Relevant bibliographies by topics / Emblemos

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Emblemos'

Author: Grafiati
Published: 4 June 2021
Last updated: 6 February 2022

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Journal articles on the topic "Emblemos"

1

Cull, John T. "The Emblematic Exemplum in Agustín Moreto y Cabaña and Other Golden Age Playwrights." IMAGO. Revista de Emblemática y Cultura Visual, no. 9 (January 31, 2018): 151. http://dx.doi.org/10.7203/imago.9.10596.

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ABSTRACT: Taking as a point of departure Juan de Horozco's definition: «las emblemas se pueden hazer con figuras solas, como es más ordinario o con figuras y letras que siruan de mote, y esto es, porque la emblema quanto más guardare las propiedades de la empresa tanto será mejor según yo entiendo y juzgara qualquiera» (f. 64v), this study analyzes the presence and function of dramatic emblems in the plays of Agustín Moreto y Cabaña and other Spanish Golden Age Dramatists. It postulates that the poetic images, derived in many instances from emblem books, function as exempla in order to comment on the dramatic situation. The dramatic emblems are divided into two main groups: «marked emblems and «unmarked emblems». KEYWORDS: Agustín de Moreto; argumentum emblematicum; dramatic emblems; exempla. RESUMEN: Partiendo de la definición de Juan de Horozco de que «las emblemas se pueden hazer con figuras solas, como es más ordinario o con figuras y letras que siruan de mote, y esto es, porque la emblema quanto más guardare las propiedades de la empresa tanto será mejor según yo entiendo y juzgara qualquiera» (f. 64v), este estudio pretende analizar la presencia y función de emblemas dramáticos en las comedias de Agustín Moreto y Cabaña y otros dramaturgos del Siglo de Oro. Se postula que las imágenes poéticas derivadas de libros de emblemas funcionan como exempla para comentar la situación dramática. Los emblemas dramáticos se dividen en dos grupos generales, los «emblemas marcados» y los «emblemas sin marcar». PALABRAS CLAVES: Agustín de Moreto; argumentum emblematicum; emblemas dramáticos; exempla.
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Zafra, Rafael. "Emblemas doctrinales." IMAGO. Revista de Emblemática y Cultura Visual, no. 11 (January 28, 2020): 85. http://dx.doi.org/10.7203/imago.11.16017.

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ABSTRACT: This study proposes to determine the emblematic character of a type of catechetical-doctrinal composition, influenced by Alciato’s Emblems, that emerged at the height of the dispute between Catholics and Protestants and their attempt to refute and extend their contradictions and respective doctrines. Starting from the notion that the emblem is a «transfigured common place», I analyze the massive use of these commonplaces in theological and doctrinal treatises, and conclude that both the compositions that formed the catechisms and emblematized sums, as well as many of the paintings and other artistic compositions that derive from them, can be considered emblems in their purity, though not in a figurative sense, and constitute a category that can be called doctrinal emblems. KEYWORDS: Emblem Theory; Doctrine; Catechesis; Reform; Commonplaces. RESUMEN: Este trabajo trata de determinar el carácter emblemático de un tipo de composiciones catequetico-doctrinales surgidas, por influencia de los Emblemas de Alciato, en el momento cumbre de la disputa entre católicos y protestantes y su intento de refutar y extender sus contrarías y respectivas doctrinas. Partiendo de un concepto de emblema como «lugar común transfigurado» y tras analizar el empleo masivo de estos lugares en la tratados teológicos y doctrinales, se acaba concluyendo que tanto las composiciones que conformaron los catecismos y sumas emblematizadas como muchos de los cuadros y otras composiciones artísticas que de ellos se derivan, pueden ser considerados emblemas en puridad y no en sentido traslaticio, y constituyen una categoría a la que se puede denominar emblemas doctrinales.
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Gerliakienė, Veronika. "Taikomosios emblemos Vilniaus bažnyčiose ir jų literatūriniai šaltiniai." Literatūra 47, no. 3 (January 1, 2015): 1–13. http://dx.doi.org/10.15388/litera.2005.3.8105.

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Tūtlytė, Rita. "Tylusis modernizmas lietuvių literatūroje." Literatūra 56, no. 1 (January 18, 2016): 68–80. http://dx.doi.org/10.15388/litera.2014.1.9779.

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Straipsnis rašytas Greifsvaldo universitete skaitytos paskaitos pagrindu. Siekta supažindinti svetimkalbę auditoriją su lietuvių „tyliojo modernizmo“ (1962–1982) poezijos ypatybėmis. Trumpai pristatomos laikotarpio politinės ir kultūrinės įtampos. Poezija apžvelgiama keliais lygmenimis: analizuojama eilėraščio struktūros kaita („aš“ suskilimas, vaizduotės galia, erdvės ir laiko interpretacijos, simultaniška vaizdų tėkmė, kalbos provokavimas); dėmesys telkiamas į visos kartos pasaulėvokos branduolį – atminties paradigmą ir tapatybės ieškojimą; taip pat į šių sandų raišką: gamtos, istorijos ir mito sampyną, kultūrinę ir istorinę vaizduotę. Sekama valstybės ženklo – Vyčio – poetinė interpretacija. Daroma prielaida, kad minėtos kartos poetų kultūrinėje-istorinėje vaizduotėje svarbi Vyčio – kaip valstybės simbolio – atmintis. Poetinės atminties lauke jis – nesistemiškai ir netgi neprogramiškai – atsiranda kaip vienas svarbiausių motyvų. Vyčio ženklas „tyliojo modernizmo“ poezijoje iškyla komplikuotais kodais, motyvų pyne, neišbaigtomis užuominomis ar XX amžiaus lietuvių mene (gobelenuose, Žalgirio mūšio paveiksluose, Čiurlionio tapybos vizijose, antspauduose, medaliuose, prieškarinės poezijos tekstuose) fiksuotomis emblemomis, ir veikia kaip „slaptieji sielų pokalbiai“. Lyrinio subjekto ir Vyčio emblemos meninis „išardymas“, „išskaidymas“ – tai specifinis kultūros atminties poetinis gestas „tyliojo modernizmo“ poezijoje, meninėmis vizijomis, užuominomis nurodantis į suirusį, nevientisą žmogų ir į sužlugdytą, suardytą valstybę.
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Silvares, Lavinia. "“Engenhoso artifício”: o emblema e sua apropriação no teatro de Shakespeare." Gragoatá 22, no. 43 (August 30, 2017): 727–49. http://dx.doi.org/10.22409/gragoata.2017n43a33495.

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O célebre livro de emblemas de Andrea Alciato, Emblematum liber (1531), o primeiro a reunir gravuras acompanhadas de mote e epigrama, foi extensamente emulado nas cortes europeias ao longo dos séculos XVI e XVII. Na Inglaterra elisabetana, Geoffrey Whitney publica, em 1586, o primeiro livro de emblemas em inglês, A Choice of Emblemes and Other Devises, o qual teve ampla circulação no meio letrado de seu tempo. Nessa obra, Whitney reúne 248 emblemas compostos de um mote, uma xilogravura e um poema, em inglês. Reciclando tópicas antigas à maneira de Alciato, Whitney representa lugares-comuns retórico-poéticos correntes no âmbito cortesão, conferindo uma nova “roupagem” a práticas antigas balizadas pelo ut pictura poesis horaciano e constituindo, na época, um gênero propício para a efetuação da agudeza. Com foco na obra de Whitney, este artigo pretende investigar a estrutura e a função do emblema, com o objetivo de destacar a particularidade de sua natureza icônico-verbal, e apontar, a partir de alguns exemplos, a apropriação do gênero emblemático no teatro de Shakespeare. ---DOI: http://dx.doi.org/10.22409/gragoata.2017n43a767.
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Germ, Tine. "Simbolika orla in sonca v emblemih Spominske knjige ljubljanske plemiške družbe sv. Dizma." Ars & Humanitas 14, no. 2 (December 29, 2020): 181–210. http://dx.doi.org/10.4312/ars.14.2.181-210.

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Avtor v svoji študiji analizira ročno slikane embleme z motivom orla in sonca v Spominski knjigi ljubljanske plemiške družbe sv. Dizma (skrajšano: Dizmova kronika), hranjene v Arhivu Republike Slovenije (ref. AS 1073, I/1), ki so z ikonografskega vidika skoraj povsem neraziskani. Kratkemu uvodu, v katerem je predstavljena Dizmova kronika kot izvirna oblika emblemske spominske knjige, ki je nastajala v Ljubljani med letoma 1689 in 1801, sledi ikonološka analiza desetih emblemov z motivom orla in sonca (fols. 119r, 161r, 229r, 234r, 238r, 264r, 287r, 294r, 306r, 369r) v kontekstu evropske emblematike. Avtor najprej opozori na ikonografska izhodišča motiva ter opredeli osnovni vsebinski okvir, ki je skupen vsem emblemom z motivom orla in sonca v Dizmovi kroniki. Gre za večinoma kristološko ikonografijo, ki izhaja iz biblijske eksegeze, Fiziologa in srednjeveških bestiarijev, največji razcvet pa doživi prav na področju emblematike v zgodnjem novem veku. Skupno vsebinsko jedro oblikujejo motivi preroda, odrešenja in večnega življenja ter simbolične predstave o sledenju Kristusovemu nauku in odličnosti duha, ki se dviga v nebeške višave. Analiza pokaže, da imajo ključno vlogo motivi, ki izvirajo iz antike, a so v krščanstvu dobili nove, precej bolj kompleksne vsebine: orel, ki nemoteno zre v sonce, orel, ki leti proti soncu, preizkušnja mladih orličev z gledanjem v sonce ter orel, ki uči mladiče leteti. Raziskava se osredotoča na ikonografsko specifiko vsakega posameznega emblema, v kateri sta razvidna inventivnost naročnikov in njihovo poznavanje evropske tradicije emblemskih knjig. Analiza izbranih emblemov ne razkriva samo njihovega vsebinskega bogastva in kompleksne strukture, različne zglede in neposredne vplive, ampak hkrati celoviteje osvetljuje dejaven pristop naročnikov v procesu njihovega nastajanja, ki doslej v primeru ilustracij v ljubljanski Spominski knjigi ljubljanske plemiške družbe sv. Dizma ni bil deležen ustrezne pozornosti. Ob tem avtor opozarja tudi na vlogo vodilnih miniaturistov Andreja Trosta in Simona Tadeja Volbenka Grahovarja, ki nista bila zgolj iluminatorja, temveč sta aktivno sodelovala pri sami ikonografski zasnovi emblemov, s čimer odpira nov vpogled v dinamiko odnosov med umetnikom in naročnikom.
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Rolle, Baptiste, and Edith Lafontaine. "The emblem that cried wolf: ICRC study on the use of the emblems." International Review of the Red Cross 91, no. 876 (December 2009): 759–78. http://dx.doi.org/10.1017/s1816383110000172.

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AbstractThe ICRC Study on Operational and Commercial and Other Non-operational Issues Involving the Use of the Emblems (‘the Emblem Study’) is an efficient and user-friendly tool to tackle issues regarding the use of the emblems of the red cross, red crescent, and red crystal. This article presents the Emblem Study's origin and objectives, and explains the structure and the methodology followed in its preparation. Recurrent questions regarding joint use of emblems and other signs are also examined, in order to demonstrate the Emblem Study's potential as an analytical and practical tool. Particular emphasis is placed on the need to avoid diluting the protective value of the emblems by maintaining a distinction between those entitled to use the emblems, their partners, and other players in the humanitarian field.
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Ruiz Sánchez, Marcos, and María Ruiz Sánchez. "Elementos iconográficos y emblemáticos en los epigramas de Interián de Ayala." IMAGO. Revista de Emblemática y Cultura Visual, no. 10 (February 4, 2019): 217. http://dx.doi.org/10.7203/imago.10.13132.

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ABSTRACT: The Neo-Latin poetry of Interián conveys the interest of the author of the Pictor Christianus in iconography and emblems. This interest is expressed in all of his compositions. But it is in the epigrams in particular where this side of the Mercedarian writer can be best observed. KEYWORDS:Juan Interián de Ayala,Epigrams, Iconography, Emblems. RESUMEN: La poesía neolatina de Interián refleja el interés del autor del Pictor Christianus por la iconografía y los emblemas. Este interés se manifiesta en todas sus composiciones. Pero es sobre todo en los epigramas donde mejor puede observarse esta faceta del escritor mercedario. PALABRAS CLAVES: Juan Interián de Ayala; epigramas; iconografía; emblemas.
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Fernández Galán Montemayor, María del Carmen. "Máquinas de la memoria: Emblemática y Semiótica." IMAGO. Revista de Emblemática y Cultura Visual, no. 12 (January 28, 2021): 71. http://dx.doi.org/10.7203/imago.12.17714.

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ABSTRACT: The relationship between word and image has been researched from different theoretical perspectives. The emblem, as a hybrid textual type, has been approached from the perspectives of iconography and epigraphy in the analysis of the variety of genres derived from the triplex model, like the heavily codified languages of mute emblems and baroque hieroglyphs. The rhetorical procedures and traditions involved in the production and reception of these symbolic machines utilize the exemplum and the allegory, going through the progymnasmata, as the main strategies in the connection of iconic and verbal representations. The purpose of this work is to describe the emblem from a semiotic point of view and explore the relationship between emblematics and the theatres of artificial memory as categories that allow the explanation of the complex interdependence between the visual and the verbal in its mnemotechnical function, where the effectiveness of the repertoire of symbol is built in museums of the imaginary. This takes the visual grammars of semiotics as well as the anthropology of writing as a starting point to propose a generative model of reading. KEYWORDS: Emblematics; Semiotics; Symbolism; Hieroglyph; Memory. RESUMEN: La relación entre palabra e imagen ha sido estudiada desde distintas perspectivas teóricas. En el caso del emblema, como tipo textual híbrido, se ha abordado desde la iconografía y la epigrafía en el análisis de la variedad de géneros derivados del modelo triplex, como los lenguajes altamente codificados de los emblemas mudos y los jeroglíficos barrocos. Los procedimientos retóricos y tradiciones implicados en la producción y recepción de estas máquinas simbólicas tienen como principales estrategias el exemplum y la alegoría pasando por los progymnásmata, en la conexión de representaciones icónicas y verbales. El propósito de este trabajo es caracterizar el emblema desde el punto de vista semiótico y explorar la relación entre la emblemática y los teatros de la memoria artificial como categorías que permiten explicar la compleja interdependencia de lo visual y lo verbal en su función mnemotécnica donde la eficacia de los repertorios de símbolos se erige en museos del imaginario. Lo anterior a partir de las gramáticas visuales de la semiótica y de la antropología de la escritura para proponer un modelo generativo de lectura. PALABRAS CLAVES: emblemática; semiótica; jeroglífico; memoria.
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Agudo Romeo, María del Mar. "El retrato de una mujer de su época en los Emblemas Morales de Sebastián de Covarrubias (1610)." IMAGO. Revista de Emblemática y Cultura Visual, no. 10 (February 4, 2019): 53. http://dx.doi.org/10.7203/imago.10.13108.

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ABSTRACT: This study shows the kind of woman that Sebastián de Covarrubias Orozco portrays in his Emblemas morales(1610). After a brief introduction and presentation of the author and his work, taking into account the different emblems in which a woman appears, this article studies women in general and, especially, their situation as nubile or married women, emphasizing the institutions of marriage and motherhood, with particular attention to women's participation in the education of their children; the last two sections focus on love as a passion and on beauty, respectively. KEYWORDS: Woman; Emblems; Sebastián de Covarrubias. RESUMEN: en este trabajo se muestra qué tipo de mujer retrata Sebastián de Covarrubias Orozco en sus Emblemas morales(1610). Tras una breve introducción y presentación del autor y su obra, teniendo en cuenta los distintos emblemas en que aparece la mujer, se estudia a la mujer en general y, especialmente, su situación como mujer núbil, casada, haciéndose hincapié en la institución del matrimonio, y madre, con particular atención a su participación en la educación de los hijos; los dos últimos apartados se centran en el amor como pasión y en la belleza, respectivamente. PALABRAS CLAVES: mujer; emblemas; Sebastián de Covarrubias.
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Dissertations / Theses on the topic "Emblemos"

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Nakvosas, Algirdas. "Heraldika kaip pagalbinis visuminio pažinimo ugdymo pagrindas VII – VIII klasių moksleivių popamokinėje veikloje." Master's thesis, Lithuanian Academic Libraries Network (LABT), 2005. http://vddb.library.lt/obj/LT-eLABa-0001:E.02~2005~D_20050525_163837-91407.

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This study comprises the basic of Heraldy and Military insignia of the Lithuanian Armed Forces and the other signs used in the Military. The first part of the study introduces the evolution of the military insignia used at the interwar time by Lithuanian Military Corps and nowadays modern Military insignia as well. Military Heraldy describes and represents the kind of Military Forces, Military corps, specialization even the country that the Military corps belong to. Also reflects the short details of country’s history and culture. Taking the artistical approach understanding of the Military insignia is related to the fine arts (painting, sculpture and graphics) to art of computer graphics (scanning, installation, composition) and communication (information delivery). Insignia of the Lithuanian Armed Forces are created according the rules of Heraldy and confirmed by the commission of the Lithuanian Heraldy. Second part of the study analyses the cumulate material by the angle of the assumption of art cognition. Creation of the Military insignia requires deep knowledge and of art and good skills in practice. Such as tune-up of metal and colour, detail compositions are highly required. Colours and metals are usually selected regarding the Military inheritance. If the Military corps are named on the name of one of the great duke’s of Lithuania, than the colours and metals are taken from the duke’s family blazon. Third part of the study describes the pedagogical experiment... [to full text]
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Bird, Amber. "Emblems of Incarnation: The Hypostatic Union of Word and Image in Francis Quarles' Emblemes." BYU ScholarsArchive, 2020. https://scholarsarchive.byu.edu/etd/8924.

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Although recent scholars have attempted to recuperate the cultural and literary value of Francis Quarles' Emblemes, traditional emblematic interpretations categorize the images as merely illustrations of the poetic utterance. The investment of this paper shifts critical attention away from the content of Quarles' text as the only source of meaning and argues that meaning is contingent on the interpretation of both word and image. In order for the images of the text to have full consideration, I have stepped away from the traditional emblem metaphor of body and soul in favor of an incarnational metaphor that joins image and word in a hypostatic union of interpretation.
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Dževečkaitė, Vaida. "Gestų emblemų kaita Lietuvoje nuo 1990 iki 2010 metų." Master's thesis, Lithuanian Academic Libraries Network (LABT), 2014. http://vddb.library.lt/obj/LT-eLABa-0001:E.02~2001~D_20140627_164542-69507.

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Magistro baigiamojo darbo objektas – gestai emblemos. Darbo tikslas – išanalizuoti ir parodyti gestų emblemų kaitos ypatumus lyginat gestus emblemas naudojamus skirtingų generacijų grupių atstovų. Darbo uždaviniai pateikiant atliktų tyrimų duomenis, rezultatus, remiantis teorinėmis įžvalgomis išanalizuoti teoriškai ir emyriškai patvirtintus duomenis apie gestus emblemas, jų santykį su verbaliniu kodu, kultūra per se, naudojimo ir kaitos ypatybes; atlikus empirinį tyrimą, interviu – nustatyti ir įvertinti kaip skiriasi gestai emblemos, jų naudojimas, suteikiama reikšmė skirtingose generacijose; nustatyti kaip pakito gestai emblemos Lietuvoje per pastaruosius du dešimtmečius. Išanalizavus mokslinę literatūra, taikant bendruosius (aprašomasis, sisteminis, analitinis) metodus bei remiantis analoginiu ir indukciniu metodais, prieita prie išvados, kad gestai emblemos yra konvencinio pobūdžio gestai, kurie dalyvaudami kultūros kaitos procesuose kinta, panašiai kaip kinta žodinė kalba, o jų kaitos ypatybės konkrečioje kultūroje geriausiai matomos lyginat skirtingų generacijų leksikonus. Gestai emblemos kaip ir žodinė kalba, yra kultūriniai segmentai. Jų sukūrimą, įtraukimą į kasdienį individų leksikoną, jiems priskiriamos reikšmės, jų vizualinės išraiškos formos sukūrimą ir kitimą įtakoja kultūros kaitos ir raidos procesai: materialinių ir dvasinių kultūrinių vertybių kaita, kultūrų difuzijos, integracijos, niveliacijos, asimiliacijos procesai, taip pat socialinio, ekonominio... [toliau žr. visą tekstą]
The subject of the final Master work is about emblematic gestures. The paper aims to analyze and to indicate change of emblematic gestures comparing their usage in different generations. The main tasks carried out in the work are to analyze theoretically and empirically verified data about emblematic gestures, their relationship with verbal code and culture as such, use and change specific features; After doing empirical study interview – the paper also aims to establish and to evaluate differences of emblematic gestures, their usage and their meaning in different generations; to show how emblematic gestures have changed in Lithuania due to last two decades. There are carried out thesis – emblematic gestures change as changes culture in which they are used and comparing emblematic gestures used in different generations, we can make inferences about their change. In order to ground thesis, theoretical data was collected and empirical research was held. The analysis of scientific literature had showed that most of emblematic gestures are cultural borrowings and that their changes in visual form and meaning are influenced by culture. Emblematic gestures as oral language are elements of culture. They are creation and usage in everyday talk. The meaning and form that they gain are influenced by the processes of cultural change and development: creation of material and spiritual values, processes of cultural integration, nivelation, assimilation also the change of political... [to full text]
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Craig, Jennifer J. "Inventing 'living emblems' : emblem tradition in the masques of Ben Jonson, 1605-1618." Thesis, University of Glasgow, 2009. http://theses.gla.ac.uk/1307/.

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While it is widely held that Ben Jonson uses emblem tradition in the development of imagery in his court masques and entertainments, how or why Jonson employs this genre of word-image combinations is rarely addressed. This thesis offers an explanation for what is often assumed in studies of Jonson’s masques and entertainments. Rather than identifying particularly emblematic scenes or characters and analysing their construction, however, this investigation of the emblematic in Jonson begins with analysis of his theory of masque creation. The evidence he leaves in the introductions to masque publications and his notes in Discoveries (1641) points to a conscious decision to incorporate not emblems themselves but an emblematic method in his new literary masque form, especially between 1605 and 1618. Once Jonson’s familiarity with emblematic methods is realized, what is considered ‘emblematic’ in his imagery can be reassessed. The reason why Jonson’s masques appear to retain emblematic qualities but contain few true emblems can thus be explained. In order to explicate Jonson’s use of emblem tradition in his creation of masque imagery, this thesis is divided into three parts. The first part outlines Jonson’s theory of masque writing within three contexts. It initially looks at how Jonson’s literary methods compare to contemporary emblem and symbol theories, and thus works out a methodology for analysing the emblematic in his masques. Then, it considers the awareness of emblems in the early modern British court, both in material and intellectual culture. In so doing, these two sections on emblems in sixteenth- and seventeenth-century British culture highlight the prevalence of the emblematic mindset in Jonson and his aristocratic audience. This argues for the relevance of Jonson’s emblematic development of imagery for performances in the Stuart court. The second and third parts of this thesis then turn to the masques and entertainments themselves. Part II looks at how Jonson uses emblematic techniques to design characters. Recognizing Jonson’s different approaches to abstract personifications and mythological figures, it is split into two sections. The first section looks at key personifications in The Masque of Beautie (1608) and The Masque of Queenes (1609). It considers how Jonson changes the characters Januarius and Fama bona from personifications in Ripa’s Iconologia to emblematically-rendered figures. The second section then analyses Jonson’s reinvention of stock characters Cupid and Hercules. Discussion covers Cupid’s appearance in many of Jonson’s entertainments, and then concentrates on his appearance with Anteros in A Challenge at Tilt (1613) and Loves Welcome at Bolsover (1634). Hercules’ pointedly emblematic role in Pleasure reconcild to Vertue (1618) finally crowns study of Jonson’s characters. Part III extends investigation into Jonson’s development of themes and arguments in the masques. By identifying Jonson’s processes in the expression of certain themes, this part gives a full picture of Jonson’s use of emblematic techniques and material. The first section realizes their use in the moulding of Platonic themes of love into celebration of King and State. The second section then scrutinizes the invention of the Masques of Blacknesse (1605) and Beautie, Love Freed (1611), and The Golden Age Restor’d (1615). This is followed by analysis of the changes Jonson makes to emblematic constructions between Pleasure reconcild and its rewrite For the Honour of Wales (1618). The alterations highlight Jonson’s reliance on emblematic interpretation of his entertainments. At the same time, it marks his decision to subvert his techniques after 1618 in order to cater to court tastes following the failure of Pleasure reconcild. A conclusion to this thesis is thus derived from the comparison, which illustrates Jonson’s methods up to 1618.
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Scarassatti, Marco Antonio Farias. "Emblemas sonoros, emblemas da memoria." [s.n.], 2008. http://repositorio.unicamp.br/jspui/handle/REPOSIP/251841.

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Orientador: Milton Jose de Almeida
Tese (doutorado) - Universidade Estadual de Campinas, Faculdade de Educação
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Resumo : Esta pesquisa propôs a construção de emblemas sonoros a partir do estudo das imagens do jesuíta alemão do século XVII, Athanasius Kircher. Neste trabalho essas imagens são vistas como aglutinações simbólicas. Os emblemas foram trabalhados e recriados nas formas: literária, de imagem e musical, na construção de um campo sonoro/espacial relacionado ao pensamento do padre alemão, bem como nos arredores simbólicos da sua época e nas ressonâncias artísticas de outros períodos
Abstract : This research proposed the construction of musical emblems from the study of the images of the German Jesuit of the century XVII, Athanasius Kircher. In this work these images are seen as symbolic agglutinations. The emblems were worked and recreated in the forms: literary, of image and musical, in the construction of a resonant / space field relative to the thought of the German priest, as well as in the symbolic surroundings of his time and in the artistic resonance of other periods
Doutorado
Educação, Conhecimento, Linguagem e Arte
Doutor em Educação
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Carnochan, Robert Marbury. "Aaron Copland's Emblems /." Digital version accessible at:, 1999. http://wwwlib.umi.com/cr/utexas/main.

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Kotb, Mohamed. "Emblems in the digital age." Thesis, McGill University, 2002. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=29513.

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This thesis deals with the representation of emblem literature in digital media in the modern age. A discussion of issues related to new media such as the advantages and disadvantages of digital media as well as copyright issues is presented. There follows a discussion of different technologies related to modern means of publishing, notably Acrobat technology, HTML, XHTML, and XML, and how they could be best used to serve the goal of dealing with emblems by means of digital media. A discussion of digitizing and indexing emblems as well as CD-ROM technology is also presented. This leads to an evaluation of some Internet web sites and a CD-ROM edition. The thesis concludes with a summary evaluating the success of modern attempts of presenting emblem literature in modern digital media.
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Stagni, Reno. "Imagens alquímicas renascentistas: um estudo preliminar do manuscrito La génération et opération du grand oeuvre pour faire de l or (1620)." Pontifícia Universidade Católica de São Paulo, 2008. https://tede2.pucsp.br/handle/handle/13401.

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Conselho Nacional de Desenvolvimento Científico e Tecnológico
The objective of this study is to analyze, among the multiple aspects that permeate the alchemical tradition, one that treats the relation between image and text as a way to the knowledge stored in the books, and to try to evidence some aspects of the use of the image as a tool to decode the verbal text. Therefore it was chosen, as case study, the manuscript La Génération et Opération du Grand OEuvre pour Faire de l Or (The Generation and Operation of the Great Work to Make Gold), anonymous manuscript, copied in the first quarter of the XVII century, whose comparison with alchemical works related to that same period provided the analysis, object of this study
O objetivo deste estudo é analisar, dentre os múltiplos aspectos que permeiam a tradição alquímica, aquele que trata das relações entre imagem e texto como via de acesso aos conhecimentos guardados nos livros, e tentar evidenciar alguns aspectos do uso da imagem como instrumento de decodificação do texto verbal. Para tanto foi selecionado, como estudo de caso, o manuscrito La Génération et Opération du Grand OEuvre pour Faire de l Or (A Geração e Operação da Grande Obra para Fazer Ouro), manuscrito anepígrafo, copiado no primeiro quartel do século XVII, cujo confronto com outras obras alquímicas do mesmo período, propiciou a análise, objeto deste estudo
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Merz, Andreas. "Embleme im interkulturellen Vergleich." Master's thesis, Universitätsbibliothek Leipzig, 2013. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-126381.

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The following thesis highlights intercultural misunderstandings that can occur due to different semantic values of emblems, a gesture generally defined as having an accepted verbal translation in a certain culture or community. To illustrate such problems, the semantic meanings of sixteen emblems in Colombia and Germany are analyzed. Misunderstandings caused by the use of these emblems are then explained from a communicative point of view, using Austin’s speech-act theory.
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Aravena, Ortíz Sebastián. "Rescate iconográfico y análisis de los emblemas del Ejército de Chile desde 1810 hasta 2010." Tesis, Universidad de Chile, 2008. http://www.repositorio.uchile.cl/handle/2250/112952.

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Diseñador Gráfico
No autorizada por el autor para ser publicada a texto completo
Este proyecto surge como una búsqueda de más instancias en el diseño, la idea de explorar cómo generar aportes nuevos en áreas diferentes a las más comunes en donde nuestra disciplina se ve relacionada, abriendo el espectro de funciones y nichos en donde el diseñador gráfico puede relacionarse y ayudar a construir. Una de las áreas en donde se puede trabajar es en la historia, dejar de mirar al futuro y a las nuevas tendencias estéticas para mirar hacia atrás, a lo que ya hemos pasado y hacer algo en función de ello, intentar rearmar nuestro pasado gráfico en función del diseño moderno. El proyecto se centra en el rescate patrimonial y valorización de los emblemas del Ejército de Chile a lo largo de los doscientos años de nuestro país. Estos signos pertenecen a nuestra historia gráfica y por eso es importante valorizarlos, sobretodo cuando se están perdiendo poco a poco. El otorgarles valor fortalece nuestra identidad como país aportando cultura y conocimiento de nosotros mismos. Para valorizar los emblemas el proyecto pretende aportar con un estudio de ellos, utilizando herramientas entregadas por diferentes pensadores del diseño y la semiótica, para generar un producto que no sólo los muestre sino que también hable de ellos. El proyecto será una publicación impresa que reunirá los diferentes emblemas del Ejército de Chile desde 1810 hasta 2010, que serán organizados y normalizados para luego, utilizando como base la semiótica, ser analizados desde tres puntos de vista: la sintaxis, la semántica y el pragmatismo.
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Books on the topic "Emblemos"

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Morel, Colleen. Districts emblems, Seychelles =: Seychelles, les emblèmes des districts. [Victoria]: Ministry of Local Government, 1996.

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In nocte consilium: Studies in emblematics in honor of Pedro P. Campa. Baden-Baden: Koerner, 2011.

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Köhler, Johannes. Angewandte Emblematik im Fliesensaal von Wrisbergholzen bei Hildesheim. Hildesheim: A. Lax, 1988.

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Emblemas. Madrid: Ediciones Caballo Griego para la Poesía, 1990.

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Alciati, Andrea. Emblemas. 2nd ed. Madrid: Akal, 1993.

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Santiago, Sebastián, ed. Emblemas. Madrid, España: Akal, 1985.

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Bruck, Jacobus à. Emblemata politica. Hildesheim: Georg Olms Verlag, 2004.

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Burrows, Wayne. Emblems. Beeston, Nottingham: Shoestring Press, 2009.

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Platthy, Jenő. Emblems. Santa Claus, IN: Federation of International Poetry Associations of UNESCO, 1996.

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Moseley, C. W. R. D. A century of emblems: An introductory anthology. Aldershot, Hants, England: Scolar Press, 1989.

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Book chapters on the topic "Emblemos"

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Russell, Daniel. "Emblems and Iconoclasm." In Imago Figurata. Studies, 39–52. Turnhout: Brepols Publishers, 2007. http://dx.doi.org/10.1484/m.ifstu-eb.4.2017004.

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von Reibnitz, Barbara. "Emblem." In Metzler Lexikon Religion, 268–69. Stuttgart: J.B. Metzler, 2005. http://dx.doi.org/10.1007/978-3-476-00091-0_101.

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Fowler, Alastair. "Emblems of Temperance in The Faerie Queene, Book II." In Remembered Words, 4–10. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780198856979.003.0002.

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This chapter discusses the emblems of temperance in Edmund Spenser’s The Faerie Queene, Book II. It was Spenser’s invariable practice to build into the imagery of The Faerie Queene, at strategic points, the traditional emblems of the virtue whose legend he was writing. These emblems must once have helped to make at least the main drift of his allegory widely intelligible; but unfortunately it no longer works like that. In Book II, where emblems are heavily relied on for structure as well as for imagery, either their existence is now not even noticed, or else they are treated as mere surface decoration. Yet they are essential to Spenser’s method, which is oblique, working indirectly through details. The chapter focuses on perhaps the most common emblem of temperance in The Faerie Queene: the pouring of water into wine. This emblem makes the least obvious appearance, but only because it is developed on a scale not expected; it is hidden, only because it is most deeply structural.
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Fowler, Alastair. "The Emblem as a Literary Genre." In Remembered Words, 146–63. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780198856979.003.0013.

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This chapter examines the emblem as a literary genre. Emblems, once dismissed as popular, trivial, and visually second-rate, have become the object of an independent specialism. Yet there is still little agreement as to what constitutes the emblem as a genre. And, now that literary criticism threatens to merge into media studies, the emblem is increasingly treated from a visual viewpoint, with consequent neglect of its literary aspects. The chapter then looks at how far emblems belong to literature, and constitute, indeed, a literary genre. As with any literary genre, we are faced with the diversifications of historical existence. Literary kinds have a diachronic dimension: change discloses, fashion fashions them. It is precisely innovation, in fact, that makes generic form apparent. And the emblem is no exception. It, too, came about through gradual transformation of earlier genres, and went on changing.
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Nuessel, F. "Emblems." In Encyclopedia of Language & Linguistics, 125. Elsevier, 2006. http://dx.doi.org/10.1016/b0-08-044854-2/01406-1.

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Moseley, Charles. "Emblems." In The Cambridge Guide to the Worlds of Shakespeare, 407–17. Cambridge University Press, 2019. http://dx.doi.org/10.1017/9781316137062.053.

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"LOS EMBLEMAS:." In Atmósferas ciudadanas: grafiti, arte, nichos estéticos, 86–103. Universidad del Externado de Colombia, 2015. http://dx.doi.org/10.2307/j.ctv13vdh6s.13.

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"Introduction." In Emblems of Pluralism, 1–12. Princeton University Press, 2009. http://dx.doi.org/10.1515/9781400825431.1.

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"PART ONE: Monumental Federalism." In Emblems of Pluralism, 13–96. Princeton University Press, 2009. http://dx.doi.org/10.1515/9781400825431.13.

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"Conclusion." In Emblems of Pluralism, 203–10. Princeton University Press, 2009. http://dx.doi.org/10.1515/9781400825431.203.

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Conference papers on the topic "Emblemos"

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ASMAWATI, Asmawati. "Emblems of Gender Case Study to Indonesian Novel." In Sixth International Conference on Languages and Arts (ICLA 2017). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/icla-17.2018.37.

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Bezrukov, A. V. "Trough Emblems to Metaphysical Wit: Creating the Art of Ingenuity." In PHILOLOGICAL SCIENCES, INTERCULTURAL COMMUNICATION AND TRANSLATION STUDIES: THEORETICAL AND PRACTICAL ASPECTS. Baltija Publishing, 2021. http://dx.doi.org/10.30525/978-9934-26-039-1-18.

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Hastie, Helen, Pasquale Dente, Dennis Küster, and Arvid Kappas. "Sound emblems for affective multimodal output of a robotic tutor: a perception study." In ICMI '16: INTERNATIONAL CONFERENCE ON MULTIMODAL INTERACTION. New York, NY, USA: ACM, 2016. http://dx.doi.org/10.1145/2993148.2993169.

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Cole, Timothy W., Myung-Ja K. Han, and Jordan A. Vannoy. "Descriptive metadata, iconclass, and digitized emblem literature." In the 12th ACM/IEEE-CS joint conference. New York, New York, USA: ACM Press, 2012. http://dx.doi.org/10.1145/2232817.2232839.

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Llorca, D. F., D. Colas, I. G. Daza, I. Parra, and M. A. Sotelo. "Vehicle model recognition using geometry and appearance of car emblems from rear view images." In 2014 IEEE 17th International Conference on Intelligent Transportation Systems (ITSC). IEEE, 2014. http://dx.doi.org/10.1109/itsc.2014.6958187.

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RAMOS, DANIELA KARINE, BRUNA SANTANA ANASTACIO, and GLEICE ASSUNÇÃO DA SILVA. "GAMIFICAÇÃO NA EDUCAÇÃO A DISTÂNCIA: ESTRATÉGIAS E CONTRIBUIÇÕES À APRENDIZAGEM." In 26º CIAED Congresso Internacional ABED de Educação a Distância. Associação Brasileira de Educação a Distância - ABED, 2020. http://dx.doi.org/10.17143/ciaed.xxviciaed.2020.62202.

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O OBJETIVO DESTE ESTUDO FOI DESCREVER O PROCESSO DE GAMIFICAÇÃO DE UMA DISCIPLINA OFERTADA EM DOIS CURSOS DE LICENCIATURA A DISTÂNCIA UTILIZANDO O MOODLE PARA ANALISAR INDICADORES QUE SINALIZEM AS CONTRIBUIÇÕES À APRENDIZAGEM. PARA TANTO, PARTICIPARAM DO ESTUDO 10 ESTUDANTES REGULARES DOS CURSOS DE MATEMÁTICA (N=8) E FÍSICA (N=2) A DISTÂNCIA. O TRABALHO DESENVOLVIDO CARACTERIZA-SE COMO SENDO DE CAMPO. OS RESULTADOS APONTAM QUE A AVALIAÇÃO FORMATIVA REALIZADA POR MEIO DA DISCIPLINA GAMIFICADA CONTRIBUIU COM A APRENDIZAGEM DOS ALUNOS. DESTACA-SE NESTE CONTEXTO QUE OS EMBLEMAS (OU BADGES) TIVERAM POUCA INFLUÊNCIA NA APRENDIZAGEM, BEM COMO, A EVIDÊNCIA DE QUE APENAS METADE DOS ALUNOS CONSIDERAM QUE OS DESAFIOS APRESENTADOS FORAM MOTIVADORES.
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Handriyotopo, Mr, and Lono Lastoro Simatupang. "Keris Symbols in The Emblem and Brand Logo." In 4th Bandung Creative Movement International Conference on Creative Industries 2017 (4th BCM 2017). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/bcm-17.2018.14.

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Manuaba, Ida Bagus Arya Lawa, and Ida Ayu Made Istri Utami. "Nawa Sanga Conspiracy: Secrets Behind Ancient Balinese Emblem of Unity." In 2nd International Conference on Innovative Research Across Disciplines (ICIRAD 2017). Paris, France: Atlantis Press, 2017. http://dx.doi.org/10.2991/icirad-17.2017.7.

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Gallo, Anna. "The Annibale Oste’s poietic research as emblem of sustainable cultural design." In 9th Conference of the International Committee for Design History and Design Studies. São Paulo: Editora Edgard Blücher, 2014. http://dx.doi.org/10.5151/despro-icdhs2014-0038.

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Kawamoto, Takayuki, Hitomi Nakamura, Tatsuo Matsutomi, and Kazuki Kodama. "Relationship between appearance and concept of an emblem in terms of impression." In 2009 International Conference on Networking, Sensing and Control (ICNSC). IEEE, 2009. http://dx.doi.org/10.1109/icnsc.2009.4919324.

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Reports on the topic "Emblemos"

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Bagwell, Randall J. Red Cross Under Fire: The future of the Geneva Convention's Distinctive Emblem on the Future Combat System - Medical Variant Vehicle. Fort Belvoir, VA: Defense Technical Information Center, February 2005. http://dx.doi.org/10.21236/ada464550.

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Commonwealth Bank - Head Office cnr Pitt Street & Martin Place - Facade - Shields bearing States' emblems - South Australia (plate 657). Reserve Bank of Australia, March 2021. http://dx.doi.org/10.47688/rba_archives_pn-000939.

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Commonwealth Bank - Head Office cnr Pitt Street & Martin Place - Exterior upon completion - Facade - Shields bearing States' emblems - Victoria (plate 657). Reserve Bank of Australia, March 2021. http://dx.doi.org/10.47688/rba_archives_pn-000942.

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Glass plate negative 657 - Commonwealth Bank - Head Office cnr Pitt Street & Martin Place - Exterior upon completion - Facade - Shields bearing States' emblems - c.1916. Reserve Bank of Australia, March 2021. http://dx.doi.org/10.47688/rba_archives_2021/01071.

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Commonwealth Bank - Head Office cnr Pitt Street & Martin Place - Facade - Shields bearing State emblem of Western Australia (plate 653). Reserve Bank of Australia, March 2021. http://dx.doi.org/10.47688/rba_archives_pn-000936.

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Commonwealth Bank - Head Office cnr Pitt Street & Martin Place - Exterior - Shields bearing State emblem of Tasmania - c.1916 (plate 657). Reserve Bank of Australia, March 2021. http://dx.doi.org/10.47688/rba_archives_pn-000937.

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