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Journal articles on the topic 'Emblemos'
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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.
2
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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Amaral Jr., Rubem. "Salvador e Olinda nos emblemas urbanos do Thesaurus Philo-Politicus de Daniel Meisner e Eberhard Kieser." IMAGO. Revista de Emblemática y Cultura Visual, no. 9 (January 31, 2018): 177. http://dx.doi.org/10.7203/imago.9.10362.
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ABSTRACT: This article examines the emblems dedicated to Salvador (Bahia) and Olinda (Pernambuco) by Daniel Meisner and Eberhard Kieser in their singular book of urban emblems Thesaurus Philo-Politicus. Das ist: Politisches Schatzkästlein, first published in Frankfort on the Main between 1623 and 1631. Those Brazilian cities, together with Cuzco in Peru, were the only ones in America among the 830 plates included in the work. I describe the respective inserted emblematic picturae, with transcriptions and translations of the German and Latin inscriptiones, subscriptiones and explicit, and I attempt to interpret them and identify the sources of the views.
KEYWORDS: Daniel Meisner; Eberhard Kieser; Urban Emblems; Thesaurus Philo-Politicus; Politisches Schatzkästlein; Salvador; Olinda.
RESUMEN: Este artículo pone en evidencia los emblemas dedicados a Salvador (Bahia) y Olinda (Pernambuco) por Daniel Meisner y Eberhard Kieser en su singular libro de emblemas urbanos Thesaurus Philo-Politicus. Das ist: Politisches Schatzkästlein, publicado por primera vez en Francfort del Meno entre 1623 y 1631. Esas ciudades brasileñas, juntamente con el Cuzco, en Perú, fueron las únicas de América entre las 830 estampas incluídas en la obra. Se hace una descripción de las respectivas picturae emblemáticas inseridas, con las transcripciones y traducciones de las inscriptiones, subscriptiones y explicit en alemán y latín, juntamente con intentos de su interpretación y la indicación de las fuentes de las vistas.
PALABRAS CLAVES: Daniel Meisner; Eberhard Kieser; emblemas urbanos; Thesaurus Philo-Politicus; Politisches Schatzkästlein; Salvador; Olinda.
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Martínez Sobrino, Alejandro, and Cirilo García Román. "Las Empresas morales de Juan de Borja instrumento de pedagogía jesuítica." IMAGO. Revista de Emblemática y Cultura Visual, no. 9 (January 31, 2018): 73. http://dx.doi.org/10.7203/imago.9.10831.
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ABSTRACT: Juan de Borja (1533-1606), the son of Saint Francisco de Borja (1510-1572), who would later become the third Superior General of the Socity of Jesus, published a book of emblems with a pronounced moralistic content, with the title Empresas Morales (Prague, 1581), after a long and distinguished diplomatic career. It is a work that stands out, among other reasons, for the evidence that can be detected in it of the method of study implanted in the Ratio Studiorum by the Society. It was the system of study under which the author was educated. The purpose of our article is to show, through an analysis of the book's imprese, which at first glance exude a predominantly political nature, how the author imbricates and disseminates the precepts with which he was educated, by means of the combination of iconographical and textual elements.
KEYWORDS: Juan de Borja; Empresas Morales; Ratio Studiorum; Society of Jesus; Emblem; Impresa; Image; Text.
RESUMEN: Juan de Borja (1533-1606), hijo del que llegó a ser el tercer préposito general de la Compañía de Jesús, S. Francisco de Borja (1510-1572), publicó, tras una dilatada carrera diplomática, una obra de emblemas con fuerte contenido moral titulada Empresas Morales (Praga, 1581). Se trata de una obra que destaca, entre otras razones, por el poso que en ella se percibe del método de estudio implantado en la Ratio Studiorum por la Orden. Un sistema de estudio en el que fue educado su autor. El propósito de nuestra aportación es mostrar a través de sus empresas, que en principio exudan un carácter predominantemente político, cómo el autor imbrica y difunde, bajo la combinación de elementos iconográficos y textuales, preceptos con los que fue educado.
PALABRAS CLAVES: Juan de Borja; Empresas Morales; Ratio Studiorum; Compañía de Jesús; emblema; empresa; imagen; texto.
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Kim, Keun Tae, Won Chul Shin, Jee Hyun Kim, and Yong Won Cho. "The Emblems of Sleep Societies in Asia and the Republic of Korea." Journal of Sleep Medicine 18, no. 2 (August 31, 2021): 61–65. http://dx.doi.org/10.13078/jsm.210014.
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An emblem is a symbolic representational image that stands for a certain organization, concept, team, or society. This study investigated the emblems of the sleep societies in South Korea and the international sleep societies in which they were registered as members. Three South Korean sleep societies were found by searching for the keyword ‘sleep’ in the Korea Citation Index. Subsequently, we identified three international societies in which the three South Korean conferences participate. The emblems can be classified according to their composition. Taegeuk patterns represent yin and yang, electroencephalography that stands for the objective indicator of sleep, and the acronym or abbreviation indicating the name of the society. All emblems in this study were combinations of pictorial images and letters. The pictorial image of the Korean Sleep Research Society is the only emblem representing an inset with Hangeul. The emblem is a medium that conveys diverse meanings beyond representation. The societies have attempted to embody the identity as well as their directions.
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Germ, Tine. "The Emblems of the Album of the Ljubljana Noble Society of St Dismas: Context, Sources, Originality." Ars & Humanitas 11, no. 1 (July 31, 2017): 149–70. http://dx.doi.org/10.4312/ah.11.1.149-170.
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The article discusses the sources for the iconography of emblems in the Album of the Ljubljana Noble Society of St Dismas (Archive of the Republic of Slovenia, ref. AS 1073, I/1) that has not yet been systematically addressed. The Album is a kind of memorial book of the Ljubljana Noble Society of St Dismas or Academia Unitorum, displaying the coats of arms, emblems and important data of their members. The book with exquisite full page illuminations is the most important illuminated manuscript of the Baroque era that survives in Slovenia. Recent research shows, that the idea of the academic memorial book and its concept are modelled on the Memorie, imprese, e ritratti de’ signori Accademici Gelati de Bologna published in Bologna in 1672. Due to the specific context of the Album as a memorial book of St Dismas Society and a clearly articulated ambition of the patrons to create original individualized emblems, it is not easy to identify the possible sources let alone detect the direct influence. There are several emblem books to be taken into consideration and Alciati’s Emblematum liber appears to be a valuable source of inspiration. However, the research in Renaissance and Baroque books of emblems shows that it is actually Mundus Symbolicus by Filippo Picinelli (first published as Mondo simbolico, Milan 1653) which seems to be of vital importance for the creators of the Album. Since the proud members desired original and personalized emblems, it was only natural to rely upon a popular encyclopaedic work with a huge collection of systematically arranged descriptions of emblems. Picinelli’s book is actually a treasure-trove of ideas instigating new designs both in the sense of symbolic message and visual solutions, while the almost complete absence of illustrations prevents a simple reproduction of emblems. Due to their commitment to originality and the respect of the principles of St Dismas Society the members obviously found the traditional emblem books (where they could see prototypes including the picture) somehow less appealing. However, even when they use a traditional emblem book such as Alciati’s Emblematum liber as a model, the authors (both patrons and painters) of the Album exhibit great inventiveness and creativity and never simply reproduce a prototype. The Album thus represent a unique series of original emblems that also indicate the commitment to established tradition and occasionally reveal a direct influence of a popular emblem book as demonstrated in the article.
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Germ, Tine. "The Emblems of the Album of the Ljubljana Noble Society of St Dismas: Context, Sources, Originality." Ars & Humanitas 11, no. 1 (July 31, 2017): 149–70. http://dx.doi.org/10.4312/ars.11.1.149-170.
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The article discusses the sources for the iconography of emblems in the Album of the Ljubljana Noble Society of St Dismas (Archive of the Republic of Slovenia, ref. AS 1073, I/1) that has not yet been systematically addressed. The Album is a kind of memorial book of the Ljubljana Noble Society of St Dismas or Academia Unitorum, displaying the coats of arms, emblems and important data of their members. The book with exquisite full page illuminations is the most important illuminated manuscript of the Baroque era that survives in Slovenia. Recent research shows, that the idea of the academic memorial book and its concept are modelled on the Memorie, imprese, e ritratti de’ signori Accademici Gelati de Bologna published in Bologna in 1672. Due to the specific context of the Album as a memorial book of St Dismas Society and a clearly articulated ambition of the patrons to create original individualized emblems, it is not easy to identify the possible sources let alone detect the direct influence. There are several emblem books to be taken into consideration and Alciati’s Emblematum liber appears to be a valuable source of inspiration. However, the research in Renaissance and Baroque books of emblems shows that it is actually Mundus Symbolicus by Filippo Picinelli (first published as Mondo simbolico, Milan 1653) which seems to be of vital importance for the creators of the Album. Since the proud members desired original and personalized emblems, it was only natural to rely upon a popular encyclopaedic work with a huge collection of systematically arranged descriptions of emblems. Picinelli’s book is actually a treasure-trove of ideas instigating new designs both in the sense of symbolic message and visual solutions, while the almost complete absence of illustrations prevents a simple reproduction of emblems. Due to their commitment to originality and the respect of the principles of St Dismas Society the members obviously found the traditional emblem books (where they could see prototypes including the picture) somehow less appealing. However, even when they use a traditional emblem book such as Alciati’s Emblematum liber as a model, the authors (both patrons and painters) of the Album exhibit great inventiveness and creativity and never simply reproduce a prototype. The Album thus represent a unique series of original emblems that also indicate the commitment to established tradition and occasionally reveal a direct influence of a popular emblem book as demonstrated in the article.
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Germano Leal, Pedro. "‘Global Emblems’ and ‘Transmission and Intermediality: the impact of the emblematic culture on the early Americas’." Norba. Revista de Arte, no. 40 (December 27, 2020): 113–28. http://dx.doi.org/10.17398/2660-714x.40.113.
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This white paper briefly outlines two co-dependent research initiatives: ‘Global Emblems’ and ‘Transmission and Intermediality: the impact of the emblematic culture in Ibero-America’. Both projects are in their initial stage of development, at Brown University.
▪ ‘Global Emblems’ is set to map, document and study the presence of emblems in material culture, around the world, and cross-link these occurrences with pre-existing digital collections of emblem books. The database will be fed by an international network of specialists, which is already active, with members in over ten countries and the support of the Society for Emblem Studies. The platform will allow searches by concepts (using Iconclass classification system) and a number of locations will allow users to ‘visit’ them through Virtual Reality (360 annotated photos). The database will be systematically studied through ‘thematic clusters’.
Although at first glance the focus on emblems may seem narrow, emblems have a broad geographical and historical spread, which can be traced, and that provides the necessary data for the kind of analytical and interpretative study required in the second research initiative, which illustrates the importance of emblems within the wider frame of Latin American cultural history.
▪ ‘Transmission and Intermediality: the impact of the emblematic culture on the Early Americas’ will analyse the data from ‘Global Emblems’ in order to understand the role of emblems in the colonial process in the Americas. More specifically, this project will look at the ‘pictorial dispute’ in the New World, by examining the ‘pictorial turn’ from the ‘catecismos jeroglíficos’ to the displayed emblems in the 17th-century (many of them resulting from the remediation of European prints), and the ideological, political and sociological implications around the presence of these emblems in buildings and early-modern festivals.
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Binczek, Natalie. "Harsdörffers Geschirr." Zeitschrift für Medien- und Kulturforschung 10, no. 1 (2019): 23–37. http://dx.doi.org/10.28937/1000108230.
Full textAbstract:
Der deutsche Barockdichter Georg Philipp Harsdörffer skizziert eine Theorie der Emblematik, die vor allem dessen Anwendungsvielfalt hervorhebt. Er hebt dabei besonders den Unterschied zwischen buchinterner und buchexterner Verwendung auf, indem er sich nicht nur für die Aufnahme der Embleme in Büchern, sondern auch auf Geschirr und Tapeten ausspricht. Der Beitrag liest Harsdörffers extensive Überlegungen nicht nur als Beiträge zur Theorie und Geschichte der Embleme als ›Sinn-Bilder‹, sondern auch als Beitrag zur Designgeschichte. German Baroque poet Georg Philipp Harsdörffer delineates a theory of emblematics that clearly sets itself apart from other contemporary theories, especially by its versatility. In particular, the author negates the difference between internal and external usage of emblems in books not only by promoting the incorporation of emblems into printed works but also by supporting their depiction on dishes and tapestries. This article strives to read Harsdörffer’s extensive thoughts on the matter of emblems not simply as another work on the theory and history of emblematics but rather as a contribution to design history as well
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Zafra, Rafael, and Luis Galván. "La Biblia como lugar común." IMAGO. Revista de Emblemática y Cultura Visual, no. 11 (January 28, 2020): 5. http://dx.doi.org/10.7203/imago.11.16134.
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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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Montiel López, Andrea. "Pia Desideria: Entre el aguardiente y la vida ascética. Las calaveras borrachas claman por el chinguirito (México, 1836)." IMAGO. Revista de Emblemática y Cultura Visual, no. 11 (January 28, 2020): 135. http://dx.doi.org/10.7203/imago.11.15053.
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ABSTRACT: The allegory of the body as a prison of the soul was visually depicted as a skeleton that imprisons a figure with childish features. One of the earliest examples of this image is the emblem «Infelix ego homo!» included in Herman Hugo’s Pia Desideria (1624); however the pictura was incorporated in other media and contexts allowing its survival even to the end of the 19th century. In Mexico, it evolved from an ascetic-moralistic book to a popular pamphlet of ghostly apparitions revealed in dreams. How did this emblem –based on Neoplatonic philosophy– evolve from a book written in Latin to a popular nineteenth century pamphlet? Did it conserve part of its original meaning?
KEYWORDS
Death; Soul; Hard Liquor; Mexico.
RESUMEN: La alegoría del cuerpo como cárcel del alma se representó visualmente como un esqueleto que aprisiona a una figura de rasgos infantiles. Uno de los ejemplos más tempranos de esta imagen lo encontramos en el libro de emblemas de Herman Hugo, el afamado Pia Desideria (1624), sin embargo, la pictura se trasladó a otros soportes y contextos lo que le permitió continuar vigente hasta finales del siglo XIX. En el caso mexicano pasó de una publicación de corte ascético-moral a una popular en la cual apariciones fantasmales se manifiestan a través de revelaciones oníricas. ¿Cómo fue que este emblema –con visos neoplatónicos– pasó de un libro en latín a una hoja popular decimonónica? ¿Conservó algo de su significado original?
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Sands, Kathleen R. "Word and Sign in Elizabethan Conflicts with the Devil." Albion 31, no. 2 (1999): 238–56. http://dx.doi.org/10.1017/s0095139000062724.
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Gloriana, Britomart, Astraea, Belphoebe, the Sun in Splendor, England’s Moses, the new Deborah, the Phoenix—Elizabeth I possessed a generous wardrobe of public personas. Monarchy, chastity, divinity, and other intangibles played in the early modern mind as images, personifications, embodiments—the invisible rendered visible. As Clifford Geertz has observed, the Elizabethan imagination was “allegorical, Protestant, didactic, and pictorial; it lived on moral abstractions cast into emblems.” These emblems were culturally ubiquitous, appearing in books and broadsides, painted and carved portraits, architecture, tapestry, jewelry and clothing, armor and weapons, monumental funerary sculpture, wall and ceiling decoration. University students neglected Aristotle in favor of fashionable continental emblem books, and the taste for embellishing houses with emblems extended from the monarchy and aristocracy to the landed gentry and the rising middle class. Peter Daly stresses the psychological impact of emblems on the early modern mind when he observes that emblems were “as immediately and graphically present in this period as illustrated advertising is today.”
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Obbema, Pieter, and Alastair Hamilton. "Paulus de Kempenaer and Petrus Plancius." Quaerendo 21, no. 1 (1991): 38–54. http://dx.doi.org/10.1163/157006991x00039.
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AbstractIn November 1989 the Bibliotheca Philosophica Hermetica in Amsterdam purchased three emblems signed by Paulus de Kempenaer, dated 1597, and forming a self-contained whole. This article offers an interpretation of them. An acrostic in the poem beneath the third emblem tells us that the work was intended for Petrus Plancius. The first emblem representing a man separating the corn from the chaff and the other two, each representing a goose, are a message to the great cartographer, urging him to ignore his rivals and to 'stand fast' in his convictions. The numerous Scriptural references remind him that the end of time is at hand and that the virtuous will soon have their reward. Later marginal notes, however, show the development of Paulus de Kempenaer's ideas after the emblems were completed and his sympathies for the Remonstrant movement. The work thus illustrates various aspects of Dutch culture and history in the late sixteenth and early seventeenth century.
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Meyer, Michael A. "Protección de los emblemas en tiempo de paz — La experiencia de la Cruz Roja Británica." Revista Internacional de la Cruz Roja 14, no. 95 (October 1989): 486–92. http://dx.doi.org/10.1017/s0250569x00015879.
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La especial significación de los emblemas de la cruz roja y de la media luna roja, reconocidos internacionalmente corao símbolos de protección y de neutralidad en los conflictos armados, desaparecerá si emblemas o signos parecidos a éstos se utilizan de manera indiscriminada o con fines de difusión en tiempo de paz. En Estados como el Reino Unido, donde prácticamente no ha habido ningún conflicto armado en los últimos 40 años, el emblema de la cruz roja se ha ido gradualmente identificando con los primeros auxilios y con la asistencia médica o la sanidad en general, olvidándose o desconociéndose a menudo su única y principal significación durante los conflictos armados. Por ello, es especialmente importante que las Sociedades Nacionales de dichos Estados ayuden a las autoridades a supervisar usos no autorizados o indebidos de los emblemas; el cometido de las Sociedades Nacionales a este respecto se reconoció el año 1986 en los Estatutos del Movimiento (artículo 3 (2)).
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Sakhno, Irina M. "“Ut Pictura Poesis”: the Poetic and Pictorial Emblem of the Baroque." Observatory of Culture, no. 5 (October 28, 2015): 94–101. http://dx.doi.org/10.25281/2072-3156-2015-0-5-94-101.
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The article describes parallelism of the two arts, poetry and painting, in the emblematic books of the Baroque epoch. In the Baroque art, an emblem, as a visual metaphor, formed stylistic singularity of the culture of the 16th-17th centuries. The emblem represented the principle of simultaneity, a picture with a brief motto coexisting with a didactic or spiritual text. Not only was the emblem an ornamental “insertion”, a piece of encrusted graphics, but it also reflected the Baroque principle of a witty game. A book of emblems could act as a visual dictionary of signified objects. The significance of finished emblems was not limited to their pictographical meanings, they could also include some symbolic senses. Such verbal pictures illustrating abstract notions can be found in the “Emblemata” (1531) by Andreas Alciatus. The synthesis of the verbal and the visual, as an allegorical way of defining the world and the exegesis of Biblical texts, provided wide opportunities for the emblematic signification. The Picta Poesis Baroque book “Graphical Poetry. Alchemy” (1552) by Barthélemy Aneau contained an alchemy symbolism reflecting the character of the Renaissance worldview. Dutch artists of the 17th century developed the theme of evanescence and vanity in their emblematic still-life painting.
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Lavoyer, Jean-Philippe. "Legislación nacional relativa al uso y a la protección del emblema de la cruz roja o de la media luna roja." Revista Internacional de la Cruz Roja 21, no. 136 (August 1996): 519–22. http://dx.doi.org/10.1017/s0250569x0002135x.
Full textAbstract:
Los emblemas de la cruz roja o de la media luna roja ocupan un lugar muy importante en el derecho internacional humanitario. En efecto, el emblema es, en tiempo de guerra, la manifestatión visible de la protección que en los Convenios de Ginebra de 1949 y en sus Protocolos adicionales de 1977 se confiere al personal sanitario y a las unidades y medios de transporte sanitarios.
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Okur, Çağlar. "Anniversary Emblem & Logotype Designs." Journal of Education Culture and Society 6, no. 2 (January 2, 2020): 285–95. http://dx.doi.org/10.15503/jecs20152.285.295.
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Corporate anniversaries are mostly used as a promotional event to increase the value of corporate identity of firms, business enterprises or their brands. They are also used to create investment trust or strengthen the relations between, employees and customers. What makes corporate anniversaries meaningful is the importance of their moral value of continuity. Signs that are designed to identify these moral values and indicate the anniversaries can be defined as “anniversary emblems.” The design and uniqueness of these emblems are important in the means of being remarkable and memorable. Thus creative and unique results can be achieved by converting the numbers of anniversaries into expressive signs. This article focuses on existing design approaches and examples of anniversary emblem designs.
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Meyer, Michael A. "Protecting the emblems in peacetime: The experiences of the British Red Cross Society." International Review of the Red Cross 29, no. 272 (October 1989): 459–64. http://dx.doi.org/10.1017/s0020860400074660.
Full textAbstract:
The special significance of the red cross and red crescent emblems as internationally agreed symbols of protection and neutrality in armed conflict will be diluted if these emblems, or signs closely resembling them, are used randomly or for diffuse purposes in time of peace. In countries like the United Kingdom which for the most part have been spared armed conflict for the past 40 years, the red cross emblem has frequently become closely identified with first aid and with general health or medical care, its primary and unique meaning during armed conflict often being forgotten or unknown. For this reason it is perhaps particularly important for National Societies in such countries to help the authorities monitor unauthorised uses or misuses of the emblems, and the role of National Societies in this respect has been recognised under the 1986 International Statutes of the International Red Cross and Red Crescent Movement (Article 3 [2] thereof). In addition, dissemination activities can help to enhance understanding of the purpose of the emblems. This short article will discuss practical aspects of the monitoring role of the British Red Cross Society.
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Antón, Beatriz. "La representación zoológico-simbólica de los sediciosos y agitadores en los Symbola et Emblemata de Joaquín Camerario." Anuario de Estudios Filológicos 44 (July 17, 2021): 21–51. http://dx.doi.org/10.17398/2660-7301.44.21.
Full textAbstract:
Este trabajo estudia por primera vez los tres emblemas que Joaquín Camerario compuso a partir de motivos zoológicos tan dispares como el camello (Cent. II, emb. 15), la anguila (Cent. IV, emb. 45) y la salamandra (Cent. IV, emb. 70), pero unidos por un significado simbólico común: la representación de los sediciosos y agitadores sociales. Para ello, además de ofrecer la traducción anotada de cada emblema y del comentario que lo acompaña, identifico sus fuentes clásicas y humanistas, entre estas últimas los autores que fueron sus modelos directos de inspiración: Paolo Giovio, Andrea Alciato y Denis Lebey. En suma, el mundo natural representado en estos emblemas por un cuadrúpedo, un pez y un anfibio es susceptible de una interpretación ética y política, si bien Camerario, como luterano confeso, aprovecha la ocasión para censurar a los teólogos polemistas (Cent. IV, emb. 70).
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Belío-Apaolaza, Helena Sofía. "La naturaleza lingüístico-comunicativa de los gestos emblemáticos: una propuesta de representación." Círculo de Lingüística Aplicada a la Comunicación 80 (November 27, 2019): 115–34. http://dx.doi.org/10.5209/clac.66603.
Full textAbstract:
En este trabajo se lleva a cabo una conceptualización sobre la naturaleza lingüísicocomunicativa de los emblemas, gestos autónomos del lenguaje verbal (por ejemplo, el gesto donde se gira el dedo alrededor de la sien con significado ‘estar loco’, es un emblema). Esta conceptualización se realiza a través de la revisión de diferentes enfoques lingüísticos que permiten obtener información sobre la configuración multidimensional de estos gestos: en el enfoque cognitivo se explica la asociación del significante y el significado, en la dimensión pragmática se describen diferentes actos de habla y funciones comunicativas que desempeñan estos gestos en la comunicación y en la dimensión sociolingüística se recoge información sobre el contexto social en el que se producen. A partir de una sistematización de los enfoques anteriores, se propone una figura para la representación visual de los emblemas en investigaciones teóricas y trabajos aplicados a la enseñanza de segundas lenguas o lenguas extranjeras.
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Irwanto, Dedi. "Malaise dan Lambang Kekayaan Ekonomi Penguasa Lokal di Palembang, 1929–1942." Lembaran Sejarah 13, no. 1 (February 27, 2018): 48. http://dx.doi.org/10.22146/lembaran-sejarah.33511.
Full textAbstract:
This is an article on economic history, particularly on the economic growth of Palembang’sUluan local elites. But the main focus of the article is to understand and interpret other phenomenon that appeared as the product of that economic growth; its social-cultural implications that was present as a social reality of those economic conditions. It focuses on the creation of emblems of symbolic power in its political and economic manifestations. The emblems of economic wealth is seen as a symbol. As a symbol, this emblem represented meanings with several important functions, not merely as material collection, but also through a sociocultural lense; as the effort to create and contest with its peers or as an asimilative or adaptive process and a process of resistance to other groups that are ‘above’ its structure. The symbolic emblems of local power changed during the depression era of 1929. In a period where significant amount of wealth was lost, theuluan Palembang bucked the trend and appeared as new money (orang kaya baru) with all their new atributes of wealth.
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Levchenko, Nataliia, Olena Liamprekht, Oksana Zosimova, Olena Varenikoba, and Svitlana Boiko. "Emblematic Literature as a Form of Biblical Hermeneutics." Revista Amazonia Investiga 9, no. 32 (September 8, 2020): 61–69. http://dx.doi.org/10.34069/ai/2020.32.08.7.
Full textAbstract:
The article defines the basic principles of the influence of biblical hermeneutics on the poetics of Ukrainian Baroque emblematic literature, which were determined by its general development trends. The four-sense biblical hermeneutics, founded by the Greek and Roman Church Fathers, played an important role in the formation of Ukrainian Baroque literature that mainly developed within the theological framework. The principles of biblical hermeneutics eventually began to go beyond the theological literature. Thus, the medieval interest in symbol and allegory led to the appearance of “empresas” – symbolic drawings that became fashionable at the royal courts of Europe in the 15th century. The Renaissance misunderstanding about the nature of Egyptian hieroglyphs, their perception as ideographic writing through which Egyptian priests expressed their wisdom, led to the appearance of emblems, allegorical prints with long explanatory verses, aimed at giving some moral lessons. It was believed that the emblem could communicate truth to the mind more directly than with the help of words. It was reflected in the mind, while the person’s gaze wandered through the symbolic details of the emblem. The research provides evidence that a large number of literary works of the 17th century showed the influence of the emblem on the formation of symbolic representation, arranged to reveal the truth implicitly or explicitly through the sequential placement of the elements. Many poetic images of the 17th century come from well-known emblems, which were means of perceiving, interpreting, and opening the world of the Bible to the Baroque reader.
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Pelc, Milan. "Panegyric Emblem Books, Jesuits and the Habsburg Emperors: Some Examples Related to 17th-Century Croatia." Radovi Instituta za povijest umjetnosti, no. 43 (December 31, 2019): 59–74. http://dx.doi.org/10.31664/ripu.2019.43.05.
Full textAbstract:
This article presents several printed collections of panegyric emblems related to the Croatian cultural milieu as specific media intended to promote the Habsburg imperial house in the 17th century. Emblem books were not printed in Croatia, but many of them were used, especially by Jesuits, as is documented in an 18th-century book inventory of the Zagreb Jesuit College’s library (preserved in Budapest). Some of these emblem books are dedicated to the Habsburg emperors Ferdinand III and Leopold I. The only author of an emblem book from Croatia in the 17th century was Sebastian Glavinić (1632–1697), Bishop of Senj, who was educated at the Jesuit academies in Graz, Vienna, and Trnava. In Vienna, he published an epithalamic panegyric emblem book in honour of the wedding of Leopold I and Margaret of Spain in 1666, under the title Deplua charitum aurora augustissimi Phoebi Leopoldi augusto rore in Margaritam resoluta. By glorifying the imperial wedding in a medium that was accessible to the wider public, Glavinić could himself partake in the imperial glory, which also brought him certain benefits.
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Mieliekiestsev, Kyrylo. "Emblems of the Post-Soviet Donetsk Region: Official Ones «From the Bossmen», Upgrades «From the People», Alternatives From the «Russian World» Supporters." Scientific Papers of the Vinnytsia Mykhailo Kotsiubynskyi State Pedagogical University. Series: History, no. 36 (June 2021): 58–66. http://dx.doi.org/10.31652/2411-2143-2021-36-58-66.
Full textAbstract:
The purpose of the article is the analysis of the development of Donetsk region emblems (official heraldry and vexillology of Donetsk Oblast, reflection of historical themes in commercial nomenclature, reinterpretations of official symbols by individuals) in 1991–2015, identifying the main trends in the development of emblems, their connections with the views of customers and authors on history and politics, transformations of symbolics. The methodology of the research is based on the principles of historicism, objectivity, and systematics. General scientific and special-historical methods were used, such as content analysis, generalization, chronological, retrospective methods. The scientific novelty is based on it being the first attempt to generalize various elements of emblem studies of the Donetsk region, for the first time going beyond the official heraldry and vexillology of the Oblast, while considering their transformation in the hands of non-state actors. Conclusions. The post-Soviet era emblems of Donetsk and the Donetsk Oblast were developed in a unique situation: on the one hand local elites wanted to move away from Soviet symbols and modernize Donetsk as a “brand”, and on the other hand, due to the peculiarities of these elites’ education, origins and political preferences, did not perceive the region’s history. outside of the Soviet stereotypes about “Donbas as the economic center.” As a result, local elites ignored Cossack history of the Donetsk region in contrast to the perpetuation of industrial achievements of the Russian Empire (such as the Oblast’s coat of arms motto with a quote from Dmitri Mendeleev, “The Mertsalov Palm Tree”, as well as various “John Hughes/Yuz” nomenclature). Over the decades, there has been a divergence of traditions of Donetsk emblem use: official, business, and national-patriotic. At the same time, pro-Moscow organizations have been developing and imposing a separate emblem tradition since 1991, based on historical myths around the Donetsk-Kryvyi Rih Soviet Republic, but detached from both the old Soviet symbols and the new official Donetsk emblems. The latter were developed to symbolize the “uniqueness” of eastern Ukraine, the “separateness” of Donetsk region, but did not actually intersperse with Russian symbols (with the exception of the Russian-language motto). In this form, it did not meet the goals of Moscow’s agents of influence, but was accepted and reworked by pro-Ukrainian patriotic forces. Thus, the use of one or the other version of Donetsk region symbols indicates a person’s political beliefs, their understanding of regional history and “memory politics” around it.
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Graña-Behrens, Daniel. "NEW EVIDENCE FOR POLITICAL HIERARCHY AND POWER IN THE NORTHERN MAYA LOWLANDS (a.d.600–1000)." Ancient Mesoamerica 29, no. 1 (2018): 171–95. http://dx.doi.org/10.1017/s0956536117000207.
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AbstractThis paper presents new evidence for hierarchy and power among the Classic Maya (a.d.300–1000) from the northern lowlands. It expands the list of identified emblem glyphs, and, more particularly, focuses on emblems with numerals by questioning their meaning and function in terms of political organization. Furthermore, the paper centers on syntax, especially on the practice of structuring personal names and titles in order to isolate titles and emblem glyphs, as well as to rank individuals and further advance our understanding of ancient Maya political organization. Finally, a dynastic sequence of rulers and noblemen from the Chan or Kan kingdom (most probably Jaina) is proposed, as well as divergent monumental traditions within the northern region and a re-evaluation of interpolity relationships.
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Sommaruga, Cornelio. "Unidad y pluralidad de los emblemas." Revista Internacional de la Cruz Roja 17, no. 112 (July 1992): 353–58. http://dx.doi.org/10.1017/s0250569x00001321.
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Los conflictos armados que ensangrientan a varias zonas del mundo plantean reiteradamente, uno de los problemas fundamentales de la acción humanitaria en tiempo de guerra: la manera de garantizar el respeto de los signos de protección, tras los cuales pueden cobijarse las víctimas de la violencia y las personas que las socorren.En 1864, el Convenio de Ginebra creó un signo distintivo uniforme para los servicios sanitarios de los ejércitos, a fin de mejorar la protección debida a los militares heridos y a los miembros de los servicios sanitarios. Casi 130 años más tarde, dos factores menoscaban el valor protector del emblema de los Convenios: el uso abusivo del emblema y su pluralidad.Las consecuencias de esta situación se manifiestan en la pérdida de vidas humanas y en sufrimientos inútiles, que conciernen, prioritariamente, al Movimiento Internacional de la Cruz Roja y de la Media Luna Roja. Uno de los principales retos de esta Institución consiste en obtener un respeto total de los emblemas.
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Maksimenko, Olga I., and Pavel N. Khromenkov. "Polysemiotic Elements of the State Emblems." RUDN Journal of Language Studies, Semiotics and Semantics 10, no. 4 (December 15, 2019): 947–56. http://dx.doi.org/10.22363/2313-2299-2019-10-4-947-956.
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The national emblem of the country as one of three main symbols of the state can be considered as the polycode text including a verbal component (the motto, the name of the country) and iconic heraldic components. Presence on the arms potentially conflict elements (a figure of a bestiary, the weapon and so forth) can be perceived as latent conflictogenity. The article deals with linguosemiotic analysis of the arms of all world countries for their hypothetical conflictogenity. The results of the interpretation by recipients potentially conflict arms (national emblems) are given.
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Rogozhinsky, A. E., and D. V. Cheremisin. "The Tamga Signs of the Turkic Nomads in the Altai and Semirechye: Comparisons and Identifi cations." Archaeology, Ethnology & Anthropology of Eurasia 47, no. 2 (June 26, 2019): 48–59. http://dx.doi.org/10.17746/1563-0110.2019.47.2.048-059.
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This article presents a classifi cation of tamgas on petroglyphs and portable items. Tamgas are signs of group identity used by medieval Turkic nomads inhabiting Southern Siberia, Mongolia, and Kazakhstan. We describe eight groups of tamgas found in the Altai and in Semirechye, and compare them with similar signs from other parts of the region. The mapping of tamgas, including petroglyphic, sphragistic, and others allowed us to assess their date, ethno-political attribution, and migration routes of groups with which they were associated. The comparison of tamgas in the Altai and Semirechye evidences close links between those regions. Whereas certain groups of tamgas (combinations of many varieties) were emblems of major tribal unions, others were supratribal markers of social status, privileged clans, and alliances. Certain emblems were dynastic signs of the ruling elite. Dynastic tamgas of the Yaglakar clan are known from sites such as Syrnakh-Gozy and Kuray I in the Altai. Certain tamgas on coins and petroglyphs in Semirechye are emblems of the 8th and 9th century Karluk rulers of the Altai (Chagyn, Taldura, etc.) and central Mongolia (Shivet ulan). Two groups of tamgas (No. 1 and 3) have many derivatives, marking certain divisions of the Karluk federation. An example of a supratribal emblem is tamga No. 2, which shows little variation despite being found in various contexts across a vast territory.
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Helmke, Christophe, Stanley P. Guenter, and Phillip J. Wanyerka. "KINGS OF THE EAST: ALTUN HA AND THE WATER SCROLL EMBLEM GLYPH." Ancient Mesoamerica 29, no. 1 (2018): 113–35. http://dx.doi.org/10.1017/s0956536117000256.
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ABSTRACTThe importance of emblem glyphs to Maya studies has long been recognized. Among these are emblems that have yet to be conclusively matched to archaeological sites. The Water Scroll emblem glyph is one such example, although it appears numerous times in the Classic Maya written corpus between the sixth and the eighth centuries. These many references are found at a variety of sites across the lowlands, attesting to the importance of this ancient kingdom and the kings who carried this title. In the present paper, we review the epigraphic and archaeological evidence and propose that this may be the royal title of the kings who reigned from Altun Ha, in the east central Maya lowlands, in what is now Belize. In so doing, we also begin to reconstruct the dynastic history of the Water Scroll kings, from the vantage of both local and foreign sources.
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Gonçalves Medeiros Araújo, Filipa Marisa. "Sebastian Stockhamer e o desafio de comentar Alciato «com o peso do Etna sobre os ombros»." IMAGO. Revista de Emblemática y Cultura Visual, no. 12 (January 28, 2021): 83. http://dx.doi.org/10.7203/imago.12.17744.
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ABSTRACT: In 1556, Jean de Tournes and Guillaume Gazeau published the first commented edition of Alciato’sEmblemata. The volume included Latin commentaries written by Sebastian Stockhamer, an unknown figure among 16thcentury scholars. Although the interpretative notes did not apply to all emblems, this publication opened a new chapter in the complex editorial history of the famous book by the Milanese jurist.
Competing with other commentaries that became more popular (such as those by Mignault or El Brocense), Stockhamer's notes were reprinted several times. However, the passage of time seems to have eradicated all traces of the unfortunate commentator, condemning his pioneering work to oblivion. This study aims, therefore, to update the information available on this reader of Alciato, reflecting on the context of the production of the comments, elucidating his method and discussing his contribution to the diffusion of the commented editions. In this way, the study proposes to shed new light on the role that Stockhamer played in the dissemination of the Emblemata.
KEYWORDS: Alciato; Emblems; Commentary; Stockhamer; Reception Studies.
RESUMO: Em 1556, saía dos prelos lioneses de Jean de Tournes e Guillaume Gazeau a primeira edição comentada dos Emblemata de Andrea Alciato. O volume incluía comentários latinos redigidos por Sebastian Stockhamer, uma figura desconhecida no universo intelectual do século XVI. Embora as notas interpretativas não se aplicassem a todos os emblemas, esta publicação inaugurou um novo capítulo na complexa história editorial do famoso livrinho do jurista milanês.
Rivalizando com outras propostas que se tornaram mais populares (como as de Mignault ou de El Brocense), as anotações de Stockhamer foram reimpressas várias vezes. No entanto, a passagem do tempo parece ter apagado o rasto do desafortunado comentador, condenando ao esquecimento o seu trabalho pioneiro. Pretende-se, assim, atualizar as informações disponíveis sobre este leitor de Alciato, reflectindo sobre o contexto de produção dos comentários, dando a conhecer o seu método e discutindo o seu contributo para a difusão das edições comentadas. Visa-se, deste modo, lançar nova luz sobre o papel de Stockhamer na divulgação dos Emblemata.
PALAVRAS-CHAVE: Alciato; emblemas; comentário; Stockhamer; restudos de receção.
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García Garrido, Sebastián. "La granada, símbolo de reyes y de la monarquía española." Boletín de Arte, no. 25 (April 2, 2018): 127–48. http://dx.doi.org/10.24310/bolarte.2004.v0i25.4612.
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Se recopilan y analizan los diferentes símbolos a que dieron lugar las ramas de granado y su fruto como símbolo y emblema personal de una serie de reyes de España, o vinculados directamente con ellos, desde la segunda mitad del siglo XIV hasta todo el siglo XVI. La singularidad de este fruto, cuya corola tiene la forma de la corona de los reyes antiguos y el atractivo del interior, que deja ver cuando está maduro, ejerció un poderoso encanto en estos monarcas. El simbolismo de la unidad que muestra de manera natural y su vinculación con el deseado Reino de Granada completaron ese atractivo que le introdujo en emblemas oficiales y en todo tipo de ornamentación hasta llegar a ser todavía imagen distintiva de la monarquía española.
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Czarski, Bartłomiej. "Lemmas in the Old-Polish Armorial Poetry as a Manifestation of Genre Hybridisation." Terminus 21, Special Issue 1 (2019): 53–80. http://dx.doi.org/10.4467/20843844te.19.026.11287.
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One of the most popular panegyrical forms in the Polish-Lithuanian Commonwealth was the so-called “stemmata”. Similar to emblems, these visual works consisted of an illustration presenting a coat of arms and an epigram, often featured on the reverse side of the title card of texts printed in the old-Polish period. This paper discusses selected cases in which, influenced by emblems, lemmas are incorporated into the structure of stemmata. The study explains how the lemma is introduced in a stemma and how it affects the latter’s meaning. Particular attention is paid to cases in which mottos are treated as the title of a combination of a coat of arms and a poem. Another subject analysed here is “academic stemmata”, a sub-genre of the heraldic poem that consists of several features characteristic of emblems. The presence of lemma in the structure of stemmata is recognised as the consequence of a trend to liven up this visual form. Making the emblem more attractive was a way to draw the attention of readers, increasing its author’s chance of communicating a panegyrical message. This effect was desired not only by the authors of stemmata but above all by their powerful patrons. The presence of lemma in the structure of heraldic poems also relates to the role of mottos in the Jesuit educational system. Mottos and verba aurea were treated by Jesuit teachers as a very useful medium for presenting moral and parenetic subjects, and it was fairly easy for authors of stemmata to use them for panegyric purposes.
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Nolde, Carol. "Emblems." English Journal 86, no. 4 (April 1997): 50. http://dx.doi.org/10.2307/820998.
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Hoffman, Daniel. "Emblems." Critical Quarterly 44, no. 1 (April 2002): 77. http://dx.doi.org/10.1111/1467-8705.00403.
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Gómez de Liaño, Ignacio. "Víctor Infantes de Miguel, o las venturas del libro." IMAGO. Revista de Emblemática y Cultura Visual, no. 9 (January 31, 2018): 171. http://dx.doi.org/10.7203/imago.9.10879.
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ABSTRACT: An outline of the personal relationship of an intellectual nature between the author and Víctor Infantes. It is structured as a convergence along four lines: the poetic experimentations of the author that began in 1964, and culminated in 1972 (experimental poetry); an interest in emblems and hieroglyphics; my book Juegos del Sacromonte; and finally, el conde de Villamediana, Don Juan de Tassis y Peralta, Correo Mayor de Felipe IV, Mercurio-Hermes de la Corte.
KEYWORDS: Víctor Infantes; Experimental Poetry; Emblematics; Juegos del Sacromonte; Juan de Tassis y Peralta.
RESUMEN: Un esquema de la relación personal de carácter intelectual del autor con Víctor Infantes. Se estructura como una convergencia en cuatro líneas: experimentaciones poéticas del autor, que se iniciaron en 1964 y culminaron en 1972 (poesía experimental); interés por los emblemas y jeroglíficos; los Juegos del Sacromonte; y en cuarto lugar, el conde de Villamediana, Don Juan de Tassis y Peralta, Correo Mayor de Felipe IV, Mercurio-Hermes de la Corte.
PALABRAS CLAVES: Víctor Infantes; poesía experimental; emblemática; Juegos del Sacromonte; Juan de Tassis y Peralta.
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Bernat Vistarini, Antonio, and John T. Cull. "Insights on Original Narrative Fiction in the Political of Diego de Saavedra, Fajardo, Andrés Mendo, and Francisco Garau." Análisis. Revista de investigación filosófica 4, no. 2 (January 5, 2018): 297–320. http://dx.doi.org/10.26754/ojs_arif/a.rif.201722474.
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This study explores the function of several types of narrative fiction utilized by three of the most distinguished political emblematists of the Hispanic Baroque: Diego Saavedra Fajardo, Andrés Mendo (who borrows liberally from the work of Solórzano Pereira) and the expressly anti-Machiavellian works of Francisco Garau. We consider the rationale behind choosing the emblem as a vehicle to express Counter-reformation political thought and we trace an evolution that leads to one of the books of Garau, which reveals itself to be a highly original work that propagates traditional rhetorical procedures and at the same time it conceals a radical skepticism affecting both the form and content of the work.Keywords: Emblems, Spanish Political Literature, Golden Age Literature, Narrative Fiction
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Vasconcelos, Sandra Guardini Teixeira. "Migrantes dos espaços (sertão, memória e nação)." Revista do Centro de Estudos Portugueses 22, no. 30 (June 30, 2002): 67. http://dx.doi.org/10.17851/2359-0076.22.30.67-82.
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<p>Este artigo pretende percorrer os sentidos de <em>sertão </em>e <em>sertanejo</em>, tal como foram construídos no âmbito da literatura brasileira, pensando-os como emblemas de visões de nação e nacionalidade e propondo-os como sentidos que convivem e se confrontam na obra de João Guimarães Rosa. Busca ainda, destacando algumas semelhanças entre duas falas (a de Riobaldo, no plano ficcional, e a de Manuelzão, no plano histórico), discutir como a memória desempenha um papel fundamental na construção daqueles sentidos.</p> <p>This article intends to explore the meanings of <em>sertão </em>and <em>sertanejo </em>as they have been constructed within Brazilian Literature, considering them as emblems of visions of nation and nationality and proposing them as meanings which exist and confront one another in the works of João Guimarães Rosa. By pointing out some similarities between two discourses (Riobaldo’s, on the fictional level, and Manuelzão’s, on the historical one), it seeks to discuss how memory plays a central role in the construction of those meanings.</p>
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Campa, Pedro F. "The Imago Primi Saeculi Societatis Iesv (1640). Devotion, Politics and the Emblem." IMAGO. Revista de Emblemática y Cultura Visual, no. 9 (January 31, 2018): 55. http://dx.doi.org/10.7203/imago.9.10830.
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ABSTRACT: The Imago Primi Saeculi Societatis Iesv (1640) is, perhaps, the most beautiful book of emblems published by the Jesuits in the seventeenth century. The book is a festive commemoration offered by the priests and students of the Flemish-Belgian Province in celebration of the centenary of the founding of the Society of Jesus. The work includes 127 full-page emblems distributed throughout a total of 956 folio-sized pages that narrate and illustrate in emblematic fashion the foundation, development, vicisstitudes and achievements of the Socirty in its evangelical and pedagogical mission. From the moment of its publication, the Imago was the object of attacks by Huguenauts and Jansenists who criticized its haughtiness, grandiloquent language and the hyperbolic comparisons of the narration. Hidden behind this criticism were the reasons for the Jansenist offensive against the book. Probabilism, the supposed frivolous attitude towards confession and the frequency of communion, advocated by the Jesuits, was the object of a pair of insulting treatises directed against the Imago by the famous Jansenists Antoine Arnauld and Issac Louis le Maître de Sacy. The critics of the Imago maliciously ignored that the book's grandiloquent style, appropriate to a jubilation celebration, conforms to the language of classical rhetoric, thus perpetuating the propagandistic image of the book.
KEYWORDS: Imago Primi Saeculi; Society of Jesus; Flanders; Flemish-Belgian Province.
RESUMEN: El Imago Primi Saeculi Societatis Iesv (1640) es quizás el libro de emblemas más bello publicado por los jesuitas en el siglo XVII. El libro es una conmemoración festiva ofrecida por los sacerdotes y los escolares de la Provincia Flandro-Belga que celebra el centenario de la Compañía de Jesús. La obra contiene ciento veintisiete emblemas a plena página con un total de novecientas cincuenta y seis páginas en folio que narran e ilustran de manera emblemática la fundación, el desarrollo, las vicisitudes y los logros de la Compañía en su misión evangélica y docente. Desde su publicación, el Imago fue blanco de los ataques de hugonotes y jansenistas que criticaban la soberbia, el lenguaje grandilocuente, y las comparaciones hiperbólicas de la narrativa. Detrás de la crítica, se escondían las razones de la ofensiva jansenista hacia el libro. El probabilismo, la supuesta actitud frívola hacia la confesión, y la frecuencia de la comunión, aconsejada por los jesuitas, fueron objeto de sendos tratados injuriosos contra el Imago por parte de los famosos jansenistas Antoine Arnauld e Issac Louis le Maître de Sacy. Los críticos del Imago maliciosamente descontaron que el estilo grandilocuente del libro, propio del jubileo, se ajusta al lenguaje de la retórica clásica, perpetuando así la imagen propagandística del libro.
PALABRAS CLAVES: Imago Primi Saeculi; Compañía de Jesús; Flandes; Provincia Flandro-Bélgica.
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Daly, Peter M. "Some Visual Strategies in Symbolic Illustrated Advertising." IMAGO. Revista de Emblemática y Cultura Visual, no. 9 (January 31, 2018): 87. http://dx.doi.org/10.7203/imago.9.10832.
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ABSTRACT: Some symbolic illustrated advertising may remind one of emblems. It is certainly visual culture, but it is also an aspect of emblematics in the material culture. I write from a European perspective, drawing largely on European and American publications. The AIDA formula well sums up the purposes of commercial advertising, and is said to consist of attracting Attention, arousing Interest, creating Desire, and motivating Action. In commercial advertising the desired action is the sale of a product or service. This calls for strategies of persuasion, which can be described rhetorically or thematically. I prefer the thematic approach, and have decided that least following strategies will be discovered: recognition and surprise, riddle and puzzle, wit and humour, patriotism, famous persons, myth, ethnicity, Bible and Christian tradition, and nature, environment and ecology. These are not listed hierarchically and a given ad may employ several of these strategies.
KEYWORDS: Emblems; Advertising; Advertising Strategies.
RESUMEN: Ciertos ejemplos de la publicidad ilustrada simbólica nos hacen pensar en la emblemática. Sin duda se trata de la cultura visual, pero constituye al mismo tiempo un aspecto de la emblemática en la cultura material. Mi perspectiva es europea, y los ejemplos aducidos se originan principalmente en publicaciones europeas y norteamericanas. La llamada fórmula AIDA resume muy bien los propósitos de la publicidad comercial, y consiste en llamar la Atención, suscitar el Interés, crear el Deseo y motivar la Acción. En la publicidad comercial la acción deseada es la venta de un producto o servicio. Esto requiere estrategias de la persuasión, las cuales pueden ser descritas retórica o temáticamente. Prefiero un acercamiento temático y concluyo que las siguientes estrategias se revelarán: reconocimiento y sorpresa, adivinanza y enigma, ingenio y humorismo, patriotismo, personas famosas, mito, etnicidad, Biblia y la tradición cristiana, así como naturaleza, medio ambiente y ecología. Esta lista no pretende ser jerárquica y un anuncio publicitario puede utilizar varias de estas estrategias.
PALABRAS CLAVES: Emblemas; publicidad; estrategias de la publicidad.
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Cholcman, Tamar. "The reading of triumphal entries’ emblems: emblems as footnotes." Word & Image 31, no. 3 (July 3, 2015): 350–61. http://dx.doi.org/10.1080/02666286.2015.1057431.
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Gernes, Todd S., and Jean Fagan Yellin. "Emblems, Chains, Silences." African American Review 26, no. 1 (1992): 189. http://dx.doi.org/10.2307/3042088.
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Saunders, Alison, Alison Adams, and Stanton J. Linden. "Emblems and Alchemy." Modern Language Review 95, no. 2 (April 2000): 594. http://dx.doi.org/10.2307/3736253.
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