دانلود کتاب Persian Calligraphy: A Corpus Study of Letterforms

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Cover Half Title Series Page Title Page Copyright Page Dedication Table of Contents List of illustrations Foreword Preface 1. Introduction Background Aims and objectives Experimental materials, the images of corpus, and sampling approach Theoretical schema Methodological schemas Summary Notes 2. Corpus analysis Descriptive schemas of SHAPE and ENSHAPENING Corpus analysis based on the SHAPE system The SHAPE constraint in confronting Nastaliq calligraphic letterforms Corpus analysis based on ENSHAPENING system The ENSHAPENING constraint in confronting Nastaliq calligraphic letterforms Summary Notes 3. Graphetic analysis The theory of graphetic articulation Human anatomy as aconstant factor in articulatory graphetics First general convention of graphic forms based on human body conventions: ageneral tendency toward curved motions Ergonomic efficiency as thesecond general convention of graphic form derived from the human body Control as the third general convention of graphic form related to the human body The coordination between hand and eye as the fourth general convention in graphic form Body-support as the fifth common convention in graphic signifiers Pen Paper Summary Notes 4. Toward semiotics of Nastaliq calligraphy Social semiotic theory of multimodality Semiotics: signs– form and meaning– in Nastaliq calligraphy Peirce’s model of sign Nastaliq in relation to the Peirce’s model of sign De Saussure’s theory of sign Nastaliq in relation to the De Saussure model of sign Peirce and De Saussure’s model of sign in acomparative relationship, specificities and contrasts Peirce and De Saussure’s models and their traces in multimodal social semiotics theory Nastaliq calligraphy as asemiotic mode Calligraphy and multimodality Summary Notes 5. Holliday’s triple metafunctions: as requisite of any semiotic mode – in Nastaliq calligraphy Ideational metafunctions in Nastaliq mode Interpersonal metafunction in Nastaliq mode Size as interpersonal resource in Nastaliq calligraphy Overall composition or framing as adistinct interpersonal resource Three interrelated systems of visual composition in Nastaliq overall composition/framing Inscription or epigraph Siyah-Mashq or black practice Detailed composition as interpersonal resource in Nastaliq mode Ornamental styles as interpersonal resources in Nastaliq Non-letter calligraphic characters as resources to realize interpersonal senses Signs of declension and embellishment as interpersonal resources in Nastaliq Punctuation and dot tracing as interpersonal resources Baseline setting as interpersonal resource in Nastaliq calligraphy Textual metafunction in Nastaliq calligraphy Summary Notes 6. Toward a distinct feature analysis Nastaliq Calligraphy as amedium? Distinctive characteristics in Nastaliq semiotic mode Summary 7. Conclusion Inquiry: what has been done? Conclusion Prospective perspectives References Index