Dissertations / Theses on the topic 'Emblems (symbols)'

This exegesis explores emblems of identity worn by contemporary Australians. Emblems are intrinsic to most cultures and have specific histories within Europe, Japan and Indigenous Australia. I investigate the historic use of emblems as a visual language of identification and their relationship to the manner in which society and its communities are structured. Notably, this research focuses on the constructed Australian identity as conveyed through the symbols that adorn leisure-wear and apparel worn at Australian sporting events. Through globalisation and marketing, symbols have been co-opted for “high end” fashion accessories and worldwide distribution. This thesis examines the implications of heraldry, Japanese kamon (family crests) and Indigenous designs in the popular-culture context. The exegesis also analyses the seemingly inextricable connection between alcohol consumption and popular team sports in Australia through branded sponsorship of major sporting codes (mainly male).
Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
Queensland College of Art
Arts, Education and Law
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Дисертація присвячена історії української військової символіки та її розвитку в незалежній Україні. В роботі вперше розкрито питання формування символіки українського війська у цілісній та взаємопов’язаній системі у період здобуття незалежності України наприкінці ХХ століття. Уперше досліджено історичні витоки та передумови виникнення військової символіки України, а також характерні ознаки національної ідентичності військової символіки. Автором розглянуто основні напрями розвитку символіки у її державному та військовому значенні. Висвітлено правові основи запровадження державних символів, їх історичний генезис та зміст. Шляхом введення у науковий обіг значної частини документальних джерел з фондів державних архівних та музейних зібрань, використання широкого масиву опублікованих наукових праць та документів прослідковано особливості становлення та розвитку символіки Збройних сил України та інших військових формувань до яких належать Національна гвардія України, Державна прикордонна служба України, Cлужба безпеки України, Внутрішні війська Міністерства внутрішніх справ України, підрозділи Міністерства надзвичайних ситуацій України, Державної спеціальної служби транспорту, Державної служби спеціального зв'язку та захисту інформації України. Запропоноване дослідження вбачається актуальним, оскільки ґрунтується на гострій потребі національної ідентичності символіки військових формувань України в сучасному глобальному світі.
The thesis is devoted to the historical origins of Ukrainian military symbols and its development in independent Ukraine. For the first time disclosed the issue of forming symbols Ukrainian troops in an integrated and interconnected system during the independence of Ukraine in the late twentieth century. The first time the historical origins and predictors of military symbols of Ukraine, as well as the characteristic features of national identity military symbols. The author considers the main directions of symbolism in its state and military sense. Deals with the legal basis with state symbols, their historical genesis and meaning. Through scientific research of the substantial part documentary sources of funds of state archives and museum collections, using a wide array of published scientific papers and documents followed peculiarities of formation and development of symbolism Armed Forces of Ukraine and other military formations to which the National Guard of Ukraine, State Border Guard Service of Ukraine, Cluzhba security of Ukraine, Internal Troops of Ukraine, a division of the Ministry of Emergencies of Ukraine, State Special Transport Service, the State Service for Special Communications and Information Protection of Ukraine. The proposed research is seen important, because based on the acute need for national identity symbols of military units Ukraine in today's global world.

Au cours des ages, grace a l'evolution des cultures et des esprits, le rituel politique se traduit dans un langage nouveau, la symbolique. Cette etude vise a presenter un ensemble de "rites" politiques destines a dejouer les ruses des partis, a ouvrir la porte des coulisses du pouvoir. Cette recherche s'est effectuee sur la base d'un corpus visuel de 151 affiches. Afin de pouvoir aboutir a des conclusions precises et constructives, l'analyse s'est limitee aux periodes clefs des evenements politiques de 1946 a 1986 : les campagnes presidentielles et legislatives. Aucune methodologie exacte est actuellement en place pour lire, comprendre et interpreter le langage de l'affiche politique. L'objectivite de ce travail s'appuie sur la mise en oeuvre d'une grille de lecture semantique. Quatre grilles d'etudes criteriologiques sont utilisees (signe repere les representations de l'embleme - signe banniere les composantes discursives - signe de rencontre les constituants iconiques - signe de fixation les codes ico niques et textuels). La construction des affiches se resume selon le principe systemique de coirsement de ces quatre signes. La perception du symbole exclut l'attitude du simple spctateur, elle exige une participation d'acteur. Au fil des affiches la vie politique se theatralise. Opera, drame ou comedie bourgeoise, la representation politique porte les traces d'une mise en espace permanente
In the course of ages, owing to changes in cultures and ideas, the political ritual is conveyed through a particular symbolic language. This essay tends to set forth a body of political rites assigned to this essay tends to set forth a body of political rites assigned to outmanoeuvre the parties tricks, to pull the strings of power. This research has been carried out on the basis of a 151 posters visual corpus. In order to bring to sound outcomes, the analysis has been restricted to the main periods of 1946 - 1986 political hostory : the presidential and parliamentary electoral dives. At the time, there is no strict methology allowing the reading, understanding and interpreting of the political poster language. The objectiveness of our undertaking is built upon the implementation of a semantic deciphering pattern. We have made use of for criterion-based patterns which are : sign "reference" the images of the emblem - sign "banner" the discursive components - sign " meeting " the iconic components - sign ""fixing" the iconic and textuel code. The composition of posters is summed up according to the method of the four signs crossing. . . The feeling of symbol is incompatible with the coomon spectator attitude, it requires participating as an actor. Political life is turned into a play by posters influence. The political representation, opera, drama or middle-class farce, is marked by the current process of imbodiness

Mémoire--Histoire de la musique--CNR-Conservatoire supérieur de Paris, 2000.
Conrient en annexe le livret de l'oeuvre d'Arnold Schoenberg, ainsi que des extraits de la partition. Bibliogr. f. 99-104.

On considère ici l'héritage de la théorie humaniste des images symboliques (interprétations d’Aristote et de Denis l'Areopagite, m. Ficin, arts de la mémoire) que la XXVe session du concile de Trente instaure officiellement, et qui connait son meilleur développement à travers la forme littéraire des recueils d'emblèmes et de devises, perdurant jusqu'au début du XVIIIe siècle avec la publication des derniers traites théoriques du jésuite français c1. Fr. Menestrier. La ie section examine comment la combinaison d'une image gravée et d'un motto écrit, appelée symbole, en vue de faire naitre dans l'esprit la vision intellectuelle de l'idée, forme le parfait signe linguistique et offre une solution aux apories du langage, le mot ne suffisant plus à transmettre correctement le sens. La iie section, comment les théoriciens trouvent dans les emblèmes et devises qui permettent de composer une œuvre au moyen de symboles une parfaite pratique de la mimesis aristotélicienne; insérés dans une poétique générale, ils offrent de nouvelles possibilités rhétoriques. La iiie section examine les spécificités des différents genres de l'emblématique. La ive section propose quelques éléments d'explication à la disparition de l'invention emblématique au début du XVIIIe siècle, bien que l'on imprime des recueils jusqu'au début du XXe siècle
This phd deals with the inheritage of the humanistic theory of symbolic images (interpretations of Aristoteles’s de interpretation and Dionysius the areopagite; m. Ficino ; arts of memory), actualized by the xxv th session of the council of Trente, to the last treatises of the French Jesuit cl. Fr. Menestrier and the beginning of the enlightening. It finds its best development 150 years during in its own invention: the literary form of emblematics. The first section examines how combining, into what is named symbol, an engraved picture with a verbal motto, to create in the mind the intellectual vision of the invisible idea, forms the best linguistic sign and gives an answer to the verbal apories of the fallacious words, an inadequate structure in delivering signification. The iind section develops wich adaptation to the aristotelician mimesis symbolics presents through emblematics at the eyes of the theoricians, and how, integrated into a general poetics, it allows new rhetorical possibilities. The iiird section is devoted to the specificities of the different emblematics's genres, and their theoretical definitions. The ivth proposes some explications to the end of emblematic invention, even if books are printed until the beginning of the xxth c. : rise of modern and vernacular grammars, reconsiderations of rhetoric ; the linguistic humanist symbol has no place more

Tit et djed sont les noms égyptiens de deux signes utilisés à la fois dans le système hiéroglyphique et dans le domaine iconographique, mais qui se matérialisent aussi sous forme d’objets (amulettes) intégrés aux rites funéraires ; ce triple emploi ayant longtemps empêché de définir distinctement leur nature. Leur apparition, remontant aux plus hautes époques de l’histoire de l’Égypte ancienne (Ire dynastie), montre déjà une affectation funéraire marquée des emblèmes, spécialisation qui ne cessera de progresser tout au long de cette vaste période, avec une nette transition au Nouvel Empire, justifiant le cadrage chronologique mais aussi la sélection du contexte funéraire pour notre étude. Celle-ci se propose d’examiner trois catégories principales de documents : les papyri du Livre des Morts, l’iconographie des tombes et les décors du mobilier funéraire, dans le but de comprendre les croyances et fonctions associées à l’emploi combiné des deux emblèmes, en tenant toujours compte des aspects politiques et religieux relatifs à l’institution pharaonique qui pourraient l’éclairer
Tit and djed are the egyptian names of two signs employed at the same time in the hieroglyphic system and in the iconographic domain, but which materialize too in the form of objects (amulets) into the funerary rites ; this triple use long prevented to define their nature. Their occurrence, which dates from the first dynasty, already shows a funerary affectation of the emblems, specialization which continues to progress during this period, with a transition during the New Kingdom, justifying the chronological framing but also the selection of the funeral context for our study. This one intends to examine three main categories of documents : the Book of the Dead papyri, the iconography of the tombs and the decorations of the funeral furniture, in order to understand the beliefs and functions concerning both signs, always by taking into account political and religious aspects relative to the pharaonic institution, which could enlighten it

La société est ponctuée et marquée de signes informatifs, fédérateurs et identitaires. La thèse identifie ces signes sur une période historique étendue puis resserre le champ de l'étude à la contemporanéité artistique. L'analyse des diverses manifestations des signes susceptibles de ralliement met en évidence les enjeux sociologiques, économiques et politiques dont ils dépendent. Après avoir analysé d'un point de vue anthropologique et historique l'importance de la présence des marqueurs dans l'organisation sociale, la thèse répertorie et questionne les pratiques des artistes contemporains. Leur approche de la société actuelle se développe selon un point de vue critique. Ils mettent en scène le réel et les formes qui l'habitent en interrogant les logotypes, les slogans, les enseignes comme autant de véhicules d'influence qui soulèvent des discours polémiques, critiques, distanciés ou ludiques. Ces explorations font ressortir la capacité instrumentale propre à ce matériel qui le rend suspect, encombrant ou inintéressant aux yeux des artistes. Le fil conducteur de la thèse relie les marqueurs au récepteur, c'est-à-dire au collectif, spectateur ou passant. Les artistes contemporains détournent, s'approprient, reproduisent ou interprètent un matériel fortement connoté. L'oeuvre permet une lecture de la société et questionne la société de consommation et de surinformation. L'analyse de la société passe par une réflexion sur l'espace urbain. La thèse s'empare des signes de la société contemporaine et analyse son rapport au collectif. L'analyse s'appuie sur les pratiques artistiques qui questionnent la fabrique du monde à travers les marqueurs et les comportements qu'ils génèrent dans un système communicationnel : émission-réceptionappropriation- renvoi. Il s'agit de proposer une lecture des signes qui dessine leurs limites et leur capacité à tourner à vide, à être remis en question par le champ artistique. Ma pratique tente de bousculer les mécanismes propres aux marqueurs et de les priver de leur force
Society is punctuated and marked with informative, federative and identity signs. The thesis identifies these signs throughout a long historical period before reducing the scope of the study to the artistic contemporaneousness. The analysis of the various appearances of the signs likely to be united highlights the sociological, economic and political stakes which they depend on. The thesis first analyses the importance of the presence of markers in social organization from an anthropologic and historical point of view. Then, it lists questions the practices of contemporary artists. Their approach to present society develops according to a critical point of view. The present reality and the shapes which inhabit it by questioning logos, slogans, signs as media of influence which bring up controversial, critical, distanced or play speeches. These investigations bring out the instrumental ability peculiar to this materials which makes suspicious, cumbersome or uninteresting to artists' eyes. The main theme of the thesis links markers to receiver that is to say to the collective, be it spectator or passer-by. Contemporary artists divert, appropriate, reproduce or interpret strongly connoted materials. The work permits to read society and questions consumer and over information society. The analysis of society goes through thinking about urban space. The thesis takes over the signs of contemporary society and analysis its relation to the collective. The analysis leans on artistic practices which question the making of the world through the markers and behaviours they generate in a communication system : sending out-reception-appropriation-feedback. It's a matter of suggesting a reading of signs which defines their limits and their ability to turn without gripping, to be questioned by the artistic sphere. My practice is an attempt at shaking up the mechanisms peculiar to the markers and at depriving them from their strength

Société ”iconique” par excellence, les Provinces-Unies au XVIIe siècle sont un espace où la représentation graphique envahit le quotidien. Parallèlement, le mariage est une institution au cœur d’un processus de réhabilitation et de cristallisation confessionnelle de dispositions dogmatiques et disciplinaires. Il constitue en outre une expérience anthropologique fondamentale, dont chacun fait l’expérience, comme acteur ou spectateur. Dans cette perspective, les images du mariage innervent toute la culture visuelle de la société néerlandaise et sont au croisement d’enjeux sociaux, religieux et politiques, perceptibles à différentes échelles, par la symbolique qu’elles mettent en jeu et les usages sociaux qui en sont faits. Comment les différences confessionnelles s’y articulent-elles ? Comment les distinctions sociales s’y manifestent-elles ? Quels bénéfices symboliques les usages métaphoriques visuels du mariage permettent-ils d’obtenir pour les acteurs sociaux ? Enfin comment ces images fonctionnent-elles vis-à-vis du lecteur-spectateur ? A travers un corpus de sources très divers (livres ou brochures illustrés, feuilles volantes, mais aussi peintures ou médailles), la thèse répond à ces questions en examinant successivement comment les images accompagnent les discours prescriptifs sur le mariage, la façon dont elles sont mobilisées lors des noces des élites urbaines et lors de la célébration des noces princières, mais aussi comment elles permettent de donner métaphoriquement corps au lien entre le croyant et Dieu ou, paradoxalement, à celui entre le Prince d’Orange et la Patrie, dans un système politique revendiqué comme une République
"Iconic" society par excellence, the United Provinces in the seventeenth century is a place where images play a tremendous role in daily life. Meanwhile, marriage is an institution at the heart of a rehabilitation process and of a differentiation process of confessional identities involving dogmatic and disciplinary provisions. It is also a fundamental anthropological experience, experienced by everybody in the society, be it as actor or spectator. In this perspective, the matrimonial images pervade the whole visual culture of Dutch society and are at the crossroads of social, religious and political issues, at different scales, through the symbolics they involve and the social uses they are submitted to. How are confessional differences articulated to them? How are social distinctions manifested? What symbolic benefits do social actors get out of visual metaphors of marriage? Finally, how do these images interact with the reader-viewer? Through a diverse corpus of sources (illustrated books or pamphlets, single-leaf engravings, but also paintings and medals), the thesis addresses these questions by examining successively how images accompany prescriptive discourses on marriage, how they are involved in the urban elites weddings and during wedding festivities for princes, but also how they can metaphorically embody the link between the believer and God, or, paradoxically, that between the Prince of Orange and the Fatherland, in a political system claimed to be a Republic

Ce travail sur l’iconographie de Fortune au Moyen Âge et à la Renaissance se base sur un corpus de plus d’un millier d’images dont seul un tiers y est reproduit. L'enquête commence par une nécessaire étude lexicographique qui permet de mieux cerner les sens du mot latin « fortuna » ainsi que ceux du mot français « fortune » entre le xie et le xvie siècle. Une seconde partie s’intéresse au motif iconographique de la Roue de Fortune médiévale – i.e. cette roue sur le pourtour de laquelle prennent place des personnages dont le premier monte, les second trône, le troisième tombe et le dernier gît à terre –, depuis sa genèse dans un manuscrit bénéventain datant des années 1060-1070 jusqu’à sa diffusion sur toutes sortes de supports (peinture murale, sculpture monumentale, mosaïque, etc.) ainsi qu’aux différents usages de ce motif (didactiques, emblématiques, divinatoires). Une troisième partie recense les nombreuses variantes que génère au fil des siècles ce très fécond motif : Roue de la Vie, Roues animales satiriques, Roue des Vicissitudes de l’Humanité, etc. Une quatrième partie étudie la personnification de Fortune qui apparaît au xiie siècle, tant dans les images que dans les textes, avant de devenir l’une des vedettes de l’iconographie de la fin du Moyen Âge, la figure de Fortune se retrouvant dans d’innombrables manuscrits de Boèce, Jean de Meun, Boccace ou Christine de Pizan. La cinquième et dernière partie est consacrée à la mutation que connaît Fortune à la Renaissance, mutation qui la voit changer tant de forme que de fonction, l’aveugle et duplice déesse du sort abandonnant alors sa fonction didactique – et la roue d’exemples qui va avec – pour devenir une accorte jeune femme nue à la mèche de cheveux flottant au vent dont la fonction est propitiatoire et l’usage emblématique
This work on the iconography of Fortune in the Middle Ages and the Renaissance is based on more than one thousand images of which only one third is reproduced in the document. The study begins with a lexicographical study aiming at better understanding the various meanings of the Latin word « fortuna » and the French word « fortune » from the xith to the xvith centuries. The second section addresses the iconographical pattern of the mediaeval Wheel of Fortune – i.e. that wheel where four human beings occupy different positions on the rim: the first ascends, the second is enthroned, the third falls and the fourth lays on the ground – from its inception in a 1060-1070 Beneventan manuscript to its diffusion to various media (mural painting, monumental sculpture, mosaic, etc.) as well as its different uses (didactic, emblematic, divinatory). The third section identifies the numerous variations that this fertile pattern has generated over the centuries: Wheel of Life, satirical animal Wheels, Wheel of Vicissitudes of Humanity, etc. The fourth section studies the personification of Fortune which appears in the xiith century before becoming a star of late mediaeval iconography, her figure gracing innumerable manuscripts of Boethius, Jean de Meun, Giovanni Boccaccio or Christine de Pizan. The fifth and final section is devoted to Fortune’s mutation during the Renaissance: changing both form and function, the blind and treacherous goddess of fate gives up her didactic function – and the wheel of examples that comes with it – and becomes a beautiful naked woman with a forelock whose function is propitiatory and use emblematic

The process of nation-building in nineteenth century Canada involved the production of national symbols which could transcend sub-national loyalties, such as class, gender, ethnic, and religious identities, and unite the residents of the Canadian nation. While the symbols were many and varied, in this study I analyse the manner in which the Canadian state and civil society used royal ceremonies and representations to define and unify the Canadian nation between 1860 and 1911. The study focusses on the Canadian observances of Queen Victoria's Golden and Diamond Jubilees, her Memorial Services, the Coronation and Memorial Services of Edward VII, the Coronation of George V, and the royal visits of the Prince of Wales (Edward VII) in 1860 and the Duke of Cornwall and York (George V) in 1901. Regarding society and social relations as neither static nor fixed, but multiple and contradictory, I use the concept of cultural hegemony combined with elements from the "new" cultural history to examine the complex nature of power, identity, and royal representation in the nation-building process. Specifically, I argue that male members of the middle class articulated representations of themselves, women, the upper and lower classes, and the monarchy in order to legitimise their social authority and consolidate themselves as a cultural hegemony in the new national society. In turn, women and the upper and working classes resisted these representations with images of their own designed to empower themselves. The traditional elite claimed public and royal affirmation of their leadership; women and the working class sought an equal place in the nation. Complicating matters, however, were ethnic and religious identities which impinged upon class and gender loyalties and further altered the nature of royal representation and the formation and negotiation of a cultural hegemony. French Canadians, Irish Catholics, Jews, African and Asian Canadians, and the Peoples of the First Nations added their voices—and imagery—to the process of nation-building as each articulated representations of the monarchy in order to counter the dominant interpretations emanating from Protestants and whites. By doing so, they sought to either negotiate themselves a place within a wider hegemony or demand that their rights—and their place within the Canadian nation—be respected. Royal ceremonies and representations, then, were not trivial events in Canadian history. They comprised a fundamental feature in national imagery and played a vital part in the building of the Canadian nation.

Text in Afrikaans
This research describes the coats of arms and emblems of hospitals and nursing colleges in the Republic of South Africa, an aspect of nursing's heritage and history have not yet been described. Data were collected by means of questionnaires. An extensive literature review on heraldics and an analysis of the meanings contained in the symbols appearing on these devices were done. The analysis resulted in the following; the uniqueness of the individual devices, the development of nursing and nursing education, the influence of values, norms, ideals, culture, religion and history on the selection of symbols. The heraldic meanings of symbols and the meanings indicated in the questionnaires were compared with the identified core concepts for nursing. The overall finding was that any congruence was purely circumstantial.
Hierdie navorsing beskryf die wapens en embleme van hospitale en verpleegkolleges in die Republiek van Suid-Afrika, 'n aspek van die erfenis en geskiedenis van verpleging wat nog nie vantevore beskryf is nie. Inligting was deur middel van vraelyste ingesamel. 'n Uitgebreide literatuuroorsig oor die heraldiek en 'n ontleding van die betekenisse van die simbole soos aangetref op die wapens/embleme, is gedoen.Uit die analisering is die volgende bevind; die uniekheid van die individuele wapens/embleme, die ontwikkeling van verpleging en verpleegonderrig, die invloed van waardes, norme, ideale, kultuur, godsdiens en geskiedenis op die keuse van simbole. Die heraldiese betekenis van simbole en die betekenis wat in die vraelyste daaroor aangedui is, is met die geidentifiseerde kembegrippe vir verpleging, vergelyk. Die algemene bevinding is dat enige ooreenkoms bloot toevallig is.
Health Studies
M.A. (Verpleegkunde)

The Importance of Graphical Symbols in the Region Formation Process: the Case of the Liberec Region The thesis analyzes the role of symbols and graphic symbolism in the process of regional and spatial identity formation in the context of the theory of institutionalization of regions by A. Paasi. The goal of the thesis is to contribute to a scientific discussion of this topic using the example of a specific region - the Liberec Region. In the theoretical part of the thesis, general studies of spatial identities, mainly with regard to creating the symbolic shape of region, are discussed, and the importance of symbolism in forming the region, its spatial identity and power relations is assessed. This section aims to define the key concepts, terms and also types of symbols used in this study. In the research part of thesis, first, the selection of the studied area is justified (region with intensively changed landscape), and, second, its situational analysis is presented, focusing mainly on the social phenomena and elements which could play role of regional symbols. Next, the actual symbolism of the region, as presented in various sources and media, is evaluated. Subsequently, it is compared with the graphic symbols of regional and local institutions, classified and analyzed according to the form...

This dissertation thesis is focused on the research of role of symbols, especially graphic symbols (emblems, logos), in the process of region formation and in the process of shap- ing of regional identities. These aspects are studied in the context of Anssi Paasi's theory of institutionalization of region. The thesis discusses the use of symbols in the develop- ment of regions of different scales. The theoretical background of symbol research in the process of a region formation, as based on literature research, is later verified on an example of the analysis of symbols of the Liberec Region and the way they are used by various regional institutions. The Liberec Region is a suitable model area since it both represents a newly constituted region (after 2000), as well as it is already fully institution- alized. This region is also very heterogeneous from the point of view of the natural and cultural heritage. Regarding the settlement perspective, there are both areas inhabited continuously (traditional, "Czech" areas) and areas resettled after the WWII. In its first part, the thesis is devoted to evolution of regional geography. It briefly pre- sents how regional geography responded to paradigmatic changes, and how it gradually evolved into a "new" regional geography. Next, it discusses the concept...

Lubor JENČEK: City branding krajských měst v Česku Abstract This thesis deals with city branding of Czech regional capital cities. Its goal is to compare city branding of Czech regional capital cities and reveal a functional mechanism of city branding in practice. The theoretical framework of this thesis is based on the concept of branding, which is first discussed in general and later theoretically and practically expanded. Its functions in general are discussed. In the empirical part, the main research attention is dedicated to concepts of place branding and city branding on the case of the contemporary city branding of Czech regional capital cities The thesis aims to answer six research questions divided into three thematical groups - interpretation of Czech regional capital cities' brands, motivation for their creating and use, and the ways how to manage them. Answers to these questions should reveal actual condition of Czech city branding. A combination of qualitative and quantitative methods is used in this thesis. Data were acquired by questionnaire survey targeted at all Czech regional capital cities' representatives, and semi-structured interviews with representatives of four selected cities (Ostrava, Zlín, Plzeň and Ústí and Labem) as case studies. The results of the thesis can be applied in...

Considering that during the Baroque there was arguably nothing more enigmatic than the emblematic tradition, this thesis discusses how emblems played a role in the configuration of subjectivities in New Spain and, more precisely, in their production of symbolic imagery. Through the analysis of the poetic, political, and philosophical functions of the 1680 Neptuno alegórico (Allegorical Neptune), this this study discusses the concepts of "emblem,"ekphrasis"," "syncretism," and "neoplatonic tradition" in one of the most rethorical and multifaceted texts of the humanist writer and Hieronymite nun sor Juana Inés de la Cruz (1648-1695).
Graduate
mplundin@gmail.com