceptance of the emerging genre of anti-war literature and the lack of sufficient internal and external research on peace literature for children necessitates research. This article is the first to categorize children's anti-war literature using a formalist approach.

The rise of the feminist social movement in the 1960s and 1970s challenged various dimensions of the art world. Feminists' Attention to the Art of Logical Consequence The main commitment of feminism is to address the attitudes that men and women have towards the position of women in the society of their time. Art derived from this movement, by deliberately interpreting and refuting the meaning of all traditional aesthetic values ​​and by challenging the central core concept of art and the old focus of art history on painting, architecture and sculpture, has joined important artistic movements and created movements within it. Has also been. Illustration is no exception as a branch of the visual arts that has played a key role in both storytelling and information sharing, as well as in our understanding of the modern world. This research, which is applied from the perspective of purpose, has been done in a descriptive-analytical manner and by studying feminism and some forms of this thought seeks to answer the question of how feminist theories are reflected in contemporary works of art, especially in the field of illustration. In this regard, in the field of children's book illustration, among the works of two Iranian illustrators, the book Do Doost (Two Friends) by Hodā Haddādi and the book The Parrot and the Merchant by Marjān Vafāeiān, in which feminist approaches can be seen, were selected as an example. The results of this study show that the feminist approach in the works of these two illustrators goes beyond gender stereotypes and raises issues such as women's power of choice and activity, woman-woman and woman-nature relationship, women's presence in the public arena and women's job position in relation. Visible with power structure.

Ecocriticism is the bridge between the environmental sciences and literature. Silverstein’s The Giving Tree and Dehrizi’s The Treeless World are both picture books that possess implied environmental themes and share a ‘tree’ motif. The canonical position of The Giving Tree in classical children’s literature functions as a touchstone in comparing similar works, among other nations. This analytic-descriptive research compares and contrasts the representations of environmental elements in the aforementioned works in the light of deep ecology and ecofeminism. Arne Næss, the Norwegian philosopher, coined the term ‘Deep Ecology’ in opposition to Shallow Ecology. Deep ecology connects the understanding of the relation between identity and nature to identifying oneself to a larger eco-cycle known as the ‘Ecological Self.’ Through equating the place of women with nature in a patriarchal system, ecofeminism criticizes the Ecological Self Theory for neglecting the role of gender in the formation of environmental crises. The present article studies the representations of environmental elements and the reciprocal relation between man and nature in the aforementioned works. This research shows that in The Treeless World, the dominant ecological representation is in line with deep ecology and in opposition to ecofeminism; also, it reveals that in The Giving Tree, the dominant ecological representation is in line with ecofeminism.

Non-verbal elements are the invisible conduit for transmitting the personal ideology of the translator and other translators idiots (art director, editor, publisher, etc.). Due to a large number of translations of Silverstein's "Giving Tree" from English to Persian, and the various readings of its commentators, this work has been chosen for the subject of translation of this article. The present research seeks to answer, how non-verbal elements (images, micro-patterns, pagination, typography, and font color) interact in the translated books of the mentioned work. . In the field of children's literature, the interaction of text and image has always been considered by theorists such as Scott and Nikolajeva. The innovation of the present study is that it generalizes their interactions from the level of text-image relationship to the level of non-verbal factors. The results show that the interaction of non-verbal elements is of five types: symmetric, complementary, expansive, counterpointing, and paradoxical. The cultural distance between the original language text and the translated text, as well as the prominent position of image, pagination, typography, etc. in the children's book publishing industry, necessitate performing the research. and in this regard, This research aims to answer three basic questions in the field of Persian translations of “The Giving Tree” (Silverstein, 2011): 1- How can the Nikolajeva-Scott (2019)  Fifth Interaction Pattern, in terms of classifying types of image-text interactions, be generalized to, a model for classifying the types of interactions of non-verbal elements? 2. What are the differences and similarities between the different translations of “The Giving Tree” (Silverstein, 2011) in terms of the interaction of non-verbal elements (image, pagination, typography, miniatures, and font color)? 3- In the various translations of above- mentioned book, what are the types of interactions of non-verbal elements? Mohsenianrad (2014), while quoting Bosmajian's definition, considers non-verbal communication channels to be very wide and expands its scope from facial expressions to fashion, from symbolic actions to dance, theater, pantomime, and music, from the influential currents of time to the flow of traffic, from brutal hegemony to clever diplomacy. In Iran, the articles that have been done on non-verbal communication, which have focused on the non-verbal communication of stories, have focused on the body language and the way the characters dress. Unlike studies conducted in Iran, which generally focus on the non-verbal element of body language, the subject of leading research is the axis of space (such as the proximity of pages in pagination, the proximity of images, and the like), and aesthetics (such as typography, miniatures, etc.).Research through descriptive-comparative analytical methods, it compares semantic changes that the translation process has imposed on these interactions, with the original language text. The data in this article are taken from the original language book of “The Giving Tree”, by Silverstein, and the nine Persian translations of the book. In this research, in terms of non-verbal elements (image, typography, pagination, and font), each of these translations is compared with each other, and also the non-verbal elements of the translations, with their corresponding non-verbal elements, are adapted in the original language version. In this regard, the research expands the fivefold division of Scott-Nikolajeva, from the level of text-image interaction to the level of interaction of other non-verbal structures. This study shows that non-verbal elements enclose the text, like a glass frame, without being seen themselves. Many of the non-verbal elements of the books being translated are modified according to the culture and sphere of the target language.  Thus, the non-verbal factors in the various translations of “The Giving Tree” (Silverstein, 2011) may not be semantically identical to the original language text; That is, texts can find new meaning through the interaction of non-verbal factors in line with the ideology of the translator, translation editor, and second publisher.  Non-verbal image factors, pagination, and typography can enter into semantic interaction in five ways: symmetric, complementary, expansive, counterpointing, and paradoxical.When two non-verbal elements represent the same information, their type of interaction is "symmetrical interaction." When two non-verbal elements fill in each other's gaps, their interaction is of a "complementary interaction" type. To understand complementary interaction, the audience usually does not need conscious attention and receives this interaction, automatically and unknowingly. When two non-verbal elements expand the meaning of each other (usually the expansion of this meaning requires the conscious reflection and careful attention of the audience), then their relationship will be of the "expansion interaction" type. In the "hybrid interaction" situation, the two non-verbal elements each have a different narrative, and from their interaction, a new meaning is created, and without each of them, the decoding of the message is not accomplished. The most severe incompatibility between the two non-verbal elements occurs in "contradictory interaction."

The picturebook is a type of the children's book in which the text and the picture are independent components, and run parallel to each other to organize the whole book. Some theorists of children literature, such as Perry Nodelman, paid more attention to the independence and the specialty of the image than the text. Nodelman assumed six functions to envisage conveying the message and relation between the words and the pictures. This applied research as a qualitative analysis follows the steps of Nodelman to seek the characteristics of the text-image link in Zahhak picturebook, illustrated by Farshid Shafiee (2016). The Zahhak book is one of the examples in which the image not only moves beyond the text, but also shapes the narration of the book, and is a favorite case to be examined. The findings of this study indicate that this book is a successful example of a visual rewriting of Shahnameh. The images of this book provide information beyond the text to the audience. They strengthen the message of the text and create new concepts to attract the modern audience. All the images in the book are set to the third category in the Nodelman classification. Five of the eleven images in the book are in the third to sixth order of Nodelman division, which means the images elaborate depicting concepts that the text cannot express. The text and images of the book have fingerprints and unique signs of the author or conventional signs which invites the audience to intertwine these visual and textual signs to receive the meaning and narration of the book. All lead the audience to read the old story of Zahhak in the context of the modern world.

During the course of humankind’s mythological history, we come across many common forms of myths. These mythologies include death, creation, etc.Regardless of the origin of these myths, they share common purposes.As an example, death is considered a result of sin or enmity and while humankind chases after Immortality, he/she turns mortal as a result of sins or a curse from the gods or the evil forces.It is clear that humankind has always feared death.Death, as one of the most important sources of stress, comes in many different forms and Scharer has presented an example of it, the fear of non-existence, through word and image in her book.In her book “Death on the Apple Tree”, considering the common myth of death, the author has made an effort to present a unique point of view on life and death. In this book, death is not the outcome of sins or enmity but only a part of life. In fact, death is life itself, to the point that life is meaningless without death, as death is without life.This research has used analytical-descriptive method to study how death is reflected through text and illustrations in "Death on the Apple Tree" and to point out that the mythological side of death is only one of many representations of death. 

A picture book is a type of children's book in which the text and the picture are independent components that run parallel to each other and act to organize the whole book. Meanwhile, some theorists of children's literature, such as Perry Nodelman, have paid more attention to the independent and specific identity of the image than the text, and for it, six functions have been imagined in conveying information and message and communication between the text and the image. Although picture books in the field of rewriting and recreating have been produced in Iran for many years, the text has always surpassed the image in conveying the concept and narration, and images have often been used to decorate and follow the text in these books. This research, which is applied from the point of view of purpose and qualitative from the point of view of data analysis, seeks to find the characteristics of text-image link in Haftkhan and Haft Razm picture book based on hexagonal links of text and image in Nodelman theory. This research has selected the book Haftkhan and Haft Razm with the illustrator Niloufar Mir Mohammadi and the text of Zohreh Parorokh, as one of the examples in which the image moves beyond the text and forms the narrative of the book, based on Nodelman's theory. The findings of this study indicate that this book is a successful example of visual rewriting of Shahnameh because the images in this book provide information beyond the text to the audience; In this way, they strengthen the message of the text and create new readings in accordance with the tastes of the contemporary audience. All the pictures in the book are in the third type in Nodelmann's division. The book Haftkhan and Haft Razm in text and imagery are signs made by the author or conventional signs and invite the audience to combine these visual and textual signs so that he can perceive the meaning and narration and he can read again the old story of Zahak in the context of the events of the day.