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Aristotle is often named as the first zoologist or biologist because of his writings on animals. Although Aristotle's major intention in these books was to illustrate his ideas of how knowledge and understanding might advance, at least one modern biologist (C. Darwin) has recognized Aristotle's depth and breadth as being of surviving merit. Of greater surprise is the ongoing attention that his works continue to receive, including publications in contemporary scientific journals. This review identifies 38 peer-reviewed papers on various topics from Aristotle's biological writings that have been published during the last 50 years. These papers are described according to content (genetics, population biology, anatomy, brain, movement), specific creatures (fish, scorpions, elephants, insects, birds), publication outlet, distribution over the fifty year period surveyed, and visible trends in the topics studied. It is concluded that, in the highly-competitive field of peer-reviewed scientific publication and citation, Aristotle's biology continues to excite the interest of scientists and remains salient to modern science itself. [ABSTRACT FROM AUTHOR]

This article analyses Italian illustrated editions of Little Women published between 1908 and 1945. After an overview of the publishing history of the novel in Italy, the paper will examine Italian illustrations as hermeneutic tools in order to examine their ideological function in the representation of gender. The belated reception of Alcott's novel in Italy, caused by its representation of a nonconformist educational model for girls, is mirrored in the tension between the nationalistic drive and the influence of foreign models that can be pinpointed in the illustrated editions. By analyzing adaptations of American illustrations, original Italian creations, and omissions of iconic illustrations, this paper will unveil how much the visual element is embedded in the Italian historical and cultural context, as the choice (or omission) of particular images impacted the interpretation of the book. By examining the Italian editions of Little Women published in this time frame, we will also be able to retrace the links with the American illustrated history of the book and bear testimony to the powerful impact of the 1934 film version on printed editions. [ABSTRACT FROM AUTHOR]

The Gutenberg-Jahrbuch 2023, published by the Internationale Gutenberg-Gesellschaft, covers a wide range of topics related to the history of printing, book publishing, printers, and incunabula. The volume includes eleven articles and a review of recent research, with contributions in English, German, French, and Italian. Topics covered include the publications of Richard de Bury's Philobiblon, charges of blood libel and host desecration against Jews, the increase in paper products for book printers, illustrated books, German culinary recipes, and the identity of the author of a treatise on logic. The volume is well-regarded for its scholarly quality, but there are some issues with typos and mistakes in grammar and syntax. [Extracted from the article]

Copyright of Revista Colombiana de Educación is the property of Universidad Pedaggica Nacional and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Discusses a codicological approach to the analysis of the production of the books of hours. Use of paper in making the books of hours; Size and structure of the books of hours; Layout and decoration of the books of hours.

Excerpted from my book Generally Speaking, this paper introduces "concept‐driven sociology," a special way of theorizing designed to reveal abstract social patterns. As such, it examines the methodological process by which we can "distill" generic patterns from the culturally, historically, and situationally specific contexts in which we encounter them. It thus champions a "generic sociology" that is pronouncedly transcontextual (transcultural, transhistorical, transsituational, and translevel) in its scope. In order to uncover generic, transcontextual social patterns, we need to collect our data in a wide range of social contexts. Such contextual diversity is manifested multi‐culturally, multihistorically, multisituationally, as well as at multiple levels of social aggregation. True to its message, the book illustrates generic social patterns by drawing on numerous examples from diverse cultural contexts and historical periods and a wide range of diverse social domains, as well as by disregarding scale. Emphasizing cross‐contextual commonality, concept‐driven sociology tries to reveal formal "parallels" across seemingly disparate contexts. The paper features the four main types of cross‐contextual analogies concept‐driven sociologists tend to use—cross‐cultural, cross‐historical, cross‐domain, as well as cross‐level—disregarding conventionally noted substantive differences in order to note conventionally disregarded formal equivalences. [ABSTRACT FROM AUTHOR]

Copyright of Western Anatolia Journal of Educational Sciences (WAJES) / Batı Anadolu Eğitim Bilimleri Dergisi is the property of Dokuz Eylul University and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of International Journal of Innovation in Science & Mathematics Education is the property of Institute for Innovation in Science & Mathematics Education and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Using 19th century periodicals such as L'Illustration and Le Monde illustré from Paris, The Illustrated London News and The Graphic from London, and the Illustrirte Zeitung from Leipzig, I will show the strategy that publishers used to transform their ephemeral products, weeklies, into durable media, books, in order to 'make history,' to use their own words. Indeed, in the 19th century, illustrated periodicals were considered, by their editors and their readers, as historical documents to be. This was clearly stated in the editorial published in the first issues. To induce their readers into preserving their publications, the editors systematically offered to their subscribers, for free, hard covers that they used to bind halfyear issues. The actual effect of such an offer was to transform these weeklies into illustrated books which can still be found today both in private and public libraries. The paper will discuss how so transformed illustrated periodicals, distributed by hundredths of thousands of copies, consisted of books which the readers would be able to consult for years to come and which offered them clusters of elements of national identity. Texts and images will be analysed in order to reveal how a transformation from a limited context of current news to an extended socio-cultural context of a half year affected the meaning of information. To do that, I will use a comparative analysis of the coverage of the Franco-Prussian war (1870–1871) by French, English and German periodicals named above. I chose the Franco-Prussian war because it provides an issue which, though limited in time (July 1870–February 1871), provoked an important change in international frontiers, those between France and Germany. At the time, illustrated papers were the only means for the readers to 'see' the military activities of that war. I will look at discrepancies between the treatments of war news between and among these magazines, based on the profile of their readership and on their nationality, in order to find the transformation of these illustrated news into elements belonging to 'history books' still existing today, while single copies have almost disappeared. [ABSTRACT FROM AUTHOR]

Copyright of Libri & Liberi is the property of Croatian Association of Researchers in Children's Literature and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Ikastorratza: e-Revista de Didáctica is the property of Ikastorratza, e-Revista de Didactica and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The literature on seventeenth-century Royal Society member Nehemiah Grew's artistic production has been sparse and tentative. Although his publication record includes five illustrated books, some of which feature quite elaborate illustrative programmes, it has been challenging to credit any of this visual production directly to the books' author. In this article, I aim to both contribute to the growing interest in Grew's illustrations, and to provide a corrective to this gap in the literature, presenting Grew for the first time as an active illustrator and arguing for the importance of Grew's visual production during his career with the Royal Society. I will discuss his visual archive and his relationship with his engravers and will also present evidence of his regular use of illustrated figures in lectures he presented throughout the 1670s. This includes attributing two original drawings to Grew that are still present in the Royal Society's collections—two dissected cat's kidneys—that are associated with a lecture he gave on animal anatomy in 1679. [ABSTRACT FROM AUTHOR]

Copyright of De Computis is the property of Asociacion Espanola de Contabilidad y Administracion de Empresas and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Journal of the Institute of Art History is the property of Radovi Instituta za Povijest Umjetnosti and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Estudios de Literatura Colombiana is the property of Universidad de Antioquia, Facultad de Comunicaciones and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Magistra Iadertina is the property of University of Zadar, Department of Teacher & Preschool Teacher Education and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The contribution is dedicated to the printer, publisher, and bookseller activity of the Joerges family, which was present in Banská Štiavnica since 1857. Since 1870 they acted as printers in the named city because in that year bookseller and printer August Fridrich Joerges bought a printing house from Štefan Mihálik. Joerges family modernized the facility, what enabled enlargement and increase of production of various printed matters. After the death of A. F. Joerges, the printing house was run by his widow Henrieta Anna Mária Joerges and son August. Since 1928 it was run by A. F. Joerges's grandson Elemír, which managed it till its seizure in 1949. Simultaneously, the Joerges family operated branches in Kremnica and Krupina. Joerges family printed primarily scientific publications and magazines for the needs of schools in Banská Štiavnica - Mining and forestry academy, evangelical lyceum, roman catholic gymnasium, etc. It was various mining, forestry, metallurgical, natural science, historical literature, tourist guide materials, annual school reports, newspaper of Banská Štiavnica, but also whole-Hungarian mining and forestry magazines. Joerges family printed also postcards, photo albums, lihtographies, illustrated books, memorials, or letter papers. The contribution to the activity of the Joerges family in Banská Štiavnica is based on the correspondence of family members, photographs, photo albums, post - cards, and printed matters from the collection of the Slovak mining museum in Banská Štiavnica. [ABSTRACT FROM AUTHOR]

Copyright of Futuro del Pasado: Revista Electrónica de Historia is the property of Futuro del Pasado: Revista Electronica de Historia and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

It is possible for book illustrators to employ themselves, but it takes hard work, dedication, skill and professionalism on the part of the employees. This research basically aims at finding the ways and means by which illustrators can gain themselves a decent living from the profession in Ghana today. The opportunities are enormous and one can work hard to win awards. A profile of some selected illustrators can serve as an example to prospective self-employed illustrators. Response got. From discussions with certain publishing houses is relevant source of material for book illustrators in Ghana today. Upon consulting Art Directors it should be possible to secure employment if one is a good artist. Illustrators should be able to identify the media normally required by fishers and the type of books that need to be illustrated, how their works sell the rate at which they are commissioned, why Ghanaian books need and what they should do in order to gain employment. The earliest forms of illustration were prehistoric cave paintings. Before the invention of the printing press, illuminated manuscripts were hand illustrated. During the 15th century, books illustrated with woodcut illustrations became available. The main processes used for reproduction of illustrations during the 16th and 17th centuries were engraving and etching. Traditionally, engravers created darker areas by having thin lines intersect each other at high density, known as cross- hatching. One can specialize as book illustrator, fashion illustrator, freelance illustrator, medical illustrator, and map illustrator. [ABSTRACT FROM AUTHOR]

The paper reflects on Il libro d'arte in Italia (1935-1965) edited by Massimo Ferretti (Pisa, Edizioni della Normale, 2021), as a starting point for further critic reasonings about the relationship between History of Art and Publishing in the Twentieth century. Recalling the statements in the book, the paper remarks a range of topics, like the material aspects of editorial production, such as photography as illustration technique, and the planning of specialized series as the output of cultural projects. This demonstrates how the history of the book of art is linked to the cultural development of the 20th century in Italy.

Copyright of Artnodes is the property of Universitat Oberta de Catalunya and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This paper analyses several aspects of Shaun Tan’s visual workThe Arrival(2006. Melbourne: Lothian), which has found appreciative audiences among children and adults alike.The Arrivaloffers a meditative exploration of migration, using a muted colour scheme and landscape, which is simultaneously familiar and surreal to create an imagined city whose inhabitants are marked by some kind of ‘injury’. Drawing on scholarly debates on photography, nostalgia and gestural mimicry, the paper suggests that Tan’s work develops its affective content through a sophisticated range of visual codes and clues. Finally, the paper theorises the notion of ‘the fold’ to discuss how Tan’s representation of origami encapsulates the relation between ‘home’ and the new world. The paper suggests that it is the ability of the text to hold the imagination of readers of all ages that accounts for the widespread success of the text. [ABSTRACT FROM AUTHOR]

A long established author of Regency-set romances, Mary Balogh has a history of subverting the trends and tropes of the genre. This paper examines how Balogh uses subversion as a form of participating in the critical discussion on romance novels that took place in the 1980s and early 1990s through her novels Dark Angel (1994), Lord Carew's Bride (1994), and The Famous Heroine (1996). Thematically centred on female agency, sexuality and gender roles, these books illustrate a conversation between a romance author and the discourse of critics as well as illuminate Balogh's views on the themes. The essays in Dangerous Women and Adventurous Men: Romance Writers on the Appeal of Romance (1992) edited by Jayne Ann Krentz and Kay Mussell's Fantasy and Reconciliation: Contemporary Formulas of Women's Romance Fiction (1984) form the framework for the analyses of Balogh's novels as responses to contemporary discussion. [ABSTRACT FROM AUTHOR]

Iranian kings, or those who reigned in lands under Persian linguistic and cultural domination, followed the idea of a Just Ruler: a pious king who looked after his subjects’ divinity and spirituality in parallel to their earthly lives and needs. The Just Ruler extended righteousness and peace among his people while patronizing the construction of palaces, gardens, and new towns. The idea of a Just Ruler may be found in Sassanid monumental rock reliefs and written texts and then enriched and elaborated upon in the Islamic era by philosophers, poets, authors, and artists. This issue of Manazir Journal focuses on how art and architecture served the representation of the Just Ruler in Persianate societies from Central Asia to Eastern Anatolia from the 14th to the 19th centuries. Illustrated books, architecture, and photography show how di\erent kings and rulers referred to the Persian ideas of the Just Ruler by patronizing new constructions, richly illuminated books, and in the modern era, employing mediums such as photography and lithography for nationalizing the king’s image. [ABSTRACT FROM AUTHOR]

Sherman Alexie's The Absolutely True Diary of a Part-time Indian, The Invention of Hugo Cabret by Brian Selznick, American Born Chinese by Gene Luen Yang, Leviathan by Scott Westerfeld and illustrated by Keith Thomspon, Shaun Tan's The Arrival and Tales from Outer Suburbia, have in common that they are all illustrated books for young adults. That is, much of their narrative is conveyed in sophisticated illustrations that require as close a reading as does the written text. All have won awards nationally and internationally, and not only in the categories of young adult books, but in the case of Shaun Tan, in the adult field. This paper will explore the appeal and challenge of the illustrated book to adolescent and adult audiences using as a particular example, Shaun Tan's Tales from Outer Suburbia. Appropriating Foucault's (1986) concept of heterotopia, this paper argues Tan's unique, hybrid form of visual and verbal narrative, constructs a counter site, a 'crisis heterotopia' (Foucault, 1986) which challenges the dominant Australian culture in complex ways unavailable to words alone. [ABSTRACT FROM AUTHOR]

COVID-19 has forced anatomists to perform non-face-to-face education using lecture videos. A Korean anatomist has given (white and black) board lectures and distributed lecture videos to the public for many years. This study was to verify the effects of open board lecture videos in the anatomy field. A questionnaire survey was carried out with the help of medical students who were exposed to the board lecture videos. The video provider uploaded the lecture videos on YouTube, where the viewing numbers were counted. At a medical school where the video provider belonged, the students mainly watched the lecture videos before the anatomy class. The watching hours of the lecture videos were related to the written examination scores. Students gave positive and negative comments on the board lectures. At the other two medical schools, students partly watched the lecture videos regardless of the teacher who delivered the lectures. The results suggested that students understood the board lectures themselves. On YouTube, the lecture videos were viewed by approximately 1,000 students. This paper introduces the desirable aspects of open board lecture videos on anatomy. The videos could enhance the quality of both students and teacher. [ABSTRACT FROM AUTHOR]

This paper analyses the particular composition of the last book of the Quaestiones Convivales and puts it in relation to the remaining eight books. The particularity of the 9th book can be seen at different levels. The prologue is the shortest one and has no educational goals in contrast to all preceding ones. There are more questions – 15 instead of 10 – and all of them belong to the same symposion. Accordingly there is a stable constellation of participants instead of a permanent changing of characters. In this particular structure the last book should be placed near to the classical symposia of Plato and Xenophon, while the first eight books have a strong proximity to the problemata literature. A close look at the content shows an interesting development: There is no friendly conversation at the beginning, but disconnected and chaotic discussions, so the symposiarch Ammonios and other participants like Plutarch have to apply all their knowledge on symposia to achieve a friendly atmosphere. There are no programmatic discourses on symposia but a display of all necessary skills. Therefore the last book of the Quaestiones Convivales can be seen as a last examination for the reader and an opportunity to polish his learned symposiac skills. The dramatic time of this last symposion is set in the young days of Plutarch, when he was a student in Athens. He is one of the young participants, his master Ammonios is the host. While Ammonios plays the role of an alter Socrates, Plutarch as his pupil acts as a symposiast-to-be. In this way Plutarch illustrates in this last book the first step of his path to knowledge and presents himself as a worthy successor of Ammonios in sympotic competence. [ABSTRACT FROM AUTHOR]

The works of Charles Dickens (1812–1870) are remarkable for his meticulous attention to the polyphony of surrounding society. This literary tendency is evident in his Condition-of-England novels, as well as in Dickens's works aimed at a young readership; in the stories contained in A Holiday Romance (1868), the Victorian writer offers some enlightening reflections on the idea of childhood in Victorian culture. This paper offers an analysis of the innovative choices that characterize this Dickensian novella, especially dwelling upon its literary and sociolinguistic features. In A Holiday Romance, Dickens depicts four child narrators who express themselves using a language typically suited to their young age: baby talk. By using these young narrators, Dickens testifies to the increasing importance of children's voices in the Victorian age—hence, to a socio-cultural legitimation of childhood. Inasmuch as this literary and sociolinguistic innovation is limited by the adult author's perspective on the issues discussed in the novella, the representation of children in A Holiday Romance is stained by the romantic idea of the "innocent child." In addition to this, the adult voice implicitly invites young readers to follow the example of naïve and submissive childhood provided in the novella. Despite the criticisms against it, A Holiday Romance is an innovative text, [End Page 38] insomuch as it offers a plausible representation of children during the Victorian age, even according to its author; while writing to his American publisher, Dickens stated, "the writing seemed to me so like children's, that dull folks...might perhaps rate it accordingly" (Dickens, Letters of Charles Dickens 402–403). [ABSTRACT FROM AUTHOR]

Much academic discussion of Jonathan Safran Foer's illustrated novel "Extremely Loud & Incredibly Close" (2005) centres on the role and pertinence of its visual content to the novel's thematic exploration of the trauma associated with the catastrophe resultant from the World Trade Centre attacks. With respect to the historical development and characteristics of the illustrated novel genre, this paper explores the mechanics by which Foer's word and image combinations engender a complex form of meaning-making, establishing "Extremely Loud & Incredibly Close" as an exemplar of visual narrative practice which may be applied in principle to other works of prose literature incorporating the image as an integrated element, contributing meaning over mere 'gimmickry'. [ABSTRACT FROM AUTHOR]

The gift book "Remember Me!" with Blake's wonderful engraving of the 'Hiding of Moses' was more remarkable for its decorations than for its literary contents. Of the twenty-four copies recorded, each differs from the others in the pattern of binding, colour of fore-edges, endpapers, and the decorated sleeve-case. Despite this varied elegance, the work had only a modest sale, and the same sheets were re-issued in 1825 for the 1826 gift-giving season. This paucity of sales may be related to the fact that the publisher John Poole had little experience of book distribution. His speciality was as a maker of Marble Paper and Fancy Pocket-Books, not in selling them. [ABSTRACT FROM AUTHOR]

This paper is about evaluating the contribution to viewer interpretation of differing line weights used in black and white technical illustrations generated from CAD databases. [ABSTRACT FROM AUTHOR]

The article features the book "General Code of Direct and Related Taxes," illustrated by Joseph Hemard. The book, a joint venture of two publishers, was printed in Paris near the end of World War II by E. Dafosses. Its contents outline the national, regional, and local tax laws of France divided into three main divisions. Illustrations from the book are also featured.

This research aims to investigate the reflection of social issues on patterns of living beings designed in religious buildings and tombs. To achieve this goal, the focus will be on the motifs of living beings in the Ali-Ibn-Jafar Shrine, located in Qom in the center of Iran. In addition, we will also study the wall paintings of Imamzade Tayyeb and Tahir Shrine. Although depicting living beings in religious buildings has not been permitted in Shiism, these patterns have been used in Shia Holly places, manifested in Zarinfam tiles (luster tiles). So, the main questions are as follows: (1) What were the primary sources of inspiration for depicting non-human living beings in these religious places? (2) What was the main goal of using such motifs of living beings in these religious buildings? After comparative research on motifs of non-human living beings and illustrated religious books, a significant number of similarities was found. These representations' form and subject matter correspond to cases depicted in the Ajaieb- Al-Makhloughat written by Qazvini in the 7th century (Table 1). From our point of view, such coordination and similarity cannot be accidental. It can explain why different animals, such as a boar, an elephant, a winged fish, and a dragon, are depicted in these religious buildings. The wall paintings of Imamzadeh Tayyeb and Tahir (Table 2) provide further confirmation of the use of the living creatures motifs. These wall paintings, which, unlike the tiles, have no possibility of being moved, are similar to the original and Qajar versions of Ajaieb-Al-Makhluqat. This comparative research brings us to the conclusion that Ajaieb Al-Makhluqat was at the center of attention in the decoration of Shia tombs in Qom for several centuries. After finding such a significant connection, our research focuses on this question: who was Qazvini, the author of this book? Our research has shown that he was a Shia scientist, educated in Fiqh (Islamic jurisprudence), a Sufi, and familiar with philosophy and mysticism. One of his methods of explaining complex scientific and religious matters in an understandable way to the public was using illustrations. In his writings, he points to two main attributes of God's righteousness and being the Creator. Most of his treatises have the color of preaching and guidance. Using the picture of living creatures in paintings of religious places seems to have a similar message. Using this type of expression of ideas could be a suitable and understandable way of showing to ordinary people that everything in this world represents the Creator, God. This view can also be rooted in the theory of the existential unity proposed by Ibn Arabi, who was Qazvini's mentor. In addition, a few pieces of evidence of the founders of this building, completed in the post-Ilkhani period, show that the Al-Safi family in Qom generally had been affected by Qazvini's ideas. They were lovers of knowledge and Shiism, and familiar with mysticism. [ABSTRACT FROM AUTHOR]

The new multimodal reading ecosystem currently contributes to the proposal of forms of mediation that take into account the hybridization of digital and analog paradigms. In this context, illustrated books intended for children can constitute an area of interest, since their discursive and aesthetic codes contribute to the development of multimodal reading strategies and to the positioning of the child reader before the information, at the same time that they generate pleasant reading and knowledge-building experiences. Accordingly, today's publishing market requires a learning process from the mediator in order to develop the corresponding strategies with which to approach children's books. Previous research has focused on the book trailer as a virtual epitext for the promotion of publications, and it has analyzed the identity of this tool to demonstrate its effectiveness in the promotion of reading. Along these lines, and with the purpose of verifying how this tool behaves in the introduction of future teachers to children's books, an intervention is proposed that is based on the creation of book trailers. A total of 860 students from the Early Childhood and Primary Education teaching degree programs participated in the intervention. It included qualitative research that analyzed the documents/epitexts created by the students, written reflections within the framework of this project and the discourse collected a posteriori in interviews and discussion groups on the experience. The results reveal the potential that creating book trailers has for introducing teacher trainees to illustrated children's books within the framework of the digital society. [ABSTRACT FROM AUTHOR]

Copyright of Colloquia Humanistica is the property of Polish Academy of Sciences, Institute of Slavic Studies and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Picture books frequently make use of distinctive typography to indicate emphasis or evaluative expression, distinguish particular characters and contribute to the interpretive possibilities of the narrative in a variety of ways. However, the potential significance of typography is not always taken into account in discussion of the interpretation of children's literature or in picture book translation. In this paper we investigate the influence of typography in interaction with language choices on the interpretive possibilities of Oliver Jeffers' picture book STUCK (2011) and discuss the interpretive impact of the different typography and language choices in the Spanish translation, ATRAPADOS (Jeffers, 2012). Our investigation is informed by recent semiotic work on typography and accounts of evaluative resources in English, drawing on systemic functional linguistics and its application to researching the literary narrative techniques of picture books. Our analyses illuminate the relationships among the narrative genre, grammar, typography and thematic interpretation of the texts and how the latter is influenced by translation. The importance of further exploration of typography in picture books and extension to the 'animated' typographical resources in electronic versions of picture books is briefly noted. [ABSTRACT FROM AUTHOR]

Copyright of Impossibilia: Revista Internacional de Estudios Literarios is the property of Impossibilia: Revista Internacional de Estudios Literarios and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)