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Academic literature on the topic 'European Emblem books'
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Journal articles on the topic "European Emblem books"
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Treter, Anna. "Wybrane passusy z czternastowiecznego traktatu Summa de exemplis et rerum similitudinibus Giovanniego z San Gimignano. Możliwe źrodło inspiracji dla ośmiu emblematow z cyklu Symbolica vitae Christi meditatio (Braniewo: Jerzy Schonfels, 1612) Tomasza Tretera." Terminus 23, no. 3 (2021): 309–39. http://dx.doi.org/10.4467/20843844te.21.012.13849.
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Chosen Passages from the 14th-Century Treatise Summa de exemplis et rerum similitudinibus by Giovanni da San Gimignano: A Possible Source of Inspiration for Eight Emblems from the Cycle Symbolica vitae Christi meditatio (Braniewo: Jerzy Schönfels, 1612) by Tomasz Treter In 1612, the Jerzy Schonfels’ printing house in Braniewo published Tomasz Treter’s posthumous work titled Symbolica vitae Christi meditatio. This cycle of ascetic and mystical reflections was considered by Janusz Pelc to be one of the most interesting emblem books written in the Polish Commonwealth. Also Tadeusz Chrzanowski, an art historian, referred to Treter’s work as quite a unique work of Polish emblem art. The same researcher quoted the originality of some of the concepts and ingenuity of many icons (lacking direct correlates among contemporary emblem collections). In 2018, Alicja Bielak wrote an article in which she identified the three 16th-century emblem works (i.e. Hadrianus Junius’ Emblemata, Claude Paradin’s Devises heroiques and Aneau Barthelemy’s Picta poesis) as graphic sources of Treter’s cycle. The main goal of this paper is to identify another, non-emblematic source of inspiration for the Polish author, namely the 14th-century encyclopaedia Summa de exemplis et rerum similitudinibus by the Italian Dominican Giovanni da San Gimignano. It is argued here that Treter might have come into contact with Giovanni’s treatise during his first stay in Rome (1569–1584) and transposed it into the language of emblems. The first section of the paper shortly discusses the life and work of the Italian Dominican, with the particular emphasis on his encyclopaedia. The core of the article consists of the comparison of Treter’s eight emblems with selected passages from Summa de exemplis and setting these emblems against the background of the European tradition. The following emblems are discussed in detail: Fides, Conversatio sancta, Spiritualis profectus, Humilitas, Poenitentia, Correctio fraterna, Fortitudo and Mansuetudo. The study concludes with the claim that even though Treter uses symbols rooted in contemporary emblem art, he interprets them in a different way than other creators did. On the other hand, one can observe a striking accordance between Treter’s interpretations and the ones by Giovanni da San Gimignano. Unlike other 16th and 17th century emblematists, the Polish priest provides a religious rather than a moral interpretation.
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Cole, Timothy W., Myung-Ja K. Han, Maria Janina Sarol, Monika Biel, and David Maus. "Using linked open data to enhance the discoverability, functionality and impact of Emblematica Online." Library Hi Tech 35, no. 1 (2017): 159–78. http://dx.doi.org/10.1108/lht-11-2016-0126.
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Purpose Early Modern emblem books are primary sources for scholars studying the European Renaissance. Linked Open Data (LOD) is an approach for organizing and modeling information in a data-centric manner compatible with the emerging Semantic Web. The purpose of this paper is to examine ways in which LOD methods can be applied to facilitate emblem resource discovery, better reveal the structure and connectedness of digitized emblem resources, and enhance scholar interactions with digitized emblem resources. Design/methodology/approach This research encompasses an analysis of the existing XML-based Spine (emblem-specific) metadata schema; the design of a new, domain-specific, Resource Description Framework compatible ontology; the mapping and transformation of metadata from Spine to both the new ontology and (separately) to the pre-existing Schema.org ontology; and the (experimental) modification of the Emblematica Online portal as a proof of concept to illustrate enhancements supported by LOD. Findings LOD is viable as an approach for facilitating discovery and enhancing the value to scholars of digitized emblem books; however, metadata must first be enriched with additional uniform resource identifiers and the workflow upgrades required to normalize and transform existing emblem metadata are substantial and still to be fully worked out. Practical implications The research described demonstrates the feasibility of transforming existing, special collections metadata to LOD. Although considerable work and further study will be required, preliminary findings suggest potential benefits of LOD for both users and libraries. Originality/value This research is unique in the context of emblem studies and adds to the emerging body of work examining the application of LOD best practices to library special collections.
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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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Panina, Nina L. "Illustrations in Children’s Educational Books in Russia in the Late 17th – Early 19th Centuries." Tekst. Kniga. Knigoizdanie, no. 23 (2020): 82–99. http://dx.doi.org/10.17223/23062061/23/5.
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The aim of this article is to analyse the transition period in the history of illustrating children’s educational books on the material of Russian-language publications. It is the period in which the function of an intermedial representation gradually develops from emblematic to encyclopedic and narrative-figurative images. This process is related to the literary history of children’s books and their genre transformations. In the last third of the 18th century, children’s literature in Russia was formed as an independent direction with its special goals, and the basis for further search for specific methods of children’s book design, including educational ones, was laid. In the first quarter of the 19th century, the children’s book had a typical European visual design and continued the trends inherited from the 18th century: translations, borrowings, and revised texts in publications often copied illustrations rather than made new ones. A new stage came at the end of the 1820s, when Russia was actively developing independent children’s literature, and professional authors and criticism appeared. It was the time of the pedagogical experiments of Vasily Zhukovsky. This article does not claim to analyse Zhukovsky’s pedagogical activity comprehensively, but this activity is significant for the subject-matter of the study. In his pedagogy, Zhukovsky went to a new level when searching for intermedial ways of transmission of the universal coherence of phenomena, the systemic representation of knowledge about the world, and the ideas of the world as a system. The search, though much slower, was also observed in contemporary children’s books. The integration of cognitive and didactic functions in the Russian-language children’s book of the 18th century resulted in a mix of different principles of illustration in one publication. These principles are: (1) emblematic: the title, image, and text form a three-part structure; (2) encyclopedic: the sheet contains separate numbered images of the same type of objects excluded from the visual context; (3) narrative: the plot, expressive and figurative, including caricature, illustrations are readily used in an educational book due to their persuasiveness. Each of these principles has its own ways of displaying coherence. An encyclopedic illustration shows an object in a series of similar ones, in an enumeration, shows the structure of the object. An emblem gives its symbolic and allegorical interpretation. A narrative illustration shows its functions and its involvement in causal relations, depicting the environment of events and objects. The children’s book of the studied period tends to integrate all these ways. While the emblem as an independent intermedial genre degrades, certain elements of the emblematic tradition are actively borrowed by new forms of publications. The emblem gives the European book of modern times the most important intermedial tools for displaying universal coherence, the world as a system. The change of the epochs leads to an inevitable blurring of the meaning of the emblematic sign. The transitive nature of the analysed period is expressed in the search for a new intermedial form of coherence, similar to the lost emblematic bimediality of the text and illustration in terms of effectiveness. In the search for such a form, encyclopedic publications that claimed to be all-encompassing use the emblematic and narrative principles of illustration. In turn, the narrative illustration, driven by a similar desire for inclusiveness, consistency, and universality, absorbs the emblematic and encyclopedic principles.
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Stoian, S. P. "UKRAINIAN BAROQUE IN VISUAL ARTS – NATIONAL SYMBOLS IN THE CONTEXT OF EUROPEAN CULTURE." UKRAINIAN CULTURAL STUDIES, no. 2(9) (2021): 88–94. http://dx.doi.org/10.17721/ucs.2021.2(9).15.
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The article studies the peculiarities of visual image symbolic type originating in the artistic practice of Ukrainian baroque. It is stated that ba- roque culture of 17-18 cent. was spreading across Ukrainian territories. Meanwhile Ukrainian art of that period was developing in close interaction with the art of Central Europe, Russia and Balkan countries. Realistic traditions of Western Europe were actively taking roots on Ukrainian territory thus forming the alternative for sacral orthodox art. Symbolic and allegoric type of visual art is mostly used for didactic and educational aims (I. Galyatovsky), narrative ones (I. Bondarevska) and to be more precise and clear it is accompanied by text explanations. Symbolic motives are also represented in virtually all works of H. Skovoroda distinguishing purely symbolic images and fantastic ones. He believes that symbolic imagery is a "picture of wisdom". Emblem-embedded and symbol-embedded books with symbolic and allegoric illustrating engravings become more common and widespread due to the typography development. Publication of "Symbola et Emblemata" and "Iphika Hieropolitica" promotes the usage of these murals, icon paintings, and didactic motives of secular arts. Symbolic and allegoric contents of ethno-national coloring fill the imagery of Ukrainian national icon paintings ("Cossack Mamay", etc.) and symbolically-allegoric compositions of icon paintings ("Jesus Christ the Husband- man", "The Eye of Providence", "Crucifixion with Vine", "Christ in the Winepress", etc.). Also allegoric motives are used in parsuna genre. The article states that, due to the rationalistic tendency influence of European culture, Ukrainian visual art of baroque period moves away from Byzantine canons with their symbolic conventionality thus turning more and more to realistic type of imagery (especially in portrait genre) and at the same time retaining symbolic and allegoric techniques which gained some ethno-national peculiarities.
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Cazalla Canto, Silvia, and José Javier Azanza López. "De animales, pecados y emblemas: tradición europea para una Emblemata americana." Boletín de Arte, no. 40 (November 27, 2019): 87–98. http://dx.doi.org/10.24310/bolarte.2019.v0i40.5556.
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La publicación en 1860 en New Haven (Connecticut, EE.UU.) de The Book of Similitudes, libro de emblemas de John Barber dirigido al beneficio espiritual de sus lectores, constituye un claro ejemplo de la influencia europea en la emblemática americana del siglo XIX, por cuanto entre sus fuentes se encuentran los “espejos del alma” de origen francés y germánico. Este artículo analiza un conjunto de emblemas alusivos a los pecados capitales alegorizados por animales, a través de los cuales sus autores desarrollan una catequesis que transita desde el esclavo del pecado hasta el reincidente, pasando por el arrepentido y el santificado. El estudio nos permite concluir que, más allá del paralelismo del mensaje y de la reelaboración de los emblemas europeos realizada por Barber para adaptarlos al credo metodista, la tradición animalista mantiene plena vigencia en la América del siglo XIX en su simbolismo de los pecados capitales.
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Pchelov, Evgeniy V. "The Color Scheme of the Russian Titular Coats of Arms of the 17th – Early 18th Century." Herald of an archivist, no. 3 (2022): 651–61. http://dx.doi.org/10.28995/2073-0101-2022-3-651-661.
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The article is devoted to the analysis of the color scheme of the Russian titular coats of arms of the 17th – early 18th century. Until late 17th century, the color scheme of coats of arms did not matter, since the emblems of the titular objects themselves were depicted on seals, for which they were created. However, by the end of the 17th century, these emblems began to acquire increasingly heraldic appearance. An important stage on this path was creation of the “Titulyarnik” in 1672. In this book, the titular coats of arms were presented in color, but this colorization was not of heraldic nature. Only two coats of arms borrowed from Western European heraldry had a coat of arms coloring. Otherwise, the coats of arms of the “Titulyarnik” looked more like color illustrations than coats of arms in the truest sense of the word. The color of the coats of arms on the golden plate of Alexei Mikhailovich made by master Y. Frobos in 1675 was equally conditional. Here the color scheme of the coats of arms performed functions of symmetry in the overall pictorial composition. On the charters of the turn of the 18th century, titular coats of arms were drawn following the model of the “Titulyarnik.” However, at the turn 1710s, the colorization of the titular coats of arms appeared on the charters (although the previous tradition also persisted for some time). The description of coats of arms in color was first presented in Russian in “The Core of Russian History” written in mid-1710s in Sweden. The authorship of this book remains debatable. The description of the coats of arms from “The Core of Russian History” finds almost exact analogies in the images of coats of arms on charters starting from 1710, and also repeats the coloring from the corrected drawings of I.-G. Korb, published together with descriptions of the titular coats of arms in the German publications in 1708 and 1710. Apparently, the colorization of the titular coats of arms was associated with the provincial and military reforms of Peter the Great. It is significant that azur became the main heraldic color for the shields of the titular coats of arms. Gueles did not occupy a dominant position. In general, the color scheme of the coats of arms of the Peter the Great era may have been influenced by the creation of the color scheme of Russian flags. Later, the color scheme of a number of titular coats of arms changed significantly. Such changes, in particular, were recorded in the “Armorial of banners” (Znamyonnyi Gerbovnik) of 1729. They were associated with closer compliance with the formal rules of Western European heraldry. Thus, the colorization of Russian titular heraldry fell in the context of its gradual transformation from seals and emblems to coats of arms and largely determined this process.
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Nesterenko, Petro. "PUBLISHING SIGN OF UKRAINE OF THE SECOND HALF OF XX – BEGINNING OF XXI CENTURY: TRANSFORMATION IN TIME." Research and methodological works of the National Academy of Visual Arts and Architecture, no. 28 (December 15, 2019): 116–23. http://dx.doi.org/10.33838/naoma.28.2019.116-123.
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Annotation. The article analyzes the little-studied art of the Ukrainian publishing sign, which has a history of almost fifty years and is well known for its highly artistic works. An excursion into the past of the Ukrainian publishing label has been made, collecting documents scattered across various sources of reports on samples of the publishing labels, both known and in the vast majority of unknown authors, and we pay tribute to this important cultural heritage that has developed in the course of the European process. The publishing signs of the second half of XX – beginning of XXI centuries are described and their artistic features are analyzed. The art of the Ukrainian emblem, especially in the last century, has not been practically studied. Probably, the topic is considered too small to draw enough attention. Turning pages of the book, few people pay atten- tion to the publishing house, thanks to which we have the happy opportunity to hold it. The artistic decision of modern publishing signs, which often quite often has a small font character, is not striking. They are created mainly by artists, editorial staff, without paying much attention to this process. However, there are times when they turn out to be the work of talented young artists who, over time, become famous. For example, the well-known art publishing signs for the leading Kiev publishing houses "Art" (artist V. E. Perevalsky) and "Rainbow" (artist O. I. Gubarev), created at that time by young graphic artists, who are now well-known folk artists of Ukraine. However, the art of the sign is an important component of book graphics, it does not lose its relevance at a new stage of society and deserves in-depth study.
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Som-Serdyukova, Olena. "Karlo Zvirynskyi and his «Underground Academy»: Reflections of Cultural Memory." ART-platFORM 2, no. 2 (2020): 117. http://dx.doi.org/10.51209/platform.2.2.2020.117-137.
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Karlo Zvirynskyi (1923-1997) was an outstanding personality and great artist. His influence on the Lviv cultural environment in the 1960s–1990s was indisputable. Zvirynskyi was a quiet man rooted in his own research fields, but the awareness of his actions formed a strong environment in the aesthetics of the European art and ethical norms of Christianity. The artist's undiverted view on European culture was related to the understanding of processes that cannot be guided ideologically, as well as the realization that culture exists in continuity, and reflects aesthetical and ethical forms of human activity. His search for a European cultural tradition and the reprobation of foundations of socialist realism played an important role in the formation of his “underground academy”. Zvirynskyi’s primary goal was the education of creative young people as citizens, whose consciousness would enable them to remain artists in defiance of the enticing society. The circle of his students embraced Zinoviy Flinta, Andriy Bokotey, Oleh Minko, Liubomyr Medvid, Roman Petruk, Ivan Marchuk and Bohdan Soyka. Our task, for now, is not to embalm the legacy of his “underground academy”, but create the cultural space, where intellectual reflections can take place. Karlo Zvirynskyi understood his stand in life as “I look at life through the prism of a book” and his artistic position as “all my painting is a prayer”. Attitude to his own life as a part of a holistic cultural flow has formed his worldview. The cultural memory of generations that accumulates “modernity” played for the artist a territory of freedom, which has always been a criterion of human nature for Zvirynskyi. Realizing that memory about Karlo Zvirynskyi is a kind of tuning fork for the moral health of the nation, this article is an attempt to bring knowledge about the master from the chamber community, which resembles the mechanisms of catacomb culture, in a wider and more open space that will use his name as part of the national cultural landscape.
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Zvezdina, Yulia N. "The image of the heart in the religious emblems of the 17th century." Academia 2 (2020). http://dx.doi.org/10.37953/2079-0341-2020-2-1-248-256.
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The author analyzes the features of the image of the heart in the European religious emblems of the 17th century. The author examines several books of emblems, starting with the publication of Daniel Kramer, who had a definite influence on other authors. This article deals with his “Emblemata Sacra”, or “Emblemata ex Sacra Scriptura”, published in 1624 (the first edition of the Kramer emblems was released in 1617). After that, the author refers to the books of emblems of Johann Mannich (“Sacra Emblemata”, 1624), Francesco Pona (“Cardiomorphoseos, sive, Ex corde desumpta emblemata sacra”, 1645), as well as the treatise of Benedict Haeften (Schola cordis, sive Aversi a deo cordis, ad eumdem reductio et instructio, 1629). This article focuses on the reflection of the theme of the heart in the Russian religious culture of the same time. The comparison is carried out primarily on the example of the Book of Ioanniky Galyatovsky “The Key of Perception” (“Klyuch razumeniya”), first published in Kiev in 1659.
Books on the topic "European Emblem books"
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Aspects of the emblem: Studies in the English emblem tradition and the European context. Reichenberger, 1986.
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Daly, Peter M. Digitizing the European emblem: Issues and prospects. AMS Press, 2003.
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Ideas and images of music in English and continental emblem books. V. Koerner, 2009.
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Library, University of Glasgow. Sir William Stirling Maxwell and the European emblem: An exhibition of books and manuscripts mounted to coincide with the international conference "The European Emblem" held in Glasgow, 11-14 August, 1987 : [exhibition held at] Glasgow University Library, 27 July - 24 September, 1987. Glasgow University Library, 1987.
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Sider, Sandra. Bibliography of emblematic manuscripts. McGill-Queen's University Press, 1997.
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Emblem in Early Modern Europe: Contributions to the Theory of the Emblem. Taylor & Francis Group, 2017.
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Daly, Peter M. Emblem in Early Modern Europe: Contributions to the Theory of the Emblem. Taylor & Francis Group, 2016.
Find full textBook chapters on the topic "European Emblem books"
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Hayaert, Valérie. "Emblem Books, Gift-Exchange Practices and Œconomia." In Economies of Literature and Knowledge in Early Modern Europe. Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-37651-2_4.
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Babić, Milan, Adam D. Dixon, and Imogen T. Liu. "Geoeconomics in a Changing Global Order." In The Political Economy of Geoeconomics: Europe in a Changing World. Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-031-01968-5_1.
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AbstractThis introductory chapter presents an overview and summary of the focus of this edited volume. We first discuss the contribution of the chapters to a more nuanced and novel way of studying geoeconomic dynamics from an IPE perspective as going beyond the classical geopolitical focus on conflict, state-centrism, and security issues. We then embed the volume in broader changes of globalization from the neoliberal era into a more confrontative phase since 2016. The third part of the introduction then interrogates the role of the EU in this changing global order and makes the case for studying this sidelined actor in contemporary discussions about geoeconomics. The fourth and last part introduces the different chapters in detail and lays out the plan of this book.
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Hermans, Theo. "Translation and genre in the European Renaissance: Emblem books (Gattungsspezifische Übersetzung in der Renaissance: Emblematik)." In Übersetzung / Translation / Traduction, Part 2, edited by Harald Kittel, Armin Paul Frank, Norbert Greiner, et al. Walter de Gruyter, 2007. http://dx.doi.org/10.1515/9783110171457.1447.
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Van Hees, Valérie, and Dominique Montagnese. "Inclusive Universities." In Handbook of Research on Applying Universal Design for Learning Across Disciplines. IGI Global, 2021. http://dx.doi.org/10.4018/978-1-7998-7106-4.ch022.
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It has already become clear from the many cases in this book that universal design for learning (UDL) offers a convenient framework to design inclusive classes that embrace the needs of an increasingly diverse student population. The opportunity to embed a more inclusive approach to education is challenging, but it is one that needs to be taken. This chapter will provide an overview of the European landscape on the social dimension in higher education and address the barriers that have emerged with the implementation of the UDL framework. Calls to action to improve the institutional and system capacity on the topic of inclusion and UDL will be pointed out. These recommendations will be illustrated with concrete actions from the Support Centre for Inclusive Higher Education (SIHO), a national body in Belgium supporting policy makers and universities to implement equity and inclusion measures in policy and practice.
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"Introduction." In Breaking Resemblance, edited by Alena Alexandrova. Fordham University Press, 2017. http://dx.doi.org/10.5422/fordham/9780823274475.003.0001.
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The Introduction provides an overview of the central questions and the theoretical framework of the book. Since the early 1990s in Europe and the United States many artists critically re-appropriated religious, motifs, themes and images to produce works that cannot qualify as ‘religious,’ but remains in a dialogue with the visual legacy of mostly the Western, and more specifically the Catholic, version of Christianity. Present-day art does not embed religious images to celebrate them, but in order to pose critical questions concerning central aspects of the rules that regulate the status of images, their public significance, the conditions of their production and authorship, and their connection to an origin or tradition, a context or an author that guarantees their value. The motif of the true image or acheiropoietos (not made by a human hand) is related to central set of features that allow distinguishing between regimes or eras of the image. Its transformations provide a conceptual matrix for understanding of the reconfiguring relationships between art and religion. The introduction provides an overview of the theoretical context, the selection of artworks, bibliography on the subject and the chapters of the book.