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Journal articles on the topic 'Emblematic'

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Author: Grafiati

Published: 5 July 2023

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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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2

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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3

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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4

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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5

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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6

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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7

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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8

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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9

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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10

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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11

Preston, Claire. "The emblematic structure ofPericles." Word & Image 8, no. 1 (January 1992): 21–38. http://dx.doi.org/10.1080/02666286.1992.10435824.

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12

Rajagopalan, Sudha. "EMBLEMATIC OF THE THAW." South Asian Popular Culture 4, no. 2 (October 2006): 83–100. http://dx.doi.org/10.1080/14746680600796972.

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13

Sakhno, Irina M. "“Ut Pictura Poesis”: the Poetic and Pictorial Emblem of the Baroque." Observatory of Culture, no. 5 (October 28, 2015): 94–101. http://dx.doi.org/10.25281/2072-3156-2015-0-5-94-101.

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The article describes parallelism of the two arts, poetry and painting, in the emblematic books of the Baroque epoch. In the Baroque art, an emblem, as a visual metaphor, formed stylistic singularity of the culture of the 16th-17th centuries. The emblem represented the principle of simultaneity, a picture with a brief motto coexisting with a didactic or spiritual text. Not only was the emblem an ornamental “insertion”, a piece of encrusted graphics, but it also reflected the Baroque principle of a witty game. A book of emblems could act as a visual dictionary of signified objects. The significance of finished emblems was not limited to their pictographical meanings, they could also include some symbolic senses. Such verbal pictures illustrating abstract notions can be found in the “Emblemata” (1531) by Andreas Alciatus. The synthesis of the verbal and the visual, as an allegorical way of defining the world and the exegesis of Biblical texts, provided wide opportunities for the emblematic signification. The Picta Poesis Baroque book “Graphical Poetry. Alchemy” (1552) by Barthélemy Aneau contained an alchemy symbolism reflecting the character of the Renaissance worldview. Dutch artists of the 17th century developed the theme of evanescence and vanity in their emblematic still-life painting.

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14

Rawles, Stephen, and Daniel Russell. "Emblematic Structures in Renaissance France." Modern Language Review 93, no. 4 (October 1998): 1104. http://dx.doi.org/10.2307/3736305.

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15

Stopp, Elisabeth. "Carl Gustav Carus Emblematic Thinking." Bulletin of the John Rylands Library 71, no. 3 (September 1989): 21–30. http://dx.doi.org/10.7227/bjrl.71.3.3.

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16

Rieber, Alfred J. "Russian Imperialism: Popular, Emblematic, Ambiguous." Russian Review 53, no. 3 (July 1994): 331. http://dx.doi.org/10.2307/131189.

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17

Kaufer, Robert. "Two Emblematic Cases of IOLMF." Highlights of Ophthalmology 46, no. 2ENG (2018): 9–12. http://dx.doi.org/10.5005/highlights-46-2-9.

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18

Konecny, Lubomir. "Joris Hoefnagel's 'Emblematic' Signature Reconsidered." Journal of the Warburg and Courtauld Institutes 61 (1998): 267. http://dx.doi.org/10.2307/751255.

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19

Eldén, Åsa, and Berna Ekal. "From Icons to Emblematic Cases." Middle East Journal of Culture and Communication 8, no. 1 (2015): 124–45. http://dx.doi.org/10.1163/18739865-00801008.

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Over the last few years Turkey has seen a changed media visibility of gendered violence, mainly reflected in news and discussions about femicides (murders of women). Once treated as fait-divers, such news now appears on the first pages, or is given the status of ‘special news’. In this process, some cases have become what we call emblematic: stories given an importance reaching far beyond the individual case and thus important in the production of politics on violence against women. Analyzing the dynamics that create emblematic cases by way of the story of Ayşe Paşalı, we argue that not only important public figures, but also ‘ordinary’ people can gain iconic status in the media; this in turn enables the media to demand, on behalf of the women’s movement, that the state take action. Here the strategy of linking ‘ordinary’ cases was picked up by the media and contributed to push the state to show engagement.

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20

Parker, Gabrielle. "Ying Chen: An Emblematic Trajectory." Contemporary French and Francophone Studies 17, no. 5 (December 2013): 521–28. http://dx.doi.org/10.1080/17409292.2013.844492.

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21

Higgins, Kathleen Marie. "M & M: Emblematic Activities." Metascience 17, no. 3 (August 27, 2008): 495–97. http://dx.doi.org/10.1007/s11016-008-9219-9.

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Weinberg, Florence M. "Layers of Emblematic Prose: Rabelais' Andouilles." Sixteenth Century Journal 26, no. 2 (1995): 367. http://dx.doi.org/10.2307/2542796.

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23

Sommers, Paula, and Daniel Russell. "Emblematic Structures in Renaissance French Culture." Sixteenth Century Journal 28, no. 3 (1997): 1054. http://dx.doi.org/10.2307/2543115.

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24

Gordon, John A. "Emblematic masterpiece: The Princeton Alciati companion." Indexer: The International Journal of Indexing: Volume 17, Issue 1 17, no. 1 (April 1, 1990): 39–40. http://dx.doi.org/10.3828/indexer.1990.17.1.13.

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25

Lindsay, Suzanne G. "Emblematic Aspects of Fuseli'sArtist in Despair." Art Bulletin 68, no. 3 (September 1986): 483–84. http://dx.doi.org/10.1080/00043079.1986.10788367.

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26

Nassenstein, Nico, and Gerrit J. Dimmendaal. "Bunia Swahili and Emblematic Language Use." Journal of Language Contact 12, no. 3 (January 28, 2020): 823–55. http://dx.doi.org/10.1163/19552629-01203008.

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The present paper provides first insights into emblematic language use in Bunia Swahili, a variety of the Bantu language Swahili as spoken in and around the city of Bunia inIturi Province, Democratic Republic of the Congo. Structural variability in Bunia Swahili shows that this language variety consists of basilectal, mesolectal and acrolectal registers, which are used by speakers to express different social identities. Whereas the basilectal variety shows structural similarities with Central Sudanic languages, the mesolectal and acrolectal registers are closer to East Coast Swahili. We argue that these lectal forms are to be understood as fluid repertoires which are used by speakers as a form of adaption to different conversational settings and as indexical representations of their (ethnic) identity. We go on to describe the historical background to these diverging ways of speaking Bunia Swahili, which are due mainly to the long-lasting conflict between different groups in the area.

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27

Moran, Mark. "Storied Neighborhood Emblematic Of Immigrant Experience." Psychiatric News 39, no. 8 (April 16, 2004): 86–96. http://dx.doi.org/10.1176/pn.39.8.0086.

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Álvarez, Marisa C. "Emblematic Aspects of Cervantes’ Narrative Prose." Cervantes 8, no. 3 (December 1988): 149–58. http://dx.doi.org/10.3138/cervantes.8.3.149.

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29

Soletskyi, Olexandr. "Emblematic Patterns and Metaphysical Meanings of Hryhorii Skovoroda." Kyiv-Mohyla Humanities Journal, no. 9 (December 29, 2022): 37–67. http://dx.doi.org/10.18523/kmhj270829.2022-9.37-67.

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The focus of the author’s attention has been on the emblematic sense concentration in the philosophical system of Hryhorii Skovoroda. The study aims to reveal the artistic and style features of eide emblematic formation in the texts of the Ukrainian sophist, their origin, context, and conceptual classification by the author himself. The theoretical generalizations were essentially based on the philosophical treatises and dialogues by Hryhorii Skovoroda and the studies of other scholars. To analyze the issues under scrutiny, the author applied structuralist and semiotic methodology. The article highlights the emblematic sense, conveyance, and dominance in Skovoroda’s works. Emblematic forms of signification play a unique role in elucidating the anthropological, metaphysical, ethical, aesthetic, and hermeneutic dimensions of the Ukrainian poet and philosopher. Skovoroda considers emblemacity a particularly effective pictorial and verbal (iconic-conventional) type of “significative” speech, functioning as metalanguage.

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30

Zimring, Rishona. "Ballet, Folk Dance, and the Cultural History of Interwar Modernism: The Ballet Job." Modernist Cultures 9, no. 1 (May 2014): 99–114. http://dx.doi.org/10.3366/mod.2014.0076.

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This essay singles out the Camargo Society's 1931 production of Job as an ‘emblematic’ modernist ballet. Whereas Sacre is emblematic of the pre-war crucible of the modernist avant-garde, Job is emblematic of the culturally reparative interwar years. To approach Job as an emblematic and innovative artwork of interwar modernism, we should locate its genealogy both in the radical, liberatory, experimentalist, and primitivist energies of Sacre, and in the accessibility and identificatory experiences of galvanizing forms of popular dance. Additionally, Job was influenced by the revival of traditionalist forms of participatory dance, which answered a newfound need for reassurance, restoration, and coherence. Job is the product of multiple dance influences in an interwar context, some, but not all, conventionally ‘modernist’. Our understanding of their importance to the cultural history of both the avant-garde and interwar modernism is enhanced if we trace them and appreciate Job's innovative and reparative meanings anew.

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31

Dickey, Stephanie S. ""Judicious Negligence": Rembrandt Transforms an Emblematic Convention." Art Bulletin 68, no. 2 (June 1986): 253. http://dx.doi.org/10.2307/3050935.

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Lindsay, Suzanne G. "Emblematic Aspects of Fuseli's Artist in Despair." Art Bulletin 68, no. 3 (September 1986): 483. http://dx.doi.org/10.2307/3050980.

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33

CULL, JOHN T. "Heroic Striving and Don Quixote's Emblematic Prudence." Bulletin of Hispanic Studies 67, no. 3 (July 1990): 265. http://dx.doi.org/10.3828/bhs.67.3.265.

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Morales, Grace, Gérard Sensevy, and Dominique Forest. "About cooperative engineering: theory and emblematic examples." Educational Action Research 25, no. 1 (January 2017): 128–39. http://dx.doi.org/10.1080/09650792.2016.1154885.

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Dickey, Stephanie S. "“Judicious Negligence”: Rembrandt Transforms an Emblematic Convention." Art Bulletin 68, no. 2 (June 1986): 253–62. http://dx.doi.org/10.1080/00043079.1986.10788337.

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36

Szczepanowski, Mariusz. "Contemporary emblematic seal images of Częstochowa parishes." Prace Naukowe Akademii im. Jana Długosza w Częstochowie. Zeszyty Historyczne 16 (2017): 415–32. http://dx.doi.org/10.16926/zh.2017.16.27.

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37

Adelaar, Alexander. "Malagasy Dialect Divisions: Genetic versus Emblematic Criteria." Oceanic Linguistics 52, no. 2 (2013): 457–80. http://dx.doi.org/10.1353/ol.2013.0025.

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38

Cull, John T. "Heroic Striving and Don Quixote's Emblematic Prudence." Bulletin of Hispanic Studies 67, no. 3 (July 1990): 265–77. http://dx.doi.org/10.1080/1475382902000367265.

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39

Moffitt, John F. "FRANCISCO GOYA, ANDREA ALCIATI, AND EMBLEMATIC EVACUATION." Source: Notes in the History of Art 15, no. 3 (April 1996): 20–27. http://dx.doi.org/10.1086/sou.15.3.23205589.

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40

Tratter, Angelica M. D. "Ontological Inquiry and Emblematic Meanings of Life." Philosophy, Psychiatry, & Psychology 22, no. 2 (2015): 155–58. http://dx.doi.org/10.1353/ppp.2015.0023.

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41

Matsumoto, David, and Hyisung C. Hwang. "Cultural Similarities and Differences in Emblematic Gestures." Journal of Nonverbal Behavior 37, no. 1 (October 25, 2012): 1–27. http://dx.doi.org/10.1007/s10919-012-0143-8.

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42

Safadi, Michaela, and Carol Ann Valentine. "Emblematic gestures among Hebrew speakers in Israel." International Journal of Intercultural Relations 12, no. 4 (January 1988): 327–61. http://dx.doi.org/10.1016/0147-1767(88)90030-2.

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43

Bielak, Alicja. "The “Spiritual Hammer” (1656) as an Emblematic translation of “Imitatio Christi” by Thomas à Kempis." Central European Cultures 1, no. 2 (December 20, 2021): 29–58. http://dx.doi.org/10.47075/cec.2021-2.02.

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The subject of this article is a Polish-language collection of emblems by Paweł Mirowski, the Spiritual Hammer, 1656. The work is in fact a paraphrase of Thomas à Kempis’s Imitatio Christi, which the author admits neither on the title page nor in the preface. In addition, the translation is supplemented with five to seven engravings (depending on the surviving copies) of an emblematic kind. The purpose of this article is twofold. Firstly, to juxtapose Mirowski’s translation with Kempis’s work in order to reveal his translation techniques and discuss the advisability of their use. Secondly, to analyse the purpose of using emblematics in the Imitatio Christi and to point to two hitherto unknown copper engravings preserved in a unique copy of the Seminary Library in Warsaw.

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Grześkowiak, Radosław, and Jakub Niedźwiedź. "Unknown Polish Subscriptions to the Emblems of Otto van Veen and Herman Hugo: A Study on the Functioning of Western Religious Engravings in the Old-Polish Culture." Terminus 21, Special Issue 1 (2019): 1–29. http://dx.doi.org/10.4467/20843844te.19.024.11285.

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The Seweryn Udziela Ethnographic Musem in Cracow holds an impressive collection of old engravings, among which there are also copperplates by Cornelis Galle. He used selected prints from Amorum emblemata (1608) and Amoris divini emblemata (1615) by Otton van Veen and Pia desideria (1624) by Herman Hugo to create his own emblematic cycle on metaphysical relations between the Soul and Amor Divinus. The drawings from the works of Veen and Hugo were very popular in the seventeenth century and inspired numerous poets and editors around Europe. In the Polish-Lithuanian Commonwealth, it was Hugo’s Pia desideria that aroused particular interest. The cycle was imitated and translated by e.g. Mikołaj Mieleszko SJ, Zbigniew Morsztyn, Aleksander Teodor Lacki, and Jan Kościesza Żaba. On three of Galle’s prints stored in the Cracow museum, an anonymous author wrote epigrams, unknown until now, that accompany the images taken from the cycle by Veen (no. 8 and 21) and by Hugo (II 5). This emblematic microcycle was, with all probability, written down at the end of the seventeenth or at the beginning of the eighteenth century by a nun or a monk in one of the Lesser Polish convents or monasteries. Possibly, the origins of the cycle may be linked with the Carmelite convent in Cracow. And whether it is the actual place where the cycle was created or not, it is a good point to begin studies on the employment of emblematic practices in Catholic convents and monasteries in the Polish-Lithuanian Commonwealth from the sixteenth to the eighteenth century. Imported copperplates and woodcuts were a typical piece of the equipment of a cell. They were hung on the cell walls or were simply collected in sets of prints and often exchanged as gifts among nuns or monks, e.g. on the occasion of the New Year (an example of such a gift from 1724 is given in this paper). It was a common practice to write notes of diverse character on the reverse side of such prints, e.g. autobiographic details, short prayers or excerpts from sacred texts and religious literature. Still, the main purpose of the emblems was their application in everyday meditations and other forms of personal prayers. The three subscriptiones in the Ethnographic Museum in Cracow are also prayers of this kind, combining word and image.

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Lokos, Ellen. "El lenguaje emblemático en el Viaje del Parnaso." Cervantes 9, no. 1 (March 1989): 63–74. http://dx.doi.org/10.3138/cervantes.9.1.063.

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This study offers a new reading of the Viaje del Parnaso based on a vigorous labor of reconstruction of its emblematic images. The focal point of our analysis is the episode featuring the appearance of Lope de Vega, which constitutes the central emblematic image of the poem. Emblem literature, familiar to any learned reader of 1614, provided a powerful tool which allowed Cervantes to create levels of meaning using a language of innuendo and relativity. After “decoding” the emblematic language of the Viaje, we are able to understand more fully the literary and social satire that lie beneath the surface of the text. What emerges is one of the finest examples of Cervantine wit, where every word and image is ripe with veiled meanings.

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D’Anca, Marianna, Francesca R. Buccellato, Chiara Fenoglio, and Daniela Galimberti. "Circular RNAs: Emblematic Players of Neurogenesis and Neurodegeneration." International Journal of Molecular Sciences 23, no. 8 (April 8, 2022): 4134. http://dx.doi.org/10.3390/ijms23084134.

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In the fascinating landscape of non-coding RNAs (ncRNAs), circular RNAs (circRNAs) are peeping out as a new promising and appreciated class of molecules with great potential as diagnostic and prognostic biomarkers. They come from circularization of single-stranded RNA molecules covalently closed and generated through alternative mRNA splicing. Dismissed for many years, similar to aberrant splicing by-products, nowadays, their role has been regained. They are able to regulate the expression of linear mRNA transcripts at different levels acting as miRNA sponges, interacting with ribonucleoproteins or exerting a control on gene expression. On the other hand, being extremely conserved across phyla and stable, cell and tissue specific, mostly abundant than the linear RNAs, it is not surprising that they should have critical biological functions. Curiously, circRNAs are particularly expressed in brain and they build up during aging and age-related diseases. These extraordinary peculiarities make circRNAs potentially suitable as promising molecular biomarkers, especially of aging and neurodegenerative diseases. This review aims to explore new evidence on circRNAs, emphasizing their role in aging and pathogenesis of major neurodegenerative disorders, Alzheimer’s disease, frontotemporal dementia, and Parkinson’s diseases with a look toward their potential usefulness in biomarker searching.

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Kwangsoon Cho. "Emblematic Scenes in Sir Philip Sidney’s New Arcadia." Journal of Classic and English Renaissance Literature 21, no. 2 (December 2012): 29–49. http://dx.doi.org/10.17259/jcerl.2012.21.2.29.

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Levchenko, Nataliia, Olena Liamprekht, Oksana Zosimova, Olena Varenikoba, and Svitlana Boiko. "Emblematic Literature as a Form of Biblical Hermeneutics." Revista Amazonia Investiga 9, no. 32 (September 8, 2020): 61–69. http://dx.doi.org/10.34069/ai/2020.32.08.7.

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The article defines the basic principles of the influence of biblical hermeneutics on the poetics of Ukrainian Baroque emblematic literature, which were determined by its general development trends. The four-sense biblical hermeneutics, founded by the Greek and Roman Church Fathers, played an important role in the formation of Ukrainian Baroque literature that mainly developed within the theological framework. The principles of biblical hermeneutics eventually began to go beyond the theological literature. Thus, the medieval interest in symbol and allegory led to the appearance of “empresas” – symbolic drawings that became fashionable at the royal courts of Europe in the 15th century. The Renaissance misunderstanding about the nature of Egyptian hieroglyphs, their perception as ideographic writing through which Egyptian priests expressed their wisdom, led to the appearance of emblems, allegorical prints with long explanatory verses, aimed at giving some moral lessons. It was believed that the emblem could communicate truth to the mind more directly than with the help of words. It was reflected in the mind, while the person’s gaze wandered through the symbolic details of the emblem. The research provides evidence that a large number of literary works of the 17th century showed the influence of the emblem on the formation of symbolic representation, arranged to reveal the truth implicitly or explicitly through the sequential placement of the elements. Many poetic images of the 17th century come from well-known emblems, which were means of perceiving, interpreting, and opening the world of the Bible to the Baroque reader.

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Green, Miranda J. "Crossing the Boundaries: Triple Horns and Emblematic Transference." European Journal of Archaeology 1, no. 2 (1998): 219–40. http://dx.doi.org/10.1179/eja.1998.1.2.219.

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This paper explores one aspect of the way in which cult-iconography of the later Iron Age and Roman periods in non-Classical Europe broke the rules of mimetic (life-copying) representation, with, reference to a particular motif: the triple horn. The presence of three-horned images within the iconographic repertoire of western Europe during this period clearly illustrates two aspects of such rule-breaking. On the one hand, the image of the triple-horned bull – well-known in the archaeological record, particularly of Roman Gaul – exemplifies a recurrent Gallo-Roman and Romano-British tradition in which realism was suppressed in favour of emphasis to the power of three. On the other hand, the triple-horned emblem is not confined to the adornment of bulls but may, on occasion, be transferred to ‘inappropriate’ images, both of animals which are naturally hornless and of humans. Such emblematic transference, with its consequence of dissonance and contradiction in the visual message, on the one hand, and the presence of symbolism associated with boundaries and transition, on the other, suggests the manipulation of motifs in order to endow certain images with a particular symbolic energy, born of paradox, the deliberate introduction of disorder or chaos and the expression of liminality. The precise meaning conveyed by such iconographic ‘anarchy’ is impossible to grasp fully but – at the least – appears to convey an expression of ‘otherness’ in which order imposed by empirical observation of earthly ‘reality’ is deemed irrelevant to other states of being and to the supernatural world.

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Meyer, Holt. "‟Bite Him”: Emblematic Self-Portraiture and Diabolical Transtextuality." Poetica 30, no. 1-2 (August 14, 1998): 129–64. http://dx.doi.org/10.30965/25890530-0300102006.

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