LEADER 00812nam0-22002531i-450- 001 990009134010403321 005 20100113122157.0 035 $a000913401 035 $aFED01000913401 035 $a(Aleph)000913401FED01 035 $a000913401 100 $a20100113d--------km-y0itay50------ba 101 0 $aita 105 $a--------001yy 200 1 $aMisure di emissivitą totale normale di superfici di alluminio con trattamenti diversi$fTincolini p. 210 $as.l.$cZincografica fiorentina$d1967 700 1$aTincolini,$bPaolo$037416 801 0$aIT$bUNINA$gRICA$2UNIMARC 901 $aBK 912 $a990009134010403321 952 $a00 A564$b1447DETEC$fDETEC 959 $aDETEC 996 $aMisure di emissivitą totale normale di superfici di alluminio con trattamenti diversi$9782453 997 $aUNINA LEADER 01107nam--2200361---450- 001 990003622780203316 005 20120214095925.0 010 $a978-88-8422-940-3 035 $a000362278 035 $aUSA01000362278 035 $a(ALEPH)000362278USA01 035 $a000362278 100 $a20120214d2010----km-y0itay50------ba 101 $aita 102 $aIT 105 $a||||||||001yy 200 1 $a<> marchio d'impresa$erappresentazione contabile e valore economico$fPierluca Di Cagno, Bianca D'Agostinis 210 $aBari$cCacucci$d2010 215 $a124 p.$d24 cm 225 2 $aCollana di economia aziendale$v27 410 0$12001$aCollana di economia aziendale$v27 606 1 $aMarchi d'impresa$xValutazione$2BNCF 676 $a657.73 700 1$aDI CAGNO,$bPierluca$0473599 701 1$aD'AGOSTINIS,$bBianca$0471411 801 0$aIT$bsalbc$gISBD 912 $a990003622780203316 951 $a657.73 CAG 1$b19396 E.C.$c657.73$d00306386 959 $aBK 969 $aECO 979 $aIANNONE$b90$c20120214$lUSA01$h0959 996 $aMarchio d'impresa$91136780 997 $aUNISA LEADER 03621nam 2200577 450 001 9910457996103321 005 20200520144314.0 010 $a1-61703-149-6 010 $a1-62103-992-7 035 $a(CKB)2550000001280875 035 $a(EBL)1181940 035 $a(SSID)ssj0001195953 035 $a(PQKBManifestationID)12375116 035 $a(PQKBTitleCode)TC0001195953 035 $a(PQKBWorkID)11161127 035 $a(PQKB)10548399 035 $a(StDuBDS)EDZ0000883157 035 $a(MiAaPQ)EBC1181940 035 $a(OCoLC)853618762 035 $a(MdBmJHUP)muse28617 035 $a(Au-PeEL)EBL1181940 035 $a(CaPaEBR)ebr10866094 035 $a(CaONFJC)MIL602220 035 $a(EXLCZ)992550000001280875 100 $a20140520h20142000 uy 0 101 0 $aeng 135 $aur|n|---||||| 181 $ctxt 182 $cc 183 $acr 200 14$aThe origins of comics $efrom William Hogarth to Winsor McCay /$fThierry Smolderen ; translated by Bart Beaty and Nick Nguyen 210 1$aJackson, Mississippi :$cUniversity Press of Mississippi,$d2014. 210 4$d©2000 215 $a1 online resource (175 p.) 300 $aIncludes index. 311 $a1-306-70969-5 320 $aIncludes bibliographical references and index. 327 $aWilliam Hogarth: Readable Images -- Graffiti and Little Doodle Men -- The Arabesque Novels of Rodolphe To?pffer -- "Go, Little Book!" -- The Evolution of the Press -- A. B. Frost and the Photographic Revolution -- From the Label to the Balloon -- Winsor McCay: The Last Baroque. 330 $a"In The Origins of Comics: From William Hogarth to Winsor McCay, Thierry Smolderen presents a cultural landscape whose narrative differs in many ways from those presented by other historians of the comic strip. Rather than beginning his inquiry with the popularly accepted "sequential art" definition of the comic strip, Smolderen instead wishes to engage with the historical dimensions that inform that definition. His goal is to understand the processes that led to the twentieth-century comic strip, the highly recognizable species of picture stories that he sees crystallizing around 1900 in the United States.Featuring close readings of the picture stories, caricatures, and humoristic illustrations of William Hogarth, Rodolphe To?pffer, Gustave Dore, and their many contemporaries, Smolderen establishes how these artists were immersed in a very old visual culture in which images--satirical images in particular--were deciphered in a way that was often described as hieroglyphical. Across eight chapters, he acutely points out how the effect of the printing press and the mass advent of audiovisual technologies (photography, audio recording, and cinema) at the end of the nineteenth century led to a new twentieth-century visual culture. In tracing this evolution, Smolderen distinguishes himself from other comics historians by following a methodology that explains the present state of the form of comics on the basis of its history, rather than presenting the history of the form on the basis of its present state. This study remaps the history of this influential art form"--$cProvided by publisher. 606 $aComic books, strips, etc$xHistory and criticism 608 $aElectronic books. 615 0$aComic books, strips, etc.$xHistory and criticism. 676 $a741.5/9 700 $aSmolderen$b Thierry$01041202 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910457996103321 996 $aThe origins of comics$92464549 997 $aUNINA