Book cover inventory (in the latest literature) (original) (raw)
Related papers
Uncovering the Book Cover: An Analysis on Judging a Book by its Cover
LV SPECIAL ISSUE DECEMBER 2021, 2021
“There's much to uncover that's not on the cover!” Before a reader turns the pages of any book, his/ her eyes behold the jacket of that book and the author's name on it, which has a bearing on the mind of a possible reader even before the words inside begin to influence. Writers of books don't write books, they write manuscripts. Designing a book cover is the process of getting an author's manuscript into the hands of a reader, by materializing it – giving it a form. Moreover, the covers determine the primary way in which books are marketed and promoted. In addition to other factors, the gender of the writer plays a significant role in the designing of a book cover. Certainly, the covers of books written by women on the whole are differently curated, in illustration and lettering both — the images are ambiguous, painted or misty or eccentrically drawn, and for some unknown reason, 'serif' font is used much more liberally as compared to the covers of books written by men. In this paper, apart from taking into consideration the gender of the writer of a book, book covers are being analysed in two aspects. First, the appearance of book covers which includes the colour scheme, font size, font style and pictures used on the outer jacket. Secondly, it will also be investigated whether the cover of a book also plays a role in deciding the literary merit of the book, which also includes the reasons for winning or losing a literary award. Keywords: Culture, reader-response, reception theory, authorship
Design Issues, 2010
Eye in the Sky, each of which interprets its subject literally. Juxtaposed, the two thumbnails present a pair of eyes staring out with great alarm at the potential reader of Judging a Book by Its Cover. This cover tells us that this is a book about books, visuality, and populist genres. On the back, the blurb proclaims "This exciting collection opens up a new field of enquiry for scholars of book history, literature, media and communication studies, marketing and cultural studies." Clearly, for graphic design historians, the analysis of book covers is not new; this anthology presents a welcome incursion into graphic design history terrain by an interdisciplinary group of scholars.
Atelier cultures de l'image: the book cover project
Dossier for course "Atelier cultures de l'image: the book cover project" - Université Paris Nanterre (a.y. 2022/2023) TASKS: - Hypothetical original cover for Calvino's Invisible cities, by Giorgia Armario (VISIBLE ONLY with DOWNLOAD) - Comparative analysis of DeLillo's White Noise front cover by Noma Bar (Picador) - Analysis of Rushdie's East,West cover by Sroop Sunar (Vintage) - Comparative Analysis of Pynchon's The crying of lot 49 front cover by Yuko Kondo (Vintage) - Interview with Livia Massaccesi, creative director for the cover of the Italian edition of Evaristo's Girl, Woman, Other (SUR) - both English and Italian versions of the interview are provided.
The Cover of a Book is the Beginning of a Journey
There is a slideshow available on the conference page for 'Traditional and emerging formats of artists' books: Where do we go from here?': http://www.bookarts.uwe.ac.uk/news-archive/contrad09/julianclare.htm A dialogue with Julian Warren about The Cover of a Book is the Beginning of a Journey, a process-based exhibition curated from Arnolfini’s bookworks collection. This was first shown at Arnolfini in autumn 2009 and has since toured to Walsall Art Gallery and Leeds Metropolitan University gallery. As co-curators (with Performance Re-enactment Society, Tom Sowden and Sarah Bodman of UWE Bookarts) we were interested in artist’s books that went beyond the usual conventions of reading; books that unsettle the usual distinction between writer and reader, which distribute and generate action and performance: books to do. As part of the exhibition the PRS invited visitors to take part in a series of enactments in response to the book works. These took place over 5 Acts entitled ‘Things To Do With Books’, on Saturday afternoons.
The Role of Book Covers in Influencing Readership
2018
This article examines the various aspects and elements of book covers, and their roles in symbolizing the book, its themes, ideas and content. Book covers utilize specific color schemes, illustrations and design layouts to properly convey the content of the book, while also influencing a reader's emotions. The overall purpose of the book cover is to represent a book while actively working to interest a reader. Through showing the various nuances of book covers, this research highlights the role played by them.
Book publishing is emerging as a rapidly growing field of scholarly research and study. Forming a complex and far from homogenous universe, book publishing constitutes an object of inquiry filled with tension and contradiction. Whether considered from the perspective of bibliography, market information, archival preservation, or the general social practices of the trade, the world of publishing is a realm associated with the shedding of light on subjects and the imparting of authority to the contents of the works published. At the same time, it is a land that involves the selecting, hindering and controlling of our perception both of this world of the printed book and the wider symbolic and concrete universe. Thus, the use of the illumination/obscurity metaphor in these very brief notes is a way of capturing the intricate and often paradoxical nature of book publishing. This text stems from the oral presentation “The hidden and illuminated object: publishing as enunciation and prescription of the book”, presented at the 9th Conference of the European Sociological Association in the 3rd September 2009.
postmedieval
The experience of reading medieval manuscripts is profoundly visceral. The touch, smell, and appearance of the material object can be intoxicating, sometimes even generating feelings curiously akin to sexual desire. Yet scholars seldom discuss encounters with medieval codices in erotic terms, and many may well deny the validity of such responses. Lara Farina has observed that she 'know[s] from personal experience that when a scholar proposes an erotic reading of a premodern text she is likely to be met with the retort, seldom explained, that the given work just isn't erotic' (Farina, 2011, 50). Farina goes on to pose the rhetorical question 'What does it mean to say that something is not-and therefore cannot be-erotic?' before pointing out the illogical assumptions behind such claims, including the conviction that the 'erotic component of an artefact' is somehow 'prior to and independent of the act of reading/viewing'-in other words, that such erotic responses, whether they be to texts or objects or both, are instinctive and involuntary rather than discursively constructed. While not primarily concerned with the erotics of reading manuscripts per se, this Special Issue puts forward innovative methodologies through which the manuscript page begins to emerge as a desiring surface saturated with queer jouissance and excess, and on which error and deviance
Books as Fashion Accessories: Paratexts and Translation
International Journal of Social Sciences, 2023
The rise of media culture in the 21st century paved the way for images to luster. This rise is especially noticeable through more visible channels. Recently, it has been observed that commodities are rendered more visible through social media and the fashion industry. In this context, literary works come into prominence with various media spectacles. These works, which emerged as cultural consumption products express various tastes as part of the "society of the spectacle". To understand the social dynamics of this century, the research on definitions and dynamics in many disciplines done by Guy Debord, Lev Manovish, and Pierre Bourdieu is utilized. The debate on books as fashion accessories start from the headlines of fashion magazines with regards to “the society of the spectacle”, “aesthetic society” and “cultural capital”. In this vein, the factors that are effective in the process of books being a part of fashion are examined by many researchers from a wide array of fields. As books are directly associated with the contents of the book covers and their designs as complementary accessories, the notion of paratext by Genette seems to be in a better position to present a framework of analysis in translated literature. Since the front and back pages of the books are considered paratexts, the cover design, especially for translated literature, is positioned as a crucial aspect as well as their literary value. The only focus of this study is not on the front covers of the books. It is also scrutinized that the visibility of the translated literature enabled by the fashion industry and social media reflects certain tastes and preferences of individuals. In addition to the reflection of these preferences on the cultural capital of the customers, the effect of the sales and marketing of the books is also examined.
Posturing on the Threshold: Author Pictures on Front Covers
Book Practices and Textual Itineraries: Contemporary Textual Aesthetics, 2015
Author photographs on book covers are fascinating material for an examination of the self-fashioning of authors. Until now these photographs have received little theoretical attention or systematic analysis. A sub-genre is the author picture on the front cover of books. In this paper, these kinds of pictures are approached as paratexts in which the author actively constructs a posture and at the same time stages a complex interaction with the book’s content. Some concrete examples from Dutch book covers are analyzed. The paper ends with a number of suggestions for further research.