216 research outputs found
The Tale of Johnny Town-Mouse
No full textSee my notes on the 1918/87 version. This book has a slightly different cover and dust jacket, and does not proclaim the original and authorized edition or new colour reproductions, as does the 1987 reprint. In fact, the illustrations here are less distinct.This is a hardbound book (hard cover)Beatrix Potte
Beatrix Potter Through the Years
No full textThe investigation into the life and work of Beatrix Potter was prompted by interest in and enjoyment of the work of this author. The Tale of Peter Rabbit was the real extent of the acquaintance with Beatrix Potter. Perhaps the appreciation of the art in this book was even more fundamental. A serious desire for children to be familiar with the original story rather than the reproductions was a factor in wanting to know more about this woman and more about what she had produced
The Picture Letters: an "Illustrated Story-Telling" by Beatrix Potter
No full textA distinctive and noteworthy detail of Beatrix Potter’s literary production is her ability to coordinate text and illustrations, both created by herself. This feature is already evident in the picture letters that the author addressed to children and acquaintances, and that will inspire her most famous stories.
In my presentation, I focus primarily on Beatrix Potter’s artistic education. Then I dwell the characteristics of her picture letters, making particular reference to the evolution of the Tale of Peter Rabbit from letter to its first commercial edition. Finally, as illustrations are so important in Beatrix Potter’s picture letters as well as in her later books, I focus on their characteristics, emphasizing their innovations compared to other children’s illustrations of her age.Even as a child, Beatrix Potter (1866-1943) shows a strong propensity for the arts. Grown up studying scientific manuals, didactic tales, and picture books for children, and observing with curiosity the world around her, Beatrix Potter in her literary production combines the talent for prose with that for drawing. In fact, in the many tales for which she is remembered, many illustrations are used as a supplement to the written text.
The interesting relationship between text and images is particularly evident demonstrated in the series of picture letters – an expression coined by the author herself – letters that Beatrix Potter directs to the Moore children, and from which she will draw inspiration for her most famous characters, such as Peter Rabbit and Benjamin.
In my paper, I intend to study this series of letter, dwelling in particular on their format, based on the relationship between narration and pictures. This formal choice is a true artistic statement of the author, a choice that offers multiple interpretations to the story, and stimulates the attention of the children to whom the letters are addressed, realizing what Linda Lear defines as an “illustrated story-telling”.
Thanks to their unconventional format, the picture letters represent a focal point in Beatrix Potter’s literary production. Probably, just understanding how much her young readers appreciated these letters, the author reached to the idea of writing and illustrating books for children.
These letters are also an artistic experiment and a valid means to mediate between contrasting worlds: the imagination and the natural sciences, fantastic stories for children and the social considerations Beatrix Potter provides in her diary, the iconic impact of the visual set against the structural elements at the base of story-telling (Lear, 2008:132). Nor should it be forgotten that Beatrix Potter used her real life and pets as inspiration for her picture letters. Thus, the letters are capable of reconciling the author’s private experience and her public art.
Illustrations in the picture letters deserve particular attention. They are inspired by the pictures drawn by famous artists for children, such as Edward Lear (1812-1888), Walter Crane (1845-1915), and Rudolph Caldecott (1846-1886). At the same time, Beatrix Potter demonstrates an exceptional scientific accuracy and invaluable attention to detail in them. The self-apprenticeship and study Beatrix Potter had pursued at the Natural History Museum in South Kensington strongly influences the animals in the picture letters – even if they are anthropomorphized, as evidenced by the pretty clothes with which they are equipped – and the bucolic nature around them. The scientific attention demonstrated by Potter’s pictures testifies to a well-spread Victorian attention for the natural sciences, displayed especially by high-society women
The Motivations of Consumer Preferences and Choosing a Service Provider in the Domestic Market of Institutional Catering
No full textJeszcze o "Beatrix Cenci" Juliusza Słowackiego
No full textHanna Sieja-Skrzypulec makes a comparative interpretation of the drama and its Kraków staging from 2009 directed by Maciej Sobociński (a premiere in The Juliusz Słowacki Theatre) making the notions of re-creation and repetition, as well as a teatrum mundi topos the key words. The author points to a consciously emphasized “mirror” structure of drama in staging, reinforced on the stage by multimedia. The text concentrates on the image (face) of Beatrix (painting reproductions, movies, theatrical staging), hence her identity and dignity had to be defended in the patriarchal world.Hanna Sieja-Skrzypulec makes a comparative interpretation of the drama and its Kraków staging from 2009 directed by Maciej Sobociński (a premiere in The Juliusz Słowacki Theatre) making the notions of re-creation and repetition, as well as a teatrum mundi topos the key words. The author points to a consciously emphasized “mirror” structure of drama in staging, reinforced on the stage by multimedia. The text concentrates on the image (face) of Beatrix (painting reproductions, movies, theatrical staging), hence her identity and dignity had to be defended in the patriarchal world
L'arte di Beatrix Potter, ovvero come gli animali ci salvano la vita
No full textIn this essay the art and life of Beatrix Potter are assessed as the unconventional result of a strict Victorian upbringing: Potter, who is a world-famous author of children's books, was also an expert and dedicated scientist and her books offer a representation of animals which is neither anthropomorphic nor moralised but simply natural, and full of true love for them
The hidden in the visible : reflections on "The Tale of Peter Rabbit" by Beatrix Potter
No full textBeatrix Potter to brytyjska pisarka i rysowniczka, której wkład w rozwój XX-wiecznej ilustrowanej literatury dziecięcej jest nie do podważenia. Jednak – jak udowadnia M. Daphne Kutzer (2003) w swojej pracy pt. Beatrix Potter: Writing in Code – Potter to także autorka, która mistrzowsko opanowała sztukę kamuflażu (obejmującą rozmaite etapy i formy jej twórczości). Idąc tropem konstatacji Kutzer, autorka artykułu przygląda się pierwszej publikacji Potter pt. Piotruś Królik (1902) pod kątem obecnych w niej buntowniczych – choć na pierwszy rzut oka niewidocznych – treści. Stara się dotrzeć do ukrytych przekazów symbolicznych, znajdujących się na przecięciu tekstu i rysunku (wykonywanego przez samą Potter), który nie jest wyłącznie ilustracją.Beatrix Potter is a British writer and illustrator whose contribution to the development of 20th-century illustrated children’s literature is unquestionable. However, as M. Daphne Kutzer (2003) demonstrates in her work Beatrix Potter: Writing in Code, Potter was also an author who mastered the art of camouflage (evident across various stages and forms of her creative output). Following Kutzer’s observations, the author of the article aims to examine Potter’s first publication, The Tale of Peter Rabbit (1902), focusing on its rebellious – though at first glance invisible – content. The paper makes an attempt to explore the seemingly hidden symbolic messages that emerge at the intersection of text and illustration (created by Potter herself), which functions as more than mere accompaniment to the narrative
Beyond Peter Rabbit : the private life of Beatrix Potter
No full textMichigan State University Humanities Librarian Agnes Haigh Widder delivers a talk entitled, "Beyond Peter Rabbit: The Private Life of Beatrix Potter." Showing examples of Potter's work, Widder discusses the personality and life of Potter and says that she was much more than the storied, brilliant and eccentric author. Widder explains that Potter was a naturalist, farmer, scientific illustrator, stockbreeder, and influential conservationist in England's Lake District, then comments on Potter's coded diary, her life, work, and legacy. She answers questions from the audience. Widder is introduced by John D. Shaw from the G. Robert Vincent Voice Library. Part of the Michigan State University Libraries' Colloquia Series. Held at the MSU Main Library
O tłumaczeniu nazw własnych przez Mirosławę Czarnocką-Wojs w opowieściach Beatrix Potter
No full textThe following article is devoted to the analysis of the proper name translations introduced
by Mirosława Czarnocka-Wojs into her Polish edition of The Complete Tales by Beatrix Potter,
published in 1991 by Wydawnictwo ALFA in Warsaw. Proper names, such as anthroponyms,
toponyms, zoonyms, phytonyms, chrematonyms and ideonyms, containing some scores of diminutive
and augmentative forms of nouns and adjectives, and revealing the culture of Great
Britain, are held under close scrutiny by the author of the article. The Polish reality of the
1990s was taken into consideration during the analysis of the enumerated elements as one
of the possible aspects that might have influenced the adults’ and children’s interpretation of
Beatrix Potter’s works
KNJIŽEVNA ANALIZA STVARALAŠTVA BEATRIX POTTER
No full textBeatrix Potter priznata je autorica i ilustratorica dječjih slikovnica koja je djelovala u viktorijanskome periodu. Začetnica je moderne slikovnice u kojoj su ilustracija i tekst značenjski isprepleteni i nerazdvojni. U njezinim su slikovnicama protagonisti antropomorfizirani likovi prožeti zornim osobinama s kojima se čitatelj može poistovjetiti. Autorica koristi mješavinu antropomorfizma i realističnoga prikaza životinja da predstavi ljudske teme poput obitelji, prijateljstva, domaćinstva, zajednice, kritike društva, pohvale selu, pouke i pustolovine. Ovaj rad raspravlja o Potterinim slikovnicama u kontekstu ovih tema kao i o problemu implicitnoga čitatelja i suvremenosti Potterinih slikovnica.Beatrix Potter is a recognized author and illustrator of children's picture books who wrote in the Victorian period. She is the mother of the modern picture book in which illustration and text are meaningfully intertwined and inseparable. In her picture books, the protagonists are anthropomorphized characters imbued with clear traits that the reader can identify with. The author uses a mixture of anthropomorphism and realistic depiction of animals to present human themes such as family, friendship, household, community, criticism of society, praise of the village, lessons and adventure. This paper discusses Potter’s picture books in the context of these topics as well as the problem of the implicit reader and the contemporaneity of Potter's picture books
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