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Pluta, Larissa. "Face Value: An Iconographic Analysis of the Corbels of Chartres Cathedral." Master's thesis, Temple University Libraries, 2013. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/216674.
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Art HistoryM.A.
The numerous figurated corbels of Chartres Cathedral were inscribed with semiotic content. Works in this genre were formerly disregarded by researchers because of their perceived lack of meaning. Trends in modern scholarship have challenged this misconception, and recent technological innovations have facilitated the study of these objects. The category would be more appropriately termed "secondary" rather than" marginal," as the former offers a semantically unencumbered assessment of the role of these sculptures. Originally designed for the cathedral's twelfth-century western complex, the corbels were likely members of a series that encircled the entire perimeter of the building. The use of human and animal head motifs for their decoration exemplifies a pervasive historical practice in architectural sculpture. The preservation of the corbels in the Gothic reconstruction of the cathedral substantiates their significance to medieval viewers. Study of the surviving pieces is complicated by the loss of the contextual framework provided by the remainder of the series. The examination of material evidence indicates a record of artistic engagement with these works. Iconographic analysis of individual corbel images reveals both correspondences with the thematic context of the primary sculptural program and independent signification. This project is intended as a useful starting point for additional inquiry, as investigations of secondary sculpture at other sites may bring new insight to its manifestations at Chartres.
Temple University--Theses
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Garlake, Peter Storr. "Rock art in Zimbabwe." Thesis, SOAS, University of London, 1992. http://eprints.soas.ac.uk/29499/.
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This work is based on the comparative iconographic analysis of a distinct corpus of paintings within the Later Stone Age, Bushman or San art of southern Africa. They are distinct from the rest of the paintings of the region in age, numbers, variety, complexity and density. It defines in detail the principles that determined the form of the paintings - where the primary concern was to depict objects through outline alone - and the canon - the very restricted range of subjects that were depicted. It demonstrates that the human imagery established a set of archetypes, expressing concepts of the roles of men and women in the community through a set of readily legible attributes. The art was thus in essence conceptual and, of its nature, not concerned with the individual, illustration, narrative, documentation or anecdote. Within this framework, the paintings focused on concepts of the various forms and degrees of supernatural energy or potency that all San have believed to be inherent in every person. Further studies demonstrate how large and dangerous animals, particularly the elephant, were conceived as symbols of potency and their hunting as a metaphor for trance. Compositions based on oval shapes and the dots within and emanating from them are shown to be further symbols of aspects of potency. Many recurrent and hitherto ignored motifs attached to human figures are shown to be a graphic commentary on the metaphysics of the archetypes. The study is set in the context of the archaeology of the sub-region, recent studies of San concepts, perceptions and beliefs, a review of previous research, and a critique of influential recent South African work which first integrated paintings with San beliefs.
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Claxton, Justin. "An iconological analysis of British gold staters, c.80 BC - AD 45." Thesis, University of South Wales, 1999. https://pure.southwales.ac.uk/en/studentthesis/an-iconological-analysis-of-british-gold-staters-c80-bc--ad-45(bacf2f65-3237-4bcc-8bf9-b3a3c4276257).html.
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The thesis examines c. 280 forms and motifs derived from a reconstruction of 93 gold stater types struck within 7 geographical regions across southeastern England, c. 80 BC - AD 45. The thesis highlights the emerging presence of an iconographic repertoire across southern Britain during the late pre-Roman Iron Age. Gold staters remain an important aspect of this phenomenon which is demonstrated to have manifested itself in other media, particularly metalwork. That this new art form supplemented, but did not supplant, existing types of non-representational La Tene style art is suggested by the presence of other types of object that continue to be decorated in this fashion throughout the first century AD. In the absence of any other type of established or coherent methodology Erwin Panofsky's (1993, 1972) method of iconographic analysis is adopted in order to provide a framework for the analysis. Whilst retention of Panofsky's three 'Acts of Interpretation' can be justified, a post-structuralist critique of Panofsky's method exposes fundamental theoretical shortcomings with regards the interpretation of meaning. In contrast to preceding interpretations of iconographical data, inferences are made upon the basis of lan Hodder's (1995, 1986) 'context of use' of other types of comparable forms and motifs within the archaeological record. The iconological content of staters is interpreted in terms of a transition, c. 20 BC - AD 10, from the expression of corporate or public ideals in a 'tribal periphery' to the manifestation of personal or private concerns in the southeastern 'core'. This divergence coincides with the emphasis placed upon the relative 'monetary' or 'political' roles performed by coinage within these regions. From the context of the forms or motifs illustrated on staters it is concluded that such images were appropriated by members of a minority social elite to legitimise and maintain their position at the apex of a social hierarchy.
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Richmond, Jennifer Lynn. "Iconographic Analysis of the Armadillo and Cosmic Imagery within Art Associated with the Armadillo World Headquarters, 1970 - 1980." Thesis, University of North Texas, 2006. https://digital.library.unt.edu/ark:/67531/metadc5491/.
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This thesis draws upon recent, art historical scholarship in iconography and semiotics to identify and analyze key images in an iconographic program associated with murals, paintings, and posters related to the Austin, Texas music venue, the Armadillo World Headquarters, 1970-1980. Resources include South Austin Museum of Popular Culture, the Center for American History at the University of Texas, Austin, personal communications, and publications concerning the artists, music and history of Austin and the Armadillo World Headquarters. There are five chapters as follows: Introduction, History of the Armadillo World Headquarters, Analysis of the Armadillo Mural and Freddie King Painting, Analysis of Posters for the Grand Opening and the Michael Murphey Cosmic Cowboy Concert, and Conclusion.
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Klingbeil, Martin Gerhard. "Syro-Palestinian stamp seals from the Persian Period (538-332 B.C.): an analysis of their iconographic motifs and inscriptions." Thesis, Stellenbosch : University of Stellenbosch, 1992. http://hdl.handle.net/10019.1/1950.
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Thesis (MA (Ancient Studies)--University of Stellenbosch, 1992.In the course of this M.A. thesis, 65 stamp seals (conoids, scaraboids, signet rings and scarabs) have been collected, described, and analyzed. They stem from legal archaeological excavations in Syro-Palestine, and have been found in strata and contexts which can clearly be ascribed to the Persian period. Methodological questions were addressed, including the following: historical outline of the Persian period, geographical limitations of the study, archaeological considerations, and the iconographic and epigraphic aspects of the study. For the description process, a computerized system was developed, by means of which the seals could be described on three levels: general description, element description, modification description. In this way, a uniform way of handling the data was achieved. The description procedure is reflected in the fonn of a catalogue. In order to facilitate the analysis, the seal corpus was organized in three, at times overlapping, classes: iconographic seals, epigraphic seals, and hieroglyphic seals. The different classes were then analyzed according to their peculiarities, e.g. geographical distribution, iconographic motif groups, palaeography, onomastica, etc. It was shown that the corpus of stamp seals from the Persian period consists of a wide variety of objects in tenns of form and content, and could by no means be characterized as being homogenous. A certain relationship between geographical origin, fonn, and content of the seal could be established.
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Robinson, T. P. E. "Cords of time : an iconographic analysis of the flat two dimensional knot in the context of classic period Maya representation." Thesis, University College London (University of London), 2014. http://discovery.ucl.ac.uk/1427442/.
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In his book 'A Study In Maya Art And History: The Mat Symbol', Robicsek draws our attention to what he considers to be a well-defined group of motifs represented on Maya artifacts, and which he diagnoses as mat symbols (Robicsek 1975: 17). Robicsek identifies forty three varieties of mat-symbols which he organizes into four sets based on their design (Robicsek 1975: 186). The first design ‘consists of two bands of equal lengths twisted around each other’ (Robicsek 1975: 187), whilst the second conforms to the first design except that the twists are ‘enclosed within a medallion-like frame’ (Robicsek 1975: 187). The third design is an ‘interwoven design, which shows not only simple twists, but also a more intricate “in-and-out” pattern’ (Robicsek 1975: 187). The fourth he terms a ‘decorated design’ resembling the first with the exception that ‘circular motifs’ (Robicsek 1975: 187) are shown as attached to the twists. The third set, the motifs with an interwoven design are the items which interest me and which form the subject of this research. I have identified these motifs as representations of knots and propose that they should be categorized―based on their shared characteristics which I describe in Chapter Four―as members of a particular type of knot. The focus of this research is therefore not Maya knots per se but rather a particular knot type characterized by an interwoven design. Knots are constructed from perishable material, which does not survive in the archaeological record; therefore my dataset comprises representations of knots pictured on different media such as ceramics, sculpture, monuments and architecture. Because knot representation is richest in the Classic Period, this is the time period on which my research focuses. I propose that how or where this particular knot type was displayed was not arbitrary, but rather reveals intentionality; the implication is that knot motifs were vehicles for the communication of certain ideas or concepts and as such were infused with meaning. This position is supported by the research set out in Chapter Three which looks at the use of knots by different cultures over time and through space. Recovering meaning involves an analysis of the relationship between the knot representations and the items or personages, such asthrones or deities, which display the knots. Also entailed is a consideration of when (the date of the representation) and where (which sites), the knots were displayed. By means of these analyses an understanding is gained of the knot, based on its relationship with people and things over time and through space. The identification of one group of Robicsek’s purported ‘mat motifs’ as knots serves to open the door to more rigorous analysis. As a first step in unraveling and deconstructing Robicsek’s ‘mat symbol’ hypothesis, it is hoped that this work will inspire further research on the remaining motifs which are still erroneously interpreted as ‘mats’.
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Reynolds, Patrisha. "Temporal trends in grave marker attributes an analysis of headstones in Florida." Honors in the Major Thesis, University of Central Florida, 2012. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/607.
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Grave markers reflect a wealth of information and collectively epitomize society's historic, social, and economic patterns over time. Despite an abundance of cemetery research in other parts of the country, little research has been undertaken to evaluate grave marker attributes in Florida. The purpose of this research was to determine how grave marker attributes have changed over time in north-central, central, and southeast Florida. Data were collected from ten cemeteries in five counties in Florida, representing the grave markers of over 1,100 individuals. Data collection involved visiting each cemetery, photographing markers, and cataloging grave marker attributes. Attributes analyzed included marker type, marker material, epitaphs, iconographic images, memorial photographs, footstones, and kerbs. A number of important trends were noted. Marker material exhibited the clearest example of a temporal trend, shifting over time from 73% marble to 73% granite. Marker type varied greatly from upright and flat ground markers to a variety of customized markers and vaults. Cultural differences were also noted with in-ground vaults dominating traditionally black cemeteries. There were clear differences in marker style between affluent and less affluent cemeteries, with numerous hand-cast cement markers observed in less prosperous areas. Furthermore, beginning in the early 1980's there is an increase in customized laser engraved markers. Overall, Florida's cemeteries offer a rich history of the state's mortuary practices and further research should be conducted to preserve this history.B.S.
Bachelors
Sciences
Anthropology
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Strumwasser, Gina. "Heroes, heroines and heroic tales from the Old Testament : an Iconographic analysis of the most frequenly represented Old Testament subjetcs in Netherlandish painting, ca. 1430-1570 /." Ann Arbor (Mich.) : University microfilms international, 1987. http://catalogue.bnf.fr/ark:/12148/cb355355709.
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Chamas, Fernando Carlos. "A escultura budista japonesa até o período Fujiwara (552 -1185): a arte da iluminação." Universidade de São Paulo, 2006. http://www.teses.usp.br/teses/disponiveis/8/8157/tde-09112007-150941/.
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O budismo, como o xintoísmo, é um dos alicerces religiosos da sociedade japonesa. Sua grande propagação no Japão dependeu muito da importação e enorme produção de imagens budistas que não se restringem apenas a representações do buda histórico. Por aproximadamente treze séculos, o estilo das estátuas búdicas passou por transformações que buscavam um estilo próprio japonês, atingindo o seu auge no período Heian (794~1185). Este trabalho é uma apresentação dessas transformações estilísticas e segue uma metodologia que visa a cercar o objeto \"escultura budista japonesa\" em todos os seus ângulos, a saber, abrangendo templos, técnicas e materiais, sua relação com a história do Japão, as doutrinas budista e xintoísta e a categoria das imagens.Buddhism is one of the religious pillars of Japanese society together with Shintoism. The large Buddhist propagation on Japan depended very much on the importation and the big production of Buddhist statues which were not only representations of the historic Buddha. For about thirteen centuries, the statues style suffered changes that searched for a proper Japanese style and attained its peak on Heian period. This work is a presentation of those stylistics changes and follows a methodology that intends to approach the object \"Japanese Buddhist sculpture\" from all angles, which is to say, it comprehends temples, techniques and raw materials, its relation with Japanese history, Buddhist and Shintoist preachings and image categories.
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Hajji, Jamel. "Conflits et amours mythiques représentés sur des mosaïques de l’Afrique proconsulaire du Bas-Empire : fin du IIIe siècle – début du Ve siècle." Thesis, Lyon 2, 2009. http://www.theses.fr/2009LYO20043.
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Cette étude cherche à appréhender la place qu’avaient occupée les Conflits et les Amours mythiques dans la mosaïque de l’Afrique Proconsulaire au Bas-Empire (fin du IIIème - début du Vème siècle). Aussi, savoir la nature des sujets, les modalités d’assimilation figurative, l’évolution des concepts, ainsi que les rapports qu’auraient eus les mosaïstes ou les commanditaires avec une culture considérée comme étrangère. Pour chaque mosaïque sont mis en évidence les apports respectifs de l’iconographie et de la littérature. Les composantes structurelles et conjoncturelles de chaque image, à savoir le cadre de l’action, les personnages, les modèles et les formules iconographiques, ainsi que les modalités de mise en scène, sont examinés de plus prés. s’interrogeant sur l’insistance des empreints, l’interchangeabilité entre thèmes, nous remettons en question des idées devenues avec le temps comme des dogmes, telle la totale dépendance de la mosaïque de l’Afrique Proconsulaire aux tendances artistiques de l’époque et son incapacité à se détacher de l’hégémonie des arts dits majeurs, et nous montrons que les mosaïstes africains ne sont pas de simples imitateurs, mais de véritables novateurs. D’autres approches sont nécessaires pour mettre nos mosaïques dans leurs contextes architecturaux et décoratifs d’origines. Ceci permettant d’aborder les problématiques liées aux relations sémantiques, vise à connaître les modalités d’insertions utilisées dans le reste de l’Empire, mais aussi de s’interroger sur la validité de certaines idées, comme l’existence d’une codification régissant les scènes représentées et les contextes architecturaux.Enfin le replacement de la mosaïque, et à l’intérieur d’une production artistique englobant toutes les autres disciplines, et la prise en considération de toutes les particularités, géographiques, historiques, sociales et culturelles de l’Afrique romaine au Bas-Empire, montre qu’il est difficile, voire impossible, de mesurer le rapport exact entre fonction administrative, statut financier et niveau culturel des commanditaires. Au lieu de continuer de parler de l’existence d’une même et une seul culture élitiste à laquelle adhère tous les aristocrates de l’Empire, il serait nécessaire de surpasser certains a priori et parler de diversités et de différences que de ressemblancesThe object of this thesis is the review of the conflicts and mythological love endeavors depicted in the Africa Proconsularis mosaics in the Late Antiquity period. In the meantime, one of the main aims is the study of the subject of the mosaics, the manners of the figurative assimilation, the evolution of the concept, and also the relation between the mosaic makers and a culture considered as a foreign one.For each mosaic are highlighted the respective contributions of the iconography and literature. The structural and conjectural components of each image, meaning the setting of the actions, the characters, the models and the iconographic formulas, and the methods of the production are examined more narrowly; questioning the insistence of imprints, interchange- ability between subjects. We are putting into question theories which has become over time as a dogma, such as the total dependence of the mosaic of Africa Proconsularis to the artistic trends of the time and the inability to separate from the hegemony of the arts alias the major; and we will try to demonstrate that the African mosaic makers were not mere imitators, but truly innovators.Moreover, other approaches are needed to put the mosaics within their architectural and decorative context. These approaches will allow addressing issues related to semantic relations, aiming to find out the modality of the insertion in the rest of the Empire, but also to investigate the validity of certain theories, such as the existence of a codification as a regulator linking the scenes presented and the architectural contexts.Finally, the replacement of the mosaic, in the artistic production encompassing all the other disciplines, taking into consideration all the geographical, historical, social particularities, and the cultural aspects of Roman Africa during the Late Antiquity, which give evidence that it is difficult or impossible to measure the exact relationship between administrative function, financial status and cultural level of the elite sponsors. Instead of, continuing to discuss about the existence of only an elitist culture that adheres to all the aristocracy of the Empire, it would need to exceed some a priori and talk about diversity and differences rather than only similarities
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Salvo, Giulia. "Miti ovidiani nel repertorio funerario romano: la produzione di sarcofagi." Doctoral thesis, Università degli studi di Padova, 2014. http://hdl.handle.net/11577/3423577.
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The main aim of this work is to give a reading of the mythological narrative sarcophagi production in Roman Imperial period, in the light of Ovid’s Metamorphosis text. The work is part of a wider branch of research focused on the analysis of the value that literary texts assumes in the reconstruction of ancient world figurative culture. These themes have been given particular importance by the MArS project (“Ovid’s Metamorphosis: myth, art, society”). Aim of this project is the analysis of Roman first Imperial period figurative repertory (especially paintings and glyptic) in relation to Ovid’s poem. In particular, the purpose is to highlight and understand the existing points of contacts between these two narrative levels. Compared to these analyses, the specificity of the present work is to be focused on a specific category of materials – sarcophagi – whose production comes later than the poem. Through the comparison between Metamorphosis descriptions and depictions on sarcophagi, the work tries to identify the existence of an “Ovidian success” in funerary productions. Its specific purpose is to understand the ways of interaction between the two narrative levels (literature and images) belonging to different historical contexts. Another purpose is to understand the ways – including the ideological ones – that ratify the success or the oblivion of certain myths. A “figurative” analysis of Metamorphosis was made, in order to identify the passages characterized by descriptions. These passages were then compared with the reliefs on sarcophagi. For every myth, the analysis was supported by a careful re-examination of the literary tradition – in order to understand if and where Ovid acted as an innovator – and of the figurative repertory. In some cases, the work led to the identification of clear links between the two narrative levels. Depending on their characteristics, these links were classified as “Ovidian” markers, situations and iconographies. These relationships, rather than testifying the existence of an Ovidian influence in the creation of funerary figurative repertory, led to the identification of a common figurative tradition, that the poet knew and that later emerged into the funerary repertory. This unexpected situation gave the chance to deepen the understanding on the ways of circulation and formation of sarcophagi repertory.Il presente lavoro ha come scopo la rilettura della produzione di sarcofagi mitologici a carattere narrativo di età imperiale alla luce delle Metamorfosi di Ovidio. Esso si inserisce all’interno di un più ampio filone di studi volto a indagare la valenza che la letteratura assume nella ricostruzione della cultura figurativa del mondo antico. A questo tipo di ricerche ha dato ampio spazio il progetto MArS (“Le Metamorfosi di Ovidio: mito, arte, società”), volto a indagare il repertorio figurativo della prima età imperiale (con particolare attenzione alla pittura e alla glittica) in rapporto al poema, per evidenziare i punti di contatto tra i due piani narrativi e definirne le motivazioni. Rispetto alle analisi già avviate, il presente studio concentra l’attenzione su una classe di materiale, i sarcofagi, successiva all’edizione del poema, tentando di individuare, attraverso il confronto tra le descrizioni delle Metamorfosi e le raffigurazioni, l’esistenza di una “fortuna ovidiana” nella produzione funeraria. Lo scopo è chiarire le modalità di interazione tra due repertori (letteratura e immagini) appartenenti a contesti storici differenti e, di conseguenza, comprendere i meccanismi, anche ideologici, che decretano la fortuna o l’oblio di determinati miti. Si è dunque proceduto a un’analisi “figurativa” del testo del poeta, per isolare i passi a carattere descrittivo, e a un successivo raffronto con i rilievi dei sarcofagi. Per ogni mito le indagini sono supportate da un accurato riesame della tradizione letteraria che tratta di quella specifica storia, per capire se e dove Ovidio innovi, e del repertorio iconografico precedente. Le analisi così condotte hanno permesso in alcuni casi di riconoscere dei legami precisi tra i due piani narrativi, classificati, a seconda delle caratteristiche, come indicatori, situazioni e iconografie ovidiani. Tuttavia tali rapporti, più che recare testimonianza di un’influenza di Ovidio nella creazione delle iconografie legate al mondo della morte, hanno semmai permesso di riconoscere la presenza di una comune tradizione iconografica, nota al poeta e rifluita successivamente nel repertorio funerario. Questa inaspettata situazione ha offerto la possibilità di riflettere in maniera più ampia sulle modalità di circolazione e formazione del repertorio di sarcofagi.
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Oliveira, Antonio Carlos de. "PAINÉIS RELIGIOSOS EM GOIÂNIA: A ARTE DE WILSON JORGE." Pontifícia Universidade Católica de Goiás, 2012. http://localhost:8080/tede/handle/tede/2244.
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Previous issue date: 2012-12-13Among the topics involving art, the question of artistic production, valued and secreted in Catholic churches has been studied by various art professionals and related fields. Among the many issues discussed was realized that art appreciation is caused by its location, ie, the more perceived by the public, greater the understanding of the message that the artist sought to convey. Being the art market the controller of the value of an artistic work, very often the access to art works becomes restricted to a few observers. This way, for most of the people, the appreciation of an artwork with authentic quality becomes inaccessible. From this issue, this study analyzed the creative process of religious artworks performed on the panels visible on the walls of the temple belonging to the Catholic Parish St. John the Evangelist, located at the University Square, in Goiania-GO, available to the public appreciation . In that temple is exposed the artwork produced by painter George Wilson, a painter who gathers the recognition of this community. Thereafter, it was emphasized the analysis of the main panels, such as the figure of Jesus Christ at the moment of the "Transfiguration" and the image of the Apostle "Saint John the Evangelist". For the accomplishment of this analysis, it was used the researches in books that deal with this subject, written by renowned researchers, the testimony of the painter, photographs and field visits. Based on the data and information collected, it was possible to reveal the iconography and iconology existing behind those panels. This study revealed the main aspects of the artistic work of religious art produced by artist, this work, which has specific goal, ie the religious orientation directed to all visitors of that space.
Entre os temas que envolvem a arte, a questão da produção artística, valorizada e segregada nos templos católicos tem sido objeto de estudo de vários profissionais da arte e áreas afins. Entre as varias questões analisadas percebeu-se que a valorização da arte é ocasionada pela sua localização, isto é, quanto mais percebida pelo público, maior o entendimento da mensagem que o artista procurou transmitir. Sendo o mercado da arte o controlador do valor de uma obra artística, muitas vezes o acesso à arte torna-se restrito a poucos observadores. Ficando assim, para a maioria do público inacessível a apreciação de um trabalho artístico autêntico e de qualidade. A partir dessa problemática, o presente trabalho analisou o processo criativo das obras religiosas realizadas nos painéis visíveis nas paredes do templo católico pertencente à Paróquia São João Evangelista, situado na Praça Universitária, na cidade de Goiânia, Go, visível para apreciação do público em geral, neste templo está exposto o trabalho artístico produzido pelo pintor goiano Wilson Jorge. Assim sendo, enfatizou-se a análise dos principais painéis, tais como: a figura de Jesus Cristo no momento da Transfiguração e a imagem do apóstolo São João Evangelista . Para a realização desta análise, recorreu-se a pesquisa em livros que abordam essa temática, escritos por pesquisadores renomados, depoimento do pintor, fotografias e visita a campo. A partir dos dados e informações levantadas, foi possível revelar a iconografia e a iconologia existentes nos referidos painéis. Esse estudo revelou os principais aspectos artísticos da obra de arte religiosa produzida pelo artista, trabalho este, que possui objetivo específico, isto é, a orientação religiosa direcionada para todos os frequentadores desse espaço.
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Slioa, Silvia. "Visuella rekonstruktioner av skulpturer i Assurnasirpal II:s tronsal och utställningstekniker på British Museum." Thesis, Uppsala universitet, Konstvetenskapliga institutionen, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-296398.
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The purpose of my study is to analyze Assyrian sculptures in the palace of Nimrud from throne room of Aššur-nāṣir-apli northwest palace. My research will be to compare sculptures with a theoretical as well as practical issue in the design of the galleries. Images of supernatural beings would be set up at entrances to palaces and temples. Assyrians called sculptures Lamassū (from written Sumerian references LAM(M) (A) lord of horizons, guardian of the Assyrian Gate. Lamassū are both flanked at the doorways from the throne room of Aššur-nāṣir-apli`s northwest palace. The exact meaning is not clear, but Lamassū can be taken as representing an Assyrian protective divinity. The first method in my analysis combines the need to establish the subjective meaning of objects as objective reality that is their meaning for digital design. My thesis aims to define a specific iconographic theme, centered around sculptures based on similarities in the composition of each scene in the selection of images on monuments in Nimrud. Digitalization projects provide an angle from mergers areas as architecture and archeology through images. With the project historians can use traditional documents and images to reconstruct the past and palaces. The analysis takes as an example of the importance of Digital archeology in understanding the role of artefacts and the role as a function of the specific purpose or activities for which such present or used in museums. We construct meaning as the basis for action, and not only from concrete material, but also from the matrix of symbols that are available from within culture to interpret the substantive conditions. Digital archeology is associated with technology that provides a picture of the physical environment. The digital images show the limit between design of the architectural spaces from the British Museum and the old spaces in Nimrud.
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Werner, Xenia. "Marian typology an analysis of hymnography and iconography /." Theological Research Exchange Network (TREN), 1999. http://www.tren.com.
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Ponchia, Chiara. "Frammenti dell'Aldilà. Immagini nella Divina Commedia nell'Italia settentrionale del Trecento." Doctoral thesis, Università degli studi di Padova, 2014. http://hdl.handle.net/11577/3423513.
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The scope of my thesis is to analyze the genesis and the development of the Divine Comedy illustration in Northern Italy during the XIV century.
In section 1 I present the most representative manuscripts, that I selected because of the great number of illuminations and because of the particular iconographic solutions they present. Section 2 is dedicated to the analysis of the different illuminated images created by the first Divine Comedy illuminators to represent the main characters of Dante’s poem and the landscapes of the three Realms. In my analysis, I pay particular attention to the sources, visual and textual, that inspired illuminators when they had to face the difficult challenge of illustrating a new text with no previous iconographic tradition.
In section 3 I analyze the relationship between text and images in the manuscripts chosen for my thesis. Also in this case, I pay great attention to the possible sources that may have inspired illuminators. Concerning this, medieval novel illumination turned out to be a very fruitful field of investigation, as the spread of illuminated novels in Northern Italy at the beginning of the XIV century seems to have been one of the main incitements for the development of a narrative pictorial style.Il mio lavoro ha come oggetto la genesi e lo sviluppo dell’illustrazione miniata della Divina Commedia nell’Italia nord-orientale nel XIV secolo. La tesi muove dall’individuazione di un corpus di manoscritti significativi per numero di immagini e tipologie illustrative impiegate. Ai manoscritti principali è dedicato un capitolo di approfondimento finalizzato soprattutto a rilevare le principali problematiche storico-artistiche ad essi correlate. Particolare attenzione è dedicata all’Egerton 943, per il quale si propone una nuova datazione. Il lavoro prosegue con un’attenta analisi delle soluzioni adottate dai miniatori della Divina Commedia per illustrare un testo nuovo e pertanto privo di una tradizione iconografica consolidata. Ampio spazio è dato allo studio delle fonti, visive e in alcuni casi testuali, cui si rivolsero i miniatori in cerca di ispirazione, partendo da alcuni affondi analitici sulle iconografie adottate per raffigurare i personaggi principali, quali ad esempio Caronte e Minosse, per poi passare allo studio dei modelli visivi scelti per ricreare le ambientazioni di inferno, purgatorio e paradiso. Allo studio della figurazione si aggiunge poi l’analisi delle principali forme di rapporto testo-immagine nei codici padani della Divina Commedia. Anche in questo caso vengono prese in esame le possibili fonti, attraverso un’approfondita ricognizione delle principali tipologie di racconto per immagine riscontrabili nell’Italia nord-orientale tra la fine del Duecento e l’inizio del secolo successivo. In particolare, si è rivelato proficuo lo studio dei codici cavallereschi, che paiono essere l’ambito privilegiato di elaborazione dei principali sistemi impaginativi che saranno poi impiegati nei più antichi testimoni settentrionali del poema.
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Falvey, E. "New York City in early films : an iconographical and iconological analysis." Thesis, University of Exeter, 2019. http://hdl.handle.net/10871/35497.
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Accounts of early film have more often than not tended to observe the period less in regards to the films produced and more in a way that privileges formal developments, modes of exhibition, and audiences as the primary subjects of their investigations. This thesis aims to restore a critical interest in the films themselves as complex vessles of protean cultural meaning by placing them, and the city they capture, at the epicentre of a network of images and ideas concerning modern life. This thesis employs the early films of New York as a means of evaluating the multifaceted and multifarious ways in which modernity was impacting upon the city during the period of film's cultural ascension. By surveying a large corpus of films with an oft-neglected method, this thesis finds that many of the films capture aspects of the radically transforming city in their iconography in ways which foreground modernity's considerable impact upon the city and, contingently, modern life. This thesis applies an extensive iconographical-iconological method to the early films of New York to assess the ways in which the emerging medium enshrined the architectural, technological, and social transformations that the city fostered in light of modernity. This thesis consists of three large chapters that focus firstly on modernity's impression on New York during the period mostly associated with actuality filmmaking, secondly on the city's diverse social transformations that were articulated in early fiction filmmaking, and finally on the ways in which Coney Island on film embodies many of the principle ideas discussed throughout the preceding chapters. The research carried out over the course of this thesis demonstrates the ways in which the city was positioned as a primary subject of early New York film and anticipates the ways in which the city would come to figure as a primary structuring principle for filmmaking throughout the century.
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BARRY, YAYA. "Representations of British Salafi Responses to the 7/7 Bombings : An Iconographical Analysis." Thesis, Uppsala universitet, Teologiska institutionen, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-230208.
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Mainstream media has markedly depicted Salafism in quite monolithic ways, giving an impression of uniformity in ideology and practice of this community. This picture has moreover been framed in particularly negative ways when destructive phenomena like transnational terrorism, violent Jihadism and radical insurgency are closely associated with the movement. I decided to study how British Salafist responses to the London 7/7 bombings have been represented. The aim has been to study how such an atrocious act with the capacity to divide society has stimulated the will to live in peace or conflict; and moreover, I aim to look at how these responses have been portrayed by Salafis themselves over against the depictions given by mainstream media. I have however chosen to focus on the visual iconographic representations of these responses because I found them intriguing: “a picture paints a thousand words.” The thesis conducts a critical discourse analysis of these visual representations of Salafist responses to 7/7.
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Daunton, Claire Hilda Gabriel. "The Patronage and Iconography of Stained Glass in Late Medieval Norfolk : An Historical Analysis." Thesis, University of East Anglia, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.518351.
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Berry, Christine A. (Christine Alyce). "Juan Bautista Maino's Adoration of the Shepherds: An Analysis of Iconography, Iconology, and Style." Thesis, University of North Texas, 1998. https://digital.library.unt.edu/ark:/67531/metadc278375/.
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This thesis investigates the iconography, iconology, and style of Juan Bautista Maino s Adoration of the Shepherds (1615-1620) located at the Meadows Museum, Dallas, Texas. The study begins with an overview of general information on Maino and his works. Chapter 2 explores the evolution of the Adoration of the Shepherds depiction in art, while examining social and political factors which may have influenced Maino's iconographical choices. Chapter 3 is a comparative analysis of the Meadows Adoration of the Shepherds to two other Adoration of the Shepherds by Maino, revealing a stylistic progression and presenting an argument for the dates the Meadows painting was rendered. Chapter 4 reviews the findings and suggests further study on this and other paintings by Maino.
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Defrasne, Claudia. "Images gravées et corps de pierre : Fragments d'ontologie dans les Alpes centrales du IIIe millénaire av.n.è." Thesis, Aix-Marseille, 2013. http://www.theses.fr/2013AIXM3103.
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Les relations des sociétés préhistoriques à leur environnement constituent un aspect essentiel à leur compréhension. Cet engagement envers le monde s’exprime au travers des pratiques rituelles qui en dévoilent des accès autrement inaccessibles. Les Alpes centrales du IIIe millénaire av.n.è., insérées dans une Europe en mutation (traction animale et métallurgie du cuivre), ont livré un nombre considérable d’artefacts cognitifs. Stèles, blocs d’effondrement et parois gravés s’associent, au sein de sites cérémoniels à des dépôts de pierres aux formes allusives et lithologies particulières, à des dépôts d’objets, ainsi qu’aux résidus de l’activité métallurgique. L’iconographie gravée associe images d’objets nouveaux (poignards et haches en cuivre, hallebardes en silex ou en cuivre, objets textiles), d’ornements corporels, d’action aratoire et d’un nombre considérable de figurations animales. Les usages de la pierre, du métal, de l’araire et les interactions entretenues avec les espèces animales offrent différents canaux d’investigation des relations au monde des communautés chalcolithiques centre-alpines.L’objectif énoncé nécessite l’usage d’une analyse structurale des images seule à même de révéler des articulations essentielles des systèmes graphiques dont certains aspects sont ensuite interrogés à la lumière d’autres données archéologiques. L’image qui résulte de cette étude est celle de communautés pour lesquelles l’environnement ne semble pas constituer une réalité objectivée mais apparaît partie prenante des réalités socialesThe study of interactions between prehistoric human societies and their environments is a key area of research. This engagement with the world is expressed through ritual practices that provide access to otherwise inaccessible aspects of human culture. The Central Alps of the third millennium BC, situated within a European context that was undergoing important changes (animal traction and copper metallurgy) produced a significant number of cognitive artifacts. On ceremonial sites, engraved steles, rock faces and erratic blocs were associated with deposits of stones with allusive forms and specific lithologies together with objects. Some of these ceremonial site have also produced residues of the metallurgical activity.The engraved iconography combines images of new objects (copper daggers and axes, flint or copper halberds, textiles), body ornaments, plouging, and a considerable number of animal figures. The use of stone, metal, ploughs, and interactions with animals offer different means to access to relationships between alpine chalcolithic communities and their environment.The cited goal requires the use of a structural analysis of the images in order to reveal the essential aspects of the graphic systems. The Results are then compared with other archaeological data. The picture resulting from this study reveals communities in which the environment does not seem to be an objectified reality but an element that intersects with social realities
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Schader, Jo-Mari. "Psalm 47 - how universal is its universalism? An intra-, inter- and extratextual analysis of the poem." Diss., University of Pretoria, 2008. http://hdl.handle.net/2263/23102.
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The hypothesis of this study is as follows: If Psalm 47 is analysed intra-, inter and extratextually, we will be able to gain greater insight into the cultural and historical context in which it originated, the cultic use of the Psalm in later periods, as well as its general meaning. All this is done to determine whether there are any indications of universalism in Psalm 47 and that has indeed been found to be the case on various grounds. Each chapter deals with one of these aspects. Chapter 1 forms the introduction that stipulates the research question and how the study will go about resolving it. Chapter 2 focuses on an intratextual analysis of Psalm 47 in an attempt to determine the interrelatedness of all textual features (morphology, syntax, poetic stratagems, structure, genre) on the literary level. This analysis will aid the interpreter in establishing a structure of the text, suggesting one that could meet with relative consensus amongst some exegetes. It, in turn, forms the framework for the socio-historical interpretation of the text. Other interpretation problems such as its Gattung, Sitz im Leben and dating are also discussed in this section. Chapter 3 investigates Psalm 47 from an intertextual perspective. Attention is paid to similarities with other texts in the immediate and more remote context of the psalm. An intertextual analysis is conducted between Psalm 47 and Psalms 46 and 48, and a brief overview of intertextual relations between Psalm 47 and the rest of the Korahite Psalms are given. Here the study links up with a recent trend in Psalms research, namely to concentrate less upon individual poems and their so-called Sitz im Leben and more upon the composition and redaction of the Psalter as a book especially by focussing on concatenation of a psalm and the psalms which follow on it and precede it. Attention is also given to a spatial reading of these texts to understand how they fit into the Ancient Near Eastern spatial orientation, but also transcend it. Chapter 4 consists of an extratextual analysis of Psalm 47. It had three aims: First, to identify and explain terminology referring to patronage and how patron-client/vassal relationships functioned in the Ancient Near East. This was done through a socio-scientific investigation of the poem in its social context, in order to understand the behaviour of the different role-players in the psalm. Second, to identify and explain war terminology occurring in Psalm 47. Third, to “illustrate” the psalm by investigating Ancient Near Eastern iconography and art. The main goal of this chapter was to gain a clearer understanding of the relationship between Israel and her neighbours. Are the nations considered to be incorporated into Israel or do they function merely as a vassal to their patron in Psalm 47:10? Chapter 5 is a summary of the insights gained in the previous chapters. It critically discusses the results of the study, the conclusions reached, the contribution of this work to the field of study, areas opened for further research, and possible shortcomings in the researcher’s own approach. CopyrightDissertation (MA)--University of Pretoria, 2010.
Ancient Languages
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Tilakaratna, Namala Lakshmi. "Reviving the Nation: The discursive construction of national identity in Sri Lankan English Language textbooks." Thesis, The University of Sydney, 2016. http://hdl.handle.net/2123/15750.
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This study examines the way Sri Lankan national identity is construed in texts found in the local Grade 11 English Language textbooks that were produced during the ethnic civil war in Sri Lanka and which are still used in Sri Lanka today. The textbooks, created and published by the National Institute of Education, are used for teaching English as a Second Language to students across the public school system. The study uses a systemic functional linguistic (SFL) framework to explore how national identity is recontextualised in these texts for pedagogical purposes, examining the linguistic resources the texts draw on to discursively construct national identity. The thesis argues that within these texts, a homogenous Sinhala and Sinhala Buddhist identity is privileged and promoted as common to all Sri Lankans, while excluding the diverse ethnic, religious and cultural practices of minority ethnic groups in Sri Lanka. A selection of nine texts from the Grade 11 textbooks are analysed for text types and icons, to determine what kinds of texts are privileged in a pedagogic context and how these texts construe national identity. In order to identify the patterns of choices that create text types or ‘genres’ (Martin, 1992; Martin & Rose, 2008) and ‘icons’ (Martin, 2010, 2016; Tann 2010, 2014), the selected texts are analysed using the lexicogrammatical systems of transitivity and theme (Halliday & Matthiessen 2004) and the discourse semantic systems of Appraisal and periodicity (Martin & Rose 2007; Martin & White. 2005). Genre is used to explore the kinds of texts used in the service of national identity, while ‘iconography’ (Tann, 2010b; 2013) is used to explore how choices combine across lexicogrammatical and discourse semantic systems and are stabilised over the course of a text in construing communal identity. The analysis shows that while the focus of these texts appears to be on teaching students how to read and write valued text types in English, these texts are heavily dependent on shared understandings of socio-cultural, religious and cultural ethnic identity for making meaning. These socio-cultural meanings focus on projecting a homogenous national identity through the use of a number of ‘icons’ including valued people, things and activities that are representative primarily of Sinhala or Sinhala Buddhist nationalism. By examining national identity and its construction in the context of Sri Lanka, this thesis to contributes to the broader research area of nations, nationalism and national identity and uncovers how pedagogical texts contribute to the creation of a ‘national consciousness’ (Bernstein, 1996/2000). In addition, this thesis contributes to research that explores textbooks and their construction of identity in the field of English as a Second Language, and explorations of ‘the discursive construction of national identity’ (Hall, 1996) through the use of a socio-semiotic framework for the exploration of national identity. This study also contributes to the relatively new research on communal identity in SFL by examining its construal in pedagogical texts. In addition, it proposes an extension to the existing ‘iconography’ framework to account for the valued activities, or ‘rituals’, that affirm membership in a community. This study shows that in maintaining Sinhala Buddhist identity as the dominant identity, these textbooks shape the next generation of Sinhalese students to align with the ideologically motivated and symbolic disempowerment of minority ethnic groups in Sri Lanka.
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Jäger, Isabella. "The mirror in ancient South Italian funerary context : A study of the mirror’s function and symbolic meaning in graves in the Greek colonies Locri Epizefiri and Metaponto." Thesis, Uppsala universitet, Institutionen för arkeologi och antik historia, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-446074.
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The mirror appears frequently in funerary contexts in the Greek colonies Locri Epizefiri and Metaponto and this thesis endeavours to rebuild the contexts of these mirrors using the approach of contextual archaeology. To explore the mirror’s contemporary function and meaning within the burial record and to discern why mirrors appear within a funerary setting, a chain of contexts is followed from the archaeological material to iconographical analysis, to comparative archaeological data, widening the contextual circles step by step. In the first part, the appearance of the graves with mirrors in Locri Epiezefiri and Metaponto is examined. The result is then compared with the iconographical evidence and the comparative archaeological data. The thesis further examines the mirror’s female association and discusses how the colonies of Magna Graecia should be studied as a third culture in accordance with the middle ground. Based on the results from the analysis, the discussion argues for a connection between mirrors and the Orphic-Dionysiac-Pythagorean cult, especially pronounced in Magna Graecia during this period, but also possible ritualistic functions such as divination and the notion of “female knowledge”.
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Duquesnoy, Frédérique. "Apport des outils numériques et informatiques à l'étude des images rupestres du Sahara central : exemple d’application aux peintures de Séfar (Tasīli-n-Ăjjer, Algérie)." Thesis, Aix-Marseille, 2015. http://www.theses.fr/2015AIXM3122.
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Les répertoires iconographiques rupestres du Sahara central ont pâti du contexte historique et humain de leur découverte, puis de leur gestion tant scientifique que patrimoniale. Leur profusion et les difficultés du terrain saharien ont été et sont toujours des facteurs pénalisants, mais la méconnaissance dont souffrent encore ces productions des cultures préhistoriques, plus d’un siècle et demi après leur révélation, incombe clairement aux acteurs passés et présents de leur étude. Même si nous admirons ces images pour leurs qualités esthétiques, ce sont des vestiges archéologiques à part entière, devant être étudiés comme tels. De nos jours, les outils numériques et informatiques permettent, d’une part, d’améliorer quantitativement et qualitativement leur documentation grâce aux logiciels d’amélioration d’image utilisés pour l’enregistrement et le relevé ; d’autre part, d’interroger plus objectivement ces œuvres par le biais d’autres outils et de méthodes performantes d’analyse des données, au travers desquels leur différenciation stylistique peut être mise en évidence. L’application des démarches développées dans cette recherche à quelques parois ornées du site de Séfar, lieu emblématique de la Tasīli-n-Ăjjer (Algérie), montre que l’usage de ces outils, sous-tendu par des bases théoriques et méthodologiques rigoureuses, permet de proposer une nouvelle approche de ces images rupestres, plus conforme à leur nature de données scientifiquesThe rock images of the central Sahara have suffered from the historical and human context of their discovery and then from both their scientific management and their heritage management. Their abundance and the difficulties of the Saharan field have been and are still negative factors, but the lack of knowledge from which these productions of prehistoric cultures are still suffering more than a century and a half after their discovery, clearly falls to those studying them in the past and present. Even if we admire these images for their aesthetic qualities, these form an integral part of the archaeological remains and should be studied as such. Nowadays, the digital and computerised tools enable us, firstly, to quantitatively and qualitatively improve their documentation thanks to image enhancement software used for the recording and the tracing; secondly, to more objectively investigate these artefacts by using other effective data-analysis tools and methods thanks to which their stylistic differences can be highlighted. The application of the processes developed in this research to several adorned walls at the Sefar site, an emblematic area of the Tasīli-n-Ăjjer (Algeria), shows that the use of these tools, supported by rigorous theoretical and methodological basis, allows us to offer a new approach to these rock images, more appropriate to their characteristic of being scientific data
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Winquist, Marcus. "Konsten och den helige Antonius frestelse : En hagiografisk och ikonografisk studie." Thesis, Linköpings universitet, Institutionen för kultur och kommunikation, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-104194.
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Uppsatsen utforskar legenden om den helige Antonius frestelse och det intryck helgonberättelsen lämnat på konsten. En ikonografisk metod används för att beskriva den litteratur som skapat och utvecklat berättelsen och ur detta systematiseras de motiv som sedan översatts till bildkonsten. Genom att analysera nio olika avbildningar av Antonius skapas en kronologisk följd över hur skildringarna genomgått en transformation sedan 1500-talet.This thesis explores the legend of Saint Anthony and his temptations, and the impression his hagiography has left on the visual arts. An iconographic method is employed to investigate literature connected to the origin and later evolution of the story, which is used to classify motifs and concepts subsequently translated into painting. Via analysis of nine different depictions of Anthony, a chronological sequence is formed which lists the transformation these portrayals have undergone since the 16th century.
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Grinevičius, Andrejus. "Dailės tyrimų metodai kaip X - XII klasių mokinių meno istorijos pažinimą skatinantis veiksnys." Master's thesis, Lithuanian Academic Libraries Network (LABT), 2007. http://vddb.library.lt/obj/LT-eLABa-0001:E.02~2007~D_20070816_175920-00754.
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Daugelyje Lietuvos mokyklų vyrauja tradicinė ugdymo sistema, orientuota į žinių perdavimą. Tačiau šiais spartaus progreso laikais pilnavertis ugdymas negali likti vien tik žinių perdavimu pasyviai jas priimantiems mokiniams. Šiuolaikinis švietimas turi ugdyti proto aktyvumą. Jaunas žmogus privalo išmokti kritiškai mąstyti, žinoti loginio protavimo modelius, išmokti klasifikuoti, gebėti apibendrinti, kelti hipotezes. Pastarieji protavimo ypatumai yra būdingi X – XII klasių mokiniams, kuomet jų mąstymas pereina į formaliųjų operacijų intelekto stadiją. Klasikinės ugdymo sistemos, kurios remiasi žinių perdavimo principu yra taikomos ir meno istorijos pamokose. Pilnaverčiu mokslu ji tampa įgijusi sisteminį, metodinį meno reiškinių aiškinimo ir jų prasmės įžvalgų bei supratimo pavidalą. Meno istorijos X – XII klasių vadovėliai pateikia orientacinių nuorodų į meno istorijos sritį, tačiau nesuteikia informacijos ar pasiūlymų kaip toliau tyrinėti meno kūrinius, neskatina mokinių pasinerti į intelektualinę – kūrybinę veiklą. Būdama aprašomoji ir interpretacinė disciplina meno istorija nuolatos jaučia metodologinių orientyrų stygių. Iš čia kyla tyrimo problema - dailės tyrimų metodai kaip X – XII klasių mokinių meno istorijos pažinimą skatinantis veiksnys bei išskiriamas tyrimo objektas – dailės tyrimų metodų pažinimas, sąlygojantis meno istorijos pažinimą. Dailės tyrimų metodai: formalistinis, ikonografinis – ikonologinis, semiotinis, socialinis istorinis, hermeneutinis, - duoda meno... [toliau žr. visą tekstą]In many Lithuanian schools a traditional educational system which is oriented towards a conveyance of knowledge prevails. However, in the time of a rapid progress completely developed education cannot be just a conveyance of knowledge to school students who accept it passively. Contemporary education must train mind activity. A young individual must learn to think critically, be aware of models of logical cognition, and learn how to classify, to sum up, and to hypothesize. The latter cognition peculiarities are typical of school students of X – XII grades when their contemplation proceeds to the stage of intellect of formal operations. Classical education systems that are supported by the principle of a conveyance of knowledge are applied in the art history lessons as well. It becomes a completely developed study acquiring a systematic and methodical form of explanation of art phenomena and the insight and understanding of their meaning. Art history textbooks for X – XII grades provide leading references to the field of art history, but they do not provide any information or suggestions on how to analyze works of art, they do not stimulate school students to submerge in intellectual – creative activity. Since art history is a descriptive and interpretative discipline, the lack of methodological guidelines is constantly felt. This is the cause of the problem of the analysis - methods of fine arts analyses as a stimulating factor for knowledge of art history among school... [to full text]
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Bergman, Leo. "Färg och gestik i Sankta Anna-altarskåpet från Skånela kyrka i Uppsala Domkyrka." Thesis, Stockholms universitet, Konstvetenskapliga institutionen, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-104619.
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Syfte med uppsatsen har varit att undersöka färgens och gestikens påverkan på altarskåpets iscensättning av berättelserna och därmed även budskapet. Uppsatsen har ett bildsemiotiskt perspektiv som en utgångspunkt. Materialet för undersökningen är ett flandriskt altarskåp från Skånela kyrka som finns idag i Uppsala domkyrka. Skåpet är tillägnat Joakim och Sankta Anna. Undersökningen har avgränsats till att enbart analysera de sex skulpterade scenerna i korpusen. Analyserna har utförts genom en formell beskrivning och diskussion med hjälp av Lena Liepes lågikonografiska analys och med Norbert Ottos trestegsmetod för gestfunktioner. Lena Liepes metod och teori används som underlag för undersökningen. Undersökningen ansluter till Virginia Nixons forskningsarbete om Jesu mormor i kyrkokonsten. Det har konstaterats att färg- och gestikanalyserna möjliggör en nyanserad tolkning. Undersökningen har visat att färgen och gestiken är ett påverkningsmedel i syfte att leda betraktaren mot ett dolt budskap i bilden. Och att det finns en koppling mellan Skånelaskåpets budskap och den medeltida kvinnofientlighet som var rådande då. Annaskåpet innehåller budskap som präglas av den dåvarande barn- och kvinnosyner.Purpose of this essay has been to examine the color's and gesticulation's impact on the altarpiece staging of the stories and thus the message. The essay has a semiotic perspective as a starting point. The material for the study is a flemish altarpiece from Skånela church that exists today in Uppsala Cathedral. The altarpiece is dedicated to Joachim and St. Anne. The study has been limited to only analyze the six sculptured scenes in the corpus. The analyzes have been performed through a formal description and discussion by Lena Liepes low iconographycal analysis and with Norbert Otto's three-step approach for gesture features. Lena Liepe's method and theory was used as a basis for the investigation. The study connects to Virginia Nixon's research on Jesus' grandmother in church art. It was found that the color and gesticulation analyzes enables a nuanced interpretation. The investigation has shown that the color and gestures are an actuation in order to lead the viewer towards a hidden message in the picture. And that there is a link between Skånela altarpiece's messages and the medieval misogyny that prevailed then. Anne-altarpiece contains messages that are characterized by the contemporary child and female visions.
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Neuber, Michael. "Commedia del Conflitto." Doctoral thesis, Humboldt-Universität zu Berlin, 2018. http://dx.doi.org/10.18452/19120.
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Ausgehend von der Fragestellung, wie es möglich ist, dass der Körper durch bestimmte Erscheinungen und Handlungen zur Ressource visueller Kommunikation im Protest wird, leistet die vorliegende Dissertation zwei innovative Forschungsbeiträge: Zum einen wird die Rolle des Körpers in der Interaktionsordnung kollektiven Handelns theoretisch aufgearbeitet. Damit werden zwei miteinander verwobene Lücken im Bereich der Protest- und Bewegungsforschung adressiert: Die unzureichende Auseinandersetzung mit visuellen Aspekten der Aktivität sozialer Bewegungen und die, trotz einiger Aufmerksamkeit für soziale Inszenierung, weitgehende Ausblendung der Rolle des Körpers bei der Betrachtung von Bewegungshandeln. Zum anderen wird auf Grundlage der theoretischen Erkenntnisse eine Methodologie entwickelt, die sich besonders für die Erforschung von Körperlichkeit in Verbindung mit den Interaktionsdynamiken im Protest eignet. Den Körper operationalisiere ich als Visualisierungsmedium im Konzept des Bild-Körpers mit Anleihen bei der Bild- und Drama-Theorie. Die empirische Analyse von Videomaterial zu den Anti-Castor-Protesten in der Region Wendland (Deutschland) des Jahres 2008 zeigte, dass der Körper als Symbolträger in Mikrodramen - kurzen dramatischen Interaktionsfolgen - in Erscheinung tritt, über die der Protest selbst zum mobilisierenden Ereignis wird. Durch Mikrodramen werden die Akteure unmittelbar mit den Narrativen und Master-Frames des Protests verbunden. Der sonst rhetorische Konflikt zwischen Aktivisten und Protestadressaten wird physisch manifest in Zeit und Raum. Die Verkörperung normativ geladener Konstellationen von antagonistischen Charakteren ist dabei ein wesentliches Moment. Die notwendige Spannung wird durch die Kompositionen der Bild-Körper vor allem im Sinnbild der Grenzverletzung konstruiert, worin der Angriff und die Verteidigung des Körpers eine Verbindung zu den emotionalen Konstruktionen der Würde und des Anstands herstellen.By asking how the human body becomes a crucial resource of visual communication in protest, this research advances scholarship in two main ways. First, I theorize the role of the body in terms of its appearances and actions, and in relation to collective action. Despite some scholarship attending to performative politics, this inquiry addresses several gaps in the theorizing about social movements such as the visual and embodied aspects of protest. Second, to anchor my theorization of the socially and physically situated body, I develop a methodology for researching corporality in association with protest interaction dynamics. I identify and conceptualize the body as a medium of visualization, which I call the pictorial body. Linking the pictorial body concept to the interface between scripts, narratives, and genres (SNG complex) lends the analyses to accounts of visual and dramaturgical theory. Empirically, I use original video data of the 2008 Anti-Castor protest campaign in Germany's Wendland. Findings show that the pictorial body is a primary carrier of symbolism in protest micro-dramas - short dramatic interaction episodes between challengers, targets, and third parties. As the most proximate medium, corporeal mobilizing experience - the call for action - can be treated as an outcome of protest action rather than only as a precondition. I argue that the embodied nature of micro-dramas during protest directly connects actors to movement narratives and master frames by making physically manifest in both space and time what is otherwise a rhetorical conflict. The embodiment of normatively framed constellations of antagonist characters is essential to this. More specifically, a conflictual relationship was crafted primarily by the composition of pictorial bodies in images of border violations, in which the attack and defense of the body connects to the emotionalizing constructs of dignity and decency.
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"The gods in the Madrid Codex: An iconographic and glyphic analysis." Tulane University, 1996.
Find full textAbstract:
Substantial progress has been made during the past decade in our understanding of the deity figures represented in the Postclassic Maya codices. Many can now be identified with their counterparts in both the Classic and Colonial periods, whereas others can be linked to specific calendrical cycles. Research during the past century has moreover allowed the preliminary definition of relationships between various deities, although the task of quantifying these findings has just begun The goal of my study is to enrich our knowledge of the roles and relationships of the codical deities by quantifying the impressions of previous scholars. In order to address these issues, I have chosen to focus on the deities represented in the Madrid Codex (although data from the Dresden Codex were used for comparative purposes). Because it is less well known and less consistent than the other codices, the Madrid Codex was seen as providing a source of new information to be used in testing and formulating theories about the deity figures. I used a computerized database as a means of storing, accessing, and manipulating the large quantity of information contained in the manuscript. The following topics were considered: naming patterns (as expressed through name glyphs and attributives); contextual associations; and the distribution of various categories of attributes. Specific elements were examined both at the level of the individual and across deity lines, the first as a means to further refine our understanding of the roles of individual deities and the second to delineate relationships between and among the various figures. A similar approach has been applied successfully to certain sections of the Dresden and Madrid codices but never to an entire manuscript As a result of my study, I have established that what is seemingly a large pantheon of gods may actually represent various aspects or manifestations of a much smaller number of underlying deities, a pattern similar in many respects to that seen in central Mexico. My discussion focuses on defining links between individual deities, as well as identifying larger groupings, as a means of developing an explanatory model of deity relationshipsacase@tulane.edu
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Lee, Ping-Hsuan, and 李品萱. "Iconographic analysis of Goya''s paintings in the film Goya´s Ghosts." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/683kp7.
Full textAbstract:
碩士淡江大學
西班牙語文學系碩士班
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Goya´s Ghosts is a film directed by the Czech director Miloš Forman in 2006. Although the review of the film was mixed, but due to the relationship between the Spanish painter Francisco de Goya y Lucientes (1746 - 1828) and his unfortunate years, I''m pretty attracted to the movie. Goya paid much attention to critical and social issues, especially after Napoleon invaded Spain, he refused to be the painter of the court of Joseph I, Napoleon''s brother. Of course, director Miloš has his own preferences and opinions as he interprets Goya''s life; for this reason, I take the similarities and differences between the director and the painter, and capture the emotional tendency between the two as a starting point for the work. This thesis tries to explain the interpretation of Miloš on Goya in this film, in reference to the cultural context in which Goya created these paintings, highlighting the similarities and artistic differences between the two. That is to say, that Goya''s paintings that appear in Goya´s Ghosts will be the focus of the discussion of this work and, therefore, will serve as a way to interpret this film.
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Eiman, Simoné Marianne. "A visual semiotic analysis of the hidden meanings, myths and ideologies in Old Mutual South Africa's CSR 2.0 corporate advertising." Diss., 2017. http://hdl.handle.net/10500/23130.
Full textAbstract:
Abstracts in English and AfrikaansThe aim of this exploratory study was to investigate the underlying meanings of Old Mutual South Africa’s (OMSA’s) CSR 2.0 corporate advertisements. It specifically examined the underlying myths and ideologies conveyed through the texts. This qualitative study was conducted by means of a visual semiotic analysis (Machin 2012) on eight CSR 2.0 corporate advertisements, which were purposively selected. A theoretical framework to measure visual CSR 2.0 corporate advertisements was developed, which aided in the sampling, data analysis and interpretation processes. The findings of the study indicated that by positioning its CSR 2.0 positively in terms of change and transformation, progress and equal opportunities for all citizens, OMSA is fostering stakeholder-organisation relationships. In addition, it was also found that OMSA adopts established representational tropes of CSR 2.0 and use them repetitively that firmly entrenches the intended/encoded message to the viewer.
Die doel van hierdie verkennende studie was om die onderliggende betekenis van CSR 2.0 korporatiewe advertensies in Ou Mutual Suid-Afrika te ondersoek. Dit is spesifiek gemoeid met die onderliggende mites en ideologieë wat deur middel van die tekste oorgedra word. Die kwalitatiewe studie is uitgevoer deur middel van 'n visuele semiotiese ontleding (Machin 2012) op agt CSR 2.0 korporatiewe advertensies, wat doelbewus gekies is. 'n Teoretiese raamwerk, om visuele CSR 2.0 korporatiewe advertensies te meet, is ontwikkel, dit het bygedra tot die steekproefneming, data-analise en interpretasie prosesse. Die bevindinge van die studie dui daarop dat deur CSR 2.0 positief in terme van verandering en transformasie, vooruitgang, en gelyke geleenthede vir alle burgers te posisioneer, OMSA verhoudings met belanghebbendes kan bevorder. Daarbenewens is ook gevind dat OMSA gevestigde temas van CSR 2.0 implementeer en hulle herhaaldelik gebruik wat juis die beoogde / gekodeerde boodskap stewig aan die kyker bevestig.
Communication Science
M. A. (Communication Science)
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Decker, Kristen Marie. "The emblematic architectural decoration at the Château d'Anet of Diane de Poitiers : a catalogue and analysis." Thesis, 2012. http://hdl.handle.net/2152/ETD-UT-2012-05-5419.
Full textAbstract:
The Château d'Anet, France was a hunting lodge and familial residence commissioned and built in the years 1547 to 1555 at the behest of Diane de Poitiers, mistress of King Henri II. The architecture of the château incorporates a set of devices cultivated by Diane to establish an association between herself and Diana, the Roman goddess of the Hunt; these were the crescent moon, the bow and arrow, and Diane's own initials. Devices, which were personal marks chosen to distinguish an individual through the expression of some idealized element of character or aspirations, had primarily appeared at the French Renaissance court in jewelry, clothing, or art. Beginning in the late 15th century, the Valois kings Louis XII and François I took the practice a step further by weaving devices into the architectural fabric of their residences, where they appeared in entrances, walls, balustrades, and dormers; while drawing on this precedent, the Château d'Anet is the first example of a château commissioned by a woman that featured a program of personalized architectural decoration specific to her character, interests, and position. In this thesis, I will catalogue and analyze the emblematic architectural decorations that permeate both the exterior and interior of the structure, focusing on those examples embedded in the exterior stonework. This catalogue will, in turn, lead to an examination of the impact of this imagery on the overall experience of the château in the 16th century, and the influence the château may have had on the perception of Diane de Poitiers at court. By layering the qualities of the goddess over her own attributes, she was able to create a persona that meshed Diane with Diana; the skillful utilization of the aspects of the deity's otherworldly nature, such as her beauty, chastity, and mystique, was very useful in a court enamored with novelty and chivalric romance, where Diane's power and social position depended on her ability to retain the king's interest.text
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Khan, Sharlene. "A critical analysis of the iconography of six HIV/AIDS murals from Johannesburg and Durban, in terms of race, class and gender." Thesis, 2008. http://hdl.handle.net/10539/4694.
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ABSTRACT
This research report is a critical analysis of the iconography of six HIV/Aids murals from Johannesburg and Durban, in terms of race, class and gender. The six examples are community murals which were used as a social awareness tool to disseminate information on HIV/Aids to a supposedly highly illiterate Black audience public. This research focuses predominantly on the issue of stereotypes, and how certain societal stereotypes of Others are manifested in these HIV/Aids murals. My analysis also tries to make evident, how difficult it is for muralists to visually represent HIV/Aids facts, in addressing ‘high-risk’ groups. This report also tries to show that key issues of HIV/Aids transmission are often overlooked or omitted for various reasons. I argue that, given the importance of HIV/Aids murals as educative tools, muralists have to be made aware of their role in the possible perpetuation of societal racial, gender and class stereotypes, and how such perpetuation of stereotypes can contribute to the continued stigmatization of the disease.
The final chapter of this research examines my own practical work that was produced as a requirement for the MA (Fine Art) degree. It analyses my performance-exhibition Walking the Line. My commentary focuses on how the social phenomenon of street trade in the Johannesburg city centre and specifically the ‘refurbishment’ of the Johannesburg Fashion District influenced my art practice. My analysis is further extended to the use of my own body in the performance, to consciously engage notions of hybridized identity.
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Coetzee, Derick. "The impact of the symbolism and iconography of the Ankh, sun-disk and Wadjet eye on modern (“western”) society." Diss., 2017. http://hdl.handle.net/10500/23328.
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Ancient Egypt has long been a place of intrigue and mystery, being held in high esteem during ancient times. In modern times ancient Egypt has once again risen to such a position with many ancient Egyptian-based symbols and iconology being used in modern culture since its birth in the renaissance. Three easily identifiable and commonly used symbols are identified: the ankh, sun-disk and Wadjet Eye. This study attempts to evaluate and explore the extent of the influence of ancient Egyptian symbols and iconography on modern culture as a whole. This is achieved through emic analysis and comparative studies, comparing the context of the original ancient Egyptian symbols (in terms of their symbolic form, origins and meanings/usage) to the modern usage of the same symbols. A comparison between the contexts and usage of these three symbols in ancient Egypt and modern society shows that they are part of a wider trend of “romanticising” ancient cultures to “enchant” our modern culture.Old Testament and Ancient Near Eastern Studies
M.A. (Ancient Near Eastern Studies)
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Parker, MA. "Bringing the dingo home : discursive representations of the dingo by Aboriginal, colonial and contemporary Australians." Thesis, 2006. https://eprints.utas.edu.au/1196/2/02Whole.pdf.
Full textAbstract:
My thesis examines the discourse which has encoded the dingo since it arrived in Australia nearly five thousand years ago. While post-colonial theory has exposed the ideological structures and material practices which position indigenous peoples as "other" to the colonisers, most scholars have remained curiously silent when it comes to nonhumans. Animals now stand as the ultimate "other", denied a subjective life of their own, for their behaviour is usually read, as Helen Tiffin argues, "as having primary (and exclusive) significance for humans." The project of this thesis is to examine the narratives within which Australians have "trapped" their dingoes. My methodology takes as its starting point Foucault's theories which connect discourse and power.
The thesis is divided into three sections; Colonial Discourses, Aboriginal Dreaming and Contemporary Configurations. The colonial section asks how discourse forces the dingo to represent human fears and failings. I argue that a denigrating discourse is used to justify the ill treatment of the dingo, that discourse reveals little about the "real" dingo, and that there are similarities in the discursive treatment of dingoes and Aborigines. The thesis also acknowledges the dingo's attempts to slip through the gaps in the discourse "fence".
The second section researches traditional Aboriginal myths of the Dreaming Dingo. By encouraging the dingo to trot back to happier times, I allow the reader to step back also and assess Aboriginal representations of the dingo, arguing that these are based on an empirical knowledge of its habits and nature. I contend that in contrast to a colonial discourse based on difference, the Aboriginal narratives assume similarities to animals and the potential for crossovers. This section argues that a pragmatic Dreaming Dingo teaches humans to live harmoniously and cautiously in an environment which is both nurturing and dangerous.
Finally the dingo returns to the trail and trots into a place where practical knowledge of wilderness is negligible. The contemporary section of this thesis argues that in their longing to claim the dingo and its wildness for their emotional and spiritual needs, urban Australians generate a confused, incompatible and ignorant mix of colonial and Dreaming Discourse. The dingo in the National Park is required to carry an impossible discourse and it fails - biting the hands which feed it.
"Bringing the Dingo Home" reflects an exciting time as one more "other' breaks "the deafening silence" described by Wolch and Emel, and demands a position in post-colonial discourse. At last the discourse of the dingo can be foregrounded and its misrepresentations can be redressed.
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Peroutková, Jana. "Architektonická skulptura chrámu Matky Boží před Týnem na Starém městě pražském v lucemburském období." Master's thesis, 2014. http://www.nusl.cz/ntk/nusl-337635.
Full textAbstract:
This thesis looks into the analysis of iconography of the northern lateral portal of the Church of Our Lady before Týn. For this purpose this thesis summarizes the most important historiographical, Artististic Science and source literature related to this relic. Based on researched iconographic analysis this thesis aids to propose all possible solutions iconographic programme which could have been intended for this thesis. Based on the evaluation of literature, sources and on the formal analysis principal the objective of this thesis is to specify significantly problematic dating range (approximately from mid. 13th century up to late 1450) to shorter period of possible origin of the artwork there are also evaluated all available restauration reports and construction historical surveys related to the inspected relic.
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Kantorová, Aneta. "Panovník v roli autora: Obraz anglosaského krále očima soudobých umělců a společnosti." Master's thesis, 2015. http://www.nusl.cz/ntk/nusl-336503.
Full textAbstract:
The present thesis focuses on the importance of the written word as a ruling device of the Anglo- Saxon kings. Due to the availability of historical evidence, the studied period begins in 597 with the arrival of Christian missionaries from Rome and ends prior to the Norman Conquest in 1066. The kings' approach to the written word is analyzed on the basis of surviving literary and iconographic evidence, i.e. on documents composed for or by the rulers, and on the visual images of the rulers as portrayed in surviving manuscripts. The first chapter provides a historical background necessary for the correct interpretation of the examined texts and portraits. This section is aimed at the main concepts discussed in the thesis: medieval authorship, medieval kingship, and the spread of Christianity within the Anglo- Saxon kingdoms. The second chapter offers the analysis of written documents and focuses on the texts composed within the scope of King Alfred's educational and religious reform. The close reading of the OE translations demonstrates the king's use of the texts as didactic tools mainly serving to promote religion and learning within the kingdom. The key texts are Gregory's Pastoral Care, Augustine's Soliloquies, and Boethius's Consolation of Philosophy; an additional context of the king's life and...