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کارکرد سیمامعناییِ تایپوگرافی در طراحی عناوین کتابهای تصویری کودک | ||
| مبانی نظری هنرهای تجسمی | ||
| مقالات آماده انتشار، پذیرفته شده، انتشار آنلاین از تاریخ 20 تیر 1403 | ||
| نوع مقاله: مقاله پژوهشی | ||
| شناسه دیجیتال (DOI): 10.22051/jtpva.2024.45213.1552 | ||
| نویسندگان | ||
| امیرحسین زنجانبر* 1؛ رحیم رحیمی2 | ||
| 1کارشناسی ارشد، ادبیات کودک و نوجوان، دانشگاه پیامنور، تهران، ایران | ||
| 2دبیر مقطع متوسطه دوم، دبیرستان شهید رجایی و هنرستان شهید حججی؛ شهرستان قرچک | ||
| چکیده | ||
| «تایپوگرافی» اصطلاحی در ارتباط تصویری است که میتوان آنرا متناظر با آرایۀ «سیمامعنایی» در ادبیات دانست. کار تایپوگرافی، بصری کردن نوشتار است و کار سیمامعنایی، ایجاد ارتباط بین سیمای بصری و معنای زبانی کلامِ مکتوب. این پژوهش در صدد است که بین آرایۀ ادبی «سیمامعنایی» و شگرد گرافیکیِ «تایپوگرافی» پل بزند و کارکردهای سیمامعنایی تایپوگرافی را ردهبندی کند. در همین راستا پژوهش حاضر با روش تحلیلیتوصیفی در پی پاسخ به چگونگی برهمکنش معناییِ دو وجه نوشتاری و دیداریِ تایپوگرافیهای عناوین کتابهای کودک است. جامعۀ آماری مورد مطالعه، هشتاد عنوان کتاب گروه سنی «الف» و «ب» است. اسکات و نیکولایوا برهمکنش نوشتار و ابژۀ فرانوشتاریِ تصویر را مطمح نظر قرار دادهاند، لیکن پژوهش حاضر با تسرّی روش دستهبندی ایشان، برهمکنشِ دو وجه دیداری و خوانداریِ نوشتار را مورد توجه قرار میدهد. برهمکنش وجه دیداری و خوانداریِ عنوان با برهمکنش عنوان و تصویرِ روی جلد تفاوت دارد؛ اما این دو مستقل از هم نیستند. نتیجۀ پژوهش پیشِرو، کارکرد معناییِ سیمای عباراتِ تایپوگرافیک را در کتابهای کودک به پنج دسته تقسیم میکند: تقارنی، تکمیلی، توسیعی، ترکیبی و تناقضی. | ||
| کلیدواژهها | ||
| کتاب کودک؛ جلد کتاب؛ عنوان؛ تایپوگرافی؛ نیکولایوا | ||
| عنوان مقاله [English] | ||
| The Function of Typographic Calligram in Designing Titles for Children's Picture Books | ||
| نویسندگان [English] | ||
| َAmir Hossein Zanjanbar1؛ Rahim Rahimi2 | ||
| 1Children ̓s and Young Adult Literature, Payame Noor University, Tehran, Iran | ||
| 2Second secondary teacher, Shahid Rajaei High School and Shahid Hojaji; Qarchak city | ||
| چکیده [English] | ||
| Extended Abstract: The cover image assumes an extratextual element role for the book title. In other words, the relationship between the title and the image constitutes an interaction between text and extratextual object. Unlike images that are appended to the text, the iconic aspect of the text is not an external addition but an integral part of the text itself. Therefore, the relationship between the iconic and symbolic aspects of a typographic phrase is intratextual. While Scott and Nikolajeva have investigated the dynamics between text and extratextual images, this study redirects its focus toward the intratextual dynamics present within typographic designs. Employing an analytical-descriptive methodology, this study seeks to reveal how semantic interactions between the textual and visual components of typography are manifested in the titles of children's books. The research evaluates eighty book titles aimed at age groups "A" and "B", endeavoring to expand upon Scott-Nikolajeva's concept of extratextual interactions to include intratextual typographic interactions. Accordingly, this paper poses two significant questions within the domain of children's literature: 1) What is the nature of the interaction between the iconic and symbolic dimensions of typography? 2) How can Scott-Nikolajeva's framework for extratextual interactions be adapted to examine intratextual dynamics? The outcomes of this research categorize the semantic functions of typographic designs in children's books into five distinct categories: symmetrical, complementary, expanding, combined, and contradictory. 1. Symmetrical Calligram In this type of typography, both the pictorial and symbolic aspects represent the same meaning. In simpler terms, the information perceived by an illiterate observer upon viewing the specified typographic phrase mirrors the understanding that a literate individual gains through reading it. In "A Crow Like a Crow" (Khodaei, 2009), both the graphic and symbolic dimensions of the typographed term allude to "crow". 2. Complementary Calligram In such relationships, the symbolic and iconic meanings conveyed by the typographed phrase are inherently incomplete, with both the symbolic and iconic components compensating for the absence of the other. Consequently, the overall meaning emerges from their combined interaction, solidifying or adjusting the potential range of meanings for both symbolic and iconic components. For instance, in the title typography of "How to Catch a Unicorn" (Wallace, 2019), the base of the letter "i" is creatively replaced with a unicorn's horn, and a star takes the place of the dot traditionally found above the "i". The arrangement of letters in the book's title, or its linguistic element, transforms the horn and star duo (an iconic component) into a symbolically meaningful element. Essentially, the letters adjacent to the depiction of the horn serve to identify it as the letter "i", thereby filling the void of the absent "i". Conversely, the iconic component (a spiraled horn topped with a star) doesn't inherently signify a unicorn's horn or any distinct meaning outside of its textual context; yet, the encompassing term (the symbolic element "unicorn") clarifies that this depiction must represent a unicorn's horn. Thus, the star adorning the horn is interpreted as the magical glimmer of this legendary creature's horn. In a complementary calligram, neither the symbolic nor the iconic aspects of the typographic phrase possess an explicit meaning independently. Each is tasked with bridging the semantic gap left by the other, leading to a more defined meaning through their collective interaction. 3. Expanding Calligram In this instance, the iconic component of the typographic phrase significantly enriches the semantic significance of its symbolic counterpart. Put simply, the iconic and symbolic components work together to enhance each other. Unlike the complementary calligram, which can be easily understood at first glance, interpreting an expanding calligram involves intentional reflection and analysis. Within an expanding calligram, the symbolic and iconic elements do not make direct references to one another. At times, connecting the iconic with the symbolic aspects of a book title rendered in typography might require a thorough reading of the book or a detailed examination of the images on its cover and its internal content. Essentially, the interpretative meanings of the title's typography on the cover are revealed after reading the book. "Leonard" (Erlbruch, 2016) is a bilingual book in Arabic and German, where the title's typography incorporates an illustration of a child and a dog on the word Leonard (pic 3). Thus, the character Leonard is the child depicted running atop his name. His backward glance and outstretched hand, used to balance himself on the tall letter "L", clearly show his fear of the dog, prompting his escape to the tallest letter of the name. The orientation of the boy's legs suggests that Leonard began his flight from the left side of the name (that is, starting from the letter "d"), with the dog relentlessly in pursuit. Now, having reached the letter "L" at the word's end, the elevated "L" becomes a precipice too high for him to leap from. 4. Combined Calligram In a combined calligram, skillfully blending pictorial and symbolic elements yields various distinct, compelling narratives. The title "Iittle i" (Hall, 2017) presents a puzzle. Is it referencing the "little i," which is the ninth letter in the English alphabet, or given that "I" in English denotes the first-person pronoun, could "little i" also imply "Little i"? . The iconic representation of the letter "i" conveys the initial interpretation (namely, i as a lowercase letter in English), rather than "Iittle i." Nonetheless, the plot emphasizes the latter interpretation, as "Iittle i" is the protagonist of the tale. By the story's conclusion, it matures and evolves into "I" (the mature self). The plot illustrates how the letter "i" loses its dot (a piece of its "self"), and upon reclaiming it at the finale, realizes it is no longer essential, having grown to the stature of an "I" (an adult self). Hence, the title's iconic aspect has the potential to engage with each dual meaning of the symbolic aspect, offering a distinct interpretation. Concurrently, both interpretations are integral to understanding, and they evolve together throughout the story's progression. 5. Contradictory Calligram A contradictory calligram stands in stark contrast to a symmetrical one. In a symmetrical calligram, the iconic and textual elements reflect each other, while in a contradictory calligram, these elements diverge in meaning. Essentially, the image conveyed by the typographed phrase opposes its literal interpretation. This dynamic interplay between iconic and textual cues invites the viewer into a deeper engagement with the artwork, challenging them to reconcile the conflicting messages presented. In "Hug Me" (Ciraolo, 2019), the typography features sharp, spiky letters that complement the background illustration of a cactus with its arms wide open for a hug and its eyes slightly closed. The use of red in the typography serves as a warning about the potential painful sting of hugging a prickly creature. Hence, the iconic aspect of the title, with its red color and thorn-adorned lettering, signals caution, whereas the symbolic aspect, the literal meaning of "Hug Me," extends an invitation for closeness and embrace. This juxtaposition creates a poignant contrast, emphasizing the complexity of relationships and the bravery required to embrace them despite the risks. | ||
| کلیدواژهها [English] | ||
| Children's Book, Book Cover, Title, Typography, Nikolajeva | ||
| مراجع | ||
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آمار تعداد مشاهده مقاله: 113 |
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