Relevant bibliographies by topics / Madonna Madonna Madonna Madonna Image

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

Academic literature on the topic 'Madonna Madonna Madonna Madonna Image'

Author: Grafiati
Published: 4 June 2021
Last updated: 9 February 2022

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Journal articles on the topic "Madonna Madonna Madonna Madonna Image"

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Kudlová, Klára. "On Fields of Bones, Headsmen and Madonnas: The Symbols and Figures of Central Europe in the Past 25 Years of Jáchym Topol’s Writing." Porównania 27, no. 2 (December 15, 2020): 247–63. http://dx.doi.org/10.14746/por.2020.2.13.

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In the Czech literary scene, it is Jáchym Topol who may justly be labelled the author most consumed with Central Europe, one who is constantly attempting to decrypt the message encoded in its scars and wrinkles. His fictional treatment of Central-European themes is preceded by thorough knowledge of both the history and present state of the region. However, Topol is not merely a historian; in his fictionalising he uses a poetic, complex perspective, and arrives thus at a unique expression. Particular recurring figures in his literary work seem to answer in a riddle the questions of present-day Central Europe. First one of those is the biblical image of the field or of the pile of bones. In Topol’s writing, it represents both the systematic violence in Central-European history, and universal onus. The second recurring figure is the figure of a good-hearted headsman. In Topol’s prosaic and dramatic texts, the headsman embodies the ambivalence of the Czech national character, but also its survival strategies. It is intertextually linked to the works of Jaroslav Hašek, and brings the notion “Czechs are a Švejk-like nation” to its absurd, augmented consequences. The third figure which keeps returning in Topol’s work combines the features of a character and of a symbol. It is the figure of Madonna, representing the spiritual dimension of Central European tradition, bound to Christianity. The various Madonnas—the Polish Madonna of Częstochowa, the War Madonna in fictionalised modern-day Russia and eventually the Czech Madonna of Poříčí create the Christian counterworld in Topol’s novels, and signalize the persistent role and presence of spirituality in the region. In Topol’s novel Citlivý člověk it is actually thanks to this Madonna that the whole discourse opens to a new type of perspective.
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Watts, Mark. "Electrifying Fragments: Madonna and Postmodern Performance." New Theatre Quarterly 12, no. 46 (May 1996): 99–107. http://dx.doi.org/10.1017/s0266464x00009921.

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The rise and (perceived) decline of Madonna has gone, so to say, hand-in-hand with that of postmodern theory – slightlydémodéjust at present, but none the less pervasively influential for that. The singer's two most recent albums were critical successes, and the controversy in Argentina over the choice of the star to play Eva Peron testifies to her continuing capacity to attract notoriety. But in what does that notoriety consist? How is the persona that is all we know of Madonna constructed, and how does it work? How is she able to make such distinctive use of the emergent potential of multimedia? What constitutes thecoherenceof Madonna's image? Mark Watts, a graduate in Film and Literature of the University of Warwick, here analyzes the appeal of the singer-actress in terms of the concept ofpunctum, defined by Barthes (in opposition to the rational, linear understanding ofstudium) as the ‘electrifying fragment’ that seizes and ravishes the imagination.
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Qyll, Nicholas. "Persona as Key Component in (Cultural) Person Branding." Persona Studies 6, no. 1 (December 11, 2020): 56–71. http://dx.doi.org/10.21153/psj2020vol6no1art941.

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This article examines the elements and processes involved in the visual construction of person brands, and their personas as key components of those brands, in pursuit of the research question: What pictorial design strategies make person brands succeed? Key findings of the empirical investigation of the iconic artist brand Madonna allow a focus on Madonna’s image and her fans’ co-creative image practice through a visual frame analysis and cultural reading of her self-brand. Madonna has created a complex ‘worldview world’ that is governed by a metanarrative and feeds on the diverse acts of referencing cultural image icons. At the same time, central strategies of her image representations are reflected in the fan artefacts investigated. This article thus focuses not only on the role of the visual in person branding and in a modern-day visual brand culture. It also considers the place and form of such cultural person branding within the persona studies field.
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Haug, Steven. "A Discussion on Heidegger’s “Über die Sixtina”." Philosophy Today 64, no. 3 (2020): 781–91. http://dx.doi.org/10.5840/philtoday2020109359.

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In 1955, Raphael’s Sistine Madonna was returned to Germany following its removal from Dresden in anticipation of the city being bombed. That same year Heidegger wrote a short paper titled “Über die Sixtina,” likely to commemorate the painting’s return. The goal of this article is to bring the largely overlooked “Über die Sixtina” into discussions about Heidegger’s philosophy of art. While brief, Heidegger’s paper makes clear that the Sistine Madonna is an important work to consider when deliberating about his philosophy of art in general. This article elaborates on the topics Heidegger discusses in “Über die Sixtina,” particularly the image-being of the Sistine Madonna, the image as a window painting, and the place of the painting.
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Fredrickson, Regina. "Marian Images: Madonna and Hodigitria." Journal of Religion and Health 43, no. 2 (2004): 151–63. http://dx.doi.org/10.1023/b:jorh.0000022400.50286.e7.

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Samardžić, Ana. "From Madonna to Madonna: Image of pregnant woman in art from Christian tradition to pop culture." Kultura, no. 167 (2020): 288–317. http://dx.doi.org/10.5937/kultura2067288s.

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Lampe, Samantha. "‘Look at Me’, I’m femininity: The female persona in 1970s musical theatre." Studies in Musical Theatre 14, no. 3 (December 1, 2020): 321–30. http://dx.doi.org/10.1386/smt_00045_1.

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As the Women’s Liberation Movement developed in the 1970s, women challenged society’s limited female representation as either the Madonna or the whore. Musicals in the 1970s, including Grease (1972), Chicago (1975) and Evita (1979), complicated the female image through the juxtaposition of feminine stereotypes in the heroine’s persona. With each of the shows centralizing the plot around analysing the contradictory feminine image, the women perform in both public and private settings, along with other characters critiquing their personas. From feminist protesters to the writings of Simone de Beauvoir and Betty Friedan, Sandy, Roxie and Eva reflect the requests of contemporary women to display their gender as something beyond the perceived dichotomy of Madonna or whore in their music performances.
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Hu, Alice Joan. "Madonna in flower garlands in Flemish painting of the XVII century." Культура и искусство, no. 7 (July 2021): 66–80. http://dx.doi.org/10.7256/2454-0625.2021.7.33907.

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The subject of this research is Flemish painting the XVII century in the spiritual and cultural context of the Counter-Reformation, which created remarkable decorative and religious images to counter the iconoclastic trends of the Reformation movement. The object of this research is Flemish paintings of the Baroque Period of the XVII century with flower garlands edging the central image of Madonna. Special attention is given to the variety of iconographic patterns of the image of Virgin Mary framed in a flower garland, which was widely popular in painting of the Baroque period. Some artists use the pattern of “painting in a painting”; others imitate sculpture, the color of which accentuates the brightness of garlands. The article employs iconographic, iconological, and artistic methods, as well as stylistic analysis. The scientific novelty consists in proving the fact that Virgin Mary appears in painting not only as an individual image, but in paintings of flower garlands as well. The acquired results demonstrate that in the XVII centuries, the artists used different iconographic patterns for creating the image of Virgin Mary. The masters were able to combine different types of flowers, reaching the harmony of floral motifs and balancing them with the image of Madonna. The artists demonstrated the beauty of flower garlands by adding different living creatures in their paintings, such as birds and animals, to make them look more colorful, peaceful and vibrant. Thanks to these works, the image of Madonna remained extremely revered in the XVII century.
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de Klerck, Bram, Machtelt Israëls, and Machtelt Israels. "Sassetta's Madonna della neve: An Image of Patronage." Simiolus: Netherlands Quarterly for the History of Art 31, no. 1/2 (2004): 108. http://dx.doi.org/10.2307/4150580.

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Wolff, Martha, and Dieric Bouts. "An Image of Compassion: Dieric Bouts's "Sorrowing Madonna"." Art Institute of Chicago Museum Studies 15, no. 2 (1989): 112. http://dx.doi.org/10.2307/4113016.

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Dissertations / Theses on the topic "Madonna Madonna Madonna Madonna Image"

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Decker, Jan-Oliver. "Madonna: where's that girl? : Starimage und Erotik im medialen Raum." Kiel Ludwig, 2005. http://bvbr.bib-bvb.de:8991/F?func=service&docl̲ibrary=BVB01&docn̲umber=014629970&linen̲umber=0001&funcc̲ode=DBR̲ECORDS&servicet̲ype=MEDIA.

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Israëls, Machtelt. "Sassetta's Madonna della Neve an image of patronage /." [Leiden : Amsterdam : Primavera Pers] ; Universiteit van Amsterdam [Host], 2003. http://dare.uva.nl/document/70426.

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Eriksson, Elin. "Frontlinjen, Persson & Madonna : En uppsats om personer som bärare av varumärken." Thesis, University of Kalmar, Baltic Business School, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:hik:diva-1221.

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The purpose of this essay is to analyze and understand how people in different ways can take on the role as carriers of brands and understand what part they play in today’s society. Brands are everywhere today and the competitions are becoming harder and harder for the customers’ attention and consumption, which is why I am curious of how an individual in a company’s frontline or a celebrity can help the success of a brand. The essay is based on a qualitative method where six interviews have been performed. The persons I have interviewed are selected after their knowledge of people as carriers of brands and personal brands of different kinds, both regarding celebrities and individuals in the frontline. The material generated from these interviews has made out the basis of my analysis and is presented in the fourth chapter of this essay. Since I am using a qualitative method it is hard to make any generalisations regarding personal brands, even though certain patterns can be seen. For further reading I would therefore like to direct you to the fourth and fifth chapter.

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El-Hanany, Efrat. "Beating the devil : images of the Madonna del Soccorso in Italian Renaissance art /." [Bloomington, Ind.] : Indiana University, 2006. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3230546.

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Nakad, Valeska Fonseca. "Madonna e os meios massivos de comunicação: pactos para a construção de uma persona." Universidade Anhembi Morumbi, 2008. http://sitios.anhembi.br/tedesimplificado/handle/TEDE/1429.

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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior
Este estudo tem como objetivo apresentar a comunicação contemporânea, como foco de uma pesquisa que aborda a mídia, a moda, enquanto um processo de mudanças constantes. Com premissa o estudo da construção imagética do ícone Madonna por meio desses veículos. São abordadas hipóteses para a construção de sua persona, um construto que se deu pela inovação visual em seus produtos transmitidos nos meios massivos de comunicação. A moda é tratada como um processo mediático que transite e capta influências de estilo, comportamento, hábitos e atitudes. Para tanto a análise e pesquisa da obra da popstar Madonna que nesta pesquisa, toma corpo como um construto de sua personagem que se vale de tipologias em cada novo trabalho. Ao se debruçar na obra da megastar percebe-se a dimensão de seu trabalho, portanto para uma análise adequada, foi necessário de dividir o seu trabalho em partes. Assim ao fragmentar o conjunto de sua obra, optouse por estudar os videoclipes a fim de traçar um paralelo entre a comunicação, a moda e as personagens interpretadas para a construção da sua persona. Para se entender o contexto em que a diva pop consegue engendrar tamanha influência, o estudo dos paradigmas de Gumbrecht que caracterizam o contemporâneo. Neste estudo a destotalização foi comparado ao aspecto tribal da moda, isto é, a fragmentação da moda e uma construção de visuais sobrepõem estilos. A destemporalização, que aplicado a moda traz o conceito de mistura de estilos, em que a composição do visual parte de referências de ícones passados, misturados com ícones contemporâneos, todos em um tempo só. E a desreferencialização, que pressupõe que essa moda ao ser vista do ponto de vista da performance é criada no espaço mediático. Portanto constata-se que Madonna com sua estratégia de superexposição e mudanças em suas obras, neste estudo os seus videoclipes, afirma-se que estas estratégias se baseiam no sistema da moda, do sistema fashion em que impera o efêmero.
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Barreto, Rodrigo Ribeiro. "A fabricação do ídolo pop: a análise textual de videoclipes e a construção da imagem de Madonna." reponame:Repositório Institucional da UFBA, 2011. http://www.repositorio.ufba.br/ri/handle/ri/1075.

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A trajetória videográfica de Madonna, iniciada há mais de 20 anos, confunde-se com o próprio desenvolvimento do videoclipe, cuja consolidação aconteceu também a partir dos anos 1980. Desde então, a contínua popularidade da artista deu a ela e a seus colaboradores respaldo para executar inovações tanto estilísticas quanto temáticas neste formato. A artista adotou os clipes como mais um desdobramento de seu trabalho artístico e como ferramenta para a construção ou a fabricação de sua imagem pública. Esta dissertação foi guiada pelo propósito de analisar videoclipes, considerando-os como obras expressivas passíveis de serem compreendidas tanto em abordagens voltadas para o deslindamento de sua organização interna quanto no seu funcionamento como instrumentos efetivos no processo de construção de imagem de Madonna. O trabalho apresenta o resultado da aplicação de uma metodologia de análise sobre um corpus de 18 (dezoito) clipes representativos do percurso videográfico da artista. Foram incluídas obras correspondentes a canções de todos os álbuns da cantora e, desse modo, de todas as suas fases criativas. Esta abordagem analítica textual foi desenvolvida e aplicada no grupo de pesquisa Laboratório de Análise Fílmica, coordenado pelo Prof. Wilson Gomes, e procurou identificar: a) os elementos primordialmente manipulados em cada obra, b) os modos de organização interna destes elementos e c) os tipos de efeitos programados na obra e por ela suscitados. Com base na familiaridade conquistada no contato com toda a videografia de Madonna e de posse dos resultados da abordagem individualizada dos videoclipes selecionados, foi avaliada a recorrência de certos elementos – temáticos, cênicos, imagéticos, musicais, narrativos e coreográficos – de uma obra para a outra, procurando identificar a relação destes achados com diferentes conceitos ou pressuposições que nortearam e norteiam as impressões a respeito de Madonna. A imagem da artista está associada à versatilidade, ao amplo controle criativo do seu trabalho, à verve polêmica e à habilidade de reinventar-se através de apropriações diversas, assunção de diferentes personae artísticas e os mais variados arquétipos.
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Williamson, Beth Ann. "The Virgin Lactans and the Madonna of Humility : image and devotion in Italy, Metz and Avignon in the thirteenth and fourteenth centuries." Thesis, Courtauld Institute of Art (University of London), 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.338804.

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Toerien, Monica Jane. "Jellybean Madonna." Master's thesis, University of Cape Town, 2009. http://hdl.handle.net/11427/8995.

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Douglas-scott, Michael. "Art patronage and the function of images at the Madonna del l'Orto in Venice under the secular canons of S. Giorgio in Alga circa 1462-1668." Thesis, Birkbeck (University of London), 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.261794.

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Motta, Valeria. "Le spectacle de la dévotion. Le sanctuaire de la Madone des Grâces de Mantoue : image votive et représentation (XVe-XVIIe siècles)." Thesis, Paris, EHESS, 2017. http://www.theses.fr/2017EHES0118.

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Cette thèse s’intéresse aux processus de production de l’image votive à travers l’étude d’un ensemble de sculptures conservées dans le Sanctuaire de la Madone des Grâces de Curtatone, proche de Mantoue. L’extraordinaire apparat votif que l’on peut y admirer est constitué de cinquante-trois effigies polychromes et polymatheriques, datant pour la plupart du XVIe siècle, représentant le donateur grandeur nature, et pourvues d’accessoires réels (vêtements, cordes, objets dévotionnels…). Ces figures sont disposées dans des niches au sein d’une structure architecturale en bois totalement couverte d’ex-voto anatomiques en cire. Les documents concernant les effigies du sanctuaire de Curtatone sont considérés en rapport à d’autres rares témoignages de cette pratique en Italie. Cette analyse nous permet de réfléchir au rapport qui relie l’objet au donateur, en indiquant qu’il ne s’agit pas précisément de représentations tridimensionnelles de la figure humaine mais d’objets constitués physiquement par le lien votif et qui impliquent des interrogations complexes. Une réflexion de nature anthropologique s’est donc imposée en considérant non seulement le procédé qui préside à leur réalisation mais aussi leur utilisation rendue possible grâce à l’ambiguïté de la représentation et au concept de vraisemblance, qui imprègne la société européenne occidentale qui a élaboré une véritable culture du simulacre. Outre les effigies votives, ce travail prend également en compte les autres éléments qui composent le sanctuaire des Grâces : l’architecture scénographique qui accueille les sculptures, la décoration d’ex-voto en cire qui y sont accrochés, les inscriptions en rimes qui accompagnent les effigies, la fresque florale de la voûte. La portée de ce travail est de démontrer comment ce scénario votif présente une dimension qui dépasse la simple illustration du miracle. Ce dispositif nous oblige à réfléchir sur la dimension plurielle et dynamique propre aux images, qui concerne le rôle de la représentation dans les pratiques dévotionnelles de l’époque moderne (XVe-XVIIe siècles), la capacité que ces sculptures ont de susciter des réactions sur l’observateur et leur fonction à l’intérieur d’un réseau complexe de relations sociales et d’échanges symboliques qui renvoient à la famille Gonzague et à l’ordre franciscain qui gérait à l’époque le sanctuaire
The purpose of my doctoral thesis is to advance understanding of the process of production of votive images through the study of a set of sculptures exposed in the Sanctuary of Madonna delle Grazie, that is situated on the bank of the Mincio, some five miles west of Mantua. The extraordinary votive display that we can admire inside, is made up of fifty-three effigies representing the life-size donor, mostly dating from the sixteenth century and equipped with real accessories (clothing, ropes, devotional objects ...). These sculptures are placed into an architectural structure that is completely covered with wax anatomical ex-votos. The documents concerning the votive effigies have been linked with other rare sources of this practice in Italy. The fundamental aim is to show that these full-size sculptures has a conceptual dimension that overtakes the simple notion of offering. The devotional act in the Mantuan sanctuary consists in making the survivor recognisable through the realization of realistic images. In doing so, such act pose anthropological questions regarding the efficacy of this ritual and the effects that these sculptures arise in the devotional community. From a more interdisciplinary perspective, what became interesting was to understand the artistic discourses about resemblance and mimesis and about the meaning of pursuing this likeness to the devotee in the ex-voto ritual. This study is also based on several assumptions concerning the elements that compose the Madonna delle Grazie sanctuary: the scenographic architecture in which the sculptures are displayed, the wax decoration, the rhyming votive inscriptions of the effigies, the floral fresco of the vault. The pourpose of this work is to demonstrate how this "votive scenario" presents a dimension that goes beyond mere illustration of the miracle. This system forces us to reflect on the pluralistic and dynamic dimension of images. This dimension concerns the role of representation in the devotional practices of the modern period (15th-17th centuries), the ability of these sculptures to elicit reactions on the observer and their function within a complex network of social relations and symbolic exchanges which refer to the Gonzaga family, rulers of the city of Mantua, and the Franciscan friars that had the care of the sanctuary
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Books on the topic "Madonna Madonna Madonna Madonna Image"

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Burggraeve, Roger. Van madonna tot Madonna: In de ban van beelden, idolen en afgoden. Leuven: Davidsfonds, 2002.

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Kamper, Dietmar. Im Souterrain der Bilder: Die Schwarze Madonna. Bodenheim: Philo, 1997.

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Sassetta's Madonna della Neve: An image of patronage. Leiden: Primavera Pers, 2003.

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American madonna: Images of the divine woman in literary culture. New York: Oxford University Press, 1997.

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Edenhofer, Julia. Madonna. 2nd ed. Bergisch Gladbach: Lubbe, 1988.

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Okuda, Hideo. Madonna. Tōkyō: Kōdansha, 2002.

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Greenberg, Keith Elliot. Madonna. Minneapolis, MN: Lerner, 1986.

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Madonna. London: Omnibus, 1991.

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Madonna. London: Hale, 1994.

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Morton, Andrew. Madonna. London: Michael O'Mara, 2001.

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Book chapters on the topic "Madonna Madonna Madonna Madonna Image"

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Wright, Almeda M. "Image is Everything? The Significance of the Imago Dei in the Development of African American Youth." In Albert Cleage Jr. and the Black Madonna and Child, 171–87. New York: Palgrave Macmillan US, 2016. http://dx.doi.org/10.1057/978-1-137-54689-0_10.

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Maccaskey, Laura. "Tainted Image/Sacred Image: The Wandering Madonna of S. Maria in Vallicella." In Contextualizing the Renaissance. Returns to History, 141–56. Turnhout: Brepols Publishers, 1999. http://dx.doi.org/10.1484/m.lmems-eb.4.00177.

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Harrison, Barbara Grizzuti. "“Can Madonna Justify Madonna?”." In The Rock History Reader, 277–80. Third edition. | New York : Routledge, 2018.: Routledge, 2019. http://dx.doi.org/10.4324/9781315394824-53.

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Crowley, Vivianne. "Black Madonna." In Encyclopedia of Psychology and Religion, 1–4. Berlin, Heidelberg: Springer Berlin Heidelberg, 2017. http://dx.doi.org/10.1007/978-3-642-27771-9_9050-1.

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Crowley, Vivianne. "Black Madonna." In Encyclopedia of Psychology and Religion, 233–36. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-24348-7_9050.

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Briese, Olaf. "Venus — Madonna — Maria." In Aufklärung und Skepsis, 436–49. Stuttgart: J.B. Metzler, 1999. http://dx.doi.org/10.1007/978-3-476-03751-0_29.

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Colilli, Paul. "Madonna with Child." In The Angel's Corpse, 89–94. New York: Palgrave Macmillan US, 1999. http://dx.doi.org/10.1057/9780312299668_16.

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Lochner, Stefan. "Madonna im Rosenhag." In Museum zum Mitnehmen, 9–14. Hannover, Germany: Vincentz Network, 2019. http://dx.doi.org/10.1515/9783748601821-002.

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Kohler, Georg. "Masern, Maserati, Madonna." In Sorge, 195–206. Köln: Böhlau Verlag, 2015. http://dx.doi.org/10.7788/9783412502324-016.

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Leggo, Carl. "Madonna and Christ Child." In Sailing in a Concrete Boat, 131. Rotterdam: SensePublishers, 2012. http://dx.doi.org/10.1007/978-94-6091-955-8_37.

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Conference papers on the topic "Madonna Madonna Madonna Madonna Image"

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Casini, A., M. Bacci, C. Cucci, F. Lotti, S. Porcinai, M. Picollo, B. Radicati, M. Poggesi, and L. Stefani. "Fiber optic reflectance spectroscopy and hyper-spectral image spectroscopy: two integrated techniques for the study of the Madonna dei Fusi." In Optical Metrology, edited by Renzo Salimbeni and Luca Pezzati. SPIE, 2005. http://dx.doi.org/10.1117/12.611500.

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Adya, Monica Adya, Catherine Beise, Bob Bostrom Bostrom, Paul Licker, Lorne Olfman, and Maung Sein. "How CPR is like Madonna." In the 50th annual conference. New York, New York, USA: ACM Press, 2012. http://dx.doi.org/10.1145/2214091.2214095.

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Fontecave-Jallon, J., and P. Baconnier. "Berkeley-Madonna Implementation of Ikeda's Model." In 2007 29th Annual International Conference of the IEEE Engineering in Medicine and Biology Society. IEEE, 2007. http://dx.doi.org/10.1109/iembs.2007.4352357.

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Silva, Gustavo. "Sex, por Madonna: representações contrassexuais e tecnologias de resistência." In II Congresso de Diversidade Sexual e de Gênero. Initia Via, 2017. http://dx.doi.org/10.17931/dsg_v02_art18.

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Podlubny, Igor, and Peter Kmetek. "Computer-Generated Art: Madonna and Child -- Infinity of Life." In 2016 UKSim-AMSS 18th International Conference on Computer Modelling and Simulation (UKSim). IEEE, 2016. http://dx.doi.org/10.1109/uksim.2016.48.

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Fontana, R., M. C. Gambino, M. Greco, L. Marras, M. Materazzi, E. Pampaloni, A. Pelagotti, L. Pezzati, P. Poggi, and C. Sanapo. "2D and 3D optical diagnostic techniques applied to Madonna dei Fusi by Leonardo da Vinci." In Optical Metrology, edited by Renzo Salimbeni and Luca Pezzati. SPIE, 2005. http://dx.doi.org/10.1117/12.612535.

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Lacagnina, Michele, Francesco Petrone, and Rosario Sinatra. "Application of a Five-Axis Robot Manipulator to Maintenance Operations." In ASME 1999 Design Engineering Technical Conferences. American Society of Mechanical Engineers, 1999. http://dx.doi.org/10.1115/detc99/vib-8400.

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Abstract:
Abstract This paper describes the application of a five-axis manipulator with a particular architecture containing only revolute joints to the performance of maintenance operations on the concrete spire of the “Madonna delle Lacrime” church, in Siracusa, Italy. The kinematics model is derived and a computation of the joint coordinates and their time rates are calculated by the least-squares approximation, as proposed by Angeles. The Newton-Eulero algorithm is implemented for a simulation of the inverse dynamics of a not-simple trajectory in Cartesian space required to perform the maintenance task.
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Thomas, P. J. "Application of the distortion method of model validation using the PC-based simulation language, Berkeley madonna." In IEE Seminar on Model Validation for Plant Control and Condition Monitoring. IEE, 2000. http://dx.doi.org/10.1049/ic:20000240.

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Colombero, C., L. Baillet, C. Comina, A. Helmstetter, D. Jongmans, E. Larose, J. Valentin, and S. Vinciguerra. "Spectral Analysis and Correlation of Ambient Seismic Noise. The Case Study of Madonna del Sasso (NW Italy)." In Near Surface Geoscience 2015 - 21st European Meeting of Environmental and Engineering Geophysics. Netherlands: EAGE Publications BV, 2015. http://dx.doi.org/10.3997/2214-4609.201413666.

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Bellucci, Roberto, and Cecilia Frosinini. "The Madonna of the Yarnwinder: a case study of non-invasive technique for art historians and conservators." In Optical Metrology, edited by Renzo Salimbeni and Luca Pezzati. SPIE, 2005. http://dx.doi.org/10.1117/12.619815.

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