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Relevant bibliographies by topics / Icons Iconoclasm in literature

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Academic literature on the topic 'Icons Iconoclasm in literature'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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Journal articles on the topic "Icons Iconoclasm in literature"

1

Nordhagen, Per Jonas. "In Praise of Archaeology: Icons before Iconoclasm." Jahrbuch der Österreichischen Byzantinistik 60 (2010): 101–14. http://dx.doi.org/10.1553/joeb60s101.

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Alexaki, Marirena. "Icons as punishers. Two narrations from the Vaticanus gr. 1587 manuscript (BHG 1390 f)." Byzantinische Zeitschrift 114, no. 1 (February 1, 2021): 35–64. http://dx.doi.org/10.1515/bz-2021-9003.

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Abstract The Iconoclastic controversies of the Byzantine Era have provided a rich literary tradition of miracle narrations regarding the various magical aspects of the icon. The second period of Iconoclasm however seems to have given rise to a lesser prominent motif of the earlier traditions, namely that of the icon-agent acting as active punisher against its transgressor. The current article explores the development of this motif after a concise survey of the history of icon-miracle narrations, their representative texts and their role in liturgical practice. The starting point of the study were two previously unedited byzantine texts from the manuscript Vaticanus gr. 1587, testifying unique stories of icons as punishers. Finally, these stories are also perfect examples of the rich historical information popular narrations can provide on a topographical and prosopographical level regarding the era within which they were produced.

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Walczak, Dorota. "The Icon and the Hatchet. The Motif of Aggression Against Icons in Russian Literature before the Revolution." Ikonotheka 27 (July 10, 2018): 93–108. http://dx.doi.org/10.5604/01.3001.0012.2319.

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The present work focuses on the motif of aggression against icons introduced in the works by many Russian writers before the Revolution. Analysed material includes the works of Nikolai Gogol, Fyodor Dostoyevsky, Nikolai Leskov, Lev Tolstoy, Dmitri Merezhkovsky and Vsevolod Krestovsky. The main aim of the article is to define how the authors imagined an act of imagebreaking and to determine who played the role of an iconoclast and what the presented motivation of such actions were. It attempts to answer the question of why so many authors felt the need to incorporate the motif of aggression against icons in their works, what literary and propagandistic aims this motif served, what feelings it was meant to evoke in the readers and what image of the world it strove to create.

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Breedlove, Thomas. "A World Transgressed: Icon and Iconoclasm in Eugene Vodolazkin’s Laurus." Literature and Theology 34, no. 3 (May 9, 2020): 322–46. http://dx.doi.org/10.1093/litthe/fraa008.

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Abstract The subject of this article is the iconic meeting of divine presence and divine absence. In the icon, divine presence is scandalous: the icon speaks of the impossibility of correspondence, the impossibility of making God present, and at the same time of the reality of divine presence. Nothing of or in the icon is commensurable to this divine presence; yet this poverty of the icon is its witness to the nature of a presence that transcends the paradox of compresence and exclusivity. This essay develops this account of divine presence in conversation with a reading of Eugene Vodolazkin’s novel Laurus and its depiction of holy foolery. Drawing parallels between divine presence in the icon and the scandalous and transgressive compresence of profane and sacred in the novel, the essay argues both for the iconic character of the novel and, consequently, for the novel’s illumination of the incarnational logic undergirding the icon itself.

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Elsner, John. "Image and ritual: reflections on the religious appreciation of classical art." Classical Quarterly 46, no. 2 (December 1996): 515–31. http://dx.doi.org/10.1093/cq/46.2.515.

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It is a cliché that most Greek art (indeed most ancient art) was religious in function. Yet our histories of Classical art, having acknowledged this truism, systematically ignore the religious nuances and associations of images while focusing on diverse arthistorical issues from style and form, or patronage and production, to mimesis and aesthetics. In general, the emphasis on naturalism in classical art and its reception has tended to present it as divorced from what is perceived as the overwhelmingly religious nature of post-Constantinian Christian art. The insulation of Greek and Roman art from theological and ritual concerns has been colluded in by most historians of medieval images. Take for instance Ernst Kitzinger's monographic article entitled ‘The Cult of Images in the Age before Iconoclasm’. Despite its title and despite Kitzinger's willingness to situate Christian emperor worship in an antique context, this classic paper contains nothing on the Classical ancestry of magical images, palladia and miracle-working icons in Christian art. There has been the odd valiant exception (especially in recent years), but in general it is fair to say that the religiousness of antiquity's religious art is skirted by the art historians and left to the experts on religion.

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Denny, Christopher. "Iconoclasm, Byzantine and Postmodern: Implications for Contemporary Theological Anthropology." Horizons 36, no. 2 (2009): 187–214. http://dx.doi.org/10.1017/s0360966900006356.

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ABSTRACTMedieval Byzantine debates regarding icons included fine distinctions between image, prototype, and symbol as these terms related to personhood. Iconodules and iconoclasts differed regarding the ability of art to represent the person. Must artistic representations of a person, to be justified, be consubstantial with the person represented and thus circumscribed, as iconoclasts believed? Or is it sufficient to refer to artistic representations as being symbolic of their human subjects? Embracing the victorious iconodule distinction between a person and artistic representations of the person raises questions regarding the manner in which an image can reveal a human being. Post-structuralist philosophers Maurice Blanchot and Kevin Hart have inverted this problematic. They begin the interpretation of icons and personhood not from the traditional understanding of the honor or worship paid to Christian icons. Instead, they examine the icon's deconstruction of the viewer. What results is an iconodule defense of a post-Cartesian “anthropological iconoclasm.”

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Pine, Jason. "Icons and iconoclasm: Roberto Saviano's Gomorrah and La Denuncia." Journal of Modern Italian Studies 13, no. 3 (September 2008): 431–36. http://dx.doi.org/10.1080/13545710802218676.

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Cameron, Averil. "The Language of Images: the Rise of Icons and Christian Representation." Studies in Church History 28 (1992): 1–42. http://dx.doi.org/10.1017/s0424208400012365.

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One has to be brave to return to the subject of Byzantine Iconoclasm, a subject which, we may feel, has been done to death. But the division in Byzantine society which lasted off and on for over a century, from 726 to the ‘restoration of orthodoxy’ in 843, was so profound that any Byzantine historian must at some time try to grapple with it. This is especially so if one is trying to understand the immediately preceding period, from the Persian invasions of the early seventh century to the great sieges of Constantinople by the Arabs in 674-8 and 717. It is well recognized by historians that this was a time of fundamental social, economic, and administrative change, which coincided with, but was by no means wholly caused by, the loss of so much Byzantine territory to the Arabs. However, the connection, if any, of this process of change with the social and religious upheaval known as Iconoclasm still leaves much to be said; indeed, no simple connection is likely in itself to provide an adequate explanation. In this paper I want to explore further some of the background to the crisis, without attempting here to provide a general explanation for Iconoclasm itself. I shall not venture beyond the first phase of Iconoclasm, which ended with the Second Council of Nicaea in 787, and after which the argument is somewhat different. Indeed, I shall be focusing here not even on the period known as ‘first Iconoclasm’, but mainly on the preceding period, when the issues inherent in the controversy were already, and increasingly, making themselves felt. Though we shall inevitably be concerned with some of the arguments brought against icons by their opponents, it is the place of images themselves in the context of the pre-Iconoclastic period which will be the main issue. Finally, while I want to offer a different way of reading the rise of icons, I do not pretend that it is the only one, or even possibly the most important. I do suggest, though, that it can help us to make sense of some of the issues that were involved.

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Lee, Dorothy A. "Touching the Sacred Text: The Bible as Icon in Feminist Reading." Pacifica: Australasian Theological Studies 11, no. 3 (October 1998): 249–64. http://dx.doi.org/10.1177/1030570x9801100302.

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This article proposes that the understanding of icons within Eastern Orthodoxy provides a model for feminist hermeneu tics in developing a poetics of sacred reading. The two major periods of icon dispute within church history are briefly reviewed (the icon controversies of the eighth and ninth centuries and the Protestant Reformation) and iconoclasm and iconophilia are discussed as competing yet ultimately complementary dynamics in theology. Christian feminism can acknowledge the value of both in understanding the place of the Bible avoiding either fundamentalist or expulsive readings of the text Icon-veneration has an important place, alongside iconoclasm (as distinct from icono-phobia), in developing a feminist biblical poetics.

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Puric, Jovan,. "The dialogue of the iconoclasts with the iconophiles." Zograf, no. 34 (2010): 13–26. http://dx.doi.org/10.2298/zog1034013p.

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The study represents an analytical review of iconoclasm, a Christological heresy that appeared in Byzantium and lasted for two centuries. After the first section The possibilities of expressing Jesus Christ and the holy servants of God by means of icons, which describes the historical and theological background of the said problem, explanations are given of the kinds of "icons" and the different dimensions of the notion of an "icon" - the natural and hand-made icon, and subsequently, of the relationship of the image and the original, along with the dogmatic foundation of all hypotheses and claims. This two-part study, in addition to using the relevant sources, explains the relationship of the iconoclasts and the iconophiles, at that time in Byzantium and throughout history, right up to the present day

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Dissertations / Theses on the topic "Icons Iconoclasm in literature"

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Sherry, Kurt E. "Kassia the Nun a case study in the poetic expression of iconophile and feminist thought in ninth-century Byzantium /." Laramie, Wyo. : University of Wyoming, 2007. http://proquest.umi.com/pqdweb?did=1317324031&sid=1&Fmt=2&clientId=18949&RQT=309&VName=PQD.

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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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3

Sougstad, Timothy J. "Iconoclastic tradition in American literature /." free to MU campus, to others for purchase, 2001. http://wwwlib.umi.com/cr/mo/fullcit?p3036857.

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McPeak, Rickie Allen. "Iconoclasm or iconography? : responses to the death of the "other" in Lev Tolstoy's prose /." Thesis, Connect to this title online; UW restricted, 1996. http://hdl.handle.net/1773/7162.

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Cushman, Jenifer Suzanne. "Unorthodox Icons: Russian Avant-Garde Impulses in The Works of Rainer Maria Rilke /." The Ohio State University, 1996. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487933648649157.

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Smith, Derek Thomas. "Semiotics, Textuality, and the Puritan Collective: "Speaking to Yourselves in Psalms"." Fogler Library, University of Maine, 2001. http://www.library.umaine.edu/theses/pdf/SmithDT2001.pdf.

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Reis, Huriye. "Icons of art : the poetic tradition and representations of women in Chaucer's dream poetry." Thesis, University of Liverpool, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.262395.

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Jolly, Adam Howard. "Three Furies: The Mythic and the Mundane." TopSCHOLAR®, 2004. http://digitalcommons.wku.edu/theses/1098.

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Adam Jolly May 7th, 2004 67 pages Directed by: Dr. Nancy Roberts, Dr. David Lenoir, and Dr. Lloyd Davies Department of English Western Kentucky University This thesis, consisting of three short stories, proposes to explore ubiquitous motifs by exhibition of symbolic, mythological conceptions and personalities relating mutually with the everyday and the exceptional in a plausible way. These stories are intended to include effectual inquiry and still be inventive and entertaining. Source materials for this thesis range from Norse mythology to Homer to the Charlie Daniels Band.

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Reilly-Sanders, Erin F. "Drawing Outside the Bounds: Tradition and Innovation in Depictions of the House in Children's Picturebooks." The Ohio State University, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=osu1398851009.

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Schaefer, Stephen William. "Relics of iconoclasm, modernism, Shi Zhecun, and Shanghai's margins /." 2000. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:9978071.

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Books on the topic "Icons Iconoclasm in literature"

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J, Sahas Daniel, ed. Icon and logos: Sources in eighth-century iconoclasm : an annotated translation of the sixth session of the seventh Ecumenical Council (Nicea, 787) ... Toronto: University of Toronto Press, 1986.

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John. Le visage de l'invisible. Paris: Migne, 1994.

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Writings on iconoclasm. New York: Newman Press, 2015.

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Qurrah, Thāwdhūrus Abū. La difesa delle icone: Trattato sulla venerazione delle immagini. Milano: Jaca Book, 1995.

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Convegno storico interecclesiale (3rd 1987 Bari, Italy). La legittimità del culto delle icone: Oriente e Occidente riaffermano insieme la fede cristiana : atti del III Convegno storico interecclesiale 11/13 maggio 1987-Bari (Italia). Bari: Levante, 1988.

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Convegno storico interecclesiale (3rd 1987 Bari, Italy). La legittimità del culto delle icone: Oriente e Occidente riaffermano insieme la fede cristiana : Atti del III Convegno Storico interecclesiale, 11-13 maggio 1987, Bari (Italia). Bari: Levante editori, 1988.

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John. Sobre las imágenes sagradas. Pamplona: EUNSA, Ediciones Universidad de Navarra, S.A., 2013.

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Inventing Byzantine iconoclasm. London: Bristol Classical Press, 2012.

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Shakespearean iconoclasm. Berkeley: University of California Press, 1985.

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Icon and logos: Sources in eighth-century iconoclasm : an annotated translation of the sixth session of the Seventh Ecumenical Council (Nicea, 787), containing the definition of the Council of Constantinople (754) and its refutation, and the definition of the Seventh Ecumenical Council. Toronto: University of Toronto Press, 1988.

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Book chapters on the topic "Icons Iconoclasm in literature"

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Squires, Claire. "Icons and Phenomenons." In Marketing Literature, 105–18. London: Palgrave Macmillan UK, 2007. http://dx.doi.org/10.1057/9780230593008_5.

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"16. Icons and Iconoclasm." In Northrop Frye on Literature and Society, 1936-89. Toronto: University of Toronto Press, 2002. http://dx.doi.org/10.3138/9781442677814-020.

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"22. The Written Icon: Images Of God In Modern Dutch Literature." In Iconoclasm and Iconoclash, 435–44. BRILL, 2007. http://dx.doi.org/10.1163/ej.9789004161955.i-538.183.

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Marcus Gheeraerts the Elder. "The Allegory of Iconoclasm." In From Icons to Idols, 79–81. The Lutterworth Press, 2017. http://dx.doi.org/10.2307/j.ctt1p5f238.18.

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Gretton, Tom. "7 Clastic icons: prints taken from broken or reassembled blocks in some ‘popular prints’ of the Western tradition." In Iconoclasm, 145–68. Routledge, 2017. http://dx.doi.org/10.4324/9781315092874-7.

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Winfield, Pamela D. "Introduction to the Art of Enlightenment." In Icons and Iconoclasm in Japanese Buddhism, 1–20. Oxford University Press, 2013. http://dx.doi.org/10.1093/acprof:oso/9780199753581.003.0001.

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Winfield, Pamela D. "Mikkyū Space, Zen Time." In Icons and Iconoclasm in Japanese Buddhism, 21–65. Oxford University Press, 2013. http://dx.doi.org/10.1093/acprof:oso/9780199753581.003.0002.

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Winfield, Pamela D. "Kōkai on the Art of the Ultimate." In Icons and Iconoclasm in Japanese Buddhism, 66–104. Oxford University Press, 2013. http://dx.doi.org/10.1093/acprof:oso/9780199753581.003.0003.

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Winfield, Pamela D. "Dūgen on the Art of Engaging." In Icons and Iconoclasm in Japanese Buddhism, 105–46. Oxford University Press, 2013. http://dx.doi.org/10.1093/acprof:oso/9780199753581.003.0004.

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Winfield, Pamela D. "Concluding Remarks." In Icons and Iconoclasm in Japanese Buddhism, 147–58. Oxford University Press, 2013. http://dx.doi.org/10.1093/acprof:oso/9780199753581.003.0005.

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Conference papers on the topic "Icons Iconoclasm in literature"

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Zuliyanti, Zuliyanti, and Mukh Doyin. "Literature as a Digital Literation Culture Strengthen." In Proceedings of the 1st International Conference on Social Science, Humanities, Education and Society Development, ICONS 2020, 30 November, Tegal, Indonesia. EAI, 2021. http://dx.doi.org/10.4108/eai.30-11-2020.2303721.

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Rutkowski, Raymond J., and Gu¨l E. Okudan. "Learning Transfer Among Solid Modelers: An Analysis of Icon Recognition." In ASME 2005 International Design Engineering Technical Conferences and Computers and Information in Engineering Conference. ASMEDC, 2005. http://dx.doi.org/10.1115/detc2005-85149.

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Selecting the “right” solid modeling software is a complex, multi-criteria decision-making problem. Some of these criteria relate to ease of learning, educational materials built into the software, learning curve issues, performance of the software for different solid modeling functions, operations and utilities, and cost. Beyond selecting the right software, the decision-maker should also be concerned about (1) conceptual learning of the solid modeling topics while “the right software” is being used, and (2) transfer of conceptual learning between solid modelers. This is because a sound conceptual learning using one software might increase the probability of learning another in less time. Accordingly, this paper investigates the impact of icon recognition as an aid to transfer conceptual learning between solid modelers. The investigation includes a review of the literature on icon design and usage as it relates to solid modeling, in addition to an experiment in which the icon recognition correctness for over 20 operation icons were compared across two modelers. The results shed light into the impact of icon designs on the transfer of learning between solid modelers using the correct recognition counts as the transfer measure.

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