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Jessica Brantley's book, "Medieval English Manuscripts and Literary Forms," is a comprehensive and beautifully illustrated handbook that explores the study of medieval English manuscripts and their literary forms. The book encourages independent thinking and learning, posing questions rather than providing easy answers. Divided into two sections, the book covers the anatomy of medieval manuscripts and presents detailed case studies of well-known manuscripts. It includes a glossary of specialist terms and provides further reading suggestions. Overall, this book is a valuable resource for students, teachers, and scholars of medieval English literature and manuscript studies. [Extracted from the article]

Tobias Smollett's works were among the most frequently illustrated in the eighteenth century. Smollett's eclectic output encountered equally diverse types of illustration that both accompanied these works and inhabited their own independent creative identity. Frontispieces occupy a unique place within this wider context. This article investigates two main points: first, booksellers deemed Smollett a saleable author, deserving of potentially expensive illustrated additions that enhanced his works' circulation on a competitive book market; second, these illustrations were considered useful visual tools in deciphering the verbal text, with frontispieces serving their own specific introductory function. Two types of publication by Smollett—his translated texts, Gil Blas (1748) and Don Quixote (1755), and original prose fictions, Roderick Random (1748) and Peregrine Pickle (1751)—and their earliest frontispieces (by Francis Hayman, Henry Fuseli, and an anonymous artist) shed new light on Smollett's early reception, and on the wider forms and functions of eighteenth-century frontispieces. [ABSTRACT FROM AUTHOR]

Chapbooks are versatile print media that, more than any other print form, made available a wide variety of texts intended for popular reading to a broad and diverse readership. Gothic chapbooks or bluebooks, in particular, occupied an intermediary position between expensive editions of belles lettres and cheaply produced ballads and other literary ephemera. Adapting and appropriating genre conventions and narrative strategies, they both capitalised on and further contributed to the popularity of the Gothic genre in the late eighteenth and early nineteenth century. To date, however, little scholarly attention has been devoted to the frontispiece illustrations included in these chapbooks. This article examines the frontispieces to the Gothic bluebooks issued by Thomas and Robert Hughes in 1807 and 1808. Exploring the multifunctionality of the illustrations, it explores the ways in which they developed visual interpretations of Gothic horror and terror, generated metageneric reflections, and participated in a visual culture shared across different media networks. Functioning as a critical access point for readers, the frontispieces represented an integral part of the paratextual framing of the bluebook texts, generating meaning and affecting the Gothic reading experience. [ABSTRACT FROM AUTHOR]

The Allgemeines Historisches Taschenbuch, oder Abriss der merkwürdigsten neuen Welt-Begebenheiten (General Historical Pocketbook, or Outline of the most remarkable new world events), published in Berlin in 1784 and supported by the Academy of Arts, contained one of the most important contemporary accounts of the North American Revolution, titled Geschichte der Revolution von Nord-Amerika (History of the North American Revolution) by Matthias Christian Sprengel, professor at Göttingen University. It further contained influential illustrations, among them twelve engravings designed by Academy member Daniel Chodowiecki, each depicting a key motif from the American struggle for independence and its outcome. In the Metropolitan Museum of Art (New York), an original copy of the pocket book with the Geschichte der Revolution has been preserved, and it is unique in that eleven drawings by Johann Heinrich Ramberg are glued in in addition to the original plates. Ramberg of Hanover was to follow Chodowiecki as the most prolific artist in German book illustration. Several of the drawings are dated 1786 or 1787, when the young Ramberg was a fellow at the Royal Academy of Arts in London, studying under the American history painter Benjamin West. These drawings are examined and published in their entirety here for the first time. An article published in Amerikastudien in 1978 first mentioned the drawings in the Metropolitan Museum and their obvious connection to the Chodowiecki prints, stating they posed a "puzzling iconographic problem" because the German artist in London appeared to change the viewpoint in at least one case. This article follows up on Jantz's observation. It examines how Chodowiecki's designs all show the perspective of the British or share a "neutral" outsider perspective. I argue that in nearly all cases, Ramberg moves the observer closer to the action, takes on the perspective of the Americans or one sympathetic to them, shows more emotion and movement than Chodowiecki, and thus invites an emotional reaction from the viewer. The question of whether Ramberg planned publication, though, remains unanswered. [ABSTRACT FROM AUTHOR]

This essay examines a particular transmedial moment in the early eighteenth century which promoted the agency of women as heroines at the heart of classical narratives. Opening with a case study of Aphra Behn's contribution and evolving place within John Dryden's influential edition of Ovid's Heroides, I show how later illustrative engravings came to prioritise, and productively extend, Behn's impetus and model for female experience, one which was initially sidelined in the volume. This provides a model for thinking about the wider artistic sources available to us in understanding ways in which women took increased control and influence over their representation in art, chiefly as elite patrons, curators and subjects. In this analysis, the decade of the 1710s comes into particular focus as a time when women demonstrated and communicated creative agency inspired by the courtly culture of Queen Anne. Despite the dearth of easel paintings at this time representing classical and historical themes, engraving and mural painting were their key vehicles and, through the latter form especially, women wrought influence using classical narratives as conduits for communicating their agency as heroines at the centre of their own narratives. [ABSTRACT FROM AUTHOR]

Co-founder of the Dada movement, Tristan Tzara, wrote and produced three stage plays during the Paris Dada period (1920–1923). This article discusses Tzara's third play, The Gas Heart (1921) to show his unique application of theatricality. The text of The Gas Heart is interrupted in Act III by a dance presented as a typographical illustration. While event programmes substantiate the performance of the dance during presentations of the play (1921 and 1923) it remains unknown how the diagram informed the action of the dance. I argue that Tzara's dance exemplifies the paradox central to Tzara's creative programme. Applying Samuel Weber's definition of theatricality, this paper explores The Gas Heart dance as an expression of 'singular duplicity' (Weber, 2004), but one that opens ways for performing the paradox in the theatre of Tristan Tzara. [ABSTRACT FROM AUTHOR]

Nathalie Roseau's book, "Le Futur des Métropoles. Temps et Infrastructure" explores the development of cities and the role of infrastructure in shaping urban landscapes. Through case studies of New York, Paris, and Hong Kong, Roseau argues that infrastructures are a key aspect of urbanism and mobility, both politically and technologically. The book examines the transformation of the New York parkways, the construction of Paris' beltway system and third airport, and the development of Hong Kong's Chep Lap Kok airport. Roseau's interdisciplinary approach and use of illustrations make the book accessible to readers outside of her fields. [Extracted from the article]

The book "Do Ro hanga no tabi" examines the history of communication through the artwork of French priest Marc Maria de Rotz. It explores the origins and uses of de Rotz's woodblock prints in Catholic congregations in Japan, shedding light on the hybrid influences of the Christian mission as it spread from Europe to China and Japan. The book is filled with illustrations and covers topics such as the development of the prints, de Rotz's support for young women in Nagasaki, and the communication methods of de Rotz and Bishop Petitjean. It offers a valuable exploration of the intersection of religion, art, and culture in Japan, making it a recommended resource for researchers interested in a cross-disciplinary and transnational approach to the study of religion, art, and literature. While the author suggests a more focused decolonial approach, the book is well-researched and will be a valuable resource for future research in this field. [Extracted from the article]

Modern studies agree on distinguishing between the inside and outside of the text, or what surrounds it. There is a crossing point between the inside and outside of the literary text, where the text and its surroundings converge in order to reveal the hidden barriers and implicit meanings. This is what is referred to as textual thresholds. Covers, titles, introductions, dedications, and internal illustrations form narrative worlds that reveal the features of what will come within the text, carrying expressive energies and important communicative functions that compel the recipient to enter the world of the text with a preconceived vision that often resides in their consciousness. In his novel "In the Presence of the Phoenix and the Faithful Vine," the Kuwaiti novelist Ismail Fahd Ismail utilized a cover featuring "The Sleeping Gypsy," a painting by the French artist Henri Rousseau. This painting served as a revealing sign for all the secrets of the novel. It visually unveiled the novel's problem, allowing us to trace everything mentioned in the text back to this artwork. Despite its length-the novel reached 392 pages in medium format-it is essentially an interpretation and reference to that painting. The novel's title also revealed another aspect of its manifestation, as the title, with its employed colors, uncovered the novel's dilemma. Furthermore, the important introduction, "Jealousy," presented by Saadia Mufarreh, embodied the events and manifestations mentioned in the novel. [ABSTRACT FROM AUTHOR]

"Performing Craft in Mexico: Artisans, Aesthetics, and the Power of Translation" is a book edited by Michele Avis Feder-Nadoff that explores the world of Mexican crafts. The book delves into topics such as the role of crafts in national identity, the representation of women in textile production, the significance of masks in performance, and the agency of artisans. It also pays tribute to art historian Janet B. Esser and her groundbreaking research on African presence in Mexico. The book encourages critical reflection on craft terminology and the coloniality of language in craft studies. [Extracted from the article]

This essay focuses upon John Foxe and John Day's approach to the correction of error in the production of successive editions of Acts and Monuments , especially through the use of slip-cancels, tiny scraps of paper which are intended for pasting over erroneous text, as well as the use of stop-press correction and the labeling of the book's well-known woodcut illustrations. The bibliographical nature of successive editions of Foxe's book overseen by Day emerges as even more complex than previously described. The argument adds to scholarly understanding of the goals and methodologies of both Foxe and Day. Bibliographical fluidity associated with John Day's approach to error during production points toward the better understanding of textual fluidity within successive editions of Foxe's work. [ABSTRACT FROM AUTHOR]

The Diverse BookFinder is a free online resource that provides data about thousands of picture books published since 2002 depicting Black and Indigenous people and People of Color. Using this data, this study looks at the publishing trends from 2015 to 2020 in terms of race/culture and unique categories developed by the Diverse BookFinder that identify how people in these books are depicted. This study found an increasing trend to publish books with illustrations of characters that are racially ambiguous, with no race or culture specified in the text (the Diverse BookFinder tags these characters as "Brown-Skinned and/or Race Unspecified"). [ABSTRACT FROM AUTHOR]

The article presents an interview with Jan Baetens, a scholar in cultural studies is presented. He discussed his recent work, "Illustrer Proust. Histoire d'un défi," which challenges the common belief that Marcel Proust's works are "unillustratable." He explored the historical resistance to illustrating Proust, addressing both the technical challenges posed by Proust's rich and complex prose and the broader skepticism towards the practice of book illustration.

Aubrey Beardsley's ink drawings for J.M. Dent's 1894 edition were the first modern set of illustrations of Thomas Malory's Morte d'Arthur published after the anonymous woodcuts in the 1498 edition printed by Wynkyn de Worde. Since their publication, Beardsley's illustrations have been criticised for their supposed unfaithfulness to Malory's text. This article argues however that Beardsley's illustrations of Morte d'Arthur bear great resemblance to the 1498 woodcuts. It discusses how both sets of illustrations react to Malory's complicated understanding of chivalry and dictate a reading of Morte d'Arthur that places emphasis on the importance of Camelot's women and Malory's criticism of chivalry. [ABSTRACT FROM AUTHOR]

Yehuda Moraly's book, "Dream Projects in Theatre, Novels and Films: the Works of Paul Claudel, Jean Genet, and Federico Fellini," explores the concept of "dream projects" - artistic endeavors that were never completed. The book focuses on three unrealized projects by Paul Claudel, Jean Genet, and Federico Fellini, examining their significance in relation to the artists' overall body of work. Moraly reconstructs the creative stages of these projects using archival materials and demonstrates how the unrealized works influenced the artists' subsequent creations. The book offers valuable insights into the process of artistic creation and serves as a starting point for further research in this area. [Extracted from the article]

The illustrations in picture books are lovely and emotional; pictures and text work together to express a theme and weave into one another to create a seamless and comprehensive visual image in picture books. Reading helps children improve for life and is an unending source of wealth in one's life. Picture book reading has a positive effect on children's psychological well-being since it allows them to develop different intelligences and their spiritual worlds in addition to reading stories and learning facts. This thesis investigates, against the backdrop of artificial intelligence (AI) and deep learning, the impact of reading activities on children's psychological health. Deep learning and AI are the tools used where students can engage in a more in-depth conversation with the article and comprehend the author's mindset and background after completing the basic reading. This can help students' analytical, thinking, writing, and other application skills, as well as give them the opportunity to learn from and build upon their first reading accumulation. Research has shown that this method produces impressive results, and it is suited for widespread use because its reasonable strength has improved by 17.24% when compared to the conventional method. [ABSTRACT FROM AUTHOR]

This article aims to expose storytelling practices in teacher training, within the context of remote teaching caused by the Covid-19 pandemic. We have worked with the idea of self-hyperwriting as modes of narrative production and the idea of teaching dramaturgies - understood as the art of telling stories through a didactic design. To contextualize these ideas, we present two experiences based on the dramatization of the pandemic: an exercise in the production of comics with digital illustrations, carried out with students from the UERJ Pedagogy course, and the production of an illustrated book that presents stories of the pandemic in remote teaching. In these two examples, storytelling is understood as a didactic gesture for the creation of formative listening and storytelling environments (DELEUZE, 2011) of other possible worlds, as a production of narrative records of common people (CERTEAU, 2014), always alert to the dangers of a unique story (ADICHIE, 2018) and understanding life as an artwork (FOUCAULT, 1994). All these processes took into account the specificities of narrating life in cyberculture, with all the possibilities of the language of hypermedia. [ABSTRACT FROM AUTHOR]

Over millennia, death was the origin of great funerary constructions that have come down to us. These constructions aimed at ensuring eternity and perpetuating memory. Funeral art thus appears not in the service of death, but in the service of memory. In the modern age, funerary constructions do not have the dimensions and grandeur they did in ancient times, but there are still constructions with relevant architectural interest, built to perpetuate the memory of important families. In Conchada Cemetery, located in Coimbra, Portugal, a vast and diverse funeral heritage exists. Possessing various architectural styles, almost all built with limestone from the region, the narrow mausoleums stand out from this heritage. This work presents a study carried out on the architecture and construction of two types of narrow mausoleums, existing in the Conchada Cemetery, both of the Neo-Gothic style: one with an entrance from the front, and another from the back. As it is not possible to present the photographs of the burial vaults, since it would represent an intrusive approach to the families, the authors have resorted to representing them through Indian ink and watercolor illustrations. [ABSTRACT FROM AUTHOR]

While Disney's sleeping heroine films— Snow White and the Seven Dwarfs (1937) and Sleeping Beauty 1959)—are often dismissed as repeating a capitalistic narrative, the rapid acceleration of environmental degradation across the globe is grounds enough to reexamine both films with an ecocritical lens. Using an interpictorial approach, this article offers a new way of viewing how nature was constructed in the films' storyboards while tracing connections with period-specific advertisements. Illustrations of wild nature expand the possibilities for troubling Disney's brand of villainized wilderness. But period advertisements implicate humankind's growing responsibility for the harm done to the planet. [ABSTRACT FROM AUTHOR]

The article discusses the painting The Temptation of Christ by the 19th-century Lithuanian artist Napoleon Iłłakowicz (Napoleonas Ylakavičius, 1811–1861), which has been known so far only from mentions in literature and a description given by Adam Honory Kirkor in the artist’s obituary in 1862. The collected facts of the history of this canvas and Kirkor’s description allowed the author of this article to establish that the same painting was captured in Mečislovas Sakalauskas’s photograph of 1968, which today is held in the collection of the Lithuanian National Museum of Art. At the time of photographing, the painting was held in the Church of Saints John in Vilnius; its present location is unknown. Thus, the surviving photograph is the only iconographic source offering us a possibility to discuss this painting, which is quite extraordinary in the context of Iłłakowicz’s work. The ideas embodied in the painting are discussed through their relation to the artist’s worldview. Many facts of the artist’s public and personal life are published for the first time in this article. The painting was most probably created in the period between 1857 and 1861, when the painter lived in Vilnius. The plot of the canvas is based on the gospel story about the temptation of Christ in the wilderness by the devil offering him control of the world (Lk 4, 5). The artist used the image of the encounter of the Saviour and Satan to express revolutionary ideas of people’s liberation from oppression (both political and economic), which were nurtured in the environment of various societies and masonic lodges that were founded in emigration. This supposition is based on the ideas found in Michał Chodźko’s book Dziesięć obrazów z wyprawy do Polski 1833 r.: 1834-1835: poema z muzyką do dwóch pieśni, i czterema portretami published in Paris in 1841, which maintained that the true followers of Christ must become the bearers of freedom (both personal and communal), seek equality among the nations and social classes, and rally efforts in the struggle against the powers of evil. Today these views could be called a combination of the ideas of utopian socialism, Christianity and Messianism. The image of the temptation of Christ here is presented as a vision of the struggle between good and evil that runs through the entire history of humanity, and the resistance of Lithuania and Poland against tsarist Russia is seen as one of the episodes of this struggle. Iłłakowicz’s direct involvement in the preparation of the book (and in the activity of the emigrant “sodality” described there) is testified by the illustrations bound in the book – portraits of the rebels Artur Zawisza (1808–1833), Józef Zaliwski (1797–1855), Szymon Konarski (1808–1839) and Michał Wołłowicz (1806–1833) engraved by Antoni Oleszczyński (Nitan) after Iłłakowicz’s drawings. The sodality not only sought political goals, but also called for the necessity of social changes and had a dream of building a classless society in the restored Polish-Lithuanian Commonwealth and implementing radical changes in all fields of society’s life. They understood this mission as the realisation of the ideals proclaimed in the gospels. [ABSTRACT FROM AUTHOR]

Central to this article are two maps by Floris Balthasarsz van Berckenrode, both on the siege of Grave (1602) by Maurice of Orange during the Dutch Revolt. The first map was in 1602 produced as a news map about the events, the second was a re-edition, published eight years later as a book illustration for Jan Jansz Orlers, Den Nassauschen Lauren-Crans (Leiden 1610). In this article, principles for a new method are introduced to analyse and compare these 'story maps' with particular attention to the narrative impact of the map. Using this method in combi-nation with (book) historical research, it argues that the 1610 map should be considered as a 'memorial map' that reframes the collective memory of the Dutch Revolt. It emphasizes the dynamic relationship between news, map and book publishing and pleads for a more prominent position of story maps and book illustrations in Early Modern memory landscapes. [ABSTRACT FROM AUTHOR]

The first volume of the great Civitates orbis terrarum atlas, which comprises 546 views of cities (vedute) in various parts of the world, was published in 1572 in Cologne, while the sixth and the last volume was issued in 1617. The atlas was published by Georg Braun and Franz Hogenberg, the former of whom had found the inspiration for the publication in Sebastian Munster's Cosmographia and Abraham Ortelius' Theatrum orbis terrarum. Georg Braun was a widely renowned theologian and priest, which was highly significant for the work on this lavish publication. Engraving was entrusted to Franz Hogenberg who collaborated with Simon van den Neuwel and Georg and Jacob Hoefnagel. In addition, works of other printmakers and cartographers were also used in the atlas. The cityscapes published in Civitates orbis terrarum include four Croatian cities, namely Poreč, Šibenik, Kostajnica and Petrinja. The Print Collection of the Croatian National and University Library holds in its possession original prints of all four cities, which were taken out the publication in which they were meant to illustrate and thus augment the verbal message. Even as individual artefacts these prints offer an abundant amount of information about the period and socio-historical circumstances in which they originated. [ABSTRACT FROM AUTHOR]

The given text is a review of the book "Legături culturale româno-maghiare" (Romanian-Hungarian Cultural Links) by Valentin Trifescu. The book explores the Romanian-Hungarian cultural connections and contains a collection of studies, essays, interviews, reviews, and hybrid texts. The author emphasizes the inhomogeneous nature of the book and aims to provide initiations into the destinies and biographies of intellectuals of the time. The book offers insights into intercultural existence and encourages a positive and fruitful intercultural dialogue. [Extracted from the article]

The Presidency of Religious Affairs initiated a new service area in the 2013-2014 Academic Year. The Presidency, which previously provided educational activities for young and middle-aged groups and primary school children during summer courses, started official preschool religious education for the 4-6-year-old age group in Quran Courses for the first time in 2013-2014. Although the experience has been acquired in this field with each passing year, some problems are still noticeable at various points. The present study examines the contents and aesthetic aspects of the stories included in Quran Courses activity books for 4-6-year-old children. The purpose of the study is to underline that stories and especially the illustrations and visuals in stories, have very important roles in learning for children who are illiterate in the preschool period, and the study aims to contribute to the organization and enrichment of the activities and textbooks by drawing attention to this field. In this study, which has a qualitative design, the existing activity books are examined. The study also has a screening model, which aims to explain the present situation in the way it is. The stories and illustrations in the activity books were examined in this study via descriptive analysis based on the criteria that should exist in children’s literature books. In this respect, we tried to summarize and interpret the data obtained in the study according to the pre-determined criteria. This study, which draws attention to the importance of books with illustrations, which have an important function in the development of preschool children, and their effects on children, examined the contents of the stories and the pictures used in the narration of the stories in the activity books used in the Qur'an Courses for 4-6-year-old children. Before making an assessment on the subject, the author tried to find an answer to the question of what stories and pictures mean for preschool children and what is the function and importance of pictures and stories in their education. According to the criteria, the author examined and evaluated nine stories in the activity books prepared for the Qur'an Courses for the ages of 4-6, in which especially pictures are used in the narration. When the Qur'an Courses activity books for the ages of 4-6 are examined, it draws attention that the books are prepared in large size to please children. However, although the volume has been thinned compared to previous periods, it is still seen that the activity books are quite thick and not suitable for the physical development of children. When the children using these books were observed, it was seen that the children had difficulty carrying them. For this reason, it would be more appropriate to print the activity books as separate books like 1 and 2 without combining them.Besides, the first stimulus that attracts children to a book is the cover of the book. When the cover of the Quran Course activity books for 4-6 years old is evaluated visually, one or two animal and flower pictures stand out, mostly with Arabic letters. This situation evokes the feeling of an Elif Juz book, although there is no study on letters in the content of the book. Instead, it may be more appropriate to have small cuts from the pictures on the cover of the book or children's pictures that will make the child feel close to the book. As a result, the commission that prepares the Qur'an Course books for 4-6-year-old children consists of an experienced staff, which will contribute to the emergence of more qualified and more interesting activity books for children. For example, academicians from the religious education department, pre-school teachers, pedagogues, Qur'an Course instructors, Imam-Hatip and children's book writers are included in the commission that prepares the current curriculum and books. In order to eliminate the problems identified in this study, it would be beneficial to include experts in the field of literature and people who will contribute to the aesthetic aspect of the books, especially those who are experts in the field of pictures for children. The results reveal that activity books should be made richer in terms of pictures and should be reviewed by experts in this field before publication. This is as necessary as reviewing the information contained in the books because the thing that makes the biggest contribution to the learning of the child is the pictures. The power of pictures should not be underestimated in this regard, and therefore, there should be plenty of pictures in activity books. [ABSTRACT FROM AUTHOR]

• Nudges that induce speed reduction complement coercive methods for traffic calming. • A nudge based on signs displaying children's book illustrations was evaluated. • Drivers intend to drive slower in the proximity of these signs. • However, average speed was only slightly reduced in the first week after placement. • The temporarily effect on speed is probably intentional and not based on priming. Speeding on urban roads is a major road safety problem. Police enforcement and speed humps are effective measures to prevent drivers from speeding. However, these measures may also elicit none compliance because of their restrictive nature. Therefore, non-compulsive measures that nudge drivers to adopt low speeds are also required. One such a nudge was evaluated: road signs displaying children's book illustrations. These signs display illustrations which were created by the late illustrator and writer of books for toddlers, Dick Bruna, and are named 'Dick Bruna signs'. The idea of the developers of these signs was that they will evoke feelings of caution and care in drivers and this will make them drive slower. To evaluate the effect, two studies were conducted. In the first study participants watched photos from the driver's perspective. They had to report how fast they expected others would drive and how fast they themselves would drive. Participants reported speeds of others higher than their own speeds but the pattern was the same: speeds on photos with a Dick Bruna sign were approximately 4 km/h lower than on the same photos without a Dick Bruna sign and speeds were not significantly lower when a neutral sign such as an advertisement was visible. In the second study speeds were measured during seven consecutive weeks on five experimental roads and five comparison roads. On the experimental roads, during the week 3–5 a Dick Bruna sign was placed. Controlled for developments in speed on the comparison roads in the same period, mean speed was marginally significant lower, and the V85 speed and the proportion of speed offenders were significantly lower in only the first week after placement of the signs. [ABSTRACT FROM AUTHOR]

Andreas Vesalius initially accepted Galen's ideas concerning the rete mirabile in humans. In 1538, Vesalius drew a diagram of the human rete mirabile as a plexiform termination of the carotid arteries, where the vital spirit is transformed into the animal spirit, before being distributed from the brain along the nerves to the body. In 1540, Vesalius demonstrated the rete mirabile at a public anatomy, using a sheep's head (due to his nascent realization that he could not demonstrate this adequately in a human cadaver, potentially eliciting ridicule). By 1543, Vesalius had fully reversed himself, denied the existence of the rete mirabile in humans, and castigated himself for his prior failure to recognize this error in Galen's works. Vesalius nevertheless illustrated both the Galenic conception of the rete mirabile in humans and a schematic of the rete mirabile in ungulates. He intended the 1543 diagram of the human rete mirabile as an example of a mistake that resulted from Galen's overreliance on animals as models of human anatomy. However, in spite of Vesalius's intentions, for more than a century afterward, his figure was repeatedly and perversely plagiarized by advocates for Galenic doctrine, who misused it as a purportedly realistic representation of human anatomy and generally omitted the contrary opinions of Berengario da Carpi and Vesalius. The protracted use of stereotyped representations of the rete mirabile in extant printed illustrations provides tangible documentation of the stagnation in anatomical thought in the sixteenth and seventeenth centuries. [ABSTRACT FROM AUTHOR]

Purpose: The study aims to determine the compatibility of the books with the principles of children's literature by examining the physical, internal structure, and illustration characteristics of the children's poetry books most borrowed from the Nilüfer Municipality Poetry Library and Misi Children's Library. Method: 98 books evaluated within the scope of the research with sampling were borrowed from the Children's Library and Poetry Library. A case study, one of the qualitative research methods, was used in the current work that collects the data through document analysis. Results: According to the findings obtained from the study, 95.9% of the books are medium size, 61.2% are stitched binding, 95.9% are straw paper, and 40.8% have 71 or more pages. When examining the page layout and grammar features, 42.9% of the books were written with single line spacing, 56.1% were written with 12 font size, 91.8% were left-justified, and punctuation marks were used in 55.1%. Regarding the illustrations placed in the books, 88.8% of the cover art is compatible with the content, 73.5% includes emotional expressions in the pictures, 44.9% has colored pictures, 74.5% keeps no pictures on each page, and 60.2%, places pictures and texts on the same page in a way complement each other. Considering the internal structure of the books, 34.7% tackle the theme of 'values' and 64.3% adopt a pastoral style. Conclusion: It has been found that the majority of children's poetry books borrowed from Nilüfer Municipality Poetry Library and Misi Children's Library have author promotion. The most borrowed children's poetry book belongs to Fazıl Hüsnü Dağlarca, and secondly to Mavisel Yener and Aytül Akal. Most of the books have illustrators and Mustafa Delioğlu is the the one who mostly took part in the illustrating process. The publisher that published the most children's poetry books was Yapı Kredi, followed by Can Child. It has been determined that the publication years of children's poetry books are primarily those of 2012 and 2008 and that the majority of the books are first editions. There is no age information in the majority of children's poetry books. Originality: Some studies examine the physical and content elements of children's books. However, studies on poetry books have not been much in the literature. The study is unique in examining the physical and content features of children's poetry books. It is thought that the study will draw attention to children's poetry books and their place in library collections. [ABSTRACT FROM AUTHOR]

Decomposing variables into between and within components are often required in multilevel analysis. This method of decomposition should not ignore possible unreliability of an observed group mean (i.e., arithmetic mean) that is due to small cluster sizes and can lead to substantially biased estimates. Adjustment procedures that allow unbiased estimation have been defined and implemented in software for a two-level model. This study shows how to implement a two-stage adjustment procedure in a three-level design. A simulation study showed that the adjustment procedure provides unbiased estimates. To demonstrate how the adjustment procedure can change results in a real data context, an illustration is provided using a set up in which 355 Level-1 units are nested in 93 Level-2 and 19 Level-3 units. [ABSTRACT FROM AUTHOR]

Books with color illustrations were once rare and costly, but during the nineteenth century advances in color printing technology allowed publishers to include color more frequently. At the same time teachers and government officials attempted to employ graphic displays to facilitate understanding of often abstract or invisible concepts or to show data in a form that could more easily be grasped and retained. The use of color enhanced these endeavors. Dating from 1847 to 1876, the four books discussed here were selected because their authors deliberately chose to replace the written word with color graphics to provide instruction in the sciences and social sciences. [ABSTRACT FROM AUTHOR]

"The Temple of Venus and Rome and Santa Francesca Romana at the Roman Forum: Preservation and Transformation" by Cristina González-Longo is an informative book that explores the history, architecture, and conservation of the Hadrianic Temple of Venus and Rome and the churches and monasteries that developed within the Roman temple complex. The author examines the construction, damage, and subsequent transformations of the temple and the surrounding structures, including the influence of various historical periods such as the medieval and baroque eras. The book also delves into the evolving conservation processes and debates surrounding the preservation of historic monuments in Rome, providing a comprehensive overview of the site's history. However, the illustrations in the book are monochrome and often too small to be easily legible. [Extracted from the article]

This article serves as a postscript for the 'London as Theatrical Space' special issue of The London Journal. It reads the early modern English jest book archive for its illustrations of common sense attitudes towards individual street performances by pedestrians. The variety of topics the article considers includes feathers, gallants, disabled bodies, and the generality of display in public urban space. [ABSTRACT FROM AUTHOR]

Collaborative art is an important kind of "boundary work" in decolonizing relationships to self, others, and land in today's settler societies, or the multinational states that formed as a result of European settler colonialism. This article tells the story of a children's book co-produced by the Cheslatta Carrier Nation in British Columbia and two undergraduate students at the University of Missouri (MU) along with their faculty mentor and his son at the 2018 Cheslatta Camp Out. The Camp Out is a time when the Cheslatta Nation returns to Cheslatta Lake, the homeland from which they were forcibly evacuated in 1952. The process of doing art for the children's book together in place at the Camp Out facilitated the trust and rapport essential for the collaborative creative work, and ultimately helped the participants co-discover the storyline for the book. The co-produced artworks for the children's book (watercolors, photographs, illustrations, stories) became gifts that trace the circuits and complicities of entangled relations. As a gift, artwork brings disparate communities of practice fully into reckoning with place, understood in the Indigenous sense as the relationship of things to each other through land. This is the gift of art, the gift of place. [ABSTRACT FROM AUTHOR]

Images are never innocent and are always constructed through different practices and ideologies. This fact is true for book illustrations and becomes still more complicated if the illustrations have been created for a literary translated text. This paper analysed the visual signs of ideologies in ten frames of illustration accompanied an English translation of Rumi's poetry to examine the ideological congruency of these illustrations with the worldview of the original text. Considering 'discourse' in Foucauldian sense, that pictures and images can be understood as discourse, and based on the constant association of discourse and ideology, the present study employed discourse analysis as its analytical tool. Therefore, to accomplish its objective, this study investigated the ideological contents of the collected illustrations. The findings demonstrated that the illustrations present a totally diverse ideology compared to that of the original text. The current research has implications for the young translating practitioners and researchers to be aware of the pitfall of ideological manipulation through illustrations. [ABSTRACT FROM AUTHOR]

The chapter of Mikołaj Rej's Źwierzyniec ('The Bestiary'), entitled Jako starych wieków przypadki świeckie ludzie sobie malowali ('As People Painted Secular Shapes from Old Times'), is a collection of epigrams accompanied by visual illustrations of various human features and vices. As proved in 1893 by Ignacy Chrzanowski, some of the pieces were inspired by Andrea Alciato's emblems, hence the search for Rej's sources focused on emblem literature. However, despite the evidence that Rej's epigrams were intended as comments to illustrations, they still may be rooted in literary texts. This article deals with the sources of four epigrams, namely, the one depicting a bad servant, a good servant, a good wife and a bad wife. The epigram Sługa dobry (IV 31, 'The Good Servant') may have been modeled on the popular treaty Οίκετης sive De officio famulorum, written in 1535 by Gilbert Cousin, who described an image of a good servant, subsequently painted in French nobles' chambers. It presented a human silhouette with a pig's face, donkey's ears and deer's legs, which captured the idea of the servant being easy to feed, eager to listen and fast to follow the master's orders. This image was widely popularized in 16th-century drawings, however none of them is known to have been familiar to Rej before 1562 and used by him as a pattern for his epigram. Since a pig's snout is associated with gluttony in Rej's other texts, in the epigram Sługa dobry it is replaced by a bull's head. The image of the snout is exploited in Zły sługa (IV 30, 'The Bad Servant'). Rej equipped the bad servant with a wolf 's ears - he will pretend to misunderstand orders for his own benefit, a bear's paws - he steals, and a dog's tail - he flatters his master. The two epigrams presenting the images of a good wife and a bad wife, were inspired by verses that were echoed in Rej's other works, for instance in Postylla (1557, 'Postil') and Żywot człowieka poczciwego (1568, 'Life of a Virtuous Man'). The epigram Żona poczciwa (IV 32, 'The Virtuous Wife') alludes to Ps. 128(127):3, whereas Żona wszeteczna (IV 33, 'The Profligate Wife') to Prov. 11:22. [ABSTRACT FROM AUTHOR]

The article presents a classroom‐based study that engaged linguistically diverse preschool and early school‐age children in illustrating books, jointly composing written narratives to accompany their illustrations, and enacting these child‐authored books through shared sociodramatic play. Findings from story retell tasks show significant improvement in children's narrative language: vocabulary, syntax, accuracy, and text structure. Analysis of collaborative dialogue during book‐making highlights the role of peer and teacher scaffolding in supporting children's literate language and identity development. The article presents an engaging play‐based approach for ECE educators to (1) significantly and equitably increase child‐led literate language interactions; (2) improve early writing instruction, by increasing meaningful composing experience; (3) strengthen culturally sustaining home/community–school partnerships, through authentic dialogue with caregivers about children's writing; and (4) harness the social and multimodal power of play to promote a range of important early learning goals. [ABSTRACT FROM AUTHOR]

Le Port de Guerre de Kition: edited by Olivier Callot, Sabine Fourrier and Marguerite Yon, Lyon, France, Maison de l'Orient et de la Méditerranée Éditions, 2022, 336pp., 170 illustrations (some colour), ISBN 978-2356680761 The division into sections, chapters and shorter and coherent sub-chapters makes it easier for the reader to locate any information needed (especially useful in the publication of an excavation that inevitably contains a lot of data). Kition-Bamboula - the first is the name of the ancient city, the second the modern name of the excavation site - is located in the outskirts of Larnaca, on the southern coast of Cyprus. [Extracted from the article]

Life After Gravity: Isaac Newton's London Career.: By Patricia Fara. For one thing, presumably in order to accommodate last minute additions, the text in places extends almost to the bottom of the page, which has an ugly appearance (xxii-xxiii, xxvi-xxvii, 31, 52-53, 92-93, 126-27, 208-09, 218-21, 230-31), although elsewhere in the book two pages are completely blank (82, 150). For instance, an interesting section of the book deals with medals with which Newton was associated, of which it would have been desirable to illustrate a larger selection. [Extracted from the article]

It has been proposed that humans use non-numerical features (such as convex hull and surface area) to estimate the number of objects in a scene. This would be an evolutionarily advantageous strategy if such features truly patterned with number in the world, but this has never been empirically tested. Here, we quantify the strength of the relationship between number and non-numerical features in two relevant image sets: the illustrations from children's counting books, and real-world photographs. We find that non-numerical features are much less predictive of the number of objects in counting books than in photographs, despite the former being specifically designed for use in teaching children about numbers. Then, across three behavioral experiments, we ask whether the stronger relationship in photographs predicts better number estimation performance in adults (N = 120) and in children (N = 94; M age = 7;2 years). Our experiments reveal that number estimation is easier from the counting books than the photographs, even though non-numerical features are less predictive of number in books. This analysis uses real-world stimuli and draws into question the claim that non-numerical features are intrinsically involved in number extraction. • The relationship between number and non-numerical continuous extent cues was measured in naturalistic ensembles. • Continuous features were more strongly related to number in photographs than in children's counting book illustrations. • Adults and children were better at estimating number in counting book illustrations than in photographs. • This suggests that non-numerical continuous features are not the primary perceptual basis for visual number extraction. [ABSTRACT FROM AUTHOR]