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Articoli di riviste sul tema "Iconology"

Autore: Grafiati

Pubblicato: 4 giugno 2021

Ultima modifica: 25 luglio 2025

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1

Andersson, Fred. "Avbildade tecken & avbildningar som tecken. Ikonologins och semiotikens delade skäl." ICO Iconographisk Post. Nordisk tidskrift för bildtolkning – Nordic Review of Iconography, no. 1 (August 23, 2016): 4–33. https://doi.org/10.69945/ico.vi1.25712.

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Title: Depicted Signs and Depictions as Signs – Common Reasons for Iconology and Semiotics The aim of this article is to describe some common reasons and origins of modern Icono-logy and Semiotics, and to question the dichotomy which is sometimes made between these disciplines. When emblematics and iconology were established in the Sixteenth Century, first with Andreas Alciatus’ Emblemata and later with Cæsare Ripa’s Iconologia, poetic imagery and rhetorical figures were primary points of reference. Rather than separating visual and verbal capacities, these authors merely affirmed that both vi

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2

Davison, Jane. "Icon, iconography, iconology." Accounting, Auditing & Accountability Journal 22, no. 6 (2009): 883–906. http://dx.doi.org/10.1108/09513570910980454.

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3

Sinha, Chris. "Iconology and Imagination." Cultural Dynamics 5, no. 1 (1992): 57–82. http://dx.doi.org/10.1177/092137409200500104.

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4

Brown, Lee B., and W. J. T. Mitchell. "Iconology: Image, Text, Ideology." Journal of Aesthetics and Art Criticism 45, no. 2 (1986): 211. http://dx.doi.org/10.2307/430568.

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5

Topper, David, and W. J. T. Mitchell. "Iconology: Image, Text, Ideology." Leonardo 22, no. 3/4 (1989): 449. http://dx.doi.org/10.2307/1575437.

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6

Elsner, Jaś, and Katharina Lorenz. "The Genesis of Iconology." Critical Inquiry 38, no. 3 (2012): 483–512. http://dx.doi.org/10.1086/664548.

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7

Dick, B. F., and W. J. T. Mitchell. "Iconology: Image, Text, Ideology." World Literature Today 61, no. 1 (1987): 169. http://dx.doi.org/10.2307/40142719.

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8

Rheinberger, Hans-Jörg. "Iconology: Image, text, ideology." Studies in History and Philosophy of Science Part A 25, no. 4 (1994): 647–54. http://dx.doi.org/10.1016/0039-3681(94)90055-8.

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9

Van Den Heuvel, Charles. "Henri van de Waal’s (1910-1972) unfinished Beeldleer: Exploring new potentials of an iconological classification for the history of the arts." Oud Holland – Journal for Art of the Low Countries 137, no. 4 (2024): 201–36. https://doi.org/10.1163/18750176-13704004.

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Henri van de Waal (1910-1972), well-known for his development of Iconclass, also worked on a classification system of the arts that has remained unknown to many, entitled ‘Beeldleer’ (Iconology).This article explores the new potentials of Beeldleer, despite its unfinished and occasionally outdated character, to complement historical debates on iconology, and for future application in digital art history. Firstly, it will be demonstrated, using unpublished archival documents of the development of Beeldleer, why it is a necessary addition to Iconclass to fully understand Van de Waals approaches

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10

Gallegos, Eduardo, and Jaime Otazo. "To travel is to Look, to Look is to Relate." Journeys 21, no. 2 (2020): 67–89. http://dx.doi.org/10.3167/jys.2020.210204.

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Generally, analyzes of Otto Nordenskjöld’s trip to the Antarctic (1901-1904) ignore the preparations that required a previous trip to Chilean-Argentine Patagonia (1894-1897). Even more, these analyzes forget the Colonial dimension of this expedition. This paper intends to fill this void considering for the analysis two images present in the Swedish travel story. The concept of iconology is proposed here as a link between the image (icons) and the story (logos). The aim is to analyze the iconology to discuss the meaningful configuration of an identity gaze—the Europeans—and a gaze on the othern

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11

Beyers, Jaco, and Lize Kriel. "John Muafangejo’s How God Loves His People All Over the World as Material Religion." Religion and the Arts 24, no. 4 (2020): 379–98. http://dx.doi.org/10.1163/15685292-02404002.

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Abstract The artworks produced at the Evangelical Lutheran Church Art and Craft Centre at Rorke’s Drift, KwaZulu-Natal, have been highly appraised and appreciated in South African art-historical circles, not in the least so as African expressions of postcolonial and anti-apartheid resistance. The work of Namibian artist John Muafangejo (1943–1987) is prominent amongst these. In this article, while borrowing generously from the methods of art historical research, our interest is primarily in works of art as objects of material religion. Erwin Panofsky introduced iconology as a way of determinin

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12

Gruzdev, А. А. "ICONOLOGICAL METHOD IN SEMIOTIC ANALYSIS OF ARTWORKS." Arts education and science 1, no. 4 (2021): 92–99. http://dx.doi.org/10.36871/hon.202104012.

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The history of art is marked by many experiments in expanding and contrasting different methods and concepts. Nevertheless, in recent years there have been increasing attempts to draw parallels between iconology and semiotics. Of particular interest is the so-called Erwin Panofsky method, which forms the basis of modern iconology. The article discusses various aspects of the use of the iconological method in connection with the semiotic analysis of artistic works. Both general questions of the formation of iconology and special questions of its application and synthesis in the context of semio

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13

Holly, Michael Ann. "Iconology and the Phenomenological Imagination." IKON 7 (January 2014): 7–16. http://dx.doi.org/10.1484/j.ikon.5.102959.

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14

Bernabei, Franco. "Jan Bialostocki, Formalism, and Iconology." Artibus et Historiae 11, no. 22 (1990): 9. http://dx.doi.org/10.2307/1483396.

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15

O’Donnell, C. Oliver. "Two Modes of Midcentury Iconology." History of Humanities 3, no. 1 (2018): 113–36. http://dx.doi.org/10.1086/696305.

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16

Varakina, Galina V., Svetlana N. Perevolochanskaya, Valentina V. Azarova, and Varvara E. Dobrovolskaya. "Iconology and Comparativistics: Interdisciplinary Discourse." Vestnik slavianskikh kul’tur [Bulletin of Slavic Cultures] 66 (2022): 320–32. http://dx.doi.org/10.37816/2073-9567-2022-66-320-332.

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The present paper is the result of a comprehensive study of the author's collective. It touches upon different fields of humanitarian knowledge: art criticism, philology and folklore studies. The unifying core of the study is the principle of interdisciplinary and research methods of iconology and comparative studies. The appeal to these methods is dictated both by the polystylistic nature of contemporary art and culture, as well as the change in the correlation of text and context within scholarly discourse. The strengthening of the role of context within the boundaries of a particular schola

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17

Yudkin, Ihor. "The System of Sacred Images of Ukrainian Culture. Svitlana Olianina. Ukrainian Iconostasis: Symbolism and Iconology. Kyiv: Artek 5, 2019. 400 p." Culturology Ideas, no. 18 (2'2020) (2020): 185–87. http://dx.doi.org/10.37627/2311-9489-18-2020-2.185-187.

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18

Bartelo, Dennise, and Robert Morton. "Iconology: An Alternate Form of Writing." WAC Journal 1, no. 1 (1989): 28–32. http://dx.doi.org/10.37514/wac-j.1989.1.1.06.

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19

Raine, Denise, and Martina Droth. "Bronze: a select bibliography on iconology." Sculpture Journal 14, no. 1 (2005): 150–52. http://dx.doi.org/10.3828/sj.2005.14.1.11.

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20

Pinotti, Andrea. "Self-Negating Images: Towards An-Iconology." Proceedings 1, no. 9 (2017): 856. http://dx.doi.org/10.3390/proceedings1090856.

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21

Mitchell, William John Thomas. "Iconology, visual culture and media aesthetics." Poznańskie Studia Polonistyczne. Seria Literacka, no. 30 (September 28, 2017): 341–64. http://dx.doi.org/10.14746/pspsl.2017.30.17.

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The article contains fragments of three chapters form the book Image Science. Iconology, Visual Culture and Media Aesthetics (Chicago 2015), titled The are no Visual Media , Back to the Drawing Board and Foundational Sites and Occupied Spaces . W. J. T. Mitchell created in his previous works the key concepts which imply an approach to images as true objects of investigation – an “image science”. Author, continuing with his influential line of thoughts, amplifies interdisciplinary studies of visual media. The chapters also delve into such topics as conections between new media and architecture

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22

Galligo, Igor. "Toward an iconology for temporal object." Philosophy of Photography 8, no. 1 (2017): 183–209. http://dx.doi.org/10.1386/pop.8.1-2.183_1.

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23

Raine, Denise, and Martina Droth. "Bronze: a select bibliography on iconology." Sculpture Journal 14, no. 1 (2005): 150–52. http://dx.doi.org/10.3828/sj.14.1.10.

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24

Chesnakova, K. V. "In varietate concordia: revisiting hte iconology." Proceedings of the National Academy of Sciences of Belarus, Humanitarian Series 68, no. 1 (2023): 72–74. http://dx.doi.org/10.29235/2524-2369-2023-68-1-72-74.

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25

Holst Kjær, Sarah. "A Little Death Around the Eyes." Kulturella Perspektiv – Svensk etnologisk tidskrift 18, no. 3-4 (2009): 70–80. http://dx.doi.org/10.54807/kp.v18.28333.

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This article discusses the relationship between pre-romantic Anglo-Saxon literature, iconology in late modern music industry, artistry performance and heroin abuse in Pete(r) Doherty's musical universe. Through the concept of 'autofiction' which include internet media, self-performativity, intertextuality with previous art-production in literature and music, autobiography and body, this article investigates how Doherty builds his legacy and iconology by positioning himself in a recognizable script of culturally unaccepted libertine masculinity. Still, this script is partly transgressed by inst

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26

Jia, Xunyue. "A Study on the Second Frame in Film <The Power of The Dog> -Focusing on Iconology by Panofsky." Korean Institute of Smart Media 12, no. 1 (2023): 102–11. http://dx.doi.org/10.30693/smj.2023.12.1.102.

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As one of the image symbols, the second frame has rich symbolic metaphor. In previous studies, second frames are mostly presented in physical forms such as doors, windows, but in <The Power of the Dog>, there are various forms of second frames, providing more types for the study of second frames. Panofsky's Iconology has put forward a rigorous research method on how to interpret the meaning of image symbols in the picture. This study aims to use Panofsky's Iconology to analyze the second frame in <the Power of the dog>. The purpose is to expand the methodology of film image researc

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27

Khairi, Khairi. "ICONOLOGY-ICONOGRAPHY OF ISLAMIC ARTS BY TITA RUBIES AND RISPULES AT THE EXHIBITION OF FRAGMENTS OF MODERN INDONESIAN ART AT OHD MUSEUM." JURNAL Dasarrupa: Desain dan Seni Rupa 6, no. 3 (2024): 63–71. https://doi.org/10.52005/dasarrupa.v6i3.371.

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ABSTRACT Islamic art, as a manifestation of culture, presents its distinctive style and carries the spirit of its time through its iconography and iconology, which not only serve as therapeutic media for religious buildings but also for works of painting. This study further elaborates on the iconology and iconography of contemporary Islamic art today through the works of Tita Rubi and Rispul in the "Fragments of Modern Indonesian Art History" exhibition at the OHD Museum. The issues to be discussed in this research include the patterns, themes, types, and socio-cultural contexts that shape the

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28

Ploymong, Traitrung, Poonpit Amatyaku, Narongchai Pidokrajt, and Manus Keawbucha. "Music Icons, Allegories and Symbolic Representation: Iconological Analysis of Thai Murals Along the Mae Klong Riverside." MANUSYA: Journal of Humanities 26, no. 1 (2024): 1–22. http://dx.doi.org/10.1163/26659077-26010013.

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Abstract This article examines the Thai music iconology – with a focus on the instruments and ensembles and their symbolic representations – of monastery murals along the Mae Klong riverside. It also investigates how Thai music iconology links to broader views on Thai music, including those from Buddhism, culture, and social realms. Thirty-eight murals from the Ayutthaya period to the King Rama V period were selected for analysis. Improvised tools from Kress and Van Leeuwen’s (2020) inter-semiotic, multidimensional approach and Panosfky’s (1962) concepts of iconography were employed in the dat

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29

Brown, Robert L., та Hans Bakker. "The Vākāṭakas: An Essay in Hindu Iconology". Journal of the American Oriental Society 121, № 4 (2001): 664. http://dx.doi.org/10.2307/606514.

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30

홍용희. "Liberation space and iconology of ideological choice." Review of Korean Cultural Studies ll, no. 40 (2012): 381–407. http://dx.doi.org/10.17329/kcbook.2012..40.013.

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31

ILIE, PAUL. "The Literary Substrate of Goya's Owl Iconology." Bulletin of Hispanic Studies 68, no. 1 (1991): 53. http://dx.doi.org/10.3828/bhs.68.1.53.

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32

Miroshnichenko, Evgeniy I. "The Byzantine Substratum in Pavel Florensky's Iconology." Vestnik Tomskogo gosudarstvennogo universiteta, no. 453 (April 1, 2020): 71–80. http://dx.doi.org/10.17223/15617793/453/9.

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33

NAWA, Kotaro. "Controversial iconology in the electronic age (1)." Journal of Information Processing and Management 53, no. 2 (2010): 118–19. http://dx.doi.org/10.1241/johokanri.53.118.

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NAWA, Kotaro. "Controversial iconology in the electronic age (2)." Journal of Information Processing and Management 53, no. 4 (2010): 214–15. http://dx.doi.org/10.1241/johokanri.53.214.

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35

Levin, Thomas Y. "Iconology at the Movies: Panofsky's Film Theory." Yale Journal of Criticism 9, no. 1 (1996): 27–55. http://dx.doi.org/10.1353/yale.1996.0008.

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36

Ilie, Paul. "The Literary Substrate of Goya's Owl Iconology." Bulletin of Hispanic Studies 68, no. 1 (1991): 53–66. http://dx.doi.org/10.1080/1475382912000368053.

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37

Rampley, Matthewa. "Iconology of the interval: Aby Warburg's legacy." Word & Image 17, no. 4 (2001): 303–24. http://dx.doi.org/10.1080/02666286.2001.10435723.

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38

Smith, Anna J. "Iconology: Image, Text, Ideology (review)." Philosophy and Literature 12, no. 1 (1988): 130–32. http://dx.doi.org/10.1353/phl.1988.0050.

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39

Howard, Seymour. "ICONOLOGY, INTENTION, IMAGOS, AND MYTHS OF MEANING." Source: Notes in the History of Art 15, no. 3 (1996): 1–13. http://dx.doi.org/10.1086/sou.15.3.23205587.

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40

Middleman, Rachel. "Rethinking Vaginal Iconology with Hannah Wilke's Sculpture." Art Journal 72, no. 4 (2013): 34–45. http://dx.doi.org/10.1080/00043249.2013.10792862.

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41

Gregor, Richard. "Occasional Iconography (Iconology) of Stano Filko’s Altars." IKON 11 (January 2018): 179–84. http://dx.doi.org/10.1484/j.ikon.4.2018019.

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42

AKIMOV, SERGEY. "ICONOLOGY: SPECIFICITY AND LIMITS OF THE METHOD AND ITS OPPORTUNITIES IN TEACHING ART HISTORY AT CHILDREN'S ART SCHOOLS." Культурный код, no. 2023-3 (2023): 33–50. http://dx.doi.org/10.36945/2658-3852-2023-3-33-50.

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The peculiarities of the iconological method are considered in this article in connection with the topical issues of teaching art history at children's art school. It is impossible to adequately understand painting and graphics of the Middle Ages, Renaissance and the 17th century without iconological interpretations, however, from the point of view of pedagogy difficulties arise associated with the complexity of semantic interpretation, many aspects of which are extremely difficult to be explained to schoolchildren. Competent and dosed application of iconological techniques will enrich student

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43

Ding, Ding, Xianjun Yu, and Zhonglin Wang. "The Evolution of the Living Environment in Suzhou in the Ming and Qing Dynasties Based on Historical Paintings." Journal on Computing and Cultural Heritage 14, no. 2 (2021): 1–14. http://dx.doi.org/10.1145/3430700.

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Some historical paintings are realistic enough to provide information for the study of ancient civil buildings and their corresponding living environment. This article uses architectural iconology, computer modeling, and quantitative analysis methods to interpret ancient images for contemporary research. This work selects Qingming Shanghe Tu , painted by Ying Qiu in the Ming Dynasty, and Gusu Fanhua Tu , created by Yang Xu in the Qing Dynasty to study the evolution of the living environment of ancient Suzhou at the natural meaning level. At the conventional meaning level, a comparison of the t

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44

Sen, Moumita. "Corona-Jihad Memes: The Shifting Iconology of Islamophobia from Hindu Nationalists." Journal of Religion, Media and Digital Culture 11, no. 3 (2023): 362–88. http://dx.doi.org/10.1163/21659214-bja10061.

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Abstract This article analyses the visual rhetoric of anti-Muslim imagery in the memetic internet cultures generated by Indian users, as well as the transnational iconology of terror that the Muslim male body is made to embody. The core problem the article addresses is located at the intersection of three crucial contemporary challenges: the global pandemic, rising global anti-Muslim ideology, and the role of socially mediated popular political imagery. Here, I look at corona-jihad memes – a subset of anti-Muslim popular imagery made viral through social media. These images illustrated the fak

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45

Belting. "Image, Medium, Body: A New Approach to Iconology." Critical Inquiry 31, no. 2 (2005): 302. http://dx.doi.org/10.2307/3651485.

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46

French, Katherine L., and Christine M. Boeckl. "Images of Plague and Pestilence: Iconography and Iconology." Sixteenth Century Journal 32, no. 3 (2001): 888. http://dx.doi.org/10.2307/2671586.

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47

Gil, Steven. "Image science: iconology, visual culture, and media aesthetics." Visual Studies 35, no. 2-3 (2019): 302–3. http://dx.doi.org/10.1080/1472586x.2019.1655296.

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48

Belting, Hans. "Image, Medium, Body: A New Approach to Iconology." Critical Inquiry 31, no. 2 (2005): 302–19. http://dx.doi.org/10.1086/430962.

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49

Mitchell, W. J. T. "Present Tense 2020: An Iconology of the Epoch." Critical Inquiry 47, no. 2 (2021): 370–406. http://dx.doi.org/10.1086/712120.

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50

von Müller, Johannes. "Metadata: New perspectives on Aby Warburg’s ‘critical iconology’." Philosophy of Photography 8, no. 1 (2017): 171–82. http://dx.doi.org/10.1386/pop.8.1-2.171_1.

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