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Academic literature on the topic 'Emblematic'

Author: Grafiati

Published: 5 July 2023

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Journal articles on the topic "Emblematic"

1

Zelenin, Daniil A. "Emblematics and a Cure for Melancholy in Robert Burton’s The Anatomy of Melancholy." Studia Litterarum 6, no. 1 (2021): 104–29. http://dx.doi.org/10.22455/2500-4247-2021-6-1-104-129.

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The article analyzes emblematic discourse in Robert Burton’s The Anatomy of Melancholy, offering an extended view of the emblematics that organizes both the structure and the narrative of the book and is anticipated by the emblematic frontispiece. The article examines the book’s intricate structure in its connection with the generic uncertainty of the text. The singular vs universal dualism forms the book’s underpinning structure that implies emblematic and dialectic intentions of The Anatomy of Melancholy. The article further analyzes the emblematic frontispiece, revealing consistently explicated emblematic structures that emphasize the antithesis of “duplicity” vs “singularity” implicit in the book’s multi-level structure. Analysis further demonstrates the book’s continuity with cento- and florilegia traditions, also epitomized in the emblematic method. The essay argues that Burton was using discursive emblems and the emblematic discourse to establish his status as an artifex, which helps him avoid melancholy himself and encourage his reader to struggle with it. The article postulates that the emblematic frontispiece embodies the dialectic of “duplicity” and “singularity” and solves it by enabling the emblematic mechanism of reading of the book through the emblematic lenses, uniting the Word and the Image: it is what Burton eventually offers both himself and his reader to cure melancholy.

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Kusler, Ágnes. "„Ut pictura meditatio”. A győri volt jezsuita rendház díszlépcsőinek dekorációja a jezsuita Mária-emblematika kontextusában." Művészettörténeti Értesítő 70, no. 2 (September 19, 2022): 189–234. http://dx.doi.org/10.1556/080.2021.00012.

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This paper aims towards a contextual analysis of the emblematic decoration of the staircase of the former jesuit (today Benedictine) college in Győr, North-Western hun-gary. The decoration, created in 1697, visualizes the prayer Salve Regina, and its content is closely connected to the jesuit spiritual exercise of meditation. According to my interpretation, the emblems of the staircase offered a visual aid to the jesuit clerks, for their meditations on the significance of holy Mary. The emblems, thus, embody the idea of “Ut pictura meditatio”, as defined by Walter S. Melion.I offer an analysis of the meditational programme of the decoration of the Győr staircase, and a brief outline of its place in late 17th-century devotional emblematics. The source of the emblematic decoration could be found in the context of jesuit emblem literature and applied emblematics. Besides several analogous emblematic publications, according to my research, the visual source for the Győr programme was the Salve regina print-series by the Antwerp artist Anton Wierix. Through an analysis of this source, I aim to distance the interpretation of the staircase’s decoration from the former attempt of Éva Knapp, proposing that the decoration was based on creative visual translations of emblem-descriptions by jacob Masen.Through my interpretation of the emblems and their overall programme, the decoration of the Győr college could be placed in the context of jesuit meditation and applied emblematics. I also aim to elaborate on the practical function of the decorative programme, and thus widening our knowledge on early modern practices of emblematic meditation in monastic communities.

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Soletskyi, Oleksandr. "Emblematic codes of Hryhorii Skovoroda’s dialogue A Colloquy, called “Alphabet,” or “Primer of Peace”." Journal of V. N. Karazin Kharkiv National University, Series "Philology", no. 91 (December 30, 2022): 31–37. http://dx.doi.org/10.26565/2227-1864-2022-91-04.

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The paper focuses on the features, origin, and functions of Hryhorii Skovoroda’s (1722–1794) emblematic language (speech) in the dialogue A Colloquy, called “Alphabet,” or “Primer of Peace”. The objective is to study the emblematic arrangements of Hryhorii Skovoroda within the European emblematic literature context, focusing on eventual intertextual relations and striking semiotic interactions. The text of the paper interprets the artistic and stylistic features of the emblematic construction of eide of the Ukrainian writer, their sources, contexts, and the author’s conceptual nominations. Theoretical generalizations are made primarily from the text of Skovoroda’s dialogue A Colloquy, called “Alphabet,” or “Primer of Peace”, as well as from his other works, the scholars’ works, and the European literary context. The structural-semiotic methodology has been employed to trace the identified issues. The main idea of the paper is to highlight the dominance of the emblematic way of meaning stating in Hryhorii Skovoroda, thus, the emblematic code as the core in the sense-modelling activities. Emblematic forms have a special place in the coverage of anthropological, metaphysical, ethical, aesthetic, and hermeneutic eide of the Ukrainian poet and philosopher. Skovoroda considers emblematics as a particularly effective visual-verbal (iconic-conventional) type of signification functioning as a kind of refined meta-language, an ancient arcane semiosis practice of intellectuals. He had his personal insight into the nature, structure, and potential of such an expression, which was elaborated by the long-term, permanent hermeneutics of biblical texts, formed on the logic and metaphysics of ancient philosophers, the context of literary and artistic baroque, European emblematic models. Skovoroda uses significative re-referencing as a means of interpretation, therefore, individual images, embodied in the word, resemble semiotic bunches, concise visual-verbal meaning-making entities, disclosed through associations, comparisons, oppositions, metaphors, and structural-emblematic representation.

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Fernández Delgado, Rogelio. "La emblemática y el pensamiento económico español de finales del siglo XVI y principios del XVII." Studies of Applied Economics 32, no. 1 (March 3, 2020): 43. http://dx.doi.org/10.25115/eea.v32i1.3200.

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In 1531 the Italian jurist Andrea Alciato (1492-1550) published Emblematum liber, a work that had a great influence on Europe. Alciato's work consisted of an anthology of poems that were illustrated, each of which had a title or theme. The purpose of the illustration and the title was intended to facilitate the understanding and interpretation of the text by the reader. Emblematum liber is considered the starting point of the emblematic which later gave rise to the emblematic literary genre.Alciato's work encouraged many authors to follow the path of the emblems. The correspondence between the title (inscription), image (pictura), and explanatory text (subscriptio or epigrama) gave rise to a consolidated gender that spread rapidly throughout Europe. The purpose of this paper is to present the influence that emblematic had on Spanish economic thought of the late sixteenth and early seventeenth centuries, in particular on the works of Cristóbal Pérez de Herrera (1556-1620) and Diego Saavedra Fajardo (1584-1648).

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Azanza López, Javier. "Tres décadas y trece congresos de la SEE: interculturalidad e interdisciplinariedad de los estudios de emblemática (I)." IMAGO. Revista de Emblemática y Cultura Visual, no. 14 (January 27, 2023): 161. http://dx.doi.org/10.7203/imago.14.25363.

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ABSTRACT: The origins of the Spanish Society of Emblematics (SEE) go back to the 1st International Emblematic Symposium, organized in Teruel in 1991 by Santiago Sebastián, a pioneer of iconological-iconographic studies in Spain. Since then, the SEE has ensured the consolidation, development and dissemination of emblematic research in Spain through various activities, including its international conferences. Three decades and thirteen congresses later, the half thousand works gathered in them constitute a representative example of Hispanic emblematic production, susceptible of an analysis from different perspectives. This study does so from its border-crossing nature embodied in its interculturality and interdisciplinarity, two of the identifying signs of emblematic research and two of the main challenges of the Humanities for the 21st Century. KEYWORDSEmblematic and Visual Studies; Santiago Sebastián López; Spanish Society of Emblematics (SEE); International Congresses of the SEE; Cross-Border Studies, Interculturality and Interdisciplinarity RESUMEN: Los orígenes de la Sociedad Española de Emblemática (SEE) se remontan al I Simposio Internacional de Emblemática, organizado en Teruel en 1991 por Santiago Sebastián, pionero de los estudios iconológico-iconográficos en España. Desde entonces, la SEE ha velado por la consolidación, desarrollo y difusión de la investigación emblemática en nuestro país a través de diversas actividades, entre las que destacan sus congresos internacionales. Tres décadas y trece congresos después, el más de medio millar de trabajos reunidos en ellos constituye una muestra representativa de la producción emblemática hispánica, susceptible de un análisis desde diferentes perspectivas. Este artículo lo hace desde su naturaleza transfronteriza plasmada en su interculturalidad e interdisciplinariedad, dos de las señas identitarias de los estudios emblemáticos y dos de los grandes retos de las Humanidades para el siglo XXI.

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Farmer, J. "On Emblematic Megaflora." Environmental History 15, no. 3 (July 1, 2010): 533–47. http://dx.doi.org/10.1093/envhis/emq059.

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Hyde, Barbara. "Japan's emblematic English." English Today 18, no. 3 (June 17, 2002): 12–16. http://dx.doi.org/10.1017/s0266078402003024.

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An analysis of ‘public English’ and (not) learning the language in Japan.Visitors to Japan, whether linguists or laymen, frequently come back with their own collection of quaint uses of English, gathered from public signs, advertising and so on, which vary from the odd to the simply incorrect. This may provide complacent amusement for the native speaker, but is not surprising or unique: Budapest airport until relatively recently sported a large sign reading Welcome in Hungary. What is especially interesting in Japan is not the mistakes but the puzzling function of many such signs. English words and messages are often combined with Japanese, so that, as a non-Japanese speaker, your eye is at first attracted then baffled, until you realise that the English is not aimed at you, a native speaker, but at native speakers of Japanese. But who among the Japanese is it aimed at, and why?

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Saunders, A. "French Emblematic Studies." French Studies 62, no. 4 (October 1, 2008): 455–63. http://dx.doi.org/10.1093/fs/knn165.

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Hauser, Robert G., and Jay D. Sengupta. "An emblematic defibrillator problem." Journal of Cardiovascular Electrophysiology 32, no. 3 (February 15, 2021): 568–69. http://dx.doi.org/10.1111/jce.14937.

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Soletskyy, Oleksandr Markiian. "Emblematic Mechanisms and Psychoanalysis." Language and Psychoanalysis 8, no. 2 (October 6, 2019): 4–29. http://dx.doi.org/10.7565/landp.v8i2.1602.

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In the paper the parallels between the emblematic “mechanisms” of signification and the psychoanalytic theory of Sigmund Freud as well as Carl Gustav Jung have been studied. The Austrian psychiatrist has discovered template schemes that become a visual delineation, the blueprint for developing his scientific vocabulary, methodology, classification of psycho-emotional behavioral types in mythological plots. The Eros and Thanatos images handling, the exploitation of mythical tales about Oedipus and Electra, Prometheus, Narcissus, and many other ones to specify the behavioral complexes denote the presence of “emblematic methodology” in the formation of psychoanalytic conceptions and categories. His interpretations of famous mythological plots are boiled down to emblematic reduction. Carl Gustav Jung frequently selected symbolic notations as his research targets, which were a denotative space for expressing internal mental receptions and historic constellations of cultural axiology. In his writings we see the intention to assemble the concepts of image (iconic) and socio-cultural idea (conventional) into a sole compound that syncretically denote unity of meaning. Such an arrangement of iconic-conventional interdetermination is often significative elbowroom in Jung the decoding of which may allow to discern complex mental reflections. Notwithstanding the fact that he considers a symbol to be the standard unit of cognitive-cultural experience “conservation”, its functional semantics definition is fulfilled in emblematic patterns. This emblematic-cognitive form is not only a method of determining the initial images-ideas of the unconscious, “the mythological figures” of inner conflicts, typical experience of generations, but also the principle of justification and expression of his theory conceptual foundation. To a certain extent, it is an element of the Swiss psychologist’s scientific thinking style and language.

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Dissertations / Theses on the topic "Emblematic"

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Sullivan, Joy Elizabeth. "Emblematic representation in the tragedies of Thomas Middleton." Thesis, University of Birmingham, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.532285.

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Bartley, Roseanne, and bartleybila@netspace net au. "The Crafting of Text on Emblematic Objects: Jewellery and Tableware." RMIT University. Art, 2007. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20090331.115853.

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This project examines the historical use of text on emblematic objects and through a studio-based practice investigates the signifying properties of object, text and material in the communication of symbolic message. It involves the manufacture of contemporary jewellery and tableware in traditional and non-traditional materials and references cultural and political themes. The symbolism of these themes has been explored through the visual and material applications of selected text, the collection and manipulation of found material (found with or without text), and how meaning can be symbolised through the transcendent manipulation of form. In my research I examined the established history of emblematic objects, which through their incorporation of text, their function and scale in relation to the body, organise, distinguish, categorise, unite or isolate groups of people. In my research I established that text has been employed by gold and silversmiths through out history and in a variety of ways - to narrate messages, as an abstract decoration, or as a means of identifying the maker but the graphic potential of text as a visible sign was rarely demonstrated. With this studio based project I was interested in investigating the signifying properties of text and the creation of a dynamic relationship between text, form and material as a means to communicate symbolic meaning. My research establishes the potential of the metaphoric and material language of jewellery and tableware to make reference to and communicate within contemporary cultural and political dialogues.

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Preston, Claire E. "Emblematic pictorialism and narrative structure in New Arcadia and Pericles." Thesis, University of Oxford, 1988. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.293441.

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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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Bates, Alan W. "Emblematic monsters : unnatural conceptions and deformed births in early modern Europe /." Amsterdam : Rodopi, 2005. http://catalogue.bnf.fr/ark:/12148/cb40091562h.

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Prytherch, David. "Planning the urban emblematic: Valencia and the politics of entrepreneurial regionalism." Diss., The University of Arizona, 2003. http://hdl.handle.net/10150/280378.

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In this dissertation I explore how globalization and ethnic regionalism collide in the planning of the contemporary European city. Political-economic restructuring is making Europe simultaneously more integrated and regionalized. An emerging literature approaches such restructuring as a matter of geographic 'scale,' refraining globalization as 'rescaling' or 'reterritorialization,' often contested through a 'politics of scale.' These innovative approaches, however, need to be elaborated through case study. More, they fail to account for how globalization is not merely resisted, but is negotiated locally, particularly in the politics and landscapes of European cities where ethnic regionalism is resurgent. I ask: How may local politician and planners balance the external imperatives of globalization with the internal politics of regionalism, particularly in the cultural landscapes upon which a rescaled Europe must necessarily be constructed? I approach this question through case study of the city of Valencia, capital of the autonomous region the Comunitat Valenciana, emblematic of the European regionalization at which Spain is at the vanguard. Analyzing secondary literature, archival research of planning documents and newspapers, semi-structured interviews, and participant observation, I show politics in Spain to have long been defined by the politics of scale, revolving around issues of regional, cultural difference. Planning in capital cities like Valencia is thus central to efforts to consolidate regional territory, but the rescaling of urban space usually implies the transformation of traditional, cultural landscapes, like the irrigated croplands of the Horta that surround the city of Valencia. The politics of scale are both more contested and 'cultural' than the existing literature suggests, and they unfold in and through the cultural landscape. Globalization must necessarily be negotiated through what I call the cultural politics of scale, which are struggles to define the meaning of economic restructuring in political discourse and the material landscape. In Valencia, political leaders attempt to strike a balance between entrepreneurialism and regionalism in an ideology of entrepreneurial regionalism, which is manifest in both political discourses and new landscapes of economic development meant to materialize them. In the process, the cultural politics of scale remake local places and the global political economy simultaneously.

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Valli, Elena <1995&gt. "The Emblematic Imagination of Anthony Hecht: Spiritual and Worldly Icons and Rituals." Master's Degree Thesis, Università Ca' Foscari Venezia, 2020. http://hdl.handle.net/10579/17225.

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In his essay on The Pathetic Fallacy, Anthony Hecht notes that there was “an anagogic, emblematic view of nature in the Middle Ages until the 17th century, typically religious, wishing to see God in every aspect of creation, found in biblical texts and theological arguments, as well as in poems by Donne and Herbert”. This same perspective is found in a number of Hecht’s poems, among which several collections of emblem poems stand out. The supposed presence of an ideal value within concrete objects is the same principle which informs the creation of in-between figures in religious cults, such as saints and, most importantly, Christ, the word made flesh. Religious icons in fact become the key subjects of Hecht’s most emblematic poems, as they provide a synthesis between the opposed forces of soul and body, the realms of the spiritual and the worldly. In a similar way, the emblematic mode triggers a meta-reflection on artistic media, which, in the special case of abstract religious entities, allow for the representation of the immaterial in ways perceivable to the limited human senses, with particular emphasis on the possibility of visualization. While the Metaphysical Poets employ everyday metaphors to explain divine nature, or even represent saintly figures in very human terms, in order to stress the proximity of man to God, Hecht recalls the same concrete images, or describes concrete works of art – ex-votos, statues, paintings and books of prayers – to emphasize, through a reversed mechanism, the unbridgeable gap between these two worlds. The use of such worldly icons in fact is seen, satirically, as proof of man’s inevitably earth-bound state: they betray a preponderant preoccupation with the body, with its primary demands and issues – illnesses, violence, poverty – whose idealization is simply unconvincing. This duality is highlighted through the combination of a rich, pictorial and baroque style, representing the vivid details of reality, and of a more concise and direct plain style, inspired by the Bible.

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Yu, Xianxiang. "Characterization and potential treatment for retinal degeneration in mouse models of four emblematic ciliopathies." Thesis, Strasbourg, 2016. http://www.theses.fr/2016STRAJ044.

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Les ciliopathies rétiniennes sont un groupe de maladies rares causés par des mutations de gènes ciliaires. Les défauts des gènes ciliaires peuvent causer des défauts de trafic de protéines et induit l'apoptose des cellules photoréceptrices causés par le stress du réticulum endoplasmique (RE). On a étudié ciliopathies rétiniennes par modèle mourin, amaurose congénitale de Leber, rétinopathie pigmentaire liée à l’X, syndrome de Bardet-Biedl, syndrome d’Alström. Les souris Bbs1-/- , Bbs10-/- et CEP290-/- ont monté une diminution de la fonction rétinienne et sont causée par ER stress. Les souris Rd9/y et Alms1foz/foz présentent une apparition tardive et avec un faible taux de dégénérescence rétinienne et ils pourrait être causée par d'autres mécanismes. Le traitement GV-Ret basé sur le stress du RE pourrait sauver à la fois la fonction de et la morphologie de la rétine dans souris BBS
Retinal ciliopathies are a group of rare diseases caused by mutations of ciliary genes. Defects in ciliary genes can cause defects in proteins traffics and induces apoptosis of photoreceptor cells caused by stress of the endoplasmic reticulum (ER) .We studied retinal ciliopathies by mice models, Leber congenital amaurosis, Xlinked retinitis pigmentosa, Bardet-Biedl syndrome and Alström Syndrome. The Bbs1-/-, Bbs10-/- and CEP290-/- mice exhibited a decrease in retinal function caused by ER stress. Rd9/y and Alms1foz/foz mice showed a late onset and a low rate of retinal degeneration and they could be caused by other mechanisms. The GV-Ret treatment based on ER stress could save both the function and morphology of the retina in BBS mice

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Al-Behadili, Husam [Verfasser], Christian [Akademischer Betreuer] Wöhler, and Jürgen [Gutachter] Götze. "Self-adaptive structure semi-supervised methods for streamed emblematic gestures / Husam Jumaah Naeemah Al-Behadili ; Gutachter: Jürgen Götze ; Betreuer: Christian Wöhler." Dortmund : Universitätsbibliothek Dortmund, 2017. http://d-nb.info/1148747656/34.

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Battista, Martina <1989&gt. "Into the Wired: Digital Freedom or Piracy? The ECJ's "Nintendo v. PC Box" Case Law as an Emblematic Example of Copyright Contradictions in the Information Society." Master's Degree Thesis, Università Ca' Foscari Venezia, 2014. http://hdl.handle.net/10579/5546.

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The research aims to analyze the impact of the digital era on copyright law’s issues. Born to protect products of the analogue world within national boudaries, copyright law turned against an enemy who knows no borders and potentially no limits: the digital menace. Considering the possibilities and the effectiveness of a national legislation convergence scenario, where the EU system represents a unique example, the present work tries to determine if law can still stand as the most efficient instrument in the copyright protection/divulgation dichotomy dilemma.

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Books on the topic "Emblematic"

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Emblematic moon. Boynton Beach, FL: Beneath the Underground, 2009.

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Barrett-Graves, Debra, ed. The Emblematic Queen. New York: Palgrave Macmillan US, 2013. http://dx.doi.org/10.1057/9781137303103.

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Sider, Sandra. Bibliography of emblematic manuscripts. Montreal: McGill-Queen's University Press, 1997.

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Sandra, Sider, and Obrist Barbara, eds. Bibliography of emblematic manuscripts. Montreal: McGill-Queen's University Press, 1997.

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Giorgio Vasari: Artistic and emblematic manifestations. Washington, DC: New Academia Pub., 2012.

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Emblematic structures in Renaissance French culture. Toronto: University of Toronto Press, 1995.

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Russell, Daniel. Emblematic structures in Renaissance French culture. Toronto: University of Toronto Press, 1995.

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Russell, Daniel S. Emblematic structures in Renaissance French culture. Toronto: University of Toronto Press, 1995.

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Emblematic strategies in contemporary art: Selected papers from the workshop Emblematic Strategies at the University of Kiel, July 29-31, 2014. Zürich: Lit Verlag, 2014.

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1938-, Harper Anthony J., Sirc Susan, and Höpel Ingrid, eds. Emblematic tendencies in the art and literature of the twentieth century. Glasgow: Centre for Emblem Studies, 2005.

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Book chapters on the topic "Emblematic"

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Mercado, Gustavo. "emblematic shot." In The Filmmaker's Eye, 141–46. 2nd ed. New York: Focal Press, 2022. http://dx.doi.org/10.4324/9781315770857-23.

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Barrett-Graves, Debra. "Introduction: Extra-Literary Emblematics." In The Emblematic Queen, 1–10. New York: Palgrave Macmillan US, 2013. http://dx.doi.org/10.1057/9781137303103_1.

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De Girolami Cheney, Liana. "Caterina Cornaro, Queen Of Cyprus." In The Emblematic Queen, 11–33. New York: Palgrave Macmillan US, 2013. http://dx.doi.org/10.1057/9781137303103_2.

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Auble, Cassandra. "Bejeweled Majesty: Queen Elizabeth I, Precious Stones, and Statecraft." In The Emblematic Queen, 35–51. New York: Palgrave Macmillan US, 2013. http://dx.doi.org/10.1057/9781137303103_3.

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Loomis, Catherine. "“Bear Your Body More Seeming”: Open-Kneed Portraits of Elizabeth I." In The Emblematic Queen, 53–68. New York: Palgrave Macmillan US, 2013. http://dx.doi.org/10.1057/9781137303103_4.

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Barrett-Graves, Debra. "Mermaids, Sirens, and Mary, Queen of Scots: Icons of Wantonness and Pride." In The Emblematic Queen, 69–100. New York: Palgrave Macmillan US, 2013. http://dx.doi.org/10.1057/9781137303103_5.

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Tassi, Marguerite A. "Martyrdom and Memory: Elizabeth Curle’s Portrait of Mary, Queen of Scots." In The Emblematic Queen, 101–32. New York: Palgrave Macmillan US, 2013. http://dx.doi.org/10.1057/9781137303103_6.

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Botonaki, Effie. "Anne of Denmark and the Court Masque: Displaying and Authoring Queenship." In The Emblematic Queen, 133–54. New York: Palgrave Macmillan US, 2013. http://dx.doi.org/10.1057/9781137303103_7.

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Vistarini, Antonio Bernat, and John T. Cull. "“A Lily among Thorns”: The Emblematic Eclipse of Spain’s María Luisa de Orleáns in the Hieroglyphs of Her Funeral Exequies." In The Emblematic Queen, 155–88. New York: Palgrave Macmillan US, 2013. http://dx.doi.org/10.1057/9781137303103_8.

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Watkins, John. "Afterword." In The Emblematic Queen, 189–98. New York: Palgrave Macmillan US, 2013. http://dx.doi.org/10.1057/9781137303103_9.

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Conference papers on the topic "Emblematic"

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Chellali, Ryad, and Ilaria Renna. "Emblematic Gestures Recognition." In ASME 2012 11th Biennial Conference on Engineering Systems Design and Analysis. American Society of Mechanical Engineers, 2012. http://dx.doi.org/10.1115/esda2012-82481.

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This paper presents a framework allowing emblematic gestures detection, segmentation and their recognition for human-robots interaction purposes. This framework is based on a new coding of arms’ kinematics reflecting both the muscular activity of the performer and the appearance of arm seen by the recipient when a gesture is performed. Following that, gestures can be seen as sequences of torques activations leading arm’s parts to express a comprehensive meaning. In addition, these sequences have very stable topologies and shapes regardless to performers. This facilitates the generalization of the recognition process with a minimalistic learning effort for online usages. Promising results were obtained for a set of 5 classes of gestures performed by 19 different persons.

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Cristea-Enache, Daniel. "Grigore Vieru and the Romanian Sixties Literary Generation of Poets." In Conferință științifică internațională "Filologia modernă: realizări şi perspective în context european". “Bogdan Petriceicu-Hasdeu” Institute of Romanian Philology, Republic of Moldova, 2022. http://dx.doi.org/10.52505/filomod.2022.16.32.

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There is an identity function of poetry, of literature, that shapes the symbolic consistency of a collective spirit, a map of emblematic landmarks of a national community. Goga and Cotruș are representative for Transylvania, Vieru and Păunescu are emblematic for Moldavians, whereas Eminescu is emblematic for the Romanians of all the historic provinces. For those living in Basarabia, Vieru represents a prophet of their Nation, an apostle of the Romanian Nation standing against the historic oppression, in the form of the Russian camps. To the elitists and relativists from Romania, Vieru is regarded as a representative of the traditionalist literary currents, frozen into an obsolete aesthetic manner and a heroic dimension out of phase. The article portrays Vieru’s relations with the Romanian 60’s generation of poets and their lyrical formulas assumed by Modernism.

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Ousterhout, Thomas. "N400 congruency effects from emblematic gesture probes following sentence primes." In 2015 IEEE 19th International Conference on Intelligent Engineering Systems (INES). IEEE, 2015. http://dx.doi.org/10.1109/ines.2015.7329744.

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Giannotta, Maria Teresa, Lara De Giorgi, Giovanni Leucci, Raffaele Persico, Loredana Matera, and Ada Riccardi. "Preventive archaeology: The emblematic case of Ruvo di Puglia, Italy." In 2015 8th International Workshop on Advanced Ground Penetrating Radar (IWAGPR). IEEE, 2015. http://dx.doi.org/10.1109/iwagpr.2015.7292685.

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Iglesias, Eva L., Nieves R. Brisaboa, and Miguel R. Penabad. "Graphic Interface to Access a Multimedia Database on Spanish Emblematic Literature." In Proceedings of the 3rd International Workshop on Interfaces to Databases, Napier University, Edinburgh. BCS Learning & Development, 1996. http://dx.doi.org/10.14236/ewic/ids1996.12.

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"Are Tall Buildings and a Cityís Skyline Emblematic of City Competitiveness?" In 16th Annual European Real Estate Society Conference: ERES Conference 2009. ERES, 2009. http://dx.doi.org/10.15396/eres2009_315.

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Petrognani, S. "NEW APPROACH IN AN EMBLEMATIC SITE: THE PALEOLITHIC CAVE OF LA MOUTHE (DORDOGNE, FRANCE)." In Знаки и образы в искусстве каменного века. Международная конференция. Тезисы докладов [Электронный ресурс]. Crossref, 2019. http://dx.doi.org/10.25681/iaras.2019.978-5-94375-308-4.24.

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Our project for the cave of La Mouthe incorporates a current dynamic of rereading rock art sites, and developing new problems of analysis. The knowledge acquired since the 1990s on archaeological data, with the discovery of major sites for prehistoric art, as well as methodological, with advances in radiocarbon dating, microanalyses of materials and context, or 3D digitization, have profoundly renewed our perception of prehistoric art. In the face of these new data, the re-reading of previously studied sites brings many new data, and a valuable re-reading of the graphic contexts of Paleolithic art. Marsoulas, La Baume-Latrone, the Bernoux fully materialize this dynamic. Our approach therefore aims to place the cave of La Mouthe in the context of its chrono-cultural context. Updating the inventory of its representations through a prospecting operation on the walls and rock art surveys is necessary but insufficient in this overall archaeological approach. The review of the exhumed material, the control of the various interventions past in situ, and a better consideration of the karstological and geomorphological problems will allow in the coming years to put in place a decisive argument with a view to carry out possible new internal or external excavations.

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Aude, Lucas. "UNREACHABLE IDEALS: BETWEEN SATIRE AND UTOPIA IN OTHER WORLDS OF LIAOZHAI ZHIYI." In 9th International Conference ISSUES OF FAR EASTERN LITERATURES. St. Petersburg State University, 2021. http://dx.doi.org/10.21638/11701/9785288062049.03.

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Luosha Haishi 羅殺海市 (Lz 132) is a very emblematic tale of Pu Songling’s (蒲松齡, 1640–1715), as it involves emblematic themes of Liaozhai zhiyi (聊齋誌異): a critical view of society, an adventure into enchanted lands, and a complex relationship to an independent, powerful woman. The tale tells about the journey of a man who, after having been lost at sea, visits two imaginary worlds. Luosha Haishi reveals its originality when comparing both these places. The first one, the Country of Rakshasas, is a state in which physical appearance determines one’s social status. This society is a satirical portrayal mirroring Pu’s vision of Qing China officialdom. Conversely, the City of the Sea, the character’s second place of stay, is a utopian undersea place where the character knows immediate success. Luosha Haishi thus makes the bitter statement of the impossibility to access glory and richness when one does not wish to hide behind appearances, while for it to occur it would require an ideal world that exists only in imagination.

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Jucu, Ioan Sebastian. "WHEN LIVE PERFORMANCES, SHOWS AND CONCERTS OF LEGENDARY ICONIC ARTISTS MARK THE HISTORY OF THE CITIES." In 9th SWS International Scientific Conferences on SOCIAL SCIENCES - ISCSS 2022. SGEM WORLD SCIENCE, 2022. http://dx.doi.org/10.35603/sws.iscss.2022/s14.126.

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Some cities are frequently important venues for various spectacles, live performances, concerts and residency shows performed by the greatest artists of the world, therefore they contribute to the music tourism development and to the local economic development of the cities themselves through tourism and cultural events. A plenty of cities remain emblematic in this regard, but research on their cultural events are peripheral in the present geographical analysis. This paper discusses about an emblematic residency show of a legendary music icon held in Las Vegas as a major input both in the cultural background of the city as well as in its musical history. The research is based on quantitative and qualitative methods with statistical research, media and discourse analysis. The findings of the paper unveil that concerts, live performances, residency-shows and spectacles of the greatest artists of the world are important features of the cultural backgrounds of the cities that are visible in their cultural landscapes. Furthermore, they provide a large power of attraction of tourists and popular music consumers from the world over marking the cities� cultural background. These aspects largely under-studied from the geographical perspective call for further research and debates in the contexts of geography, music, music tourism and the cultural background of the cities.

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Mansour, Hicham, Noureddine BOUAROUROU, Jean-Pierre Roperch, Faouzi Habib, and Mourad Said. "Abstract A14: The transcriptomic landscape of the two emblematic colorectal cancer cell lines HCT116 and HT29." In Abstracts: AACR Special Conference: Colorectal Cancer: From Initiation to Outcomes; September 17-20, 2016; Tampa, FL. American Association for Cancer Research, 2017. http://dx.doi.org/10.1158/1538-7445.crc16-a14.

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Reports on the topic "Emblematic"

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Hoinkes, Ulrich. Indexicality and Enregisterment as Theoretical Approaches to the Sociolinguistic Analysis of Romance Languages. Universitatsbibliothek Kiel, November 2019. http://dx.doi.org/10.21941/hoinkesindexenregromlang.

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Social indexicality and enregisterment are basic notions of a theoretical model elaborated in the United States, the aim of which is to describe the relationship between the use of language variation and patterns of social behavior at the level of formal classification. This analytical approach is characterized by focusing on the interrelation of social performance and language awareness. In my contribution, I want to show how this modern methodology can give new impetus to the study of today’s problem areas in Europe, such as migration and language or urban life and language use. In particular, I am interested in the case of Catalan, which has been studied for some time by proponents of the North American enregisterment theory. This leads me to indicate that explicit forms of social conduct, such as language shift or the emblematic use of linguistic forms, can be interpreted with regard to the social indexicality of Catalan. I thus analyze them in a way which shows that authenticity and integration in Catalan society can be achieved to a considerable extent by practicing forms of linguistic enregisterment.

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