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Books on the topic 'Interpreting Interpretation Visual Images'

Author: Grafiati

Published: 4 June 2021

Last updated: 14 February 2022

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1

Visual methods in psychology: Using and interpreting images in qualitative research. New York: Routledge, 2011.

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2

editor, Melion Walter S., Clifton James 1958 editor, and Weemans Michel editor, eds. Imago exegetica: Visual images as exegetical instruments, 1400-1700. Leiden: Brill, 2014.

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3

Recherches sociologiques sur les images. Paris: L'Harmattan, 2008.

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4

Images animées: Propositions pour la sémiologie des messages visuels. Paris: L'Harmattan, 2008.

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5

Leconte, Bernard. Images animées: Propositions pour la sémiologie des messages visuels. Paris: L'Harmattan, 2008.

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6

Marc, Tamisier, and Costantini Michel, eds. Opinion, information, rumeur, propagande: Par ou avec les images : XIIèmes journées internationales de sémiotique de Blois, octobre 2007. Paris: L'Harmattan, 2009.

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7

University of Rochester. Memorial Art Gallery., ed. Better things: An annotated visual essay of photographs interpreting the collection of the Memorial Art Gallery of the University of Rochester. Rochester, NY: Clarellen, 2005.

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8

Saouter, Catherine. Images et sociétés: Le progrès, les médias et la guerre. Montréal: Presses de l'Université de Montréal, 2003.

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9

Birtwell, Alison C. Othello on the wide screen: The visual interpretation of Shakespeare's images and narrative, and the representation of space, location and character in Orson Welles' (1952) and Oliver Parker's (1995) adaptations. Birmingham: University of Birmingham, 1997.

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10

Saint-Martin, Fernande. Le sens du langage visuel: Essai de sémantique visuelle psychanalytique. Québec: Presses de l'Université du Québec, 2007.

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11

Barrett, Caitlín Eilís. Egypt in Roman Visual and Material Culture. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199935390.013.18.

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This review article addresses current controversies and opportunities in research on the roles, uses, and meanings of “Egypt” in ancient Roman visual and material culture. Accordingly, the article investigates problems of definition and interpretation; provides a critical review of current scholarly approaches; and analyzes the field’s intersections with current intellectual developments in the broader fields of archaeology and art history. It is argued that research on Roman Aegyptiaca can gain much from, and is poised to contribute substantially to, (1) 21st-century archaeology’s “material turn”; (2) the construction of new interpretive frameworks for cross-cultural interactions and “hybridization”; and (3) increased attention to the relationships among artifacts, contexts, and assemblages. Roman visual representations of Egypt provide a rich testing ground for research on intercultural exchange, the lived experience of empire, and the complex entanglement of people, things, and images.

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12

Reavey, Paula. Visual Methods in Psychology: Using and Interpreting Images in Qualitative Research. Taylor & Francis Group, 2016.

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13

Reavey, Paula. Visual Methods in Psychology: Using and Interpreting Images in Qualitative Research. Taylor & Francis Group, 2012.

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14

Reavey, Paula. Visual Methods in Psychology: Using and Interpreting Images in Qualitative Research. Taylor & Francis Group, 2012.

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15

Reavey, Paula. Visual Methods in Psychology: Using and Interpreting Images in Qualitative Research. Taylor & Francis Group, 2012.

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16

Reavey, Paula. Visual Methods in Psychology: Using and Interpreting Images in Qualitative Research. Taylor & Francis Group, 2012.

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17

Handbook of Visual Methods in Psychology: Using and Interpreting Images in Qualitative Research. Taylor & Francis Group, 2020.

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18

Reavey, Paula. Handbook of Visual Methods in Psychology: Using and Interpreting Images in Qualitative Research. Taylor & Francis Group, 2020.

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19

Reavey, Paula. Handbook of Visual Methods in Psychology: Using and Interpreting Images in Qualitative Research. Taylor & Francis Group, 2020.

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20

Reavey, Paula. Handbook of Visual Methods in Psychology: Using and Interpreting Images in Qualitative Research. Taylor & Francis Group, 2020.

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21

" Don Quixote" illustrated: Textual images and visual readings = Iconografía del "Quijote". Vilagarcia de arousa: Mirabel Editorial, 2005.

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22

Eduardo, Urbina, and Maestro Jesús G, eds. Don Quixote illustrated: Textual images and visual readings = Iconographía del Quijote. Pontevedra, España: Mirabel Editorial, 2005.

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23

Ancient Mythological Images and Their Interpretation: An Introduction to Iconology, Semiotics and Image Studies in Classical Art History. Cambridge University Press, 2016.

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24

Picturing the New Testament: Studies in Ancient Visual Images (Wissenschaftliche Untersuchungen Zum Neuen Testament 2). J.C.B. Mohr (P. Siebeck), 2005.

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25

Looking at Pictures. Thames & Hudson Australia Pty, Limited, 2018.

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26

Figdor, Carrie. Introduction. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198809524.003.0001.

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Chapter 1 introduces the semantic and metaphysical problem raised by the expanding uses of psychological predicates throughout biology. Sellars’ widely-known framework of the Manifest and Scientific Images provides a stepping stone for initial grasp of the current anthropocentrism in interpreting psychological predicates and the capacities to which they refer. The chapter introduces Literalism, which holds that the predicates are used literally with the same reference across human and nonhuman biological domains. This view is the natural conclusion of a plausible interpretation of scientific practices and discernible trends in those practices. The chapter also provides an outline of the book, a summary of subsequent chapters, and a brief discussion of consciousness, panpsychism, and content.

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27

Stirrup, James, Michelle Williams, Russell Bull, and Ed Nicol, eds. Cardiovascular Computed Tomography. Oxford University Press, 2019. http://dx.doi.org/10.1093/med/9780198809272.001.0001.

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Recent years have seen a marked increase in cardiovascular computed tomography (CT) imaging, with the technique now integrated into many imaging guidelines, including those published by NICE. Rapid clinical and technological progress has created a need for guidance on the practical aspects of CT image acquisition, analysis, and interpretation. The Oxford Specialist Handbook of Cardiovascular CT, now revised for the second edition by practising international experts with many years of hands-on experience, is designed to fulfil this need. The handbook is a practical guide on performing, analysing, and interpreting cardiovascular CT scans, covering all aspects from patient safety to optimal image acquisition to differential diagnoses of tricky images. The format is designed to be accessible and is laid out in easy to navigate sections. It is meant as a quick-reference guide, to live near the CT scanner, workstation, or on the office shelf.

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28

Davies, Vanessa, and Dimitri Laboury, eds. The Oxford Handbook of Egyptian Epigraphy and Paleography. Oxford University Press, 2020. http://dx.doi.org/10.1093/oxfordhb/9780190604653.001.0001.

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Epigraphy and palaeography are ways of recording, analyzing, and interpreting texts and images. This Handbook discusses technical issues about recording text and art and interpretive questions about what we do with those records and why we do it. The Handbook aims to • discuss current theories with regard to the cultural setting and material realities in which Egyptian epigraphy was produced;• familiarize the reader with epigraphic techniques and practices; and• outline and review traditional and emerging techniques and challenges as a guide for future research. The chapters offer a diachronic perspective, covering all Egyptian scripts from prehistoric through Coptic, a look at recording techniques that considers past, present, and future, and a focus on colleagues’ experiences. The diachronic perspective illustrates the range of techniques used to record different phases of writing in different media. The consideration of past, present, and future techniques allows readers to understand why particular strategies are or were employed by linking the aims of an effort with the chosen technique. The choice of techniques is a matter of goals and the records’ work circumstances, an inevitable consequence of epigraphy being a double projection: geometrical, transcribing in two dimensions an object that exists physically in three, and mental, an interpretation, with an inevitable selection among the object’s defining characteristics. Colleagues’ experiences provide a range of perspectives and opinions. These accounts are interesting and instructive stories of innovation in the face of scientific conundrum.

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29

Sicari, Rosa, Edyta Płońska-Gościniak, and Jorge Lowenstein. Stress echocardiography: image acquisition and modalities. Oxford University Press, 2016. http://dx.doi.org/10.1093/med/9780198726012.003.0013.

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Stress echocardiography has evolved over the last 30 years but image interpretation remains subjective and burdened by the operator’s experience. The objective operator-independent assessment of myocardial ischaemia during stress echocardiography remains a technological challenge. Still, adequate quality of two-dimensional images remains a prerequisite to successful quantitative analysis, even using Doppler and non-Doppler based techniques. No new technology has proved to have a higher diagnostic accuracy than conventional visual wall motion analysis. Tissue Doppler imaging and derivatives may reduce inter-observer variability, but still require a dedicated learning curve and special expertise. The development of contrast media in echocardiography has been slow. In the past decade, transpulmonary contrast agents have become commercially available for clinical use. The approved indication for the use of contrast echocardiography currently lies in improving endocardial border delineation in patients in whom adequate imaging is difficult or suboptimal. Real-time three-dimensional echocardiography is potentially useful but limited by low spatial and temporal resolution. It is possible that these technologies may serve as an adjunct to expert visual assessment of wall motion. At present, these quantitative methods require further validation and simplification of analysis techniques.

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30

Rios, Fernando. Panpipes & Ponchos. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190692278.001.0001.

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Melodious panpipes and kena flutes. The shimmering strums of a charango. Poncho-clad musicians playing “El Cóndor Pasa” at subway stops or street corners while selling their recordings. These sounds and images no doubt come to mind for many “world music” fans when they recall their early encounters with Andean music groups. Termed “Andean conjuntos” in this book and “pan-Andean bands” in other scholarship, four-to-six member ensembles of this type have long formed part of the “world music” circuit of the Global North, and also been present in the music scenes of Latin America’s major cities. It is only in Bolivia, however, that the Andean conjunto format has represented the preeminent ensemble line-up for interpreting “national music” since the late 1960s. The La Paz band Los Jairas is widely credited, by scholars and local musicians alike, with canonizing the Andean conjunto tradition in the Bolivian context. When the group debuted in 1966, though, their interpretive approach and instrumentation did not represent a radically new direction for the Bolivian folklore movement. As this book reveals, Los Jairas made popular in Bolivia a style of “national music” interpretation with roots in the folklorization practices developed by previous generations of urban criollo-mestizo musicians. A major goal of this book is to illuminate how urban La Paz folkloric musical trends, practices, and initiatives of the early-to-mid 20th century paved the way for Los Jairas’ dramatic ascent to national stardom in the mid-to-late 1960s and facilitated Bolivia’s ensuing canonization of the Andean conjunto. The second principal aim is to shed light on the Bolivian state’s role in the folkloric music movement, from the period when indigenismo first became a major influence on La Paz artists (the 1920s), to the boom decade of the local folklore movement (the 1960s). The third major goal is to elucidate how La Paz folkloric musical practices articulated with non-Bolivian artistic currents. Perhaps surprisingly to many people, given Bolivia’s image internationally as one of the most “Indian” and therefore culturally traditional countries of Latin America, the Bolivian folkloric music movement developed in close dialogue with a wide array of transnational or cosmopolitan musical trends in the pivotal era spanning the 1920s to 1960s.

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31

Gannon, Anna. The Iconography of Early Anglo-Saxon Coinage. Oxford University Press, 2003. http://dx.doi.org/10.1093/oso/9780199254651.001.0001.

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This is the first scholarly art-historical appraisal of Anglo-Saxon coinage, from its inception in the late sixth century to Offa's second reform of the penny c.792. Outside numismatic circles, this material has largely been ignored because of its complexity, yet artistically this is the most vibrant period of English coinage, with die-cutters showing flair and innovation and employing hundreds of different designs in their work. By analysing the iconography of the early coinage, this book intends to introduce its rich legacy to a wide audience. Anna Gannon divides the designs of the coins into four main categories: busts (including attributes and drapery), human figures, animals and geometrical patterns, presenting prototypes, sources of the repertoire and parallels with contemporary visual arts for each motif. The comparisons demonstrate the central role of coins in the eclectic visual culture of the time, with the advantages of official sanctioning and wide circulation to support and diffuse new ideas and images. The sources of the motifs clarify the relationship between the many designs of the complex Secondary phase (c.710-50). Contemporary literature and theological writings often offer the key to the interpretation of motifs, hinting at a universal preoccupation with religious themes. The richness of designs and display of learning point to a sophisticated patronage with access to exotic prototypes, excellent craftsmanship and wealth; it is likely that minsters, as rich, learned, and well-organized institutions, were behind some of the coinage. After the economic crises of the mid-eighth century this flamboyant iconography was swept away: with the notable exeption of the coins of Offa, still displaying exciting designs of high quality and inventiveness, reformed issues bore royal names and titles, and strove towards uniformity.

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