Relevant bibliographies by topics / Symbolism in art

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

Academic literature on the topic 'Symbolism in art'

Author: Grafiati
Published: 4 June 2021
Last updated: 29 July 2024

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Journal articles on the topic "Symbolism in art"

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Van Rensburg, F. I. J. "Van Wyk Louw Simbolis?" Literator 11, no. 1 (May 6, 1990): 35–55. http://dx.doi.org/10.4102/lit.v11i1.792.

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In this article the question is posed whether one is justified in associating N.P. van Wyk Louw’s work with Symbolism as seen in terms of its being a historical art movement. At first sight some of the main characteristics of his work seem incompatible with the overall spirit of Symbolism. A close look is taken at these characteristics. They are weighed against typical characteristics of Symbolism. A number of common traits are discovered. Following this, a study of Van Wyk Louw’s utterances in his prose works is undertaken to establish the extent of his knowledge of the works of Symbolists and of Symbolism as such, The unfolding history of his contact with their work and with Symbolism is traced. Some revealing relations are uncovered. Having established a number of definite Symbolist traits in his work, his poetical oeuvre is projected against the set of fundamental characteristics of Symbolism as a phenomenon identified by S. Dresden in his book Symbolisme (1980). Seen at against this background, the range of symbolist features in his work shows up clearly. The conclusion reached is that Van Wyk Louw so thoroughly absorbed those characteristics of Symbolism that corresponded with his own creative personality that they have blended almost imperceptibly with the rest of his oeuvre, thereby creating the impression that they are fully native to his work.
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Ryabchenko, V. D. "The Evolution of Symbolist Ideas in the Zolotoe Runo Magazine." Concept: philosophy, religion, culture 4, no. 3 (September 28, 2020): 158–67. http://dx.doi.org/10.24833/2541-8831-2020-3-15-158-167.

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The article treats the role art magazine Zolotoe runo played in history of symbolist’s theoretical ideas. By 1906, symbolism as a philosophical and aesthetic movement enters a crisis stage (and, then, a renaissance) — the pioneering movement has become utterly formal, tendentious, and has even acquired public recognition, which contradicts the modernist spirit. Zolotoe runo turns into a platform for the adversaries of outdated, decadent or individual symbolism, changing the symbolist nature and landscape. V. F. Khodasevich suggests that not only hasn’t symbolism been yet studied, but it also doesn`t seem to have been even read. This phenomenon and its notion deserve proper research. The scientific community’s interest in this movement is growing, as the importance of symbolism comes to light, and it becomes more evident that it was not only a milestone in history, but it also predetermined many trends in the development of culture and art up to the present day. Apart from that, the extreme heterogeneity within the symbolist movement and its paradoxical and unexpected metamorphoses are rarely understood. Nonetheless, through the analysis of such magazines as Zolotoe runo, and by drawing upon the research of cultural scientists, art historians and literary critics, we can clarify the features of symbolism, contradictory and holistic at the same time.
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Vanover, Ty. "Sex, Sign, Subversion: Symbolist Art and Male Homosexuality in 19th-Century Europe." Arts 13, no. 3 (June 5, 2024): 103. http://dx.doi.org/10.3390/arts13030103.

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There is something queer about Symbolism. Art historians have long acknowledged the links between Symbolist aesthetics and contemporaneous ideas about human sexuality, and even a cursory examination of artworks by male Symbolist artists working across the continent reveals an eyebrow-raising number of muscled nudes, lithe ephebes, and intimate male couplings. The sensual male body could register the artist’s erotic desire, even as he put it forth as an idealized emblem of transcendental truth. But perhaps Symbolism’s queerness extended beyond subject matter. Scholars have argued that Symbolism was in part defined by a subversive approach to visual semiotics: a severing—we might say a queering—of the ties binding a sign to its established cultural meaning. Similarly, male homosexual subcultures were sustained by endowing established signs and pictures with a uniquely queer significance. This paper seeks to tease out the relationship between Symbolist aesthetics and male homosexuality in terms of a shared sensibility towards pictorial interpretation. Taking as a case study the work of the Swedish Symbolist artist Eugène Jansson, I argue that Symbolism held appeal for homosexual artists precisely because queer subcultures were primed to read subversive meaning into normative pictures. Offering a new reading of Symbolism’s sexual valences, I contextualize the movement’s attendant artworks within the broader cultural landscape of homosexual signs and symbols and articulate the parallels between Symbolist approaches to the image and queer modes of seeing in the late nineteenth century.
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Davydova, Olga Sergeevna. "Sculptural rhymes of Art Nouveau: on the visual poetics of symbolism." Философия и культура, no. 2 (February 2022): 1–12. http://dx.doi.org/10.7256/2454-0757.2022.2.37229.

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This article is first within the Russian and Western art history to examine the concept of visual poetics as a separate subject of research. Based on the analysis of iconographic and theoretical searches of the masters of symbolism, which found reflection within the boundaries of expressive means of visual art, the author comes concludes on the poetic principles of symbolist artists as the fundamental sources of the formation of the style of Art Nouveau – a new sculptural language of the XIX – early XX centuries. Detail characteristic of the philosophical-aesthetic content that underlies optical forms of the visual symbolist image, in its scientific origins leans on the capabilities of the art comparative-formal analysis, as well as iconological method adapted to the period under review. The innovative conceptual approach towards studying the art of symbolism lies in the fact that poetry as the concept is depicted beyond the literary sphere, as a specific type of artistic worldview that influenced the development of the visual language of art in the era of Art Nouveau. At the same time, visual poetics is compared to the complex system of internal images, which shape in with the works of the master throughout the entire path of his self-expression, and are directly related to profoundness of the poetic principle of the soul, lyrical and metaphorical intuition of the artist. This approach allows us broadening the representation on the aesthetic benchmarks of the symbolist artists, as well as designating the new methodological coordinates in the field of studying the art of symbolism in both national and international contexts.
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Davydova, Olga Sergeevna. "Symbolism in the Russian visual art in the era of Art Nouveau: analytical overview in the light of latest research." Философия и культура, no. 12 (December 2021): 10–24. http://dx.doi.org/10.7256/2454-0757.2021.12.37180.

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The subject of this article is the works of the Russian artists of the late XIX – early XX centuries in the context of problematic of symbolism and Art Nouveau, as well as the scientific foundation that has developed as yet in studying this topic. Research methodology is based on the conceptual synthesis of classical art history approaches towards the analysis of artistic material with the theoretical interdisciplinary methods of humanities, such as iconology and hermeneutics, as well as the contextual-associative method developed by the author. The goal of this article consists in determination of the peculiarities of symbolism in Russia due to the transformation of the attitude towards the spiritual problematic of art of the turn of the XIX – XX centuries, which is relevant for the modern art history. The author is firs in the Russian art history to conduct a comprehensive analytical overview of the development stages of symbolism in the Russian visual art based on the years-long work with the archival materials, scientific publications (that cover over a century), and works of the Art Nouveau authors stored in the museum funds, many of which after 1917  appeared to be on the periphery of attention of art historians due to ideological reasons. The revealed individual characteristics of symbolism as a holistic artistic phenomenon, created on the level of modern humanistic knowledge, determine the novelty of this work and can valuable in further study of symbolism and Art Nouveau. Broadening of representations on the Russian art of the late XIX – early XX centuries, allow returning the heritage of the symbolist artists into the context of art, which is of undeniable importance from the perspective of restoration of natural logic of the development of the history of art in Russia, making this publication valuable in various fields of study of art and culture.
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Oboladze, Tatia. "Wine, Opium, and Hashish in Georgian and European Symbolism." Ars & Humanitas 16, no. 1 (December 22, 2022): 219–30. http://dx.doi.org/10.4312/ars.16.1.219-230.

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The subject of the article “Wine, Opium, Hashish in Georgian and European Symbolism” is the identification of the cultural links between Georgian and European (primarily French and, German) symbolism. Our goal is to determine the role and place of Georgian symbolism in the world literature context and study the cultural-aesthetic ties that have influenced the art of the Georgian symbolist group, the process of forming their aesthetic taste and worldview. In this article, we focus on the genesis of the symbolist theory of the myth, its specific nature and the motivation for the creation of a new mythology. In addition, we consider the theme of wine, opium and hashish in Georgian and European cultural areas, and analyse the conceptual sense and function of this new mythology.
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Stoian, S. P. "THE SYMBOLISM OF THE VISUAL IMAGE IN THE PHILOSOPHICAL CONCEPTIONS OF E. CASSIRER AND C. LANGER: THE CULTURAL CONTEXT." UKRAINIAN CULTURAL STUDIES, no. 1 (2017): 52–55. http://dx.doi.org/10.17721/ucs.2017.1.11.

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It’s mentioned that the European atmosphere of increased interest in the problems of symbol and symbolism in the cultural space, giving rise in the second half of the XIX century to the registration of symbolism in art direction also contributes to a number of philosophical studies to the rethinking of the functioning of the cultural sphere, as well asthe whole of human existence from the standpoint of symbolism.A powerful concept that gives us an understanding of the global symbolic basis of culture is the theory of E. Cassirer, which he outlines in his work "The Philosophy of symbolic forms", expanding these issues infurther series of works collected under the title "An Essay on Man". Cassirer’s views are one of the main methodological foundations in our research, because the human culture has deeply symbolic character and consists of various symbolic forms, among which art takes a special place. Culture is not something predetermined; it is created by a person who is gradually separated from the natural world precisely because of its ability for continuous production of symbols. Along with the myth Cassirer distinguished such symbolic forms as language, art, science, through which the essential components of the symbolic reality of man are also produced. In work "Philosophy of Symbolic Forms", the art is mentioned in the context of consideration of the specificity of these symbolic realms and researcher focuses on myth, language and the problem of scientific knowledge. The philosopher indicates the communicative function of art, which becomes extremely important in the twentieth century in the context of the active involvement of the viewer in the process of co-creation. One of the main characteristics of symbolism about art that it distinguishes the concept from the previous Cassirer's symbolic concepts, particularly medieval, in his opinion, that art is really symbolic, but the symbolism of art should be understood not in transcendental but immanent sense. S. Langer in "Philosophy in a new key: A Study in the Symbolism of Reason, Rite, and Art", continuing the Cassirer's line on the recognition of the symbolic nature of human existence and the view of man as the "symbolic animal", along with an analysis of the symbolism oflanguage, which it defines as discursive, consider the symbolism of visual forms, which he calls presentations, or rediscussion, referring to him the sphere of art. Analyzed concepts demonstrate strong scientific interest to the question of symbolism in human culture, and emphasize the relevance of treatment to this issue.
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Tsareva, Nadezhda A. "The Idea of Russian Symbolism about the Synthesis of Cultural Forms in the Context of Postmodern Culture." ICONI, no. 1 (2021): 126–36. http://dx.doi.org/10.33779/2658-4824.2021.1.126-136.

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The relevance of the topic is due to the attention to trends in the development of culture. The synthesis of cultural forms is one of the important factors in the dynamics of culture. The teaching of Russian symbolism about the synthesis of cultures was analyzed in the scientifi c literature of the entire twentieth century. The novelty of the research is to compare the idea of art synthesis in the early twentieth and twenty-fi rst centuries. Two aspects of the idea of synthesis are considered: 1) the relevance of the idea of art synthesis in the postmodern era; 2) music and the visual series as organizing centers of art synthesis in the era of information technology. The purpose of this article is to examine the teaching of Russian symbolism about the integration of various forms of art and the features of synthesis in the postmodern era. The idea of integrating cultural forms was one of the key elements in Russian symbolism at the beginning of the twentieth century and was interpreted as a real prospect for the development of culture. In a broad sense, synthesis in symbolism meant the integrity of life, the integration of all spheres of human activity, the “organic connection” of cultures of the past and present. The synthesis can be realized on the basis of the art of symbolism, which can create a new culture. The synthesis of arts was understood as the beginning of the formation of a new culture. The core of the synthesis of arts, the symbolists saw music. Postmodern art is characterized by synthetism. Computer and information technologies create new forms of synthetic media art. The video series becomes the center of integration construction of postmodern audiovisual culture forms. The symbolist idea of the synthesis of arts as the beginning of cultural change in the postmodern era remains a utopian project. But the creation of new art forms in postmodern culture i s based on integration. New technologies are becoming a factor that determines the specifi cs of the synthesis of arts and infl uences the dynamics of culture. Both in Russian symbolism and in modern art, the goal of art synthesis is to present an integral image of the world, to form a system of worldview attitudes.
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Shuang, Wang, and Ren Shuai. "Colour symbolism in the art of Thangka." OOO "Zhurnal "Voprosy Istorii" 2023, no. 12-1 (December 1, 2023): 208–19. http://dx.doi.org/10.31166/voprosyistorii202312statyi06.

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The article examines the origin of symbolism and the cult of colour on the example of colour symbolism in the art of Thangka; it analyses two cultural and logical approaches to colour symbolism comprehension: using inductive method (generalization of natural attributes of colour) and deductive method (further transformation of colour symbolism into a social phenomenon and extension of colour semantic field). Two main symbolic systems generated by colour symbolism in Tibetan culture in the deductive process of its transformation into a social phenomenon - the “system of objectification” and the “system of humanization and deification”, their implementation in the Thangka paintings and the features of serving the needs of religion are investigated in this article.
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OSTASHCHUK, Ivan, Keyan LIANG, Svitlana KHRYPKO, Daria CHEMBERZHI, Olena LOBANCHUK, Olena NYKYTCHENKO, Iryna SPUDKA, and Volodymyr CHOP. "Floral Symbolism in Ukrainian Temple Art." WISDOM 28, no. 4 (December 25, 2023): 70–78. http://dx.doi.org/10.24234/wisdom.v28i4.1042.

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The origins of the formation of plant symbolism in Christian temple art have been investigated, particularly on the example of the texts of the Holy Bible. The primary connotations of the garden’s symbolism in Christian sacral art are analyzed as an expression of the idea of a lost paradise, contemplation of the images of which is possible in the space of temples. Plant symbolism is revealed in the holistic art systems of the Sophia of Kyiv and St. Cyril’s Church in Kyiv. The fundamental values of plant symbolism in St. Sophia’s Cathedral and St. Cyril’s Church are highlighted by the idea of the continuity of Christian semiotics with the Old Testament Judaism and the combination of local pre-Christian traditions.
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Dissertations / Theses on the topic "Symbolism in art"

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Swoboda, Sylvia. "Symbolism and Art." VCU Scholars Compass, 2010. http://scholarscompass.vcu.edu/etd/2034.

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I am interested in communication through symbolism. The symbols that I incorporate in my mixed media work are simplified into essential lines and shapes. I use the Kabbalah’s Tree of Life diagram as a structure to hold my own personal symbols. These symbols are my interpretation of the phases of life. I also use prehistoric symbols such as the spiral, circle, square, triangle, and cross as a focus to emphasize the beauty of these very basic lines and shapes which we see all around our world. To emphasize the beauty of symbols I use repetition, color, and texture. Life is overwhelming and chaotic at times. Having simplicity in my visual surroundings creates a sense of tranquility and contentment. I aim to convey these feelings to the viewer while having them interpret what the symbols mean to them.
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Heaton, Haidee R. "Symbolism and the actor's perspective : a grounded theory study of the actor's approach to symbolist vocal work /." free to MU campus, to others for purchase, 2004. http://wwwlib.umi.com/cr/mo/fullcit?p3137709.

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Alexandri, Alexandra. "Gender symbolism in Late Bronze Age Aegean glyptic art." Thesis, University of Cambridge, 1994. https://www.repository.cam.ac.uk/handle/1810/251901.

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Leyva-Perez, Irina. "Alchemy and Symbolism in the Work of Carlos Estevez." FIU Digital Commons, 2012. http://digitalcommons.fiu.edu/etd/740.

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The purpose of this thesis was to explore how alchemy has influenced Carlos Estevez’s work through a study of the symbolic repertoire and the philosophical concepts associated with it in his art, particularly how these are expressed in his artworks and how alchemy has evolved thematically in his oeuvre. The study of alchemy influenced this artist so deeply that even pieces that were not primarily inspired by this philosophical system show traces of it, essentially by representing the concept of transformation, crucial to understanding the alchemical process. This thesis is based on Carl Gustav Jung’s idea of metaphysical transformation as one of the main aspects of alchemy, and on his theory of active imagination as a tool to represent thoughts through artworks. Alchemy transformed Estevez’s art, and by extension the way he approaches life, making him conscious of the importance of transmutation and alchemical concepts.
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d'Esterre, Elaine, and mikewood@deakin edu au. "Feminist poetics: Symbolism in an emblematic journey reflecting self and vision." Deakin University. School of Literary and Communication Studies, 1999. http://tux.lib.deakin.edu.au./adt-VDU/public/adt-VDU20050902.123532.

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My thesis tilled Feminist Poetics: Symbolism in an Emblematic Journey Reflecting Self and Vision, consists of thirty oil paintings on canvas, several preparatory sketches and drawings in different media on paper, and is supported and elucidated by an exegesis. The paintings on unframed canvases reveal mise en scènes and emblems that present to the viewer a drama about links between identities, differences, relationships and vision. Images of my daughter, friends and myself fill single canvases, suites of paintings, diptyches and triptychs. The impetus behind my research derives from my recognition of the cultural means by which women's experience is excluded from a representational norm or ideal. I use time-honoured devices, such as, illusionist imagery, aspects of portraiture, complex fractured atmospheric space, paintings and drawings within paintings, mirrors and reflective surfaces, shadows and architectural devices. They structure my compositions in a way that envelops the viewer in my internal world of ideas. Some of these features function symbolically, as emblems. A small part of the imagery relies on verisimilitude, such as my hands and their shadow and my single observing eye enclosed by my glasses. What remains is a fantasy world, ‘seen’ by the image of my other eye, or ‘faction’, based on memories and texts explaining the significance of ancient Minoan symbols. In my paintings, I base the subjects of this fantasy on my memories of the Knossos Labyrinth and matristic symbols, such as the pillar, snake, blood, eye and horn. They suggest the presence of a ritual where initiates descended into the adyton (holy of holies) or sunken areas in the labyrinth. The paintings attempt a ‘rewriting’ of sacrality and gender by adopting the symbolism of death, transformation and resurrection in the adyton. The significance of my emblematic imagery is that it constructs a foundation narrative about vision and insight. I sought symbolic attributes shared by European oil painting and Minoan antiquity. Both traditions share symbolic attributes with male dying gods in Greek myths and Medusa plays a central part in this linkage. I argue that her attributes seem identical to both those of the dying gods and Minoan goddesses. In the Minoan context these symbols suggest metaphors for the female body and the mother and daughter blood line. When the symbols align with the beheaded Medusa in a patriarchal context, both her image and her attributes represent cautionary tales about female sexuality that have repercussions for aspects of vision. In Renaissance and Baroque oil painting Medusa's image served as a vehicle for an allegory that personified the triumph of reason over the senses. In the twentieth century, the vagina dentata suggests her image, a personified image of irrational emotion that some male Surrealists celebrated as a muse. She is implicated in the male gaze as a site of castration and her representation suggests a symbolic form pertaining to perspective. Medusa's image, its negative sexual and violent connotations, seemed like a keystone linking iconographic codes in European oil painting to Minoan antiquity. I fused aspects of matristic Minoan antiquity with elements of European oil paintings in the form of disguised attribute gestures, objects and architectural environments. I selected three paintings, Dürer's Setf-Portrait, 1500, Gentileschi's Self-Portrait as the Allegory of Painting, 1630 and Velazquez's Las Meniruis, 1656 as models because 1 detected echoes of Minoan symbolism in the attributes of their subjects and backgrounds. My revision of Medusa's image by connecting it to Minoan antiquity established a feminist means of representation in the largely male-dominated tradition of oil painting. These paintings also suggested painting techniques that were useful to me. Through my representations of my emblematic journey I questioned the narrow focus placed on phallic symbols when I explored how their meanings may have been formed within a matricentric culture. I retained the key symbols of the patriarchal foundation narratives about vision but removed images of violence and their link to desire and replaced it with a ritual form of symbolic death. I challenged the binary oppositional defined Self as opposed to Other by constructing a complex, fluid Self that interacts with others. A multi-directional gaze between subjects, viewers and artist replaces the male gaze. Different qualities of paint, coagulation and random flow form a blood symbolism. Many layers of paint retaining some aspects of the Gaze and Glance, fuse and separate intermittently to construct and define form. The sense of motion and fluidity constructs a form of multi-faceted selves. The supporting document, the exegesis is in two parts. In the first part, I discuss the Minoan sources of my iconography and the symbolic gender specific meanings suggested by particular symbols and their changed meanings in European oil painting, I explain how I integrate Minoan symbols into European oil paintings as a form of disguised symbolism. In the second part I explain how my alternative use of symbolism and paint alludes to a feminist poetic.
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Mousset-Becouze, Chloé. "Du symbolisme comme chambre noire de l'imaginaire photographique." Thesis, Bordeaux 3, 2014. http://www.theses.fr/2014BOR30018/document.

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Évoquer l'existence d'un imaginaire photographique pose un problème d'ordre idéologique quant au statut de la photographie. Pour tenter de démontrer l'existence de cet imaginaire, il faut se pencher sur un mouvement qui, en son temps, réfléchit à cette notion de manière fondamentale: le mouvement symboliste. Aussi est-il nécessaire de se demander en quoi le symbolisme est fondateur de l’imaginaire photographique ? A cette époque la photographie est largement intégrée dans un système positiviste, elle est la technique scientifique d’enregistrement par excellence, ayant pour trait caractéristique la mise hors circuit de la subjectivité de l’observateur. Le symbolisme, quant à lui, est à son apogée, autour des années 1880-90. Il va opposer au principe scientifique de classification, fondé sur la séparation et la différence, une conception philosophique tournée vers la recherche d’unité. Or les symbolistes, vont se servir de l’outil photographique. D’une part, ils réinvestissent d’un imaginaire et d’un esprit critique les photographies les plus scientifiques et « objectives » de l’époque. D’autre part certains deviennent eux-mêmes photographes et vont instituer la photographie comme une véritable expérience créatrice et poétique. Ces concepts demeurent plus ou moins vifs sur le long terme. Un ensemble de symboles et de démarches ont été réinvestis par la révolution surréaliste. Ceux-ci restent présents et fondateurs de la photographie contemporaine par leur réactualisation. Cette dernière ferait véritablement appel aux potentiels de l’imaginaire photographique déjà mis en place par le Symbolisme, remettant dès lors en question la manière impérialiste de voir et concevoir le réel. Le but de cette recherche, n’est pas d’affirmer que toute photographie est symboliste mais de déterminer quelle peut être aujourd’hui l’influence du symbolisme en photographie, à travers la mise en œuvre de concepts communs. Cette recherche se fonde sur une interrogation concernant l’imaginaire photographique
To refer to the existence of a photographical imagination arises an ideological issue when bringing the status of photography into question. To try to demonstrate the existence of this imagination; consideration should be given to a movement fundamentally reflecting the notion of the symbolist movement. Therefore, would it be necessary to consider how symbolism is founder of the photographical imagination? At that time, photography widely fits into a positivist system, it is the best recording scientific technique. Hence, photography has emerged from the middle of the 19th century as a new type of objectivity whose main characteristic is the exclusion of the observer's subjectivity. As for Symbolism, it reached its peak around 80-90s. It will oppose a searching for unity philosophical conception with scientific classification principle, based on separation and difference. Despite that, Symbolists have chosen to use the photographical tool. On the one hand, they took into account the most scientific and objective photographs over that period in relation with imagination and critical acumen. On the other hand, some of them became themselves photographers and will even institute photography as a real creative and practical experience. However, these concepts remain more or less alive on the long run. A set of symbols and methods were taken into account by the surrealist revolution. Those remain present at the origin of the contemporary photography by their re-actualization. The contemporary photography would really require the photographical imagination potential that were already set up by Symbolism. Therefore, the imperialist way of feeling and imagining reality would be thrown back into question. The aim of this research is not to assert that photography is symbolist but to determine which influence of symbolism about photography may currently be through the use of common concepts. All in all, this research is based on questioning about the photographical imagination
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Li, Gregory Kenneth, and 李群雄. "Tantric symbolism in Vajrayogini imagery." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2010. http://hub.hku.hk/bib/B45166225.

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Crosby, Nancy A. "Shifting reality /." Online version of thesis, 1992. http://hdl.handle.net/1850/11760.

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Waltz, Connie Lou. "Sources and iconography of the figural sculpture of the Church of the Holy Cross at Aght'amar." Connect to resource, 1986. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1228504313.

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Snyder, Cara L. "The Christ child as Salvator Mundi a reexamination of the devotional image in Germany, 1450-1550 /." Morgantown, W. Va. : [West Virginia University Libraries], 2001. http://etd.wvu.edu/templates/showETD.cfm?recnum=1957.

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Thesis (M.A.)--West Virginia University, 2001.
Title from document title page. Document formatted into pages; contains vii, 41, [24] p. : ill. (some col.). Includes abstract. Includes bibliographical references (p. 37-41).
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Books on the topic "Symbolism in art"

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Goldwater, Robert John. Symbolism. Boulder, Colo: Westview Press, 1998.

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Rapetti, Rodolphe. Symbolism. Paris: Flammarion, 2005.

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Edward, Lucie-Smith. Symbolist art. New York, N.Y: Thames and Hudson, 1993.

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Fernando, Coimbra, Dubal Léo 1940-, and International Union of Prehistoric and Protohistoric Sciences., eds. Symbolism in rock art. Oxford, England: Archaeopress, 2008.

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Aleksandr, Stefanovich, and Nikonet͡s A, eds. Simvolizm: Symbolism. Kaliningrad: Zhivem, 2011.

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Waldemarsudde (Museum : Djurgården, Stockholm, Sweden), ed. Symbolism & dekadens. [Stockholm]: Prins Eugens Waldemarsudde, 2015.

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Pierre, José. L' univers symboliste: Décadence, symbolisme et art nouveau. Paris: Somogy, 1991.

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Gettings, Fred. Secret symbolism in occult art. New York: Harmony Books, 1987.

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Gettings, Fred. Secret symbolism in occult art. New York: Harmony Books, 1987.

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1949-, Fitzgerald Michael Oren, ed. Foundations of oriental art & symbolism. Bloomington, Ind: World Wisdom, 2009.

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Book chapters on the topic "Symbolism in art"

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Shklovskii, Viktor. "Art as Technique." In From Symbolism to Socialist Realism, edited by Irene Masing-Delic, 64–81. Boston, USA: Academic Studies Press, 2019. http://dx.doi.org/10.1515/9781618111449-008.

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Müller, Maya. "Iconography and Symbolism." In A Companion to Ancient Egyptian Art, 78–97. Chichester, UK: John Wiley & Sons, Ltd, 2014. http://dx.doi.org/10.1002/9781118325070.ch5.

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Burns, Leland S., and John Friedmann. "Budgetary Symbolism and Fiscal Planning." In The Art of Planning, 223–40. Boston, MA: Springer US, 1985. http://dx.doi.org/10.1007/978-1-4613-2505-5_15.

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Kimber, Gerri. "The Incorporation of Symbolism." In Katherine Mansfield and the Art of the Short Story, 33–39. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1057/9781137483881_7.

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Delaney Grossman, Joan. "’The Marble Bust’ and Briusov’s Vision of Art." In From Symbolism to Socialist Realism, edited by Irene Masing-Delic, 121–31. Boston, USA: Academic Studies Press, 2019. http://dx.doi.org/10.1515/9781618111449-012.

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García-Diez, Marcos, and Blanca Ochoa. "Art Origins: The Emergence of Graphic Symbolism." In Encyclopedia of Global Archaeology, 986–1005. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-30018-0_2819.

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García-Diez, Marcos, and Blanca Ochoa. "Art Origins: The Emergence of Graphic Symbolism." In Encyclopedia of Global Archaeology, 1–19. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-319-51726-1_2819-1.

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Brown, Katherine T. "Autumn." In Arboreal Symbolism in European Art, 1300–1800, 43–72. New York: Routledge, 2024. http://dx.doi.org/10.4324/9781003291435-4.

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Brown, Katherine T. "Prologue." In Arboreal Symbolism in European Art, 1300–1800, 1–2. New York: Routledge, 2024. http://dx.doi.org/10.4324/9781003291435-1.

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Brown, Katherine T. "Winter." In Arboreal Symbolism in European Art, 1300–1800, 73–108. New York: Routledge, 2024. http://dx.doi.org/10.4324/9781003291435-5.

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Conference papers on the topic "Symbolism in art"

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Hu, Xiaoming. "Is Takashi Murakami’s Art an Exploration of Symbolism?" In 2021 6th International Conference on Modern Management and Education Technology（MMET 2021）. Paris, France: Atlantis Press, 2021. http://dx.doi.org/10.2991/assehr.k.211011.101.

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Makarevičs, Valerijs, and Dzintra Ilisko. "Figuratively Semantic Analysis of Works of Art." In 14th International Scientific Conference "Rural Environment. Education. Personality. (REEP)". Latvia University of Life Sciences and Technologies. Faculty of Engineering. Institute of Education and Home Economics, 2021. http://dx.doi.org/10.22616/reep.2021.14.044.

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Topicality of the study is related to the in-depth study of the art of works of Van Gogh, Velázquez and Repin by relating art to the biography of these authors. The aim of the study is to explore the symbolism and the biography of the painters using the examples of analysis from the works of Van Gogh, Velasquez, and Repin and also to determine the conditions that contribute to the awareness of the process of perception and understanding of paintings. The methodology of this study is figuratively symbolic method used with the purpose to compare the plots of the art and to relate them to the life experience of their creators. Results obtained and the most important conclusions: This is important for the author of a painting to convey his/her thoughts and feelings to the viewer. Still, there remains a problem. The author uses the language of the image and symbol, which the viewer needs to reveal. Psychology of art offers two main options for solving this problem. The essence of the first option which is the ability of the painter to direct the viewer's sight. It is called the Dutch approach. The second approach to the analyses of art is called the Italian approach. In this case this is important to understand the symbolism and knowledge gained historically by relating one’s art works to the biography of the painter. The authors of this article focus on the second approach by illustrating it with examples of analysis from the works of Van Gogh, Velázquez, and Repin. The results of this study might be of interest for those who are interested in arts and psychology.
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Kuksa, P. V. "Visual and color symbolism in the novel by M.A. Sholokhov "Quiet Don"." In Scientific Trends: Philology, Culturology, Art history. TsNK MOAN, 2019. http://dx.doi.org/10.18411/spc-26-07-2019-01.

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Zheng, Dan. "An Analysis of Symbolism in The Scarlet Letter." In 4th International Conference on Education, Language, Art and Intercultural Communication (ICELAIC 2017). Paris, France: Atlantis Press, 2017. http://dx.doi.org/10.2991/icelaic-17.2017.84.

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JORDÁN, Régulo Franco. "Art, symbolism and power in Moche Society, North Coast of Peru." In Design frontiers: territories, concepts, technologies [=ICDHS 2012 - 8th Conference of the International Committee for Design History & Design Studies]. Editora Edgard Blücher, 2014. http://dx.doi.org/10.5151/design-icdhs-001.

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Mankovskaya, N. "POST-RECEPTIVE HERMENEUTICAL METHOD IN THE AESTHETICS OF FRENCH SYMBOLISM." In Aesthetics and Hermeneutics. LCC MAKS Press, 2022. http://dx.doi.org/10.29003/m2540.978-5-317-06726-7/32-35.

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The report discusses the features of the post-receptive hermeneutical method in the philosophy of art of P. Claudel,representing the Catholic line in the aesthetics of French symbolism,and J. Péladan,critic of official Catholicism,interpreting art in the mystical and esoteric way. The author reveals the symbolic essence of Claudel's reflections on Dutch, Spanish and French painting and contemporary art. The author reveals the character of J. Péladan's interpretation of Dante's “Divine Comedy”,which he read as an esoteric,rather than a love story,mystical revelation.
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Sun, Hanying. "Creation and Interpretation: Study on the Symbolism of Traditional Chinese Painting." In The 5th International Conference on Art Studies: Research, Experience, Education (ICASSEE 2021). Amsterdam University Press, 2021. http://dx.doi.org/10.5117/9789048557240/icassee.2021.035.

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Grenarova, Renee. "COLLOCATION IDIOMS WITH A COLOUR COMPONENT IN TEACHING STUDENTS OF CZECH LANGUAGE FOR FOREIGNERS ON THE LEVEL OF THE INDEPENDENT USER." In 9th SWS International Scientific Conferences on ART and HUMANITIES - ISCAH 2022. SGEM WORLD SCIENCE, 2022. http://dx.doi.org/10.35603/sws.iscah.2022/s11.25.

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Background: Phraseology is a result of the life knowledge, folk wisdom of entire generations. It is a part of the spirit and material culture of each nation. As scientific discipline research idioms, which represents specific type of established vocabulary characterized by expressiveness, imagery and stability. Idioms have an irreplaceable place during adoption of communicative language competence, especially within its sociocultural and semantic field. Ignorance of idioms could lead to misunderstandings or incomprehension of certain communication situation among native speakers. The colors are all around us and they attract human attention for several thousand years. It is therefore logical, that color symbolism is projected in speech practice. Methods: Correct and fluent understanding is completely impossible without mastering a sufficient number of idioms, especially those, which belong to the phraseological core of the given language. First of all, we define the term collocation phrase and color, we conduct characteristics of color symbolism on example of chosen essential colors, and lastly we perform semantic analysis of selected collocation phrases with the color component in the Czech language. In the next part we focus on options of teaching the symbolism of colors in idioms as part of regular Czech language courses for foreigners according to the CEFR at the language level for an independent user. We present suggestion for possible didactic procedure � so-called phraseological five-minute plays. Results: Collocation idioms have positive influence on speech culture, emotionality and imagery of expression in both mother tongue and foreign language. Via these idioms is implemented during foreign language lessons dialogue of cultures. It is presented possibility of idioms usage with color components, such as white horse, black sheep, blue blood and others, within the process of learning the Czech language as a foreign language. Conclusions: Presentation of chosen results of the questionnaire named Colours around us, which was conducted in the April 2022. The respondents were students of the intensive Czech language course for foreigners on the Masaryk institute of advanced studies in Czech Technical University in Prague.
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Johnson, Nicholas. "CONTINUITY AND CHANGE IN THE SACRED ART OF THE RAMIFIED BYZANTINE EMPIRE." In Kralj Milutin i doba Paleologa: istorija, književnost, kulturno nasleđe. Publishing House of the Eparchy of Šumadija of the Serbian Orthodox Church - "Kalenić", 2023. http://dx.doi.org/10.46793/6008-065-5.559j.

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This paper will look for evidence of continuity and change in the periphery and centre of the Byzantine Empire in the late Palaeologan period looking at examples of sacred art from before and after the Latin occupation of Constantinople (1204-1261), I shall attempt to identify examples of continuity which served to reestablish Orthodoxy and note changes in composition, style and symbolism which have come to be seen by some as a Palaeologan Renaissance. My contention is that the visual culture thrived even when the polity and economy of empire were compromised.
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YUE, Chunxiao. "On the Symbolism of the Natural Objects in Tess of the d’Urbervilles." In 2021 International Conference on Education, Language and Art (ICELA 2021). Paris, France: Atlantis Press, 2022. http://dx.doi.org/10.2991/assehr.k.220131.040.

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Reports on the topic "Symbolism in art"

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Kennedy, William G., and J. G. Trafton. Long-Term Symbolic Learning in Soar and ACT-R. Fort Belvoir, VA: Defense Technical Information Center, September 2007. http://dx.doi.org/10.21236/ada478581.

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Blaxter, Tamsin, and Tara Garnett. Primed for power: a short cultural history of protein. TABLE, November 2022. http://dx.doi.org/10.56661/ba271ef5.

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Protein has a singularly prominent place in discussions about food. It symbolises fitness, strength and masculinity, motherhood and care. It is the preferred macronutrient of affluence and education, the mark of a conscientious diet in wealthy countries and of wealth and success elsewhere. Through its association with livestock it stands for pastoral beauty and tradition. It is the high-tech food of science fiction, and in discussions of changing agricultural systems it is the pivotal nutrient around which good and bad futures revolve. There is no denying that we need protein and that engaging with how we produce and consume it is a crucial part of our response to the environmental crises. But discussions of these issues are affected by their cultural context—shaped by the power of protein. Given this, we argue that it is vital to map that cultural power and understand its origins. This paper explores the history of nutritional science and international development in the Global North with a focus on describing how protein gained its cultural meanings. Starting in the first half of the 19th century and running until the mid-1970s, it covers two previous periods when protein rose to singular prominence in food discourse: in the nutritional science of the late-19th century, and in international development in the post-war era. Many parallels emerge, both between these two eras and in comparison with the present day. We hope that this will help to illuminate where and why the symbolism and story of protein outpace the science—and so feed more nuanced dialogue about the future of food.
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Cao, Larry. IV. Chatbot, Knowledge Graphs, and AI Infrastructure. CFA Institute Research Foundation, April 2023. http://dx.doi.org/10.56227/23.1.10.

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Expert contributors discuss AI and big data applications that are being developed for financial services, such as AI-powered intelligent customer service systems; “factories” for data processing, AI, simulation, and visualization; and symbolic AI.
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Варданян, Марина Володимирівна. The sphere of “The Self” concept: thematic horizons in literary works for children and youth of Ukrainian Diaspora writers. Lulu Press, 2017. http://dx.doi.org/10.31812/0564/1672.

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The article deals with the leading issues in the children's literature of the Ukrainian Diaspora writers. Among the key themes are the following such as historical, patriotic, religious and Christian topics, which are considered through the image of “The Self”. This concept includes the image of the Motherland, historically native land, prominent figures (Taras Shevchenko, hetmans of Ukraine), the family line, national symbols (the flag, the trident) and religious and Christian symbols (the church, the blessing). The idea of preserving the cultural identity and the national identity of Ukrainians is prevalent through the concept of “The Self”.
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Borgwardt, Stefan, Marcel Lippmann, and Veronika Thost. Reasoning with Temporal Properties over Axioms of DL-Lite. Technische Universität Dresden, 2014. http://dx.doi.org/10.25368/2022.208.

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Recently, a lot of research has combined description logics (DLs) of the DL-Lite family with temporal formalisms. Such logics are proposed to be used for situation recognition and temporalized ontology-based data access. In this report, we consider DL-Lite-LTL, in which axioms formulated in a member of the DL-Lite family are combined using the operators of propositional linear-time temporal logic (LTL). We consider the satisfiability problem of this logic in the presence of so-called rigid symbols whose interpretation does not change over time. In contrast to more expressive temporalized DLs, the computational complexity of this problem is the same as for LTL, even w.r.t. rigid symbols.
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Baader, Franz, and Klaus U. Schulz. Unification Theory - An Introduction. Aachen University of Technology, 1997. http://dx.doi.org/10.25368/2022.135.

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Equational unification is a generalization of syntactic unification in which semantic properties of function symbols are taken into account. For example, assume that the function symbol '+' is known to be commutative. Given the unication problem x + y ≐ a + b (where x and y are variables, and a and b are constants), an algorithm for syntactic unification would return the substitution {x ↦ a; y ↦ b} as the only (and most general) unifier: to make x + y and a + b syntactically equal, one must replace the variable x by a and y by b. However, commutativity of '+' implies that {x ↦ b; y ↦ b} also is a unifier in the sense that the terms obtained by its application, namely b + a and a + b, are equal modulo commutativity of '+'. More generally, equational unification is concerned with the problem of how to make terms equal modulo a given equational theory, which specifies semantic properties of the function symbols that occur in the terms to be unified.
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Vestermann Olsen, Tina, Ditte Bendix Lanng, Lea Holst Laursen, and Eldjona Mataj. På sporet af Landsbyrum: Atlas over fælles rum i mellemlandet. Department of Architecture, Design & Media Technology, Aalborg University, 2023. http://dx.doi.org/10.54337/aau537331750.

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Landsbyens rum med sirligt opstillede plantekrukker, bænke placeret med udsigt over landskabet og de altid opdaterede vejrbestandige opslagstavler med info om lokalt foreningsliv viser på konkret og symbolsk vis lokalsamfundets evne og vilje til at vedligeholde rum og dermed den enkelte landsbys ressourcer. Derfor bør landsbyens rum spille en vigtig rolle i arbejdet med strategisk planlægning for landsbyer.
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Bassols Jacas, Raimundo. Interaction between the Government and the Spanish Civil Society during the Negotiations for the Accession of Spain into the European Union. Inter-American Development Bank, September 2002. http://dx.doi.org/10.18235/0011004.

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Western countries have established themselves and developed over the last two centuries in the model of the Nation-State, founded on national sovereignty. Civil societies from these countries have been educated and conditioned to respect and fully accept the principles and symbols of a sovereign Nation. They are sharply nationalistic civil societies. This interactive relationship between the Governments and their respective civil societies are the reason that motivates this paper.
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Yilmaz, Ihsan, and Kainat Shakil. Gender Populism: Civilizational Populist Construction of Gender Identities as Existential Cultural Threats. European Center for Populism Studies (ECPS), May 2023. http://dx.doi.org/10.55271/pp0023.

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In the Islamist version of civilizational populism, the emotional backlash against the rise of secularism, multiculturalism, progressive ideas, and ‘wokeness,’ has been skillfully employed. While for the populists, populist far right and civilizational populists in the West, usually the Muslims are the civilizational other, we argue in this article, in the Islamist civilizational populism, the list of civilizational enemies of the Muslim way of life also includes feminists and LGBTQ+ rights advocates.Gender populism is a relatively new concept that refers to the use of gender symbolism, language, policy measures, and contestation of gender issues by populist actors. It involves the manipulation of gender roles, stereotypes, and traditional values to appeal to the masses and create divisions between “the people” and “the others.” This paper looks at the case study of gender populism in Turkey, where the Justice and Development Party (AKP) has been in power for over two decades. The AKP has used gender populism to redefine Turkish identity, promote conservative Islamism, and marginalize women and the LGBTQ+ community. The paper also discusses how gender populism has been used by the AKP to marginalize political opponents.
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Angel, Félix, and Cristina Rossi. Latin American Artists of Italian Descent. Inter-American Development Bank, August 2011. http://dx.doi.org/10.18235/0006441.

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This catalogue belongs to the exhibit that celebrates the 150th Anniversary of Italy's Unification. The exhibition includes a selection of art works by Latin American artists of Italian descent that constitutes a symbolic yet significant exploration of the Italian cultural presence and its influence in Latin America. Among the artists included are: Héctor Borla, Sergio Camporeale, Ricardo Crivelli, Eduardo Medici, Emilio Pettoruti, and Rogelio Polesello (Argentina), Lyria Palombini (Brazil), Roberto Sebastián Matta (Chile), Umberto Giangrandi (Colombia), Francisco Amighetti (Costa Rica), Javier Bassi, Miguel A. Battegazzore, José Belloni, Enrique Broglia, Pedro Figari, Antonio Frasconi, Diego Masi and Carlos María Tonelli (Uruguay). The catalogue comprises an essay on the interaction of experiences between Italy and Latin America by Professor Cristina Rossi. The text can be found in English, Spanish and Italian.
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