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Graphic dissertation, academic desig...

Nikolova, Olga Nikolova.

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Graphic dissertation, academic design (graphic design, modern poetry, and academic writing).

Record Type:	Electronic resources : Monograph/item
Title/Author:	Graphic dissertation, academic design (graphic design, modern poetry, and academic writing)./
Author:	Nikolova, Olga Nikolova.
Description:	245 p.
Notes:	Source: Dissertation Abstracts International, Volume: 66-05, Section: A, page: 1762.
Contained By:	Dissertation Abstracts International66-05A.
Subject:	Literature, Modern. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3173993
ISBN:	0542115387

Graphic dissertation, academic design (graphic design, modern poetry, and academic writing).
Nikolova, Olga Nikolova.

Graphic dissertation, academic design (graphic design, modern poetry, and academic writing). - 245 p.

Source: Dissertation Abstracts International, Volume: 66-05, Section: A, page: 1762.

Thesis (Ph.D.)--Harvard University, 2005.

What do graphic design, academic writing and poetry have in common? When do they resist one another? What are the sources of such resistance? This dissertation has the ambition to research such questions by bringing together improbable couples of texts and personae, and by borrowing techniques both from poetry and graphic design. Graphic designers have an unacknowledged influence on the kinds of books we read and we, in academia, know little about the way they think about their job. Typographers insistently draw attention to the text as image; critics traditionally view texts either as immaterial or as embodied meaning. After an examination of the theories of three key graphic designers (chapter one), this thesis turns towards the traditional formats of academic writing (chapter two and three). What happens if we cease to regard the critical text as a text blind to its format, a text which simply attempts to transmit ideas from one mind to another? In this so-called blindness to format, one can discern the ways in which academic writing denies itself the aesthetic pleasures of form: no longer only visual, but also narrative, structural, and semantic. We have come to identify certain graphic and textual formats with fiction, others with criticism, but is it possible to imagine a different perspective? Finally, in chapter four, in texts by Apollinaire, Tristan Tzara, and Ezra Pound (among others), the question is not only what criticism can reveal about such works, but also what it can learn from their graphic techniques and their printing history.

ISBN: 0542115387Subjects--Topical Terms:

624011
Literature, Modern.

Graphic dissertation, academic design (graphic design, modern poetry, and academic writing).
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300 $a 245 p.
500 $a Source: Dissertation Abstracts International, Volume: 66-05, Section: A, page: 1762.
500 $a Advisers: Barbara Johnson; Daniel Albright; Yunte Huang.
502 $a Thesis (Ph.D.)--Harvard University, 2005.
520 $a What do graphic design, academic writing and poetry have in common? When do they resist one another? What are the sources of such resistance? This dissertation has the ambition to research such questions by bringing together improbable couples of texts and personae, and by borrowing techniques both from poetry and graphic design. Graphic designers have an unacknowledged influence on the kinds of books we read and we, in academia, know little about the way they think about their job. Typographers insistently draw attention to the text as image; critics traditionally view texts either as immaterial or as embodied meaning. After an examination of the theories of three key graphic designers (chapter one), this thesis turns towards the traditional formats of academic writing (chapter two and three). What happens if we cease to regard the critical text as a text blind to its format, a text which simply attempts to transmit ideas from one mind to another? In this so-called blindness to format, one can discern the ways in which academic writing denies itself the aesthetic pleasures of form: no longer only visual, but also narrative, structural, and semantic. We have come to identify certain graphic and textual formats with fiction, others with criticism, but is it possible to imagine a different perspective? Finally, in chapter four, in texts by Apollinaire, Tristan Tzara, and Ezra Pound (among others), the question is not only what criticism can reveal about such works, but also what it can learn from their graphic techniques and their printing history.
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710 2 0 $a Harvard University. $3 528741
773 0 $t Dissertation Abstracts International $g 66-05A.
790 1 0 $a Johnson, Barbara, $e advisor
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