期敏 張 - Academia.edu (original) (raw)
Papers by 期敏 張
Chi-Min Chang, 2019
Brothers Grimm's fairy tales have been not merely the popular read for children but a significant... more Brothers Grimm's fairy tales have been not merely the popular read for children but a significant inspiration for writers and illustrators. The revision of the fairy tales has been constant ever since the first version in 1810 by Jacob and Wilhelm Grimm and so have the re-illustrations. The re-illustrations enrich the meanings of the stories and enhance the intricate relations between the texts and the illustrations. Maurice Sendak, a prominent illustrator and writer for children's stories, was noted for illustrating Grimms' fairy tales. He ever said that his intention in illustrating Grimms' fairy tales is to have the readers who think the stories are simple reread them again. Yet, what is significant about the re-reading? Obvious is Sendak's intention to reorient the story-reading and foreground the impact of the illustrations upon textual reading. Sendak's illustration of Grimms' tales is mainly presented in the book titled The Juniper Tree and Other Tales from Grimm, in which he has one full-page picture for each story. What is compelling in his illustration rests on the unexpected but captivating images which radically transform the reader's idea of the stories such as "Snow White," "Hansel and Gretel," and "Rapunzel," etc. But the questions are: How did Sendak renew the images for these stories? How do these images re-interpret these well-known stories? The exploration of Sendak's illustration of the well-known stories in The Juniper Tree and Other Tales from Grimm focuses on how Sendak reorients the reading of Brothers Grimm's tales with the reconfigured text-image relation. The relation is activated by a rhythmic text-image relation marked by syncopation and the multiple temporal/spatial composition in the one-page illustration. Significantly, Sendak's re-illustration of the Grimms' tales is distinct not merely in reinterpreting the Grimms' stories but in underscoring the untapped potential of illustration over text-reading.
Lewis Carroll's Alice's Adventures in Wonderland (1865) is a classic that has been continuously p... more Lewis Carroll's Alice's Adventures in Wonderland (1865) is a classic that has been continuously published for more than 150 years. During this time, it creates a wonderland for numerous illustrators, artists, writers, and movie makers. They keep adapting, rewriting , and re-illustrating the work owing to its potential for new comprehensions and interpretations. Among these efforts and devotions, the re-illustrations in different eras provide noteworthy images demonstrating diverse ways to read, visualize, and represent Carroll's work. As one of the illustrators after Sir John Tenniel, Anthony Browne uses a distinct style in re-illustrating Alice's Adventures in Wonderland, published in 1988. He presents an accessible Alice with surreal techniques. Being not as abstract and obscure as the volume by Salvador Dali (1969), Browne's surreal Alice is marked by the vivid images and distinctive colors, and intriguingly transcends the recognizable signifiers. First of all, challenging Tenniel's iconic illustrations, Browne's work renders a different way to see Alice's story by re-interpreting and visualizing Carroll's text. Except for the surreal images of the heroine, Browne adds some imaginary but text-based images that are not present in Tenniel's version such as separate body parts, aloof facial expressions and even the image of a crying Alice. Moreover, Browne marks his individual style by alluding to well-known paintings and presenting alternative animal characters. Browne appropriates the noted paintings to bring forth the rich connotations and symbolic meanings deftly echoing the elusive language of Carroll's text. As for the animal characters, they preserve their animalistic opaqueness eliciting the reader's/viewer's different imagination instead of being anthropomorphic. Last but not least, Browne reconfigures Alice as a curious but lonely child corresponding to his consistent concern about contemporary children. Browne's Alice's Adventures in Wonderland makes a wonderland that presents a surreal Alice, sustains his distinct style, and further explores the ideas of animals and childhood as suggested in Carroll's text.
Chi-Min Chang, 2019
Brothers Grimm's fairy tales have been not merely the popular read for children but a significant... more Brothers Grimm's fairy tales have been not merely the popular read for children but a significant inspiration for writers and illustrators. The revision of the fairy tales has been constant ever since the first version in 1810 by Jacob and Wilhelm Grimm and so have the re-illustrations. The re-illustrations enrich the meanings of the stories and enhance the intricate relations between the texts and the illustrations. Maurice Sendak, a prominent illustrator and writer for children's stories, was noted for illustrating Grimms' fairy tales. He ever said that his intention in illustrating Grimms' fairy tales is to have the readers who think the stories are simple reread them again. Yet, what is significant about the re-reading? Obvious is Sendak's intention to reorient the story-reading and foreground the impact of the illustrations upon textual reading. Sendak's illustration of Grimms' tales is mainly presented in the book titled The Juniper Tree and Other Tales from Grimm, in which he has one full-page picture for each story. What is compelling in his illustration rests on the unexpected but captivating images which radically transform the reader's idea of the stories such as "Snow White," "Hansel and Gretel," and "Rapunzel," etc. But the questions are: How did Sendak renew the images for these stories? How do these images re-interpret these well-known stories? The exploration of Sendak's illustration of the well-known stories in The Juniper Tree and Other Tales from Grimm focuses on how Sendak reorients the reading of Brothers Grimm's tales with the reconfigured text-image relation. The relation is activated by a rhythmic text-image relation marked by syncopation and the multiple temporal/spatial composition in the one-page illustration. Significantly, Sendak's re-illustration of the Grimms' tales is distinct not merely in reinterpreting the Grimms' stories but in underscoring the untapped potential of illustration over text-reading.
Lewis Carroll's Alice's Adventures in Wonderland (1865) is a classic that has been continuously p... more Lewis Carroll's Alice's Adventures in Wonderland (1865) is a classic that has been continuously published for more than 150 years. During this time, it creates a wonderland for numerous illustrators, artists, writers, and movie makers. They keep adapting, rewriting , and re-illustrating the work owing to its potential for new comprehensions and interpretations. Among these efforts and devotions, the re-illustrations in different eras provide noteworthy images demonstrating diverse ways to read, visualize, and represent Carroll's work. As one of the illustrators after Sir John Tenniel, Anthony Browne uses a distinct style in re-illustrating Alice's Adventures in Wonderland, published in 1988. He presents an accessible Alice with surreal techniques. Being not as abstract and obscure as the volume by Salvador Dali (1969), Browne's surreal Alice is marked by the vivid images and distinctive colors, and intriguingly transcends the recognizable signifiers. First of all, challenging Tenniel's iconic illustrations, Browne's work renders a different way to see Alice's story by re-interpreting and visualizing Carroll's text. Except for the surreal images of the heroine, Browne adds some imaginary but text-based images that are not present in Tenniel's version such as separate body parts, aloof facial expressions and even the image of a crying Alice. Moreover, Browne marks his individual style by alluding to well-known paintings and presenting alternative animal characters. Browne appropriates the noted paintings to bring forth the rich connotations and symbolic meanings deftly echoing the elusive language of Carroll's text. As for the animal characters, they preserve their animalistic opaqueness eliciting the reader's/viewer's different imagination instead of being anthropomorphic. Last but not least, Browne reconfigures Alice as a curious but lonely child corresponding to his consistent concern about contemporary children. Browne's Alice's Adventures in Wonderland makes a wonderland that presents a surreal Alice, sustains his distinct style, and further explores the ideas of animals and childhood as suggested in Carroll's text.