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Poem typeset with generous use of decorative dingbats around the edges (1880s). Dingbats are not part of the text. In typography, a dingbat (sometimes more formally known as a printer's ornament or printer's character) is an ornament, specifically, a glyph used in typesetting, often employed to create box frames (similar to box-drawing characters), or as a dinkus (section divider).
Krazy Kat evolved from an earlier comic strip of Herriman's, The Dingbat Family, which started in June 1910 and was later renamed The Family Upstairs. This comic chronicled the Dingbats' attempts to avoid the mischief of the mysterious unseen family living in the apartment above theirs and to unmask that family.
Thirty forms of fleuron have code points in Unicode.The Dingbats and Miscellaneous Symbols blocks have three fleurons that the standard calls "floral hearts" (also called "aldus leaf", "ivy leaf", "hedera" and "vine leaf"); [7] twenty-four fleurons (from the pre-Unicode Wingdings and Wingdings 2 fonts) in the Ornamental Dingbats block and three more fleurons used in archaic languages are also ...
In some cases, the use of a dinkus has been employed in poetry in order to convey non-verbal meaning. This is exemplified in the poem Thresholes by Lara Mimosa Montes, in which the poet makes frequent use of a circular dinkus, , as a form of "punctuation at the level of the full text, rather than the phrase or the sentence" throughout the ...
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The cat-and-mouse substrip was gaining in popularity; instead of filling up space in the bottom of The Dingbat Family ' s panels, it began to occupy a tier of panels of its own. [43] In July 1912, while Herriman had the Dingbats on vacation, Krazy Kat and Ignatz Mouse took over the strip, which was retitled Krazy Kat and I. Mouse for the ...
CIL 4.5296 (or CLE 950) [a] is a poem found graffitied on the wall of a hallway in Pompeii.Discovered in 1888, it is one of the longest and most elaborate surviving graffiti texts from the town, and may be the only known love poem from one woman to another from the Latin world.
The poetry ascribed to him in this collection shows how he not only can channel other entities (such as the Awen) in these poems, but that the authors of these poems can in turn channel Taliesin himself in creating the poems that they ascribe to him. This creates a collectivist, rather than individualistic, sense of identity; no human is simply ...