Relevant bibliographies by topics / Effigies

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Effigies'

Author: Grafiati
Published: 4 June 2021
Last updated: 29 July 2024

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Journal articles on the topic "Effigies"

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Ezell, Margaret J. M. "Lively Effigies." Eighteenth-Century Life 44, no. 2 (April 1, 2020): 136–57. http://dx.doi.org/10.1215/00982601-8218635.

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This article will explore the function of printed “effigies” in the second half of the seventeenth century. The title is taken from Samuel Clarke’s frequently reprinted and enlarged compendium, The Marrow of Ecclesiastical Historie, conteined in the Lives of the Fathers, and other Learned Men, and Famous Divines, . . . Together with the Livelie Effigies of most of the Eminentest of them cut in Copper. The term “effigy” is a Janus word, meaning both a representation of a specific deceased individual as a celebratory memorial marker, and as a hated figure intended to be destroyed, such as Guy Fawkes. The article will examine what ways effigial images found in broadsides and books lay claim to the reader or viewer’s attention, and explore how are they used to communicate complex meanings about memory and erasure, even in inexpensive ephemeral publications.
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Bettini, Maurizio. "Effigies romaines." Critique 673-674, no. 6 (2003): 449. http://dx.doi.org/10.3917/criti.673.0449.

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Knowles, Richard. "Interpreting Medieval Effigies." Northern History 56, no. 1-2 (July 3, 2019): 167–69. http://dx.doi.org/10.1080/0078172x.2019.1633121.

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CUEVAS, BRYAN J. "Illustrations of Human Effigies in Tibetan Ritual Texts: With Remarks on Specific Anatomical Figures and Their Possible Iconographic Source." Journal of the Royal Asiatic Society of Great Britain & Ireland 21, no. 1 (January 2011): 73–97. http://dx.doi.org/10.1017/s1356186310000611.

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AbstractThe ritual use of objects and images designed to serve as effigies or surrogates of specific persons, animals or spirits is more or less universal across cultures and time. In Tibet, recent archaeological evidence attests to the use of illustrated effigies possibly dating from the eleventh century. Other early Tibetan images include anthropomorphic figures inscribed on animal skulls. The practical use of effigies in Tibetan ritual, both Buddhist and Bon-po, was almost certainly derived from much older Indian practices transmitted to Tibet. In this article illustrated effigies, their iconography and ritual use are discussed and the article concludes with the translation and transliteration of a short work by the fifteenth-century treasure revealer (gter-ston) and patron saint of Bhutan Padma-gling-pa (1450–1521), which gives instructions on how to draw a liṅga for a ritual of defence against human adversaries.
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Green, Jeremy, and John Wilkinson. "Effigies against the Light." Chicago Review 48, no. 4 (2002): 132. http://dx.doi.org/10.2307/25305020.

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Schueren, Éric Van der. "Georges Thinès, Les Effigies." Textyles, no. 17-18 (December 15, 2000): 224–26. http://dx.doi.org/10.4000/textyles.1558.

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Rod Vickers, J. "Anthropomorphic Effigies of the Plains." Plains Anthropologist 53, no. 206 (May 2008): 199–221. http://dx.doi.org/10.1179/pan.2008.015.

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Göttke, Florian. "Burning effigies with Bakhtinian laughter." European Journal of Humour Research 3, no. 2/3 (August 2015): 129–44. http://dx.doi.org/10.7592/ejhr2015.3.2.3.gottke.

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Azoulay, Vincent. "La gloire et l’outrage. Heurs et malheurs des statues honorifiques de Démétrios de Phalère." Annales. Histoire, Sciences Sociales 64, no. 2 (April 2009): 301–40. http://dx.doi.org/10.1017/s0395264900028158.

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RésuméÀ la tête de la cité d’Athènes entre 317 et 307 av. J.-C., Démétrios de Phalère fut gratifié de multiples statues honorifiques. Alors que durant toute l’époque classique ces distinctions étaient octroyées avec une grande parcimonie par le peuple athénien, ce législateur satura le territoire civique de ses effigies, mettant à l’honneur de nouvelles formes statuaires – la statue équestre –, investissant de nouveaux espaces – les dèmes –, tout en limitant les autres manifestations monumentales dans l’espace public. Les effigies honorifiques furent davantage imposées que négociées ou, à tout le moins, furent octroyées de façon bien moins tatillonne par la communauté qui, au demeurant, avait été redéfinie de façon restrictive. Au fur et à mesure qu’elles envahissaient l’espace public, par un phénomène de compensation, les effigies de Démétrios de Phalère furent ainsi détruites, transformées ou avilies, selon des modalités variées qui permettent de dresser les contours d’une véritable culture de l’outrage, établie sur la longue durée. Au-delà du cas de Démétrios de Phalère, les statues honorifiques se révèlent en définitive des objets « bons à penser »: elles permettent à la fois d’articuler le temps court des ruptures politiques et des réformes législatives, mais aussi le temps long des rituels et de la mémoire civique. Leur étude implique de concilier l’approche anthropologique et la perspective institutionnelle, voire procédurale.
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Harris, Oliver D. "Antiquarian Attitudes: Crossed Legs, Crusaders and the Evolution of an Idea." Antiquaries Journal 90 (September 2010): 401–40. http://dx.doi.org/10.1017/s0003581510000053.

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AbstractSince the sixteenth century, both scholarly and popular readings of tomb monuments have assigned a series of interpretations to medieval effigies with crossed legs. These have included the beliefs that the effigies dated from before the Norman Conquest; that they commemorated crusaders, or those who had taken crusading vows; and that they commemorated Knights Templar. The ‘crusader’ theory has proved particularly tenacious, and, although largely discredited by scholars, continues to flourish in folk wisdom. This paper charts the emergence and dissemination of these several ideas and the debates they engendered. It argues that the early modern identification of the cross-legged attitude as a noteworthy feature was, despite its mistaken associations, a landmark in the story of the formulation of techniques for the typological diagnosis of antiquities.
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Dissertations / Theses on the topic "Effigies"

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Yerriah, Javernaud Olive. "Effigies : Voiles, Pans, Abymes." Paris 1, 1996. http://www.theses.fr/1996PA010579.

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Un nouvel éclairage est porté à la signification du mot effigie dans le domaine des arts plastiques à travers les termes qui fondent son étymologie. Au contact du personnage riche et connu, en l'occurrence la star, l'acte mimétique du feindre induit dans la factivité de l'art une authenticité plastique, issue d'une production d'œuvres personnelles, chaque représentation du visage est une confrontation entre deux types de doublures, l'image de la star, le voile et celui provoquée par le dédoublement du soi dans l'autre. La prédominassions du soi fragilise l'effet de reconnaissance et se greffe sur le schéma mythique pour créer un nouvel espace fécondant. Entre le paraitre et l'être, le masque et la face, l'absence, les différences sont annihilées. Chaque face anonyme, tympanisée, dépouillée de son identité, s'inscrit dans la répétition inlassable d'une pratique, et impose aux sens et à l'esprit, une cavité abyssale due à l'éclatement d'un mime expressif dans l'intention d'une figure
A new light is brought to the word effigy in the visual arts through the elements pertaining to its etymology. In close touch with the rich and the famous, for instance the star, the mimetical act of feigning creates an authentic, plastic materially into the factitious art. Issued from personal works, each representation of the human face is a confrontation between two types of linings, the image or veil of the star and the splitting of oneself into the other. The control over the other weakens the recognition effect and is grafted on the mythical schene, thus creating a new, prolific space. Between the idea of appearing and being, the mask and the face, the absence and the presence, the differences are annihilated. Each anonymous, face duly hammered, stripped of its identity, lie within the untiring repetition of a practice and imposes to the senses and the mind an abyssal cavity, due to the explosion of an expressive mime attempting to create a figure
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Lee, Joanna. "Every inch of many effigies : six courthouse songs." Thesis, Birmingham City University, 2015. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.680197.

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The topic of this PhD thesis is dramatic vocal composition combining lyric singing with extended vocal techniques. The aim of the research is to compose a music theatre piece or chamber opera for voice and chamber ensemble that exploits both the lyrical singing voice and extended vocal techniques, in ways that are practical and appealing to the lyric singer. The main submission is Every Inch Of Many Effigies: Six Courthouse Songs (2012/13), a music theatre piece for baritone and chamber ensemble. The composition, twenty-five minutes in duration, is a political satire piece set to a combination of original text by Alan McKendrick and found texts. The work was premiered by Leigh Melrose and Birmingham Contemporary Music Group, conducted by Oliver Knussen in March 2013. This commentary examines Every Inch Of Many Effigies and its level of success in achieving the above aim. It charts the exploration of the topic and the progression to the final piece through the composition of supporting works. A key area of research is the discovery and exploration of extended vocal techniques: the considerations and effectiveness of their application with regard to the response of singers, notation and balance. Alongside this, considering the singer in terms of the role of extended vocal techniques in theatrical works and how this can justify their use, the pursuit and integration of lyrical singing and the musical difficulties of contemporary music. This commentary will discuss the application and success of this research by considering the compositions on paper and practically through their performances.
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Faunch, Christine Jennie Margaret. "Church monuments and commemoration in Devon c.1530-c.1640." Thesis, University of Exeter, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.244420.

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Koch, Julian Johannes Immanuel. "Effigies or imaginary affinities? : the conception of the image in the poetry and poetics of Paul Celan and André du Bouchet." Thesis, Queen Mary, University of London, 2018. http://qmro.qmul.ac.uk/xmlui/handle/123456789/33925.

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The poets Paul Celan and André du Bouchet were close friends and translated each other's poetry in the 1960s. Despite their proximity and friendship, this study suggests that they differ fundamentally in their poetics of the image. These two important authors outline two very different avenues in engaging with the image as a centuries old topos in philosophy and art. In his conception of the image, Celan links the iconoclastic impetus of the Second Commandment with the biblical confusion of tongues, believing that our need to speak in metaphors and typos images (Abbilder) after Babel impedes truthful poetic expression. For Celan, the Holocaust is a form of renewal of this linguistic Fall of Man. Nonetheless Celan's poetry also suggests that we can give testimony to an archetypos (Urbild) through truthful poetic expression. Du Bouchet, on the other hand, conceives of the image as encompassing the visual juxtaposition of black ink on the white page and the semantic paradoxes of his poetry. Du Bouchet distributes words across the page and as his poetry thematises gaps of meaning these gaps not only surface in his language but also extra-linguistically in the white gaps of the page. These different conceptions of the image in Celan and du Bouchet are first delineated by alternating analyses of the two authors' poetry and poetics. These investigations show Celan's desire to overcome a typified speech and, in his creation of poetic images, to tend toward truth, or an archetypos, whereas du Bouchet perennially negotiates the paradoxes which constitute his poetic image. In a second step, this study investigates how these differences in their conception of the image inform their respective approach to translating the other.
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Bertrand, Audrey. "Effigies Romae ? Le paysage religieux des colonies adriatiques de l'Italie centrale (IIIe s. Av. N. è. - IIIe s. De n. è. )." Paris, EPHE, 2009. http://www.theses.fr/2009EPHE5017.

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Le travail mené s’attache à la reconstitution du paysage religieux d’un ensemble de dix-sept colonies latines et romaines situées sur la façade adriatique de l’Italie centrale, d’Ariminum au nord à Hadria au sud. Il s’est donc agi dans un premier temps de rassembler une documentation archéologique, épigraphique et littéraire dispersée, dont l’analyse permettait d’établir un inventaire des lieux de culte raisonnablement identifiables et, dans la mesure du possible, de les localiser dans l’espace urbain et suburbain. La définition d’un corpus de dix-sept sites partageant le statut de colonie pour mener cette enquête a autorisé à interroger la pertinence de cette distinction juridique et politique dans la caractérisation et la compréhension du paysage religieux d’une cité et de mesurer ainsi l’impact du fait colonial sur le paysage cultuel civique. L’analyse particulière du moment de la déduction et l’étude diachronique comparée de la parure religieuse des colonies du corpus révèle la variété des procédés qui contribuent à la construire en miroir de celle de l’Vrbs, non seulement juridiques mais également politiques, économiques et identitaires. C’est ainsi plus largement à une meilleure compréhension du statut colonial et à ses transformations entre République et Empire que participe cette étude. Défini par un ensemble de règles qui organisent le fonctionnement de la communauté civique selon les normes du droit public romain, le statut colonial est aussi vecteur d’une identité spécifique que reçoivent et construisent tout à la fois les agents locaux et dont le paysage religieux est l’un des supports privilégiés
This study aims to reconstitute the religious landscape of seventeen latin and roman coloniae situated on the Adriatic coast of central Italy, from Ariminum in the North to Hadria in the South. The first stage was to gather archeological, epigraphic and litterary documents, all often scattered in various places. Their analysis allows to establish an inventory of worship places and, if possible, to replace them in the urban and suburban space. The definition of a corpus of seventeen sites sharing the same status of colonia leading this investigation authorizes to question the relevance of this legal and political distinction in characterizing and understanding the public religion of a city and to assess the impact of colonial status on civic religious landscape. The analysis of the particular moment of deduction and the compared diachronic study of religious buildings reveal the different processes of the imitatio Romae, not only legal but also political, economic and identitary. The study contributes to a better understanding of colonial status and of its evolutions beteween Republic and Empire. If a set of rules defines the functioning of the civic community according to norms of the public Roman law in the coloniae, these cities are also characterized by a specific identity. Thus, religious landscape is also examined as a tool used by the local elites to enhance the colonial status
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Pilot, Bertrand. "Les dignitaires religieux et laïcs dans le décor des églises gothiques du domaine continental Plantagenêt aux XIIe-XIIIe siècles." Thesis, Paris 10, 2009. http://www.theses.fr/2009PA100166.

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Alors que s'affirmait la dynastie Plantagenêt, s'est développée une séries d'effigies de rois de reines et d'évêques dans le décor des églises gothiques de l'ouest de la France. Dépendantes des formes architecturales dans lesquelles elles apparaissent, ces effigies sont placées sur divers supports spécifiques à la marge des thèmes religieux représentés sur des voûtes "angevines" qui présentent une structuration fortement hiérarchisée et hautement symbolique.Distinctes des représentations des rois bibliques ou des figurations hagiographiques, elles perpétuent l'image du dignitaire mécène ou fondateur héritée de l'Antiquité dont l'étude des occurrences du IVe au XIIe siècles met en évidence la diversité des raisons d'être qui correspondent cependant toujours à une volonté d'affirmation du pouvoir en place. Développées sous Henri II et ses fils, ces effigies à caractère parfois résolument dynastique sont un des éléments d'une plus large propagande politique, comparable à celle des Capétiens à la même époque. La datation de chacune des églises concernées est fondamentale pour l'identification de chaque dignitaire ; la prise de la région par Philippe Auguste en 1204 en rend l'étude plus épineuse. Dans chaque monographie, nous tentons ainsi de préciser la datation des édifices et, après en avoir analysé leur programme iconographique, nous cherchons à identifier les effigies de rois, de reines et d'évêques en nous fondant sur le contexte historique politique et religieux propre à chaque église
While asserting the Plantagenet dynasty, has developed a series of statues of kings, queens and bishops in the decoration of the Early Gothic churches of the West France. Reliant architectural forms in which they appear, these effigies are placed on various media-specific margin religious themes represented on the Angevin vaultswhich have a strongly hierarchical and highly symbolic. Separate representations of kings biblical or hagiographic depictions, they perpuate the image of the founder or patron cleric inherited from antiquity that the study of occurrences of the fourth to twelfth centuries highlights the diversity of reasons for that match, however always a desire to assert power in place.Developed under Henry II and his son, these effigies nature are sometimes strong dynastic one element of a broader political propaganda, similar to that undertaken by the Capetian at the same time. The timing of each of the churches involved is fundamental to the identification of each dignitary, making the region by Philippe Auguste in 1204 to make study more difficult. In each monograph, we try and clarify the dating of buildings and , after analyzing their iconographic progam, we seek to identify the effigies of kings, queens and bishops Based on the historical political and religious-specific each church
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Olariu, Dominic. "L'avènement du portrait à partir du XIIIe siècle : étude d'histoire, d'anthropologie et d'esthétique sur l'avènement des représentations ressemblantes de l'homme en Occident." Paris, EHESS, 2006. http://www.theses.fr/2006EHES0064.

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La thèse est la première analyse de l'avènement du portrait ressemblant à partir du XIIIe siècle (jusqu'à présent daté du XVe ou XIVe s. ). Reconstitue une structure globale de la mimesis et de l'image ressemblante de l'homme, retient qu'un nouveau courant apparaît (au XIIIe s. ), manifestant un intérêt particulièrement vif pour l'aspect corporel de l'homme (témoignage sont : embaumement de longue durée, resurgissement du masque mortuaire, effigies, substitution des blasons par image ressemblante, etc. ). Phénomène lié aux changements de conception de l'être humain (valorisation du corps !). Influence byzantine démontrée, comparaison avec usages de mimesis antique. Portrait (divers matériaux de production analysés) représente d'abord une référence à des dignitaires précis. Plus tard, il renvoie, d'une manière générale, à une personne précise. Analyse approfondie de l'étymologie de «portrait» (ca. 200 occurence depuis le XIIe s. ) ainsi que de la notion d'individu vérifie ce développement
The doctoral thesis is the first study of the rise of resembling portraits since 13th century. It reconstitutes a global structure of mimesis and resembling representation of man ; demonstrates that a new current emerges in 13th cent. Showing a particularly strong interest in physical appearence of man. Evidence of this are : new long-term embalming methods, re-emerging of death masks, effigies, substitution of the coat of arms by resembling figures, etc. Trend is linked to changes in view of man (giving higher value to human body). Antique interest in human physiognomy (death masks in wax) is shown very likely to have been transmitted to 13th cent. Occident (via Byzantium). The likeness of portraits (various mediums of making are analysed) is a prestige reserved for personages, meaning their dignity. Later, the likeness comes to stand for an individual in general. Comprehensive etymology of the word portrait (ca. 200 examples from 12th cent. On) and of "individual" confirm this evolution
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Ahlsén, Nils. "Erik de Magog och Johan av fotfolket : Haute couture och religiös propaganda i stål och sten." Thesis, Uppsala universitet, Religionshistoria, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-352894.

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This study examines four suits of armour that belonged to two Swedish kings, one protestant and one catholic, during the renaissance. The study tries to determine if it is possible to extract the religious identity of these kings based upon the decorations or other connotations of the suits of armour. Since the two kings, Erik the XIV:th and John the III, where half brothers and they succeeded each other, the suits of armour are closley matched in time and style.   The study also examines the grave effigy of one of the kings, John the III of Sweden, to examine if there is a connection between crossed legs on effigys and the perception of religion during the period.   The study is conducted through a archeological and historiological method and uses a combination theory of Smarts seven dimensions and the pictoral turn.   The main question of the study is: -          What does it take to track religious bias through armour? The subsequent questions are: -          Is it possible to find the religious identity in the suits of armour? -          Was the Gothicism movement a religious movement? -          The effigy of John the III was sculpted in a style popular in the eleventh century, created in the 16:th century and placed in the 18:th century. What conclusions can be drawn from this while also tracking the discourse of effigys in the same time expance.   The study concludes that if the identity of the owner of a suit of armour is known, the symbols that adorne the suit can be interpreted fairly well. It also conludes that the gothic movement in Sweden where an extremely aggressive catholic movement. Finally it concludes that the creation and placement of the tomb in Uppsala cathedral closely follows the different discourses about the meaning of crossed legs on effigys in Europe and that the makers most likely gave the position a devout religious connotation.
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Tagliapietra, Serena <1979&gt. "PER UN CATALOGO DEI MONUMENTI FUNEBRI CON EFFIGIE NELLE CHIESE DELLA VENEZIA BAROCCA: ANALISI DELLA COMMITTENZA TRA IL 1630 E IL 1718." Master's Degree Thesis, Università Ca' Foscari Venezia, 2014. http://hdl.handle.net/10579/4581.

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La presente ricerca si propone quale studio dei monumenti con effigie, costruiti nelle chiese di Venezia tra il 1630 e il 1718. Un novantennio in cui la società lagunare fu profondamente scossa dalla peste del 1630-1631 e dalla decennale guerra contro il Turco, conclusasi definitivamente con la pace di Passarowitz del 1718. Attraverso il censimento delle opere ancora esistenti e di quelle andate distrutte, è stato possibile compilare un catalogo, composto dalle schede di ottantatre depositi. Lo studio della loro committenza ha consentito d’individuare le particolari strategie di autopromozione personale e famigliare, che l'edificazione dei monumenti sottintendeva. Si è potuto inoltre verificare, come nel periodo considerato, il fenomeno della commemorazione e celebrazione della memoria assunse un’importanza maggiore rispetto alle epoche precedenti, interessando più diffusamente anche gli strati inferiori della popolazione.
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Kornmeier, Uta. "Taken from life." Doctoral thesis, Humboldt-Universität zu Berlin, Philosophische Fakultät III, 2006. http://dx.doi.org/10.18452/15547.

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Wachsfigurenkabinette waren nicht immer die billigen Sensationsmaschinen, als die sie heute verstanden werden. Vor der Erfindung und Verbreitung von Photographie und illustrierten Zeitschriften waren sie Bildmedien, die der Vermittlung von visuellen Informationen dienten. Kein anderes Medium konnte die Protagonisten der Weltgeschichte so unmittelbar darstellen wie die Sammlungen lebensgroßer Wachsfiguren. Das Material Wachs trug wesentlich zu ihrem Erfolg bei, denn es ermöglichte die täuschend echten und bis dahin realistischsten Darstellungen von bekannten Persönlichkeiten. Die Operationsweise dieses Mediums wird am Beispiel von Madame Tussauds Wachsfigurenkabinett genauer untersucht. Dazu wurde, soweit möglich, die Reiseroute, der Aufbau und die “Besetzung” der Ausstellung rekonstruiert, sowie die soziale Herkunft der Besucher in der ersten Hälfte des 19. Jh.s ermittelt. Es wird deutlich, daß Marie Tussaud eine talentierte Portraitkünstlerin und ambitionierte Schaustellerin war, deren sorgfältig gestaltete Ausstellung vor allem Besucher der aufstrebenden Mittelschicht mit Interesse an Menschenkenntnis anzog. Das Wachsfigurenkabinett fiel damit in die Kategorie der “nützliche Unterhaltung”, die der Wissens- und Charakterbildung diente. Madame Tussaud ist vielleicht die bekannteste Betreiberin eines Wachsfigurenkabinetts – keinesfalls aber die erste. Die Geschichte der kommerziellen Ausstellung lebensgroßer Wachsfiguren reicht ins beginnende 17. Jh. zurück, wobei sich das Konzept der Kabinette im Laufe der Jahrhunderte stark gewandelt hat. In dieser Arbeit werden drei Ausstellungsformen unterschieden: a) das barocke Figurengruppen-Kabinett, das programmatische oder allegorische Geschichten erzählt, b) die aufklärerische Portraitgalerie (wie z.B. Madame Tussauds), in der Persönlichkeiten als charakteristische Individuen vorgestellt werden, c) das moderne Tableau-Kabinett, wo alltägliche oder außergewöhnliche Ereignisse auf bis dahin unübertroffen realistische Weise wiedergegeben werden. Als Nachrichtenkanal und als Medium für realistische Wirklichkeitswiedergabe sind Wachsfigurenkabinette seit den 1920er Jahren überholt. Als Spiel mit der menschlichen Sinneswahrnehmung bleiben sie jedoch vorerst aktuell.
Waxworks were not always the cheap sensation spinners as which we perceive them today. Before the invention and wide-spread use of photography and illustrated magazines they were an important medium for distributing visual information. No other form of communication could offer such immediate representations the protagonists of world history. Perhaps the greatest part in their success took the material wax which allowed the creation of deceptively lifelike and hitherto most realistic depictions of celebrated individuals. In this thesis, Madame Tussaud’s serves as a prime example for examining the mode of operation of a waxwork exhibition. As far as the sources allow, the itinerary, the ‘cast’ and display of the exhibition is reconstructed, as well as the number and the social background of its visitors during the first half of the 19th century. It emerges that Marie Tussaud was a talented portrait artist and a show woman of ambition whose carefully constructed exhibition attracted mainly middle-class visitors with an interest in human classification. Thus, the waxworks was a ‘rational entertainment’ that was thought to further the development of knowledge and character in its visitors. While Madame Tussaud’s was perhaps the most famous waxworks, it was not the first one. The history of commercial exhibition of life-sized wax figures goes back to the 17th century. Their concept, however, changed significantly over the centuries. Three forms of waxworks are differentiated here: a) the baroque waxworks of groups of figures narrating programmatic and allegorical stories, b) the enlightened portrait gallery – such as Madame Tussaud’s – where celebrities are presented as individual characters, c) the modern tableau waxworks, that represents extraordinary as well as everyday events in a realistic way that was hitherto unprecedented. As a channel for the distribution of news and as a medium for representing reality waxworks have become outdated. As a tickle for the senses, however, they will yet remain effective.
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Books on the topic "Effigies"

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Evans, Mary Anna. Effigies. Scottsdale, AZ: Poisoned Pen Press, 2007.

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Elskamp, Max. Effigies. [Saint-Clément-la-Rivière, France]: Fata Morgana, 1989.

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Long, Robert Hill. The effigies. West Hartford, Conn: Plinth Books, 1998.

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Dominique, Richard, and Musée savoisien, eds. Royales effigies. Chambéry: J.-P. Madelon, 1986.

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Thinès, Georges. Les effigies. Brussels, Belgium]: Académie royale de langue et de littérature françaises, 1998.

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Heard, Catherine. Catherine Heard: Effigies. Cambridge: Cambridge Galleries, 2003.

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Cladel, Léon. Effigies au féminin: Nouvelles. Angeville: Brochure, 2010.

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Greenhill, F. A. Monumental incised slabs in the County of Lincoln. Newport Pagnell, Bucks: F. Coales Charitable Foundation, 1986.

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Shyamalkanti, Chakravarti, and Indian Museum, eds. Wood and metal effigies of Nagaland. Kolkata: Indian Museum, 2002.

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Anthony, Harvey, and Mortimer Richard, eds. The funeral effigies of Westminster Abbey. Woodbridge [Eng.]: Boydell Press, 1994.

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More sources

Book chapters on the topic "Effigies"

1

Walsh, Sue. "Author and Authorship. Effigies of Effie: On Kipling’s Biographies." In Children's Literature, 25–50. London: Palgrave Macmillan UK, 2004. http://dx.doi.org/10.1057/9780230523777_2.

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Ricci, Giovanni. "Chapter 10. Double Funerals and Funeral Effigies in Italian States." In Princely Funerals in Europe 1400–1700, 209–21. Turnhout, Belgium: Brepols Publishers, 2020. http://dx.doi.org/10.1484/m.efs-eb.5.120759.

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Dye, David H. "Anthropomorphic pottery effigies as guardian spirits in the Lower Mississippi Valley." In Cognitive Archaeology, 201–23. New York : Routledge, 2020. | Series: Routledge studies in archaeology: Routledge, 2019. http://dx.doi.org/10.4324/9781315157696-9.

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Oosterwijk, Sophie. "Swaddled or Shrouded? The Interpretation of ‘Chrysom’ Effigies on Late Medieval Tomb Monuments." In Medieval Church Studies, 307–48. Turnhout: Brepols Publishers, 2007. http://dx.doi.org/10.1484/m.mcs-eb.3.1880.

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"Die Effigies." In Die Körper des Königs, 27–29. Wilhelm Fink Verlag, 2009. http://dx.doi.org/10.30965/9783846745328_004.

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Saul, Nigel. "Military Effigies." In English Church Monuments in the Middle Ages, 207–37. Oxford University Press, 2009. http://dx.doi.org/10.1093/acprof:oso/9780199215980.003.0009.

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"The effigies." In Interpreting Medieval Effigies, 7–66. Oxbow Books, 2019. http://dx.doi.org/10.2307/j.ctvmx3jx4.8.

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"Singing Effigies." In Music and the Making of Medieval Venice, 81–116. Cambridge University Press, 2023. http://dx.doi.org/10.1017/9781009425032.006.

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"effigies, n." In Oxford English Dictionary. 3rd ed. Oxford University Press, 2023. http://dx.doi.org/10.1093/oed/7611140343.

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"effigies, v." In Oxford English Dictionary. 3rd ed. Oxford University Press, 2023. http://dx.doi.org/10.1093/oed/9252463727.

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