Relevant bibliographies by topics / Iconoclasm

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

Academic literature on the topic 'Iconoclasm'

Author: Grafiati
Published: 4 June 2021
Last updated: 13 June 2025

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Journal articles on the topic "Iconoclasm"

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WALTER, JOHN. "POPULAR ICONOCLASM AND THE POLITICS OF THE PARISH IN EASTERN ENGLAND, 1640–1642." Historical Journal 47, no. 2 (2004): 261–90. http://dx.doi.org/10.1017/s0018246x0400370x.

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This article explores the extent of popular iconoclasm in England in the period immediately before the start of civil war and for a region – eastern England – thought to lie at the heart of these events. It explores systematically the evidence for the extent of destruction (and the problems in its recording and recovery), the nature of the targets attacked, and the identities of the iconoclasts. The article argues that this first phase of iconoclasm was directed largely against Laudian innovations. Claiming an agency to police sacred space, iconoclasts derived legitimation from the public condemnation of Laudianism in parliament, print, and pulpit. Narrowing the focus, the article moves on to explore the occurrence of iconoclasm through a series of case studies of the complex process of conflict and negotiation within the politics of the parish that preceded, accompanied, and sometimes pre-empted popular destruction. The evidence of iconoclasm is used to show how the implementation of the Laudian programme might politicize local churches as sites of conflict and the potential therefore inherent in its aggressive enforcement for a wider political conflict.
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Vsevolodovich Lukhovitskiy, Lev. "Additional Considerations on the Iconoclast Issue in the Hesychast Controversy." Studia Universitatis Babeș-Bolyai Theologia Orthodoxa 67, no. 2 (2023): 185–99. http://dx.doi.org/10.24193/subbto.2022.2.05.

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"Mid-fourteenth-century Byzantine sources bear witness to an increased interest in Iconoclasm among the theologians involved in the Hesychast Controversy. The writings of the defenders of icon veneration were mined for authoritative quotations and the history of Iconoclasm became a repository of historical role models. This article is comprised of two sections. The first part expands a catalogue of texts of the epoch which make explicit reference to precedents in the Iconoclast period. The second part assesses, first, the polemical advantages and disadvantages of the accusation of iconoclasm in mid-fourteenth-century Byzantium by revisiting the afterlife of this label after the Triumph of Orthodoxy. Secondly, it traces the dynamics of how Iconoclasm was remembered in the Hesychast debate, distinguishing between the mythologizing and the philological levels of remembrance. The conclusion draws a connection between Nikephoros Gregoras’ approaches to theological polemics and to hagiography. The initial success and eventual fading-away of the iconoclastic motif in Hesychast polemics is explained by the uniqueness of Gregoras’ literary method and his personal circumstances. Keywords: Nikephoros Gregoras, John Kyparissiotes, Theodore Graptos, Byzantine literature, cultural memory, Palaeologan period, Iconoclasm, Hesychasm "
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Feld, Helmut. "Iconoclasm and Iconoclash. Struggle for Religious Identity." Church History and Religious Culture 89, no. 1 (2009): 382–86. http://dx.doi.org/10.1163/187124109x463392.

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Bremmer, Jan. "Iconoclast, Iconoclastic, and Iconoclasm: Notes Towards a Genealogy." Church History and Religious Culture 88, no. 1 (2008): 1–17. http://dx.doi.org/10.1163/187124108x316413.

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AbstractThis article aims to contribute to a better understanding of the genealogy of the terms 'iconoclast(ic)' and 'iconoclasm.' After some observations on the beginning of early Christian art that stress the necessity of abandoning a monolithic view of Jewish, Christian, and Islamic art regarding their iconic/aniconic aspects, it is noted that 'iconoclast' is mentioned first just before the start of the iconoclastic struggle and always remained rare in Byzantium. It became known in the West by Anastasius's Latin translation of Theophanes' Chronographia Tripartita. From there it was probably picked up by Thomas Netter, whose Doctrinale against Wycliffe and his followers proved to be very influential in the early times of the Reformation when images were a focus of intense debate between Catholics and Protestants. Thus the term gradually gained in popularity and also gave rise to 'iconoclasm' and 'iconoclastic.' The present popularity of the term has promoted the grouping together of events that probably should not be considered together. It has also made scholars focus on Protestant vandalism during the Reformation period rather than on the much greater damage to medieval art caused by the Catholic Baroque period.
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Godfrey, R. M. "A reformed iconoclast looks at management. Part 1: Iconoclasm." Engineering Management Journal 1, no. 5 (1991): 227. http://dx.doi.org/10.1049/em:19910056.

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Osborne, Catherine. "The repudiation of representation in Plato's Republic and its repercussions." Proceedings of the Cambridge Philological Society 33 (1987): 53–73. http://dx.doi.org/10.1017/s0068673500004922.

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This paper surveys a selection of texts from the fourth century B.C. to the ninth century A.D. and considers the continuing repercussions of Plato's famous attack on art for the present as well as the past. I propose to treat the subject in five sections:1. A brief consideration of the iconoclast controversy of the eighth and ninth centuries A.D., to highlight the theory behind the iconoclasts' rejection of pictorial art from the Church (and effectively from society).2. A general discussion of Plato's apparently iconoclastic argument in Republic 10, to suggest that it too, like the later iconoclasm, was rejecting certain implicit claims made about the value of representation as such.3. A closer analysis of the arguments in Republic 10 to clarify precisely what theories of art are vulnerable to them.4. A survey of some subsequent defences of art on the basis that it imitates nature, to show that Plato was right to say that a defence on those lines would not make art sufficiently important to justify the place we accord it in society (or the Church).
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Spicer, Andrew. "Iconoclasm." Renaissance Quarterly 70, no. 3 (2017): 1007–22. http://dx.doi.org/10.1086/693887.

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Lachmann, Renate. "Russia’s Iconoclasms." European Review 30, S1 (2022): S126—S132. http://dx.doi.org/10.1017/s1062798722000448.

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Two iconoclasms took place in twentieth-century Russian history: the iconoclasm after the October revolution, and the iconoclasm after the breakdown of the Soviet Union. These two (ideologically opposite) phases of iconoclastic actions (dismantling, destruction) were incited by programmes concerning the abolition of tsarist monuments of 1918 and met by controversial reactions to the removal of the statues of the former Soviet politicians in the 1990s. The revolutionary demolition of the symbols of the imperial past was executed in accordance with a clear-cut plan and included the erection of new monuments for outstanding communist activists. The official aim of the post-soviet removal of these monuments, to delete traces of a problematic past, was confronted with a revitalized communist ideology on the one hand and with the reaction of the Human Rights Organization Memorial on the other, which criticized the insufficient demolition of soviet symbols. This multifaceted situation is complicated by the reconstruction of destroyed pre-revolutionary monuments of Russian (predominantly religious) history.
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Koch, Michael, and Martina Koll-Schretzenmayr. "Von Bild-Sturmfluten und Bildersturmern On Iconoclasm and Iconoclasts." disP - The Planning Review 34, no. 134 (1998): 2–3. http://dx.doi.org/10.1080/02513625.1998.10556677.

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Daniel J. Sahas. "Iconoclasm and Iconoclash: Struggle for Religious Identity (review)." Catholic Historical Review 95, no. 3 (2009): 578–80. http://dx.doi.org/10.1353/cat.0.0461.

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Dissertations / Theses on the topic "Iconoclasm"

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Cheung, Pui-yi, and 張佩兒. "The iconoclasm of Han Yu." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2008. http://hub.hku.hk/bib/B41004693.

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Al-Kasim, Faisal Moayad. "Iconoclasm in modern British drama." Thesis, University of Hull, 1989. http://hydra.hull.ac.uk/resources/hull:8285.

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Iconoclasm has proved to be a major feature in modern British drama, where in a short period of time, the theatre has witnessed a host of iconoclastic dramatists, where demythologization has been widespread and fierce and where the icons of the present and the past have been subjected to a wholesale desecration in large numbers at the hands of the Ardens, Brenton, Bond, Churchill and others, who, as their dramatization of history and its idols has shown, have much in common. Although the above playwrights and others were most active towards the end of the sixties and throughout the seventies, their assault, however, has not completely died away in the eighties. As I have shown, Berkoff in 1987 launched in Sink the Belgrano! a fierce onslaught on political sacred cows, including the present Prime Minister, Mrs Thatcher who was mercilessly pilloried. On the 19th of February, 1988, Radio Three began broadcasting a nine part iconoclastic cycle by the Ardens, Whose Is The Kingdom? in which iconized personages from Roman history are revealed in a new light. In the above cycle, the playwrights set out to "demolish" "established notions" about Christ, Christianity, and rewrite the history of the Roman Empire, exposing its heroes and icons such as Constantine as manipulators and hypocrites. In other words, the Ardens' iconoclasm does not seem to have subsided; indeed it is on the rise! However, as mentioned earlier, iconoclasm is not merely the result of petty spite; it is a major aspect of political drama. It works towards changing the received images that the audience hold of history, the present and their icons the latter of which represent both the former. However, like the political theatre of which it is part, iconoclasm has failed to achieve its objectives for a number of reasons, foremost of which is the fact that the denigration of a historic idolatrized figure amounts to attacking the audience itself in whose mind, the images of those assaulted are deeply ingrained as holy and untouchable. The audience sees in such figures its own reflection. Lindenberger, in his book Historical Drama rightly argues that historical playwrights could "present a historical character or action within a broad framework of accepted notions". In other words, a playwright dramatizing a historical figure should try to adhere as much as he can to what is handed down to him and to his audience about the figure by history. Lindenberger goes on to say that "Historical material had the same status as myth, both belonged to what Horace called 'publicly known matters' ... and both depended - indeed, still do depend on - an audience's willingness to assimilate the portrayal of a familiar story or personage". Any portrayal of Achilles as not "restless, irascible, unyielding, and hard" would appear to the audience as unacceptable. The above theory can be rightly applied to the iconoclastic modern British playwrights' treatment of venerated persons. The audience would certainly stick to the “accepted notions" about Lord Nelson, Queen Victoria, Sir Winston Churchill and others. Plays such as The Hero Rises Up, Early Morning, and The Churchill Play can only arouse indignation in the audience and not a renunciation of received images. As I have shown, many spectators and critics were offended by, say, Arden's treatment of Nelson or Bond's degradation of Queen Victoria and William Shakespeare. The audience would rather adhere to what it already knows than revise its views, which brings to mind Marx's statement about the spell that the past casts upon the people, "The old has a strong grip on the people and, progress proceeds slowly." "Tradition is a great retarding force, is the vis inertiae of history". "The tradition of all past generations weighs like an Alp upon the brains of the living”. However, although they may be considered to have failed politically to dislodge right-wing iconography, the modern British demythologizers have established iconoclasm as a major trend in modern British drama and have revived an old tradition and consolidated it . Bond, a playwright who has constantly since 1968 called for the renunciation of the past .and its icons is, however, only too aware of the difficulties that his iconoclasm faces, yet as we Mire seen, he has not stopped producing iconoclastic plays. In his play, The Bundle, his revolutionary hero, Wang works hard with his fellow rebels to rid themselves of the past. He eggs them on to think of the future. For that purpose, he narrates to them the story of a man who carried the king on his back all his life, who even "did not know the king had died long ago", and who "carried him always and wasted his life", He goes on to say that the worst thing is "to carry the dead on your back", What the iconoclasts have tried to do during the past two decades is to remove that dead man from their nation's shoulders.
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Spraggon, Julie. "Puritan iconoclasm in England 1640-1660." Thesis, University College London (University of London), 2000. http://discovery.ucl.ac.uk/1349283/.

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A study of Puritan iconoclasm in England during the period of the civil wars and Interregnum, this thesis looks at the reasons for the resurgence of large-scale iconoclasm a hundred years after the break with Rome. Initially a reaction to the emphasis on ceremony and the 'beauty of holiness' under Archbishop Laud, the attack on recent 'innovations' introduced into the church (such as images, stained glass windows and communion rails) developed into a drive for further reformation led by the Long Parliament. Increasingly radical legislation targeted not just 'new popery', but pre-reformation survivals and a wide range of objects including some which had been acceptable to the Elizabethan and Jacobean church (for instance organs and vestments). Parallel to this official movement was an unofficial one, undertaken by Parliamentary soldiers during the war, whose iconoclastic violence, particularly against cathedral churches, became notorious. The significance of this spontaneous action and the importance of the anti-Catholic and anti-Episcopal feelings that it represented is examined. So too is the promotion of such feeling and of the cause of the reformation of images through printed literature (both popular and learned). A detailed survey is made of parliament's legislation against images, and the work of its Committee for the Demolition of Monuments of Superstition and Idolatry, headed by Sir Robert Harley. The question of how and how far this legislation was enforced generally is considered, with specific case studies looking at the impact of the iconoclastic reformation in London, the cathedral churches and at the universities.
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Clay, Richard Simon. "Signs of power : iconoclasm in Paris, 1789-1795." Thesis, University College London (University of London), 1999. http://discovery.ucl.ac.uk/1317978/.

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This thesis is about iconoclasm in Paris, 1789-1795. Previous full-length studies on the subject have condemned revolutionary iconoclasm as 'vandalism' because, they claim, it showed barbaric disrespect for art's sacred, aesthetic and historical values. This thesis argues that such condemnations are anachronistic because they fail to recognise the variety of ways in which late eighteenth-century Parisians used art, assessed its value and established appropriate ways of treating it. For many eighteenth-century Parisians, religious and political art had a vital role to play in mediating struggles for meaning in the wider world. Many Parisians did not privilege the aesthetic and historical values of art, nor did they believe that such values offered necessary and sufficient grounds for automatically respecting art's physical integrity. This thesis explores the various ways in which different interest groups sought to preserve or destroy art for political and/or religious reasons, and the resulting tension between groups who did, or did not, believe that all art ought to be divorced from such struggles. The thesis draws on a wider range of manuscript and printed sources than have been used in previous studies, even the more recent articles that have avoided condemning iconoclasm. In order to explain the scale of official iconoclasm in Year II, this thesis also covers a longer period than most of the available literature on the subject. The methodology employed in this study focuses on fewer spaces than is usual in this field of research, establishing connections between specific iconoclastic events and local, as well as national, discourses. Close analysis of iconoclastic actions, and representations of them, are used to argue from the specific to the general, explaining iconoclasm and the development of iconoclastic and preservationist government policies. It is shown that iconoclasm occurred because art symbolically mediated contested power relations during the revolution.
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Hojbjerg, Christian Kordt. "Resisting state iconoclasm among the Loma of Guinea /." Durham (N. C.) : Carolina academic press, 2007. http://catalogue.bnf.fr/ark:/12148/cb41108726b.

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Licari, Saverio. "Fundamentos teológicos da Iconografia Cristã." Pontifícia Universidade Católica de São Paulo, 2014. https://tede2.pucsp.br/handle/handle/18347.

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Made available in DSpace on 2016-04-29T14:27:25Z (GMT). No. of bitstreams: 1 Saverio Licari.pdf: 2801424 bytes, checksum: 7748a79f4fa18f9d525296eb14443c55 (MD5) Previous issue date: 2014-08-20<br>The following essay has as its main point to present an analysis about the influence and importance of the Christian icon on the history of Christianity. It is around the logos that Christianity will form its theological reflection. However, the image, even when subordinated to the word, has never ceased to influence valuably the mind of men. On this essay, will be enhanced the vigorous role that Christian icon (as a visual word) has on cultural and religious context since the beginning, in parallel and at the same time that the Holy Scripture (as written word). The hypothesis consists in an association between the written word (Holy Scripture) and the not written or visual (icon) and if it's possible that both of them would be equally valid ways to transmit the only Divine Revelation. The research is based on specialized texts about the theme. The photographic attachment contributes to attest the importance of the icon since the origin of Christianity. The trajectory of the image was submitted through the sieve of Iconoclasm, a strong movement overall on the VIII and IX centuries, that wanted the destruction of all symbols considered dead idols. At last, the final chapter is the analysis aesthetic-theological of the Christ Incarnation s icon proving the hypothesis of this essay<br>A presente dissertação tem como objetivo apresentar um estudo sobre a influência e a importância do ícone cristão na história do cristianismo. É em torno do logos que o cristianismo formulará a sua reflexão teológica. Mas, a imagem, mesmo subordinada à palavra, nunca deixou de exercer uma valiosa influência no pensamento do homem. Nesta dissertação se quer destacar a função vigorosa que o ícone cristão (Palavra visual) exerceu no contexto cultural e religioso desde o início, paralelamente e juntamente à Sagrada Escritura (Palavra escrita). A hipótese consiste em comparar a equivalência entre a Palavra escrita (Sagrada Escritura) e a palavra não escrita ou visual (ícone) e se estes podem ser considerados como dois caminhos válidos para a transmissão da única Revelação Divina. A pesquisa se baseia nos textos especializados sobre o tema. O anexo fotográfico contribui para atestar a importância do ícone desde a origem do cristianismo. A trajetória da imagem passa pelo crivo do iconoclasmo, movimento muito forte, sobretudo, dos séculos VIII e IX, que queria a destruição das imagens consideradas ídolos mortos. Finalmente, o último capítulo consta da análise estético-teológica do ícone da encarnação de Cristo comprovando, assim, a hipótese da dissertação
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Nejad, Ayla Maryam. "Iconoclasm Culture, Hegemony, & the Purifying Violence of Cognitive Reorganization." Thesis, The American University of Paris (France), 2019. http://pqdtopen.proquest.com/#viewpdf?dispub=13871653.

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Aldridge, James Francis. "The cross and its cult in an age of iconoclasm." The Ohio State University, 1993. http://rave.ohiolink.edu/etdc/view?acc_num=osu1239881828.

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Ip, Hung-yok, and 葉紅玉. "The relationship between iconoclasm and nationalism in the May Fourth period: the case of Ch'en Tu-hsiu." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1985. http://hub.hku.hk/bib/B31948546.

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Scott, Helen E. "Confronting nightmares : responding to iconoclasm in Western museums and art galleries." Thesis, St Andrews, 2009. http://hdl.handle.net/10023/788.

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Books on the topic "Iconoclasm"

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van, Asselt W. J., ed. Iconoclasm and iconoclash: Struggle for religious identity. Brill, 2007.

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van, Asselt W. J., ed. Iconoclasm and iconoclash: Struggle for religious identity. Brill, 2007.

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van, Asselt W. J., ed. Iconoclasm and iconoclash: Struggle for religious identity. Brill, 2007.

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Sheena, Wagstaff, and Institute of Contemporary Arts (London, England), eds. Comic iconoclasm: An exhibition. The Institute, 1988.

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Alexander, Paul Julius. The Patriarch Nicephorus of Constantinople: Ecclesiastical policy and image worship in the Byzantine Empire. Clarendon Press, 2001.

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Clifford, Davidson, and Nichols Ann Eljenholm, eds. Iconoclasm vs. art and drama. Medieval Institute Publications, Western Michigan University, 1989.

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Spraggon, Julie. Puritan iconoclasm in England 1640-1660. University of London (UCL), 2001.

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Turner, David. The origins of the second iconoclasm. University of Birmingham, 1987.

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Browne, Irving. Iconoclasm and whitewash, and other papers. J.O. Wright, 1990.

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Swarbrick, Katharine. Lacan and the uses of iconoclasm. Stirling French Publications, 1999.

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Book chapters on the topic "Iconoclasm"

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Chamberlin, Scott A., and Eric L. Mann. "Iconoclasm." In The Relationship of Affect and Creativity in Mathematics. Routledge, 2021. http://dx.doi.org/10.4324/9781003234760-2.

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Zarandona, José Antonio González. "Landscape Iconoclasm." In Encyclopedia of Global Archaeology. Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-30018-0_3192.

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Bertellini, Giorgio, and Jacqueline Reich. "Smuggling Iconoclasm." In A Companion to Martin Scorsese. John Wiley & Sons, Inc., 2014. http://dx.doi.org/10.1002/9781118585344.ch2.

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Raguin, Virginia C. "Iconoclasm, Renaissance." In Encyclopedia of Renaissance Philosophy. Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-319-02848-4_229-1.

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Zarandona, José Antonio González. "Landscape Iconoclasm." In Encyclopedia of Global Archaeology. Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-51726-1_3192-1.

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Raguin, Virginia C. "Iconoclasm, Renaissance." In Encyclopedia of Renaissance Philosophy. Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-319-14169-5_229.

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Bartlová, Milena. "Hussite Iconoclasm." In Medieval Church Studies. Brepols Publishers, 2016. http://dx.doi.org/10.1484/m.mcs-eb.5.110902.

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"12. Tangible Words: Some Reflections On The Notion Of Presence In Gothic Art." In Iconoclasm and Iconoclash. BRILL, 2007. http://dx.doi.org/10.1163/ej.9789004161955.i-538.103.

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"13. Cathars And The Representation Of The Divine: Christians Of The Invisible." In Iconoclasm and Iconoclash. BRILL, 2007. http://dx.doi.org/10.1163/ej.9789004161955.i-538.109.

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"14. The Clash Between Catholics And Cathars Over Veneration Of The Cross." In Iconoclasm and Iconoclash. BRILL, 2007. http://dx.doi.org/10.1163/ej.9789004161955.i-538.116.

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Conference papers on the topic "Iconoclasm"

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Firmanto, Alfan, and Ahmad Yunani. "The Islamic Iconoclasm in Indonesia." In International Symposium on Religious Literature and Heritage (ISLAGE 2021). Atlantis Press, 2022. http://dx.doi.org/10.2991/assehr.k.220206.012.

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Meshkani, Taraneh. "Urban Iconoclasm: The Legacy of Toppled Statues." In 110th ACSA Annual Meeting Paper Proceedings. ACSA Press, 2022. http://dx.doi.org/10.35483/acsa.am.110.92.

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This paper examines the spatial iconoclasm of public spaces, specifically the acts of toppling and vandalizing statues and monuments, as one of the spatial tactics used during conflicts and how the transformation of the everyday landscape of memorialization can change historical narratives to create new values and meanings. By analyzing a series of cases, this study compares the usage and the scale to which this strategy has been practiced in the recent events of the Black Lives Matter movement.
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Cowie, Iain F. "Western Diplomacy’s Ineffective Iconoclasm: Conflict Resolution With China and the West’s Forgotten Rhetorical Tools." In The Asian Conference on Ethics, Religion & Philosophy 2023. The International Academic Forum(IAFOR), 2023. http://dx.doi.org/10.22492/issn.2187-476x.2023.8.

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Martín, Sergio. "Imágenes en conflicto: el fenómeno iconoclasta como teoría del disenso." In IV Congreso Internacional Estética y Política: Poéticas del desacuerdo para una democracia plural. Editorial Universitat Politècnica de València, 2019. http://dx.doi.org/10.4995/cep4.2019.10514.

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Recientes estudios han tratado de profundizar en dos conceptos fundamentales en el estudio histórico de la cultura humana: la imagen y la iconoclasia. Apartados en un principio de los cánones académicos impartidos desde la Historia del Arte, han sido deconstruidos por nuevas corrientes teóricas como los estudios visuales o la ciencia de la imagen. Debido a esta apertura hacia nuevas perspectivas sobre los objetos y prácticas artísticas, se ha comenzado a revisar más de cerca el fenómeno bautizado como la destrucción del arte o, comúnmente conocido, como los fenómenos iconoclastas. Entendidos como actos relacionados sobre bases del fundamento religioso, se convirtieron en laboratorios de algunas de las crisis sobre la representación a través de la práctica artística y la reacción frente a esta. Así pues, actualmente, esta clase de sucesos están siendo revisitados para ampliar los límites en los que se les solía encasillar: que iban desde disputas religiosas hasta meros ataques emocionales y vandálicos. Por lo tanto, en el presente escrito se busca aproximarse a otra mirada sobre la iconoclasia que tiene presente las teorías sobre la plusvalía de las imágenes compartidos por autores como W.J.T Mitchell o David Freedberg. Con este propósito, se trata de encontrar otras definiciones al acto violento contra las imágenes, convirtiéndose este fenómeno en una posible teoría del disenso. Se defiende, de este modo, un campo de estudio que analiza los eventos destructivos como un escenario del agonismo que articula cambios en las comunidades sociales desde sus propias representaciones y el pensamiento tras estas.
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