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LINDA TOIGO
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TITLE
Linda Toigo / Graduate Diploma Design for Visual Communication / LCC / 2009
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First English edition
(left) First issue of Stevensons Strange Case of Dr Jekyll
and Mr Hyde, in the original printed paper wrappers and
(right) title page of the cloth edition.
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Engaging the reader through structure, image and
interaction: an experimental book design for STRANGE
CASE OF DR. JEKYLL AND MR. HYDE
1
A contemporary reader coming
for the rst time to Robert Louis
Stevensons Dr. Jekyll and Mr.
Hyde may be surprised. Its not
quite what one expects. It is a
fragmented, quietly feverish little
book - a sneaky book. It proceeds
through indirection, doling out sly
hints but leaving, for the most part,
the sordid facts to the imagination.
Dan Chaon,
Dr. Jekyll and Mr. Hyde ,p. 127 (Afterword)
Linda Toigo MAJOR PROJECT REPORT TITLE
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CONTENTS
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2
Linda Toigo MAJOR PROJECT REPORT CONTENTS
INTRODUCTION AND RESEARCH QUESTION
RESEARCH METHODS
DEVELOPMENT OF THE OUTCOME
CONCLUSION
BIBLIOGRAPHY
APPENDIXA: SUMMARY OF THE NOVEL
APPENDIX B: LIST OF RESEARCH MATERIAL
3
4
6
9
10
15
16
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INTRODUCTION
AND RESEARCH
QUESTION
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3
Book design is an amazingly complex branch of graphic
design: it is not just a matter of relation between image
and text in the page, but it also requires a deep reection
about the audience. The connection between the book
and the reader is not only visual but it involves the
physical act of holding it, turning and feeling its pages, and
sometimes, as in my case, manipulating them in order to
create a new narrative.
If readers are asked to be deeply engaged with a book,
they will have very high expectations and the aim of this
project is to exceed them. From the rst steps of my
research I have focused my study on nding a way to
stimulate and surprise the audience and to celebrate the
book as a physical object. My work has been supported
by the constant referring to my research question:
Is it possible to communicate the meaning of a text-based
book by using non conventional media and format and by
confounding readers expectations through the use of elements
of surprise and interaction?
In this report I will explain how my project started
and what inspiration I could get from published works,
I will show my early experimentations and how they
have inuenced the nal outcome and I will talk about
the relationship between the content and narrative of
Louis Stevensons novel and the structure of the
book I produced.
If you start second-guessing your
readership, says Kalle Lasn, then
youve lost your passion. If you think
deeply about what readers really
want, they dont necessarily want
the same grid of familiar ity; what
they really want is to be surprised
and delighted and to have an
epiphany from you, something that
knocks them for a loop. They want
their comfort level broken rather
than enhanced.
Laurel Saville
100 Habits of SuccessfulPublication Designers, p. 40
INTRODUCTION AND RESEARCH QUESTIONLinda Toigo MAJOR PROJECT REPORT
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RESEARCH
METHODS/1
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Invitation card, Ryosuke Uehara and Akiko Sekimoto
Old paper, envelopes, industrial metallic articles, old maps
are used to communicate a special atmosphere
from: Ideas Unbound , p. 080
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In and Out, Jonathan Ellery
Conceptual book that uses the tactile qualities of paper
and cloth, color and basic shapes
from: Fu lly Booked, p.53
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Tiling Books, Pete Sampson
Nine books in three different sizes divided in ve sections;
one image is spread over each of these parts.
The books only make sense when they are juxtaposed
together so that the whole image is clearly displayed.
from: Fully Booked , p. 55
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Der Seltsame Fall Dr. Jekyll und Mr. Hyde,
Jung+Wenig
The volume is full of innovative tricks, elements of
interaction, typographical experimentation and a large
amount of illustrations that come from different sources
such as ea markets and medical studies
from: Fully Booked, p. 71
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RESEARCH METHODSLinda Toigo MAJOR PROJECT REPORT
Secondary research
I concentrated my research in book production, image
and narrative, experimentation in typography and the
relation of the objects with the white space in the page.
As I was leading my investigation from book to book
I became aware of the increasing number of methods
the designers have used to differentiate their products;
this has motivated me to nd my own way through a
strong use of primary research together with specic
inspirations from published ideas.
I have also developed my study in the eld of artist
books and independent publications where the book
is created as an artwork and its materiality is highly
considered. Most artists books have less boundaries as
they do not suffer the constrains of large productions
budget and time consuming issues: the production
process constitutes a strong part of those works, and I
wanted to have the same priority for my own design.
I thought it was useful to me to examine previous
experimental publications about Dr. Jekyll and Mr.
Hyde such as Jung+Wenigs project: this 192-page
book is extremely inspirational in its extensive use of
iconographical stimulation and format variation and for
the research on interaction with the reader.
4
Successful artists books utilize
the whole design and production
process to reinforce the message
of the subject matter. Shapes, folds,
text patterns and materials canbe used to nudge the viewer in the
direction of the artists message,
producing an unied coherent
statement from the outset.
Sarah Bodman
Creating Artists Books, p. 8
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RESEARCH
METHODS/2
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Analysis of the novel
A page from my sketchbook where I visualise the
structure of Jekylls house described in Luckhursts essay:
The town house on the respectable square backs onto
an enclosed courtyard that contains an outbuilding:
Denmans old laboratory. Within this there is the cabinet
where Jekyll conducts his fateful experiments. Lanyon is
given permission to break through these doors: he has the
further task of breaking open a locked drawer in his desk
to bring away Jekylls chemicals. Utterson and Poole use
an axe to break down the cabinet, only to nd a body and
sealed enclosures that contain the nal truth.
from: Introduction to Strange Case
of Dr Jekyll and Mr Hyde, p. xiii
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Analysis of the novel
My graphic analysis of the relation between Jekyll and
Hyde (left) and Nabokovs visualisation (right)
from: Dr. Jekyll and Mr. Hyde, p. 11
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Primary research
My experiments of screen printed typography
on different kinds of support: this experience
allowed me to use condently this printing
technique to produce the nal version of the cover.
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Primary research
In this case I wanted to analyse a book starting from
its volumetric qualities and discarding the content: a
lowercase letter has been cut from all the pages in
order to create a readable void inside the book.
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Primary research
An experimental booklet I created considering every
envelope as a page: black and white photocopy-style
printed images occupy the space of the envelope as
it was a at sheet, creating three-dimensional effect
when the envelopes are opened.
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Primary research
In this book I wanted to lead a reection about the
relation between the pages and the dynamics created by
images and shapes: the cutouts allow to preview a part
of the following page. The images get their meaning from
the relationship with the other elements; as those visual
connections change, they modify their signicance.
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1 A summary of the novel can be found
at the end of this report (APPENDIX A)
2 For a detailed analysis of the themes
of the novel, see SKETCHBOOK 4
RESEARCH METHODSLinda Toigo MAJOR PROJECT REPORT
Secondary research: focus on the novel
I chose Strange Case of Dr. Jekyll and Mr. Hyde mostly for
two reasons: the length of the novel was ideal for my aim
and I knew the book was full of hidden meanings and
symbolism that would have helped me i n nding strong
ideas for my project1.
A further investigation has been necessary after reading
the novel a few times and Ive found Roger Luckhursts
introduction to Oxford Worlds Classic edition of the
novel particularly brilliant for his way of unfolding the
main themes2.
Ive also developed a reection about the relation
between Dr. Jekyll and his double, trying to visualise
the progressive changes and reactions in a graphic way.
It has been an interesting surprise to nd out thatthe same method has been used by Nabokov in his
introduction to Signet Classic edition.
Primary research
I have lead my experimentations in two directions: I
have created some hand-made publications taking the
inspiration from artists books examples; some of my
ndings have been developed in the nal outcome.
At the same time I invested some time in improving my
screen printing skills, in particular developing the relation
between letterforms and different kinds of paper.
The structure is the most
ingeniously designed element of the
book. It tells the story backwards,
so that we work our way towards
the confession of Dr. Jekyll, which
is revealed last. [...] The narrative
moves from the outer edges of
the secret to its nal revelation. It
unfolds like a sequence of Russian
dolls nested inside each other.
Roger Luckhurst,
Introduction to Strange Case of
Dr Jekyll and Mr Hyde, p. xiii
5
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DEVELOPMENT OF
THE OUTCOME/1
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First version
The rst idea was based on a strict concatenation of the
narratives: a 100% cotton thick paper was french folded
around a black sugar paper that, once opened, revealed a
brown envelope. The rst experimentation on the images
was based on computer-based textures and lters.
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Final version: rst and second narrative
The rst two narratives are the parts in the novel that
explore the social behavior and relationship between
the characters from two points of view.
One is the narration about the accepted, pacic life of
rich middle-aged professionals, the other is the
description of their feelings and reactions to the sudden
unwanted presence of Hyde in their normality. The
difference between the two can be felt by the diverse
typographic grids: one is harmonically centered in the
page, the other is moved dramatically towards the edge of
the page in order to convey a claustrophobic feeling.
The typeface I used is Hoeer text, a contemporary
font inspired by classics such as Garamond and Janson.
rst narrative
second narrative
rst narrative
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Final version: third narrative
The facts that happen in the story and that are narrated
with a journalistic style have been edited within a
square grid box using Courier font to recall the idea
of a newspaper. Before getting to use the right paper, I
tried different solutions such as newsprint and wrapping
paper. The effect of the printed text on them was very
interesting but I had to deal with unsolvable technical
problems that made me research for alternative materials.
In fact thin supports such as n ewsprint can only be used
with processes, such as offset litho or screen printing, that
were not suitable for my project.
third narrative
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Final version: fourth narrative
Black, dark grey and mirror paper are used for this
narrative: the text is centered in the page and the font is
the same as the rst two narratives as I didnt want the
reader to be distracted by too many changes. The laser
print creates a slightly shiny text that can be read only if
the book is moved towards the light.
fourth narrative
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Narratives
After a deep investigation into the meanings hidden in
the novel, at the stage of starting the design of the book
I was sure the content had a leading role in my decisions.
I edited the text by selecting the parts that mostly
conveyed three different atmospheres I was interested in
juxtaposing: the late-Victorian society, the evil behavior
of Hyde and the relation between the two personalities.
I found it very difcult to select some text and to discard
the rest, and after many versions I realised that I would
have felt my work as incomplete if I didnt include all the
original text.
My editing work has been then a matter of dividing
the text into six d ifferent narratives3 in relation to the
style and the content of the sentences. Every narrativehas been assigned a grid and the diversity of the paper
has been used to increase and develop the differences
between them: for instance, I have printed the text
related to the rst two narratives on a thin cream-white
french folded paper to give this part a traditional feeling;
the factual events (third narrative) are reported on a
parchment paper with the aim of recalling the idea of
a newspaper; the fourth narrative is the one related
to Mr. Hyde, his evil side, the horried reactions.
As I wanted this part to be obscure and disturbing,
I laser-printed black text on black paper in order to
make readability be inuenced by the angle of view.
6
3These reections can be found in the
second half of SKETCHBOOK 7
DEVELOPMENT OF THE OUTCOMELinda Toigo MAJOR PROJECT REPORT
The average readers may not
be consciously aware of design in
books, but they cant escape being
affected by visual elements that
establish character and mood.
Scientic studies conrm the power
of subconscious impressions to
modify states of mind or attitudes.
[...] Any decision affecting the
physical aspect of the book can
have expressive value. Every
physical attribute contributes to the
total effect and helps establish its
character and atmosphere.
Marshall Lee,Bookmaking, p. 307
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DEVELOPMENT OF
THE OUTCOME/2
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Final version: fth narrative
Behind the last page the reader will nd an envelope
where the ninth chapter is kept. The title of the chapter
has been ink-jet printed directly on the envelope.
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Final version: sixth narrative
The inner envelopes can just be seen through the slightly
transparent pages of the book or can be observed from
the edges unless the pages are ripped. Every envelope
keeps a booklet that can be read and put aside by the
others to create an image.
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Final version: sixth narrative
The nal image is surprisingly disturbing: the two
elegant and proud looking young men turn out
to be pony Siamese twins.
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Envelopes
From this selection of my experimentation with
print and envelopes can be seen the variety of
materials and shapes I investigated before getting
to the nal choice: two different sizes of the same
kind of watermarked cream envelope.
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7
DEVELOPMENT OF THE OUTCOMELinda Toigo MAJOR PROJECT REPORT
Structure and Interaction: fth and sixth narratives
The linearity of the narration continues until the eighth
chapter, after which the conventions are overtaken.
In the introduction to the book I have asked the reader
to act as a character and to open an envelope where
the ninth chapter is kept.
The interaction becomes stronger at the end of the
novel, where the truth is revealed: I have divided the
tenth chapter in small booklets that can be reached only
if the reader decides to rip the pages.
I wanted this choice to require a physical action and a
psychological involvement as it happens for Dr. Lanyon
in the previous chapter.
The small fragments, if juxtaposed in their order, create
a image that can be really understood only when the lastelement is put in place.
Envelopes
The theme of the envelopes, of discovering the truth
step by step by opening them, is a narrative element used
by Stevenson to engage his readers. Thats why I decided
to use them largely in my book, also encouraged by some
enthusiastic feedback about my early experimentations
of print on envelopes.
Before getting to the right ones, I tried many kind
of sizes, styles and materials keeping the historic
consistency as the rst priority.
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DEVELOPMENT OF
THE OUTCOME/3
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Images on parchment paper
This paper has a dark yellow shade that reminds of some
old pictures: black and white images get a special nostalgic
feeling when printed on this material.
Some pictures have been printed on bigger spreads that
give a third dimension to the book.
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Images on black paper
The print on black paper enhances the graphic quality
of this engraving. The two stretching forces represented
in the image are unconsciously reproduced by the
reader in the act of opening the spread.
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Photocopy
A small, low-resolution image such as this one can get
a new graphic value thanks to a photocopy enlargement.
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Cover: previous idea
An experiment during my early reections about
the cover of my book employs three envelopes
and their volumetric qualities.
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Front and back covers
The title can only be understood through a rational
association: I wanted it to be clear from the rst sight
that this book will ask the reader a big involvement.
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Images
The choice of the images was crucial: I wanted them to
be strongly consistent with the theme and the historical
moment in which the novel takes place: I found a rich
resource of medical images and pictures from the
late Victorian period in the Wellcome Library, a huge
collection created with the aim of promoting the culture
and history of medicine. There I looked for images of
19th-century clinical treatments, body malfunctions,
disturbing diseases that I used throughout the book
together with pictures of pacic social life in order to
create a continue contrasting dialogue.
Some pictures have been enlarged with a photocopy
machine to emphasize their texture whilst images such
as engravings and sketches have been digitally zoomed tokeep their graphic qualities.
Texture, kind of cropping, style of image and paper have
all been used to convey a specic feeling to the reader.
Cover
After some experiments with images, die cuts, cloth,
pop-up envelopes I decided to focus on the title and to
discard all other elements. I chose Akzidenz, a strong
sans-serif font that used in uppercase would have lled
perfectly the surface of my cover; the black and white
contrast anticipates the juxtaposition of the inner pages.
8
DEVELOPMENT OF THE OUTCOMELinda Toigo MAJOR PROJECT REPORT
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CONCLUSION
CONCLUSIONL d T MAJOR PROJECT REPORT
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9
When I started my project, my idea of the audience was
very clear4, but during the process I asked some people
to ick through the dummies and after observing their
reactions I had to reconsider my readership.
I decided not to expect anymore a previous knowledge
of the novel or a high literature background from my
audience as I understood that the involvement in the
story was much more emotional than purely rational.
This change of perspective made me focus stronger in
the tactile qualities, the visual impact and the physical
engagement that can be evaluated in the nal outcome.
It has been a strong involving design experience, where I
learnt to give production processes as much importance
as editing and typesetting.
It is a research that I want to develop further togetherwith a necessary deepening on professional editing and
book production issues.
CONCLUSIONLinda Toigo MAJOR PROJECT REPORT
4
This is what I wrote about theaudience in my proposal, 4 month ago:
Whatever the nal piece will be , I
have a clear idea about the audience
of my project; I would like to investigate
how adult people who are used toread and are keen on literature would
react to innovative and unconventional
publications. The reader would be
an adult person with a degree level
education, open to originality, intrigued
by unconventional publications and
with an economical status that would
allow him or her to afford the price
of a design book.
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BIBLIOGRAPHY
Linda T i MAJOR PROJECT REPORT BIBLIOGRAPHY
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Linda Toigo MAJOR PROJECT REPORT
10
BOOKMAKING
100 Habits of Successful Publication Designers : Insider Secrets for Working Smart and
Staying Creative
Laurel Saville / Beverly, Mass. : Rockport Publishers, 2008
Anatomy of Design : Uncovering the Inuences and Inspirations in Modern Graphic Design
Steven Heller and Mirko Ili / Gloucester, Mass. : Rockport, 2007
Book-Art: Innovation in Book Design
Charlotte Rivers / RotoVision, 2007
Bookmaking: Editing, Design, Production
Marshall Lee / New York : Norton, 2004
Creating Artists Books
Sarah Bodman / London : A&C Black, 2005
Fully Booked : Cover Art & Design for Books
Robert Klanten & Matthias Hbner / Berlin : Gestalten, 2008
Ideas Unbound : Unique Ideas Uniquely Expressed
Tokyo : P.I.E., 2003
Paperwork : the Potential of Paper in Graphic Design
written by Nancy Williams; designed by Williams and Phoa / London : Phaidon, 1993
BIBLIOGRAPHY
LindaToigo MAJOR PROJECT REPORT BIBLIOGRAPHY
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Linda Toigo MAJOR PROJECT REPORT BIBLIOGRAPHY
Structure of the Visual Book
Keith A. Smith / Rochester, NY : Keith Smith Books, 2003
Text in the Book Format
Keith A. Smith / Fairport, NY : Sigma Foundation, 1989
When Will the Book Be Done?
edited by Steven Clay; preface by Charles Bernstein / New York : Granary Books, 2001
IMAGE SOURCES(numbers in brackets refer to the main images, reproduced at page 14; lettere indicates the images
printed on the envelopes)
100 Years in Pictures: a Panorama of History in the Making
D. C. Somervell / London: Odham Press, 1951 (4, 6, 10)
Brought to Light: Photography and the Invisible, 1840-1900
Corey Keller / San Francisco: San Francisco Museum of Modern Art, 2008 (22, e)
Dumbbells Ear Caps and Hair Restorers: A Shoppers Guide to Gentlemens Foibles -
1800s-1930s.
Jane Furnival / Great Britain: Michael OMara Books Ltd, 1999 (e)
Fools and Mad: A History of the Insane in Ireland.
Joseph Robins / Dublin, Ireland : Institute of Public Administration, 1986 (15, 16, e)
11
Linda Toigo MAJOR PROJECT REPORT BIBLIOGRAPHY
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Linda Toigo MAJOR PROJECT REPORT
Freak Show: Presenting Human Oddities for Amusement and Prot
Robert Bogdan / Chicago: University of Chicago Press, 1988 (1, 19)
Gay Life and Culture: A World History
Robert Aldrich / London: Thames & Hudson, 2006 (7, e)
Histories of the Normal and the Abnormal: Social and Cultural Histories of Norms and
Normativity. Routledge studies in the social history of medicine , 26
Waltraud Ernst / London: Routledge, 2006. (e)
La Imagen del Cuerpo Humano: En la Medicina Moderna (Siglos XVI-XX)
Lpez Piero, Jos M, Felipe Jerez Moliner / Valencia: Fundacion Bancaja, 1999 (17, 20, 21)
Images of Healing: a Portfolio of American Medical & Pharmaceutical Practice in the 18th,
19th, and Early 20th CenturiesAnn Novotny and C. Carter Smith / New York: Macmillan, 1980 (9)
Med: Medical Engravings of the 19th Century
Philemon Stein / New York: Universe Books, 1974 (3, 5 8, 14, 18)
Mr. Punch Among the Doctors
London: Methuen, 1933 (e)
http://medphoto.wellcome.ac.uk (2, 11, 12, 13)
William Nicholson: segno e immagine in unottica vittoriana
Paola Watts / Roma: Edizioni Quasar, 1982 (e)
12
BIBLIOGRAPHY
LindaToigo MAJOR PROJECT REPORT BIBLIOGRAPHY
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Linda Toigo MAJOR PROJECT REPORT BIBLIOGRAPHY
ON DR. JEKYLL AND MR. HYDE
Dr. Jekyll and Mr. Hyde
with an introductory essay by Vladimir Nabokov / New York: Signet Classic, 2003
Dr Jekyll and Mr Hyde and Other Stories
England: Wordsworth Editions Limited, 1994
Strange Case of Dr Jekyll and Mr Hyde and Other Tales
with and introduction by Roger Luckhurst / Oxford University Press, 2006
WEBSITES
www.book-by-its-cover.com
http://bookcoverarchive.com
http://www.victorianlondon.org/
http://www.eolfhs.org.uk/
http://www.ilnpictures.co.uk
13
LindaToigo MAJOR PROJECT REPORT BIBLIOGRAPHY
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Linda Toigo MAJOR PROJECT REPORT BIBLIOGRAPHY
14
1
3
2
54
9
86 7
12
10
11
14 1513
17 18
21 2220
16
19
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APPENDIX A:
SUMMARY
OF THE NOVEL
APPENDIXA: SUMMARY OF THE NOVELLinda Toigo MAJOR PROJECT REPORT
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g J J
In the next pages I reproduced part of the Introduction
Essay by Russian writer Vladimir Nabokov to Si gnet
Classic Edition ofDr. Jekyll and Mr. Hyde.
The highlighted parts can be read as a short summary
of the novel as I think that a quick overview of the
main narrative would be very useful for understanding
the concept of my project.
15
Linda Toigo MAJOR PROJECT REPORT APPENDIXA: SUMMARY OF THE NOVEL
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Linda Toigo MAJOR PROJECT REPORT APPENDIXA: SUMMARY OF THE NOVEL
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Linda Toigo MAJOR PROJECT REPORT APPENDIXA: SUMMARY OF THE NOVEL
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Linda Toigo MAJOR PROJECT REPORT APPENDIXA: SUMMARY OF THE NOVEL
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