Version classiqueVersion mobile

Shaping the Digital Dissertation

 | 
Virginia Kuhn
, 
Anke Finger

List of illustrations

Texte intégral

1Chapter 2

Fig. 1 Visual map of paths created by Storyspace. Image by Cheryl E. Ball (2000), CC-BY. 27

2Chapter 3

Fig. 1 Screenshot of my dissertation showing its book-based metaphor, as well as an ‘annobeam’, a function native to the platform which helps readers stay anchored in the main text, while giving the additional information the way a footnote does. 41
Fig. 2 Screenshot of a webtext published in 2010 in Kairos (‘Speaking with Students’), in which the opacity has been carefully controlled to show the ghost of other pages in order to indicate the third dimension. 45

3Chapter 9

Fig. 1 Screenshot of the Freie Universität Berlin repository, by Sarah-Mai Dang (2018), https://refubium.fu-berlin.de/​discover?filt ertype_0=mycoreId & filter_relational_operator_0=equals & fil ter_0=FUDISS_thesis_000000101486. CC BY 4.0. 133
Fig. 2 Screenshot of the second chapter with an embedded film clip, by Sarah-Mai Dang (2018), http://www.oabooks.de/​dissertation/​web/​2-yes-we-can/​, CC BY 4.0. 134
Fig. 3 The screenshot demonstrates annotating with hypothes. is, by Sarah-Mai Dang (2018), http://www.oabooks.de/​dissertation/​web/​einleitung/​, CC BY 4.0. 136
Fig. 4 Screenshot of my website showing the POD book, by Sarah-Mai Dang (2018), http://www.oabooks.de/​dissertation/​print-on-demand/​, CC BY 4.0. 138
Fig. 5 Screenshot of the publisher’s website offering the English translation of my thesis, by Sarah-Mai Dang (2018), https://www.palgrave.com/​de/​book/​9781137560179, CC BY 4.0. 141

4 Chapter 12

Fig. 1 Masure, ‘Program Design’, 2014, double page with thumbnails. Picture by Anthony Masure, http://www.softphd.com, CC BY-NC-SA. 190
Fig. 2 Masure, ‘Program Design’, 2014, picture boards. Picture by Anthony Masure, http://www.softphd.com, CC BY-NC-SA. 191
Fig. 3 Masure, ‘Program Design’, 2014, alternation between current text and picture books. Picture by Anthony Masure, http://www.softphd.com, CC BY-NC-SA. 191
Fig. 4 Masure, ‘Program Design’, 2014, edge of the printed thesis. Picture by Anthony Masure, http://www.softphd.com, CC BY-NC-SA. 192
Fig. 5 Masure, website http://www.softPhD.com, 2014, interface variations. Picture by Anthony Masure, http://www.softphd.com, CC BY-NC-SA. 195
Fig. 6 Masure, website http://www.softPhD.com, 2014, additional resources page. Picture by Anthony Masure, http://www.softphd.com, CC BY-NC-SA. 195
Fig. 7 Pandelakis, ‘The Hero Who Came Undone’, PhD thesis, online version, 2016. Picture by Saul Pandelakis, https://piapandelakis.gitbooks.io/​l-heroisme-contrarie/​content 198
Fig. 8 Maudet, ‘Designing Design Tools’, 2017, design process. Picture by Nolwenn Maudet, https://designing-design-tools.nolwennmaudet.com/​, CC BY-NC-SA. 199
Fig. 9 Maudet, ‘Designing Design Tools’, 2017, design process. Picture by Nolwenn Maudet, https://designing-design-tools.nolwennmaudet.com/​, CC BY-NC-SA. 199
Fig. 10 Robin de Mourat, ‘Peritext Program’, 2017. Picture by Robin de Mourat, https://peritext.github.io/​, CC BY-SA.n 200

5 Chapter 13

Fig. 1 Writing with infographics and alphabetic text as the concentric rings of a ripple, Lena Redman (August, 2019). 206
Fig. 2 Paradigmatic organization of linguistic signs, Lena Redman (October, 2020). 206
Fig. 3 Syntagmatic organization of linguistic signs, Lena Redman (October, 2020). 207
Fig. 4 Paradigmatic dimension of multimodal representation: database, Lena Redman (October, 2020). 207
Fig. 5 Fractal structure of new media allows ‘deep remixability’ of syntagmatic and paradigmatic dimensions in making meaning, Lena Redman (October, 2020). 209
Fig. 6 Extension of self-presence in the world by means of digital media, Lena Redman (May, 2016). 211
Fig. 7 A looping feedback produced by the blind man’s walking stick touching a pathway and his ‘mind-cinema’, determining his locomotion, Lena Redman (April, 2019). 213
Fig. 8 Continuous feedback looping between gathering/analyzing data and organizing and representing the process of analysis, Lena Redman (April, 2019). 214
Fig. 9 Symbolic representation of the feedback loops between gathering/ analyzing data and its organizing/representing that leads to construction of meaning, Lena Redman (April, 2019). 215
Fig. 10 Seeing hetero-geneous objects as ‘op-erators’ in constructing meaning with diverse means, Lena Redman (December, 2016). 216
Fig. 11 ‘Discovering’ my own past by representing it with the existing objects and memories, Lena Redman (February, 2016). 217
Fig. 12 A slide-show of some pages from the thesis written with images, sounds and movements in an ePub format, Lena Redman (February, 2019). 218
Fig. 13 Connecting the dots of associations, memories and newly collected information, Lena Redman (August, 2016). 220
Fig. 14 Making connections between the crows and pipe smoke, Lena Redman (May, 2016). 222
Fig. 15 Imaginary meeting with the fathers of communism, Lena Redman (May, 2015). 224
Fig. 16 Sanctification of Lenin by the use of fear and oppression, Lena Redman (April, 2016). 225
Fig. 17 ‘Cut-outs’ from the pages of the thesis, Lena Redman (May, 2016). 227
Fig. 18 A record ‘on bones’, Lena Redman (April, 2016). 228
Fig. 19 The Beatles shook the Kremlin’s walls, Lena Redman (May, 2016). 229
Fig. 20 Inspired by The Beatles, running the Soviet Union, Lena Redman (September, 2016). 230

CC-BY-4.0

Le texte seul est utilisable sous licence CC BY 4.0. Les autres éléments (illustrations, fichiers annexes importés) sont « Tous droits réservés », sauf mention contraire.

Acheter

Rechercher dans OpenEdition Search

Vous allez être redirigé vers OpenEdition Search