Dissertations / Theses on the topic 'Iconographic studies'
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Gerber, Danièlle. "An iconographic investigation of the attributes and functions of Ancient Egyptian canine deities and their relation to death." Diss., University of Pretoria, 2020. http://hdl.handle.net/2263/78057.
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The Ancient Egyptians have always had a strong connection with their animals. This can be seen in the depictions of their gods as well as in their way of writing in hieroglyphics, in which multiple animal figures are used. The Ancient Egyptians are also associated strongly with the afterlife and their interest in the deceased and funerary texts. Much of the Ancient Egyptian material culture that has been preserved has some connection to one of these aspects. Their funerary culture has been well-preserved thanks to the dry and arid conditions of the desert, while the Nile has almost completely destroyed the rest of their culture.
This dissertation focuses on the relationship of the Ancient Egyptians with animals, specifically canines, in association with death and the afterlife. The focus is on the similarities between canines and the main canine deities: Anubis, Wepwawet, and Duamutef, listing the connections between the funerary, canine gods and the animals the Egyptians linked to them. It also looks at the hieroglyphic representation of both the gods and the canines. The animals in question are also briefly discussed, analysing their behaviour, and linking it to the information gathered on the canine deities.Dissertation (MA)--University of Pretoria, 2020.
Ancient Languages
MA
Unrestricted
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Klingbeil, Martin Gerhard. "Syro-Palestinian stamp seals from the Persian Period (538-332 B.C.): an analysis of their iconographic motifs and inscriptions." Thesis, Stellenbosch : University of Stellenbosch, 1992. http://hdl.handle.net/10019.1/1950.
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Thesis (MA (Ancient Studies)--University of Stellenbosch, 1992.In the course of this M.A. thesis, 65 stamp seals (conoids, scaraboids, signet rings and scarabs) have been collected, described, and analyzed. They stem from legal archaeological excavations in Syro-Palestine, and have been found in strata and contexts which can clearly be ascribed to the Persian period. Methodological questions were addressed, including the following: historical outline of the Persian period, geographical limitations of the study, archaeological considerations, and the iconographic and epigraphic aspects of the study. For the description process, a computerized system was developed, by means of which the seals could be described on three levels: general description, element description, modification description. In this way, a uniform way of handling the data was achieved. The description procedure is reflected in the fonn of a catalogue. In order to facilitate the analysis, the seal corpus was organized in three, at times overlapping, classes: iconographic seals, epigraphic seals, and hieroglyphic seals. The different classes were then analyzed according to their peculiarities, e.g. geographical distribution, iconographic motif groups, palaeography, onomastica, etc. It was shown that the corpus of stamp seals from the Persian period consists of a wide variety of objects in tenns of form and content, and could by no means be characterized as being homogenous. A certain relationship between geographical origin, fonn, and content of the seal could be established.
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Ako-Adounvo, Gifty. "Studies in the iconography of Blacks in Roman art." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp03/NQ50980.pdf.
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Johnson, Lakesia Denise. "The Iconography of the Black Female Revolutionary and New Narratives of Justice." The Ohio State University, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=osu1213127495.
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Veder, Robin. "Dying Virgins and Mourning Mothers: A Study in American Mourning Iconography." W&M ScholarWorks, 1995. https://scholarworks.wm.edu/etd/1539625944.
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Rask, Katherine. "Greek Devotional Images: Iconography and Interpretation in the Religious Arts." The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1338473387.
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Biggs, Jeremy. "The Ideological Transformation of the Icon Chairman Mao during the Four Modernisations period : As illustrated by "Melody of Youth, Beautiful Soul"." Thesis, Högskolan Dalarna, Kinesiska, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:du-23243.
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After Chairman Mao's death, in the late 1980's, Mao was removed from official government communications and his iconography transformed from having a specific meaning generation role linked to Maoist ideology, to becoming available for use as a commodity. In this research I use cultural theorist Jacques Derrida's theory of Hauntology and the deconstruction method to analyse a representative Chinese Propaganda poster, "Melody of Youth, Beautiful Soul", in order to ascertain the effect Mao's death had on the Iconography of Chairman Mao, and how Mao is ideologically transformed during this period. Analysing the painting I found specific symbols associated with the iconography of Mao that had been adopted and transformed for the purposes of the CCP. These symbols both suggested the presence of Chairman Mao, as well as negated that presence through being co-opted for other purposes. Using these symbols and writings about the period I deduced that during this period the CCP had to rely on existing symbols of power and authority in order to communicate and legitimise regime change whilst maintaining the semblance of continuity. At the same time they had to decouple these symbols from their original meanings in order to distance themselves from the past and redefine the ideology of China. In the process, Mao's iconography was decoupled from its Maoist ideological heritage and transformed into abstract symbols of power, doctrine and so on. This means that the transformation had made them available to use as an "open basket" into which new, related meanings could be placed – including serving as a commodity.中文摘要:毛主席是中国历史上最有名的文化偶像之一。他的思想是中国共产党的根本基础。作为一个偶像，毛泽东在中国现代文化中是一个很重要的象征意义成分，代表着权力、中国共产党、毛泽东思想等等。 在八十年代，当毛主席死后，毛泽东作为偶像在宣传画中逐渐消失，同时也被商品化了。为了解释毛泽东作为文化偶像的影响,以及毛泽东思想在此时期的转变，本文会运用文化理论家雅克·德里达的?幽灵学?（Hauntology)和解构主义学的方法，对一具代表性的宣传画《青春的旋律，优美的心灵》进行分析。 通过分析，我们可以发现一些与毛主席有关的符号,例如：书，原子符号，光等等。这些与毛主席有关的符号，为了满足中国共产党的宣传目的，已经被转变了。而由于这些符号与毛主席有关，它们便意味着毛主席仍存在于文本中，但是因为这些符号被转变了，他们也意味着毛主席在文本中的缺席。 分析这段时间所使用的这些符号，以及阅读关于?四个现代化?的文章， 我发现，在?四化?时期，为了传达政权转换的合法性，以及保持其政权连续性的假象，不得不依靠已经存在的政治符号。同时为了把实用主义放在政治理论的核心中， 他们也要从旧的思想限制中解放出来，所以他们需要把某些与毛泽东有关的符指从符征里分离出来。 在过程中，偶像毛泽东转变成一种开架商品，各种意识形态都可以藉由毛泽东来贩卖。
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Ashley, Angela. "The Roman de la rose : textual, codicological and iconographical aspects of MS. Grey 4c12." Master's thesis, University of Cape Town, 2000. http://hdl.handle.net/11427/7753.
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Includes bibliography.This study involves an examination of one particular Old French illuminated secular manuscript, nanlely MS Grey 4 c 12, a fourteenth century copy of the poem Le Roman de la Rose. It attempts to understand the relationship between its illumination and the written text and to describe the unique features of its miniatures and marginalia, as well as including a codicological description of the manuscript.
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Moock, Derk W. von. "Die figürlichen Grabstelen Attikas in der Kaiserzeit : Studien zur Verbreitung, Chronologie, Typologie und Iconographie /." Mainz : von Zabern, 1998. http://catalogue.bnf.fr/ark:/12148/cb39217252n.
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Sini, Efthalia-Thalia. "Studies in the choice and iconography of everyday scenes on fourth-century Athenian vases." Thesis, University of Oxford, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.670241.
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Cuvelier, Pierre. "Le mythe de Pélops et d'Hippodamie en Grèce ancienne : cultes, images, discours." Thesis, Poitiers, 2012. http://www.theses.fr/2012POIT5009/document.
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Ce travail est une étude mythologique portant principalement sur deux figures héroïques grecques, Pélops et Hippodamie, couple fondateur de la lignée des Pélopides. Inscrivant ma démarche dans la lignée des travaux de Marcel Detienne, Claude Calame et Charles Delattre sur la notion de mythe, non pas catégorie indigène mais objet construit a posteriori par les chercheurs actuels, je définis, sur la base des critères minimaux que sont les noms propres des héros et leurs types figurés, un corpus fait de textes grecs et dans une moindre mesure romains et d'œuvres figurées grecques, étrusques et romaines, que j'étudie ensuite systématiquement pour y mettre en évidence les possibles critères d'unité ou de discontinuité dans les représentations de ces figures héroïques, en me montrant attentif à la grande variété des contextes (cultuels, génériques, historiques) dans lesquels elles sont évoqués. J'étudie ainsi tant les cultes héroïques rendus à Pélops et Hippodamie à Olympie que les représentations figurées de ces héros et les différentes formes de discours qui les mentionnent, d'Homère à Nonnos de Panopolis. Je tente enfin de fournir les principaux éléments d'une étude globale de cet ensemble dans une perspective informée par l'anthropologie historique. Si l'ensemble général des évocations de Pélops n'a qu'une cohérence limitée, plusieurs sous-ensembles s'avèrent plus pertinents, le principal étant celui formé par les représentations de la course de chars qui aboutit à l'union des deux époux aux dépens d'Oinomaos, père récalcitrant d'HippodamieThis is a mythological study concerning mainly two heroic figures of ancient Greece: Pelops and Hippodameia, ancestors of the heroic genos of the Pelopids. In the continuity of the works of Marcel Detienne, Claude Calame or Charles Delattre about the notion of myth, no more considered as an « indigenous category » but as a construct built a posteriori by contemporary scholars, I define, on the basis of the minimal criterias that are the proper nouns of the heroes and their iconographical types, a corpus composed of Greek (and also in some measure Latin) texts and of Greek, Etruscan and Roman figurative works, which I then study systematically in order to find out more precise criterias of unity or discontinuity in the representations of these heroic figures, paying special attention to the great variety of contexts (cults, genres, historical eras) in which they are evoked. I thus study the heroic cults devoted to Pelops and Hippodameia in Olympia, the visual representations of these heroes, and the different forms of speech which mention them, from Homer to Nonnos of Panopolis. I lastly try to provide the main elements for a global study of this corpus in a perspective informed by historical anthropology. If the widest corpus, composed of the mentions of Pelops, has only a limited coherence, several subsets appear more pertinent, mainly that which is formed by the representations of the chariot race that allows the union of two spouses, despite the reluctance of Hippodameia's father, Oinomaos
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Thompson, Sheneese. "Oshun, Lemonade and Other Yellow Things: Philosophical and Empirical Inquiry into Incorporation of Afro-Atlantic Religious Iconography." The Ohio State University, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=osu1555573211820986.
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Marshman, Amy G. "Ancient Puebloan Human Effigy Vessels: An Examination of Iconography and Tradition." VCU Scholars Compass, 2016. http://scholarscompass.vcu.edu/etd/4174.
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This dissertation provides an iconographic interpretation of a group of Ancient Puebloan human effigy vessels and fragments from the American Southwest, dating to the Pueblo II period, c. 900 -1150 CE. Initially, this project focuses on Ancient Puebloan human effigy vessels from three specific collections; a single vessel in the collection of the National Museum of the American Indian in Washington, D.C., a human effigy vessel in the collection of the American Museum of Natural History in New York, and the so-called Putnam Human Effigy Jar from Chaco Canyon at the Peabody Museum of Archaeology and Ethnology at Harvard University. This study interprets these three vessels primarily as expressive sculptural forms, as opposed to ritual or utilitarian objects.
Stylistically and formally, these vessels are similar to several other human effigy vessels attributed to the Ancient Puebloan tradition. Two catalogs have been compiled for this study. Catalog A consists of Ancient Puebloan style human effigy. Catalog B presents comparable human effigy vessels created in a variety of ancient Southwestern styles, related to, but considered distinct from the Ancient Puebloan style. Formal and iconographic similarities between human effigy vessels in these cultures and the Ancient Puebloan culture suggest a shared cultural phenomenon, or, at the very least, is evidence of regional cultural relationships. Similar human effigy vessels can also be found outside of the ancient Greater Southwest in Precolumbian cultures. Of particular scholarly interest is the nature of the perceived relationship between the Ancient Puebloan tradition and the cultures of Casas Grandes, West Mexico, and Mesoamerica. The analysis of these three vessels and their associated tradition provides additional insight into this on-going scholarly discussion.
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Fischer, Julia Claire. "Private Propaganda: The Iconography of Large Imperial Cameos of the Early Roman Empire." The Ohio State University, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=osu1414586866.
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Cox, Michael James. "Ba'al and Seth : an investigation into the relationship of two gods, with reference to their iconography (ca. 1500 – 1000 BCE)." Thesis, Stellenbosch : Stellenbosch University, 2013. http://hdl.handle.net/10019.1/85852.
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Thesis (PhD)--Stellenbosch University, 2013.ENGLISH ABSTRACT: Although the traditional viewpoint of the Ancient Egyptian civilisation is one of isolation and self containment, in fact Egypt and Syro-Palestine had a long history of contact and interaction before the Late Bronze Age, albeit somewhat tenuous and ad hoc. The commencement of the New Kingdom in Egypt heralded a more vigorous period of exchange. This was largely due to the Egyptian policy of increased commercial activity and military campaigns in Syro-Palestine as well as the rising strength of the Asiatic peoples. At the personal level there was always a trend of Asiatics moving into Egypt in search of a better life, which opened the door for the Hyksos rule at the end of the Middle Bronze Age. This foreign rule was an affront on the dignity of the Egyptians. Thus, following numerous military campaigns much of Syro-Palestine was incorporated into the wider Egyptian political entity. In counterpoint to the situation in Egypt, Syro-Palestine was very far from isolated, situated in the open cultural landscape of Syria and Mesopotamia it was the very hub of the Ancient Near East. Inevitably there was considerable interaction, and throughout history, as even today, Syro-Palestine is a crossroads and melting pot of different peoples. At the forefront of any exchange were religious ideas, religious traditions were introduced and foreign gods were spread far and wide. The international nature of the gods seems to have been a characteristic of the Ancient Near East. In this scenario were the Egyptian god Seth and his counterpart the Syro-Palestinian god Baaal, each with a complex story, wherein the iconographical and textual evidence of the gods show much commonality. The association of Seth with Baaal in Egypt is clear, the name of Baaal being written with the Seth-animal determinative, whereas Syro-Palestine has the Mami stele from Ugarit. Major events shook the Ancient Near East ca. 1500-1000 BCE, Egypt reached its apogee and ruled the East; providing the most likely answer regarding the presence and worship of Seth in Syro-Palestine. Certainly Seth was present and worshipped, naturally the massive numbers of Egyptian military and diplomatic personnel required facilities for this practice. Since the earlier Hyksos rulers accepted and worshipped Seth this predicates on a continuum into the period in question. To summarize: Seth equals Baaal and Baaal equals Seth.
AFRIKAANSE OPSOMMING: Alhoewel die tradisionele siening van die antieke Egiptiese beskawing een van isolasie en selfonderhouding is, het Egipte en Siro-Palestina in werklikheid ʼn lang geskiedenis van kontak en interaksie voor die Laat Bronstydperk gehad, hoewel ietwat beperk en ad hoc. Die aanvang van die Nuwe Koninkryk in Egipte het ʼn meer dinamiese tydperk van wisselwerking ingelui. Dit was grootliks weens die Egiptiese beleid van toenemende handelsaktiwiteit en militêre veldtogte in Siro-Palestina, asook die opkomende mag van die Asiatiese volke. Op persoonlike vlak was daar altyd ʼn neiging van Asiate om na Egipte te trek op soek na ʼn beter lewe, wat die deur vir die Hiksosheerskappy aan die einde van die Middel-Bronstydperk oopgemaak het. Hierdie vreemdelinge heerskappy was ʼn belediging vir die waardigheid van die Egiptenare. Gevolglik, na afloop van talle militêre veldtogte is die meerderheid van Siro-Palestina in die breër Egiptiese politieke entiteit ingelyf. In teenstelling met die situasie in Egipte was Siro-Palestina alles behalwe geïsoleer. Geleë in die oop kulturele landskap van Sirië en Mesopotamië was dit die ware middelpunt van die Ou Nabye Ooste. Daar was noodwendig aansienlike interaksie, en regdeur die geskiedenis, soos selfs vandag nog, is Siro-Palestina ‟n kruispad en smeltkroes van verskillende volke. Aan die voorpunt van enige wisselwerking was godsdienstige idees, godsdienstige tradisies was ingevoer en uitheemse gode wyd en syd versprei. Die internasionale aard van die gode blyk ʼn kenmerk van die Ou Nabye Ooste te wees. In hierdie scenario was die Egiptiese god Seth en sy Siro-Palestynse eweknie Baäl, elk met ʼn komplekse storie, waarin die ikonografiese en tekstuele bronne van die gode baie ooreenstemming toon. Die verbintenis van Seth met Baäl is duidelik in Egipte, waar Baäl se naam met die Seth-dier as determinatief geskryf is, terwyl Siro-Palestina die Mami-stela van Ugarit het. Groot gebeurtenisse het die Ou Nabye Ooste ca. 1500-1000 v.C. geskud, Egipte het sy hoogtepunt bereik en oor die Ooste geheers, wat die mees waarskynlike antwoord aangaande die teenwoordigheid en aanbidding van Seth in Siro-Palestina verskaf. Seth was ongetwyfeld teenwoordig en aanbid, natuurlik het die enorme getalle Egiptiese militêre en diplomatieke personeel fasiliteite vir hierdie praktyk vereis. Aangesien die vroeëre Hiksosheersers Seth aanvaar en aanbid het, bevestig dit ‟n kontinuum in die periode onder bespreking. Om op te som: Seth is gelyk aan Baäl en Baäl is gelyk aan Seth.
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Masek, Brooke Heather. "'Kalos thanatos': The ideology and iconography of the Demosion Sema at Athens in the 5th and 4th centuries BCE." Thesis, University of Oregon, 2011. http://hdl.handle.net/1794/11288.
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xiii, 136 p. : ill. (some col.)The Demosion Sema ["Public Tomb"] was an area of the Kerameikos in Athens that in the 5th and 4th centuries BCE functioned as the state burial ground--the repository of mass graves for those who had lost their lives in war. In an annual ritual known as the patrios nomos ["the ancestral custom"], the war-dead were eulogized and publicly mourned. Their mass graves [ polyandria ] were regularly marked by marble monuments with reliefs of soldiers in combat, under which the names of the dead were listed according to their tribe, but without demotic or patronymic information. This thesis explores the various aspects of the patrios nomos and the iconography of the funerary monuments of the state burial ground. By analyzing features of the ritual, such as the attendant funeral orations ( epitaphios logos ), and aspects of the imagery found in the polyandria , we are able to learn not only about the function of the Demosion Sema within the Athenian polis but also how Athenians mourned and remembered their war-dead within the context of a democratic ideology.
Committee in charge: Jeffrey M. Hurwit, Chairperson; James Harper, Member; Christopher Eckerman, Member
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Pampanay, Élise. "Représentations imagières et textuelles des femmes sur les monuments funéraires attiques de l’époque classique." Thesis, Lyon, 2019. http://www.theses.fr/2019LYSE2130.
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S’il est difficile d’avoir accès à des « voix de femmes » de l’Athènes classique, le contexte funéraire est riche d’enseignements concernant les représentations iconographiques ou scripturales des défuntes. Brèves inscriptions ou épigrammes plus détaillées, les épitaphes offrent un aperçu des façons de nommer les femmes - épouses, mères, soeurs ou filles d’Athéniens - et de commémorer leurs vertus. Le texte entre en résonance avec l’iconographie et leur analyse croisée révèle un autre niveau de significations lorsque le monument est étudié dans son ensemble. Ostentatoires, les monuments funéraires fonctionnent comme des systèmes discursifs et s’adressent au passant et parfois aux défunts eux-mêmes, dans une situation d’énonciation artificielle dont nous étudions les modalités.Cette étude croise ainsi l’analyse de données épigraphiques et iconographiques associées. Les sources archéologiques, privilégiées, sont mises en perspective avec les sources littéraires, pour tenter de mieux cerner les regards masculins et féminins portés sur les femmes. La plupart des représentations conventionnelles inscrivent les épouses et les filles d’Athéniens dans leur relativité sociale, au point que l’on peut identifier un phénomène d’encadrement, du point de vue à la fois épigraphique et iconographique. Cependant, l’analyse montre que les dispositifs de communication mis en place dans les épigrammes, tout particulièrement entre époux, tendent à nuancer ce phénomène d’encadrement, dans la mesure où certaines nous donnent parfois accès à une situation personnelle, et font entendre la voix du mari, voire celle de l’épouse défunte. Enfin, il s’avère que la frontalité féminine sur les monuments funéraires attiques classiques constitue également une façon de s’émanciper en quelque sorte de ce cadre, et de donner un regard, si ce n’est une voix, à ces femmes défuntesDespite the difficulties in identifying women’s voices in classical Athens, the funerary context is quite enlightening about iconographic and written representations of the deceased. Epitaphs, short inscriptions as well as more detailed epigrams, give us an insight into how women, whether Athenians’ wives, mothers, sisters or daughters, were named and commemorated. Studying together connected inscriptions and images as a whole puts a light on a new set of meanings. Funerary monuments, displayed in public spaces, are indeed communication devices, addressing the passer-by or the deceased themselves.Epigraphical and iconographical evidence are crossed-referenced in this study, which focuses on archaeological data, but also literary ones, in order to define masculine and feminine views on women. Most of conventional representations inscribe Athenians wives and daughters in their social relativity, to such an extent that they appear framed, in the inscriptions as well as in the images. However, our analysis shows that the communication embedded in epigrams, especially between husbands and wives, temper this framing phenomenon, by giving us access to a more personal situation. Some even echo the husband’s or the deceased wife’s voice. Finally, representing women in a frontal view on classical attic funerary monuments is another way for these women to express themselves, if not by their speech, at least by their gaze
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Cwiek, Andrzej. "Relief decoration in the royal funerary complexes of the Old Kingdom : studies in the development, scene content and iconography /." [S.l. : s.n.], 2003. http://www.gizapyramids.org/pdf%20library/cwiek%5Froyal%5Frelief%5Fdec.pdf.
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Beaumont, Lesley Anne. "Studies on the iconography of divine and heroic children in Attic red-figure vase-painting of the fifth century." Thesis, Online version, 1993. http://ethos.bl.uk/OrderDetails.do?did=1&uin=uk.bl.ethos.366348.
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Graves, Margaret Susanna. "Worlds writ small : four studies on miniature architectural forms in the medieval Middle East." Thesis, University of Edinburgh, 2010. http://hdl.handle.net/1842/5489.
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While academic discussion of ornament within medieval Islamic art has laboured much over the codification and meaning of certain forms, there has been relatively little research to date on the visual and iconographic function of architecture as ornament in this context. Those few authors that have dealt with this issue have focused overwhelmingly on two-dimensional architectural representations, largely ignoring the considerable body of portable objects from the medieval Middle East that imitate architecture through three-dimensional forms, whether in a mimetically coherent fashion or in a more elliptical or reconfigured manner. This thesis proposes, first and foremost, that there is significant cultural meaning inherent in the use of architecture as an inspiration for the non-essential formal qualities of portable objects from the medieval Islamic world. Through iconographic analysis of the relationships that such objects form with architecture, an understanding of both full-size architecture and its miniature incarnations in the medieval urban context is advanced within the thesis. To maximise the intellectual scope of the study whilst still enabling an in-depth treatment of the material, four discrete studies of different object groups are presented. All of these are thought to date from approximately 1000 to 1350 CE, and to come from the core Middle Eastern territories of Persia, Syria and Egypt. The first chapter examines the glazed ceramic ‘house models’ believed to originate in late or post-Seljuq Persia. The second discusses six-sided ceramic tables from the same milieu, and more numerous related tables produced in Syria during the same period. In the third chapter carved marble jar stands from Cairo, apparently produced from the twelfth century onwards, are analysed. The final chapter, on metalwork, broadens its approach to encompass two very different strains of production: inkwells from Khurasan and incense burners from the breadth of the Middle East. Because much of the thesis focuses on material that has been dramatically understudied, it performs the primary action of compiling examples of each of the object types under study. Though this information is presented as a catalogue vi sommaire, this component of the thesis is not regarded as an end in itself. The major tasks of the thesis are the identification of the architectural tropes that are being evoked within each object group, analysis of the manner in which those forms have been modified to suit the miniature context of the objects, and the location of meaning within such diminutive evocations of architectural form. Through comparisons with other objects, full-size architecture, two-dimensional representations of architecture and historical texts, the thesis moves discourse on this type of motif in Islamic art beyond the traditional and sometimes superficial discussion of ‘ornament’, re-setting architectural iconography within larger contexts of urbanisation and city culture of the medieval Islamic world.
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Mornat, Isabelle. "La femme et la satire : étude sur le corps féminin et les femmes dans la caricature de mœurs à Madrid (1864-1894)." Phd thesis, Université Toulouse le Mirail - Toulouse II, 2011. http://tel.archives-ouvertes.fr/tel-00639526.
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La caricature de mœurs fait définitivement son apparition à Madrid dans Gil Blas. Elle s'empare d'abord de la question féminine en se penchant sur la différence des corps. Les caricaturistes dénoncent les apparences fallacieuses du corps de la bourgeoise dans un déshabillage qui met en perspective un discours masculin sur les dépenses associées aux toilettes et livre un discours en creux sur la condition masculine à travers la critique du mariage. Le corps des femmes des classes populaires est marqué par le travail, la précarité, la vulnérabilité, la solitude. Autant de circonstances qui font planer le danger de l'entrée dans la prostitution, signifiée aussi par la ritualisation du corps empruntée à la silhouette de la cocotte. La caricature de mœurs s'oriente vers le terrain de l'érotico-festif en multipliant les figures de cocottes boulevardières. Celles-ci manifestent le nouveau statut de l'image commerciale de la femme. L'épaisseur sociale du corps féminin disparaît. Aux scènes de séduction où le caricaturiste déjoue le jeu hypocrite du marché de la chair, succède une représentation de la séduction de l'image. La prééminence de la cocotte manifeste l'avènement des nouveaux usages de la consommation. Dans la pluralité des images de la femme qui circulent dans la deuxième moitié du siècle, les caricatures diffusées massivement occupent une place décisive.
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DeSantis, Gary G. "Penn State: Symbol and Myth." [Tampa, Fla] : University of South Florida, 2009. http://purl.fcla.edu/usf/dc/et/SFE0002889.
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Suleman, Fahmida. "The lion, the hare and lustre ware : studies in the iconography of lustre ceramics from FaÌ?tÌ£imid Egypt (969 - 1171 CE)." Thesis, University of Oxford, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.404878.
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Andersen, Angela Lyn. "Cem Evleri: An Examination of the Historical Roots and Contemporary Meanings of Alevi Architecture and Iconography." The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1436301378.
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Nelson, John T. "American Cultural Icons Defining the Cold War: A Study of the Attributes Embodied in the Rosenthal Iwo Jima Photograph, the John Wayne Screen Persona, Apollo Images, and Berlin Wall." University of Toledo / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=toledo1278946239.
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Adams, John. "The problems of applying theories of depiction to non-figurative art." Thesis, University of Hertfordshire, 2011. http://hdl.handle.net/2299/5266.
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Generally speaking depictive theories attempt to explain the experience of looking at paintings and drawings, in particular they describe the process by which a viewer makes sense of a surface that has been intentionally marked in such a way as to describe some thing in the world. Depictive theories have generally been developed with reference to figurative work where the viewer is able to recognize the depicted object(s). The aim of this thesis is to determine the extent to which they apply to non-figurative work, what is commonly referred to as abstract art, and to identify what factors can influence the understanding and interpretation of such work. The method used is a combination of theory and practice. An analysis of theories of depiction and of contemporary scholarship on the subject is undertaken. Using the results of this work and by reference to the key concepts of these theories an analysis of specific artworks is carried out in a series of case studies. The purpose of the case studies is to identify, in the first instance, how certain theories of depiction can be seen to apply. In other words how they explain the experience of looking at a figurative artwork. The case study approach is an essential element of the methodology of the project. It is used, initially, to interrogate a work by Titian that is, arguably, readily explained by ‘traditional’ depictive theories. The procedure evolved for this analysis is then applied to the less figurative works of Auerbach and Twombly and from this process a non-iconographic approach to depiction is developed which is tested by application to my own work and to that of two contemporary artists. The thesis concludes that a comprehensive theory of depiction must allow for such factors as material and facture and that, as a result of this research, the meaning of the term ‘depiction’ can, under certain conditions, be extended to include for non-figurative work. It suggests that some theories may usefully be modified to accommodate the findings of this research. Dominic Lopes argues that ‘a complete account of pictures should explain abstract pictures as well as figurative ones.’ This thesis is seen as making a contribution to the development of any such account.
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Eklund, Sophia. "Prinsessan och livet : En ikonografisk-ikonologisk studie av prinsessan Eugénies konstverk." Thesis, Uppsala universitet, Konstvetenskapliga institutionen, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-449319.
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This Bachelor's thesis in Art History at Uppsala University is an iconographical and iconological study of six artworks made by Princess Eugénie of Sweden and Norway (1830-1889). These works of art consists of two ink-drawings, two aquarelles and two sculptures. One of the sculptures is in porcelaine and the other in terra-cotta. The iconographical and iconological analysis is made according to Erwin Panofsky's three level-method.
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Winquist, Marcus. "Konsten och den helige Antonius frestelse : En hagiografisk och ikonografisk studie." Thesis, Linköpings universitet, Institutionen för kultur och kommunikation, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-104194.
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Uppsatsen utforskar legenden om den helige Antonius frestelse och det intryck helgonberättelsen lämnat på konsten. En ikonografisk metod används för att beskriva den litteratur som skapat och utvecklat berättelsen och ur detta systematiseras de motiv som sedan översatts till bildkonsten. Genom att analysera nio olika avbildningar av Antonius skapas en kronologisk följd över hur skildringarna genomgått en transformation sedan 1500-talet.This thesis explores the legend of Saint Anthony and his temptations, and the impression his hagiography has left on the visual arts. An iconographic method is employed to investigate literature connected to the origin and later evolution of the story, which is used to classify motifs and concepts subsequently translated into painting. Via analysis of nine different depictions of Anthony, a chronological sequence is formed which lists the transformation these portrayals have undergone since the 16th century.
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Rönnfjord, Vedin Malin. "En bild säger mer än tusen ord : Analys av gudabilder i religionsläroböcker." Thesis, Umeå universitet, Institutionen för idé- och samhällsstudier, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-162056.
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I denna studie analyseras bilder i svenska religionsläroböcker för högstadiet. Syftet med denna studie är att granska och analysera hur ikoniska och anikoniska gudabilder inom hinduismen lyfts fram genom bilder i olika läroböcker sedan läroplanen (Lgr11) infördes. Analysen avser att undersöka om bilderna representerar ett inhemskt perspektiv (det vill säga hinduisk ikonografi) eller exempelvis ett orientalistiskt perspektiv. Resultaten jämförs sedan med hur styrdokumentens skrivningar uttrycker att ikoniska och anikoniska gudabilder inom hinduismen ska lyftas i religionsundervisning. Studien innefattar semiotiska bildanalyser och analys av tillhörande texter samt analys av styrdokument. Resultaten visar att bilderna i läroböckerna står i relation till ett inhemskt perspektiv, men att tillhörande texter och förklaringar till stor del står i relation till orientalistiska perspektiv. Resultaten visar att bilderna överensstämmer med styrdokumentens skrivningar men att det ändå är en brist i information och fakta. Det kan påverka elevernas förmåga att förstå hinduismen utifrån ett inhemskt perspektiv och istället fortsätta influeras av det orientalistiska perspektivet.Images in swedish schoolbooks for religions studies in secondary school will be analysed in this essay. The purpose of the essay is to review and analyse how iconic and aniconic images of gods within hinduism are presented in images from textbooks that are produced since the new swedish policy documents (Lgr11) were introduced. The intent with the analyse is to find if the images represent a domestic perspective (hindu iconography) or an oriental perspective. The results from that will then be compared to how the swedish school policies about religion education present that iconic and aniconic images of gods within hinduism should be mediated in religious studies. The essay includes semiotic analyses of the images and analyse of the belonging texts, also an analyse of the policy documents. The results shows that the images in the schoolbooks meet the hindu iconography, while the text and explanations that comes with the images have an oriental perspective. The result also shows that the images meet the school documents guidelines but there is a lack of information and facts. This may affect the students ability to properly understand what hindusim is from a domestic perspective and will instead continue the be influenced with an oriental perspective.
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Neiß, (Neiss) Michael, B. Sholts Sabrina, and Sebastian K. T. S. Wärmländer. "3D laser scanning as a tool for Viking Age studies." Uppsala universitet, Institutionen för arkeologi och antik historia, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-180568.
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Three-dimensional (3D) laser scanners are becoming increasingly more affordable and user-friendly, making 3D-modeling tools more widely available to researchers in various countries and disciplines. In archaeology, 3D-modeling has the particular advantages of facilitating the documentation and analysis of objects that are fragile, rare, and often difficult to access. We have previously shown that 3D-modeling is a highly useful tool for shape analysis of archaeological bone material, due to the high measurement accuracy inherent in the latest generation of 3D laser scanners (Sholts et al. 2010; 2011). In this work, we explore the utility of 3D-modeling as a tool for Viking Age artefact analysis. To test the usefulness of 3D-modeling when analyzing artefacts with a very complex morphology, we chose highly ornate Viking Age baroque shaped brooches as study objects. These baroque shaped brooches constitute a group of dress ornaments mainly encountered in eastern Viking Age Scandinavia. Due to their large cast and/or attached bosses they obtain an almost baroque appearance, hence their name (cf. Jansson 1984: p. 81). They appear in two major versions, i.e. circular or equal armed, and in two kinds of material, i.e. silver- and copper-based alloys. Because of the position of bronze brooches in burial contexts, it appears they were used to fasten the cape or shawl in the female dress (cf. Jansson 1984: p. 75ff., Aagård 1984: p. 96ff.; Neiß 2006, figs. 3, 4; Capelle 1962: p. 106). For the present work a recently excavated brooch from Denmark was analyzed, together with three Russian brooches with nearly iconic status in the field of Viking Age studies. In the three case studies, we investigated possible uses of 3D-modeling for artefact analysis, artefact reconstruction, and tool mark and motif analysis. Exploring the usefulness of 3D-modeling for these purposes allowed us to draw conclusions regarding how 3D-analysis can be best incorporated into future artefact analysis. In addition, the case studies allowed us to gain new insights about the baroque shaped brooches and their uses.Forskningsfinansiärer: Helge Ax:son Johnsons stiftelse, Svenska institutet (Visby-programmet), Kungliga vitterhets historie och antikvitets akademin (Montelius minnesfond); Svenska fornminnesforeningen
3D-laserskanning som verktyg vid vikingatidsstudier
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Fox, Tatiana Eileen. "The Cult of Antinous and the Response of the Greek East to Hadrian's Creation of a God." Ohio University Art and Sciences Honors Theses / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=ouashonors1399414457.
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Miller, Laura Gail. "A Grand Tragedy: The Progression and Regression of Gender Roles in Edna O'Brien's The Country Girls Trilogy and House of Splendid Isolation." Ohio Dominican University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=odu1386704511.
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Platevoet, Marion. "Médée en échos dans les arts : La réception d’une figure antique, entre tragique et merveilleux, en France et en Italie (1430-1715)." Thesis, Paris 4, 2014. http://www.theses.fr/2014PA040166.
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Le mythe de Médée, reçu par la première modernité comme un paradigme complet depuis la Conquête de la Toison d’or jusqu’à son retour sur le trône de Colchide, compose un prisme à multiples facettes : « Médée-tueenfant » (La Péruse), le personnage légué par la tragédie attique et devenu archétype d’une violence contrenature, y croise Médée magicienne, qui bouleverse le lignage et la ligne du temps, mais aussi la princesse orientale éprise d’un héros civilisateur. Pétrie par la culture chrétienne et admise au répertoire des arts officiels, cette figure ambivalente se rend perméable aux recherches esthétiques et aux débats éthiques des Temps modernes, en vue de l’expression de l’horreur, de l’allégorisation de la gloire, comme dans la représentation des passions.Or, la fondation de l’Ordre de chevalerie de la Toison d’or au duché de Bourgogne, en 1430, jusqu’à la fin de la Guerre de succession d’Espagne où se redessine la carte des puissances européennes, fait de la fable un miroir fictionnel privilégié des jeux de pouvoir entre les grandes dynasties européennes, en tant qu’instrument du discours programmatique du Prince. Dans le paysage culturel d’influences communes que forment les Cités-États de l’Italie et le royaume de France, cette étude montre, par la réunion de l’iconographie de Médée, l’analyse de saprésence dans les imprimés et de ses réécritures à la scène d’après l’antique, comment les échanges entre les arts visuels et les arts du texte oeuvrent à l’établissement d’un motif héroïque paradoxal. Ou comment Médée « devient Médée », renouvelant le serment que lui avait fait jurer Sénèque : « Fiam »The exceptional scope provided by the myth of Medea, which spans from the Conquest of the Golden Fleece to her return to the throne of Colchis, was received in its entirety by the Early Modern Arts and offers a multi-faced prism : Medea “tue-enfant” (La Péruse), the character left by the Ancient ancient Greek tragedy that became an archetypal figure of monstrous violence, crosses the path of the oriental lover of a civilizing hero, and also the enchantress who scatters lineages and timelines. Sculpted by the Christian culture and allowed into the official artistic repertory, this ambivalent figure absorbs the aesthetics and ethical debates of modernity. Indeed, Her Medea’s myth can be used for the expression of horror, allegories of glory, as well as expression of the passions.In addition, from the establishment of the Order of the Golden Fleece, by the Duke of Burgundy in 1430, to the end of the War of the Spanish Succession (which redefined the entire map of major European powers), Medea’s myth becomes one of the most efficient fictional mirrors of the political disputes between the most influential families of Europe, as an instrument of the publication of the Prince programme. Into the landscape of the cultural influences shared by the States of Early Italy and the French Kingdom, this study intends to show, by analysingthe spread of iconography of Medea, her presence in printed material and her classical performance reception and rewriting, how the exchanges between visual and literary productions work towards the definition of a paradoxical heroic standard. Where Medea “becomes Medea” and renews the oath that Seneca made her take: “Fiam”
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Lailach, Michael. ""Der Gelehrten Symbola" - Studien zu den "Emblematum Tyrocinia" von Mathias Holtzwart (Straßburg 1581)." Doctoral thesis, [S.l. : s.n.], 2000. http://dochost.rz.hu-berlin.de/dissertationen/lailach-michael-2000-07-05/.
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Jägerskog, Mattias. "Naturligt farligt : Hur visualiseringar av klimatförändringar är laddade med tecken och känslor." Thesis, Örebro University, School of Humanities, Education and Social Sciences, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:oru:diva-9187.
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The purpose of this thesis was to examine the relationship between feelings and visualizations of climate change. A case study was done on visualizations of climate change from a web page concerning climate change published by the Swedish newspaper Expressen and from the American photographer Gary Braasch’s web page “World view of global warming”. The thesis is based on the article ”Emotional anchoring and objectification in the media reporting on climate change” by Birgitta Höijer. I have been aiming to understand the feelings of fear, hope, guilt, compassion and nostalgia through semiotic theories of icon, index and symbol.
Previous research has proven the difficulties in bringing the issue of climate change up on the public agenda – which is connected to the difficulties of visualizing climate change. The nature of climate change being slow and hard to spot on an individual level has been highlighted as a cause of both of these difficulties. Pictures and photos have in this thesis been seen as the “interface” between science and the public – and hence decoders of the science of climate change. Höijer’s article about feelings has been used to understand this process of decoding.
The results show that the analyzed material could be linked to and described by the semiotic theories of icon, index and symbol. The emotional anchoring found in the material and the semiotic application have been shown to work complementarily with each other, leading to a broader understanding of the material’s relationship to social cognitions. The results further demonstrated that context is essential in some of the analyzed visualizations of climate change. Generic pictures found in the material could have been regarded as icon, index or symbol of other messages – but is through its contexts anchored with feelings, and becomes visualizations of climate change. The analysis also suggests that if icons of nature could be connected with feelings – so could nature itself. The consequences are speculated to lead to objectification of nature and ecophobia. By objectifying nature and using generic pictures, the material’s relationship to the concepts of “truth” and “myth” is questioned.
In conclusion, understanding of the analyzed material is advantageously achieved through complementary use of Höijers emotional categories and the semiotic theories of icon, index and symbol.
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Norrby, Malin. "Text utan kontext : en granskning av kyrkobeskrivningar utifrån forskning om antijudiska motiv i svenska kyrkobyggnader." Thesis, Uppsala universitet, Teologiska institutionen, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-403209.
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This study has a threefold aim: to make a theological contextualisation of four medieval anti-Jewish motifs in Christian iconography represented in churches in Sweden and to study how these motifs has been described and contextualised in guidebooks and other material written for the interested public from post-war to recent years. The study also explores the role of heritagisation and musealisation of the church buildings in relation to how the motifs are described in the material. There is also an underlying, constructive aim: to suggest how The Church of Sweden can work with these motifs in theological reflection and historical presentations to the public concerning this part of the cultural heritage. The motifs analysed are The Judensau, Ecclesia and Synagoga, Cain and a motif illustrating a medieval legend about the funeral of the Virgin Mary. They were all painted in Swedish churches in a time when there were no Jewish settlements in the area. The study argues that the iconography can be interpreted as an expression of othering and that the four motifs can all be theologically contextualised by using Jesper Svartvik’s threefold typology of Christian anti-Jewish discourse. The study further shows that very few of the texts in the guidebooks and other books in the material describes the motifs and contextualises them theologically. The study suggests that this can be related to the more than hundred years old heritagisation- and musealisation process in The Church of Sweden which has created a twofold and split role of the church as both manager of the religious mission and of the cultural heritage. It has not been the primary aim of the church to theologically contextualise the cultural heritage. New questions concerning the motifs arise in today’s multicultural and multireligious society. The study suggests that the church can approach the part of the cultural heritage which today is seen as problematic from David Lowenthal’s concept of an informed acceptance and tolerance of the past in order to be able to take responsibility for the future in dialogue with others.
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Langran, Johanna. "Drakdräparen och dräktdelaren : En stilkritisk, ikonografisk och kontextuell studie av två medeltida träskulpturer föreställande Göran och Martin." Thesis, Uppsala universitet, Konstvetenskapliga institutionen, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-451046.
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The goal undertaken in this Bachelor´s thesis was to establish, and possibly audit, the assumed motif, provenance, dating and formal style regarding two Medieval wooden sculptures depicting Saint Martin of Tours and Saint George. Both are preserved in the art collection formerly owned by one of the great Swedish artists and art collectors of the nineteenth century: Anders Zorn (1860-1920). The purpose of the study was to account for the two sculptures using the Iconographic analysis developed by Erwin Panofsky (1892-1968), and the style critical method founded by Giovanni Morelli (1816-1891). The goal was furthermore to incorporate the sculptures into a broader art historical context and discuss in what way history has impacted the usage of and attitude towards the Medieval wooden sculptures i Sweden. The result of the study concluded that the majority of what had earlier been assumed about the sculptures in regards to their respective motif, geographical orgin, style and age had been correct. Some new contributions were however made concerning similar representations, local contextualizations and the mere act of researching an object to which no major research had yet been devoted. The study also concluded that the ever changing usage of and attitude towards the Middle Ages from the Reformation during the sixteenth and seventeenth century until the beginning of the twentieth century, has likewise affected the usage of and attitude towards the medieval wooden sculptures. The consequences for the sculptures were never unequivocally positive or negative.
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Shonk, Gregory J. "Vision and Presence: Seeing the Buddha in the Early Buddhist and Pure Land Traditions." The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1338148835.
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Wadhera, Piyush. "Représenter le compositeur de musique à l’ère de l’industrie visuelle : entre gloire et célébrité, 1830-1871." Thesis, Sorbonne université, 2020. http://www.theses.fr/2020SORUL030.
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L’avènement de la monarchie de Juillet mène à l’apparition d’une figure d’artiste, dont l’importance symbolique dans la culture française ne cesse de croître tout au long du XIXe siècle. Pourtant, la conception plurielle de cette catégorie sociale peine à inclure les compositeurs de musique, dont seulement certains arrivent à accéder au pouvoir symbolique offerte par la nouvelle représentation de l’artiste dans la société française. La conception prérévolutionnaire de la « gloire » du compositeur est ainsi remise en question par la réévaluation de son statut, ce dernier essayant ainsi de se faire valoir dans un cénacle d’artistes où les places sont traditionnellement occupées par les représentants des beaux-arts. Avec le Second Empire, l’industrie culturelle permet l’essor d’une nouvelle conception de l’artiste, plus commerciale et plus accessible. L’essor combiné du spectacle dramatique et de la photographie permet la naissance de la célébrité moderne à travers le « star system ». Le compositeur de musique, représentant traditionnel de l’œuvre musicale, se trouve désormais concurrencé par ses propres interprètes. Comment le compositeur de musique négocie sa place dans la société française à l’aune de ces phénomènes politiques et culturelles ? Il s’agit dans cette étude de redonner place au compositeur dans une conception transdisciplinaire de l’histoire de l’art, afin d’étudier les transformations profondes que subissent la profession artistique de la musique et la conception symbolique du compositeur, avant que ne naisse l’industrie de cinéma. Entre la gloire traditionnelle et la célébrité moderne, le compositeur essaie de trouver sa place dans un nouveau marché d’images et de spectacles. À travers ses propres représentations, il transforme la conception globale de l’artiste et de l’art au XIXe siècle, dont certains aspects perdurent jusqu’aujourd’huiThe advent of the July monarchy led to the appearance of an artist, whose symbolic importance in French culture continued to grow throughout the 19th century. However, the plural conception of this social category struggled to include music composers, only a few of which managed to access the symbolic power offered by the artist's new representation in French society. The pre-revolutionary conception of the composer's "glory" is thus called into question by the reassessment of his status, the latter thus trying to assert himself in a cenacle of artists where places are traditionally occupied by representatives of the fine arts. With the Second Empire, the cultural industry allowed the development of a new conception of the artist, more commercial and more accessible. The combined rise of musical drama and photography allowed the birth of the modern celebrity through the "star system". The music composer, the traditional representative of the musical work, is now faced with competition from his own performers. How does the music composer negotiate his place in French society in the light of these political and cultural phenomena? In this study, the aim is to restore the composer's place in a transdisciplinary conception of art history, in order to study the profound transformations undergone by the artistic profession of music and the symbolic conception of the composer, before the cinema industry was born. Between traditional glory and modern celebrity, the composer tries to find his place in a new market of images and spectacles. Through these representations, the music composer thus influences certain general conceptions of the artist and of art in the 19th century, some of which continue to this day
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af, Klinteberg Kristina. "Diadem och identitet : En studie kring identiteter i kejsarinnan Josephines pärl- och kamédiadem." Thesis, Uppsala universitet, Konstvetenskapliga institutionen, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-438810.
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This paper, on the identities shown in one of the cameos in Empress Josephine’s pearl and cameo diadem, has first of all focused on the mythological characters, and thereafter raised the question if these are to be seen as an allegory for people from the time. The process of identi-fication has followed the three levels in Panofsky’s method for analysing art, where the first and second levels consist of already known material from the Bernadotte Library, Royal Palace in Stockholm and the jeweller house of Chaumet (former Nitot et Fils) in Paris. To decipher both the mythological individuals and the possible allegories, that is the third level, the iconology itself, the thoughts and methods of Göran Hermerén on the rise and fall of allegories along with Leora Auslander’s solutions using visuals comparisons, when no written material is available, have provided the academic framework for the study. When comparing the cameo with pieces of art from the time, the subject fits the description of the Roman mythology’s love goddess Venus and her son Cupid, the lovechild fathered by Mars. Moving on to allegories, well-known material shows that Emperor Napoleon was keen to be portrayed as the god of war Mars and Empress Josephine as Venus. A portrait of special interest to the study, a rather private painting by Parent from 1807, which is probably still unknown to most people, shows how Josephine is depicted with a recently deceased grandchild, a young boy how was also the nephew of Napoleon’s, a close relative to them both, and in the line of succession to the throne, while Napoleon still was Emperor. This picture has an expression which is close to the one of Venus and Cupid, and it is also made to look like a cameo. These portraits were known at the time when Napoleon gave the diadem to Josephine in 1809. Among portraits from the Napoleonic era, there has earlier only been one known painting, even if in two examples, where the diadem is shown. It is a miniature of Empress Josephine, a work from her final period at Malmaison, 1814. However, another miniature picturing the daughter Hortense in the very same piece of jewellery, from 1812, has now become known. In both these examples, the depicted cameo has a hight measuring only millimetres, why a discussion on the execution and the rendering has to be done with restraint. But in the daughter´s portrait there is a certain attempt to show the outlines of the central cameo that differs from the later painting of the Empress. This may be an indication of how much more important it was for the daughter to relay the picture of her mother and the memory of her son, in 1812, than it was for Josephine in 1814, after the divorce, probably after the fall of Napoleon too, when she was no longer his Venus, and there was no longer a throne for any of her grandsons to inherit. Therefore, in short, the chosen methods give the answer that the mythology depicted is a scene of Venus and her son Cupid, and the allegorical interpretation of Venus is the Empress herself. The child in shape of Cupid here, may well be read as one of her daughter’s sons, at the time a much longed-for heir to the throne of Napoleon I.
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Norandi, Elina. "Tránsitos entre París y Barcelona en la primera mitad del siglo XX: obra y trayectoria de Olga Sacharoff." Doctoral thesis, Universitat de Barcelona, 2018. http://hdl.handle.net/10803/666892.
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Este trabajo de tesis constituye un recorrido por la trayectoria artística y una propuesta de interpretación de la obra de la pintora Olga Sacharoff (Tiflis 1881 - Barcelona 1967) quien, aparte de algunos textos en catálogos de exposiciones, todavía no contaba con un estudio más completo.
A comienzos del siglo XX la artista se trasladó a París donde, hasta la Segunda Guerra Mundial, desarrolló una pintura enmarcada en los lenguajes de vanguardia. Atendiendo a los espacios donde expuso y a los círculos artísticos que frecuentó, este trabajo -a partir de la documentación encontrada-, propone incluirla como un miembro firme de la Escuela de París ya que, fue en este contexto, donde realizó la obra que consideramos más relevante.
A partir de 1945 la artista fijó su residencia en Barcelona –donde ya tenía vínculos personales y artísticos- lugar en el que se insertó en el contexto artístico y cultural de posguerra. Esta etapa de su actividad es la más conocida y documentada. No obstante, debido al hecho de su condición femenina en una época donde las mujeres artistas aún eran minoría, la crítica barcelonesa juzgó su producción desde parámetros relacionados con la feminidad y las categorías que el sistema de géneros le atribuía.
Esta investigación pretende estudiar su obra utilizando nuevos enfoques metodológicos con los que interpretarla desde otras perspectivas, que permiten aflorar un discurso artístico complejo, así como establecer vías de continuidad entre los periodos de París y de Barcelona, más allá de la visión dual que nos ha quedado de esta pintora.
El primer volumen está dividido en dos partes, la primera dedicada al recorrido vital y artístico de Olga Sacharoff y, la segunda, al estudio de su obra.
NOTA: El volumen II es el catálogo razonado de la obra de Olga Sacharoff, donde hemos incluido más de setecientas fichas en las que se ordena y clasifica su producción artística. Se trata de una catalogación que permanecerá abierta, siendo susceptible de agregar, ampliar y corregir con la nueva información que pueda ser aportada. Por razones de mantener la privacidad de coleccionistas y propietarios, esta parte del trabajo no está disponible en internet.This Thesis work is about the artistic trajectory of the painter Olga Sacharoff (Tbilisi 1881 - Barcelona 1967) and a proposal to interpret her work which, apart from some texts in catalogues of exhibitions, did not yet dispose of a thorough and complete research. At the beginning of the twentieth century, the artist moved to Paris where, until the Second World War, she developed a style based in the avant-garde languages. Considering the spaces where she exhibited and the artistic circles that she frequented, this work —from the documentation found— proposes to include her as a firm member of the School of Paris because, it was in that context, where she painted her works that are considered the most relevant. Since 1945 the artist established her residence in Barcelona, where she already had personal and artistic links. She merged herself in the post-war artistic and cultural context of that time. This stage of her activity is the most well-known and documented. However, due to the fact of her feminine status at a time when female artists were still a minority, the Barcelona critique judged her production from parameters related to femininity and the categories that the gender system of the time attributed to it. This research aims to study her work using new methodological approaches with which to interpret it from other perspectives that allow a complex artistic discourse to emerge, as well as to establish ways of continuity between the periods of Paris and Barcelona, beyond the dual vision that has been left to us from this painter. The first volume or this Thesis is divided into two parts: the first one is dedicated to the life and artistic path of Olga Sacharoff, and the second part, to the studies of her work. Note: Volume II is the reasoned catalogue of the work of Olga Sacharoff. We have included more than seven hundred index cards of her paintings where her artistic production is organised and classified. This catalogation will remain open in order to add, expand or correct with new information that might come to light in the future. To maintain the privacy of collectors and owners, this part of the work is not available on the Internet.
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af, Klinteberg Kristina. "Ett diadem och dess ikonografi : En studie av kejsarinnan Josephines pärl- och kamédiadem i porträtt mellan 1812 och 2010." Thesis, Uppsala universitet, Konstvetenskapliga institutionen, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-438793.
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The main purpose of this study of a pearl and cameo diadem, given by Napoleon to his first wife Josephine in 1809, is to follow its representation in portraiture from Paris in 1812 to Stockholm in 2010, and explore how the iconography develops during these 200 years. From the earlier years, the diadem is found only in miniatures, then after coming to the new royal family in Sweden, the Bernadottes, it is given a role of an heirloom representing history and families in grand paintings, arriving to the present well-known wedding hairpiece, covered by modern media, where the diadem is more of a crown than the open, forehead-covering piece of fashion jewellery it was during the Napoleonic era in France. The portraits from 1812, 1814, 1836, 1837, 1877, 1976, 2000/2003 and 2010 also portray a development of the female role model of its time. Just like the hair piece attains an iconography which comprises not only the highest dress codes but also a possibility of status transformation for the people involved in ceremony, the role of the country’s First Lady is about to change into a higher, more egalitarian position of present days.
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Merseburger, Maria. "Gemalte Gewandung im Florentiner Quattrocento." Doctoral thesis, Humboldt-Universität zu Berlin, 2018. http://dx.doi.org/10.18452/18687.
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Die vorliegende Arbeit stellt für die Bildwissenschaften eine methodische Grundlage dar, Kleidung im Bild als Konstruktion zu begreifen und zu interpretieren. Anhand der eindrucksvollen Patronageprojekte der Familie Tornabuoni – einer gerade emporgestiegenen Kaufmannsfamilie im Umkreis der Medici – werden die Möglichkeiten und Grenzen von symbolischer Kommunikation in der Florentiner Frühneuzeit untersucht. Unter anderem über Symbole wurde die Position im Gesellschaftsgefüge des unsicheren frühneuzeitlichen Regierungsklimas immer wieder neu hergestellt und von Neuem ausgehandelt. Die gewählte Bildgarderobe ist dafür ein hervorstechendes Beispiel.The thesis presents an art historical methodology that assesses clothing and its pictorial representations in order to interpret how material culture relates to social construction. Using as an example an impressive patronage project of the Tornabuoni family – a newly rich family of merchants in the circle of the Medici – reveals the possibilities as well as the limitations of symbolic communication through dress in early modern Florence. In addition to outward style, these subtle symbols helped to establish and renegotiate their bearer’s position in the shifting hierarchy of an uncertain political climate. By closely examining Tornabuoni commissions, the thesis demonstrates how clothing is a critical means of understanding social motivations and aspirations.
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Eiman, Simoné Marianne. "A visual semiotic analysis of the hidden meanings, myths and ideologies in Old Mutual South Africa's CSR 2.0 corporate advertising." Diss., 2017. http://hdl.handle.net/10500/23130.
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Abstracts in English and AfrikaansThe aim of this exploratory study was to investigate the underlying meanings of Old Mutual South Africa’s (OMSA’s) CSR 2.0 corporate advertisements. It specifically examined the underlying myths and ideologies conveyed through the texts. This qualitative study was conducted by means of a visual semiotic analysis (Machin 2012) on eight CSR 2.0 corporate advertisements, which were purposively selected. A theoretical framework to measure visual CSR 2.0 corporate advertisements was developed, which aided in the sampling, data analysis and interpretation processes. The findings of the study indicated that by positioning its CSR 2.0 positively in terms of change and transformation, progress and equal opportunities for all citizens, OMSA is fostering stakeholder-organisation relationships. In addition, it was also found that OMSA adopts established representational tropes of CSR 2.0 and use them repetitively that firmly entrenches the intended/encoded message to the viewer.
Die doel van hierdie verkennende studie was om die onderliggende betekenis van CSR 2.0 korporatiewe advertensies in Ou Mutual Suid-Afrika te ondersoek. Dit is spesifiek gemoeid met die onderliggende mites en ideologieë wat deur middel van die tekste oorgedra word. Die kwalitatiewe studie is uitgevoer deur middel van 'n visuele semiotiese ontleding (Machin 2012) op agt CSR 2.0 korporatiewe advertensies, wat doelbewus gekies is. 'n Teoretiese raamwerk, om visuele CSR 2.0 korporatiewe advertensies te meet, is ontwikkel, dit het bygedra tot die steekproefneming, data-analise en interpretasie prosesse. Die bevindinge van die studie dui daarop dat deur CSR 2.0 positief in terme van verandering en transformasie, vooruitgang, en gelyke geleenthede vir alle burgers te posisioneer, OMSA verhoudings met belanghebbendes kan bevorder. Daarbenewens is ook gevind dat OMSA gevestigde temas van CSR 2.0 implementeer en hulle herhaaldelik gebruik wat juis die beoogde / gekodeerde boodskap stewig aan die kyker bevestig.
Communication Science
M. A. (Communication Science)
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Dong, Lan. "Cross -cultural palimpsest of Mulan: Iconography of the woman warrior from premodern China to Asian America." 2006. https://scholarworks.umass.edu/dissertations/AAI3242314.
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This dissertation centers on the theme of "the woman warrior," historically grounded in premodern Chinese culture and represented in contemporary Asian American literature as well as in visual art forms. I apply a historical perspective to this interdisciplinary project in order to examine the global evolvement of one particular woman warrior, Mulan's legend, starting from the Northern Dynasties (386-581 A.D.) until the beginning of the twentieth-first century. This work conceptualizes the transmission and transformation of Mulan's story as a palimpsest, thereby highlighting the enduring interplay of continuity and erasure in the construction of her tale in China and the United States. The thesis investigates what the development of her tale reveals to us not only about womanhood, heroism, filial piety, and loyalty in premodern China but also about the construction of female agency, ethnic identity, and cultural origin in contemporary Asian America. Contextualizing Mulan alongside other heroines in premodern China my discussion considers the woman warrior as a paradigm of women warriors at large, thereby addressing Mulan as a culturally and historically rooted image coming out of a fascinating typology rather than as a singular character. Through the phenomenal example of Mulan this dissertation explores representations of female identity in the complex and frequent negotiation between womanhood and warrior value in premodern Chinese society, thus contributing to the current discussion on transnational feminism. By way of scrutinizing the multiplicity and complexity characterizing the "origin" of this particular figure, my research complicates the debate on cultural authenticity in the context of Asian America and the Asian diaspora. By looking at Mulan as a character claimed by various regions in China as their local heroine, the discussion deconstructs the monolithic "China" in Chinese America, and by extension, that of the "Asia" in Asian America. Through examining Mulan as a cross-cultural palimpsest, I hope to broaden our understanding of the interrelations between cultural heritage, gender politics, and ethnicity as exemplified by the global journey of her story and to inspire further scholarly engagement with her warrior sisters in Chinese as well as other cultures.
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HUANG, BO-HUA, and 黃柏華. "The Iconography in Publications of Religious Tract Societies in China (1876-1950) and the Case Studies on the “Broad and Narrow Way” and “Prodigal Son”." Thesis, 2019. http://ndltd.ncl.edu.tw/handle/btk344.
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碩士國立臺南藝術大學
藝術史與藝術評論研究所
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The thesis aims to investigate the missionary posters published by R.T.S. during 1876-1950 in China. Through analyzing their stylistic characteristics, design concepts, historical context and sales management, this study clarifies the missionary strategies of R.T.S. at its different stages, and how its missionary posters and iconography reflect the diverse challenges in delivering Gospel in a country with different cultures. Through the case studies on the missionary posters “Broad and Narrow Way” and “Prodigal Son” in Tainan (Taiwan), focusing on the themes, motifs, artistic forms and the way they were creatively displayed to replace the traditional Buddhist and Taoist shrine, the cross-cultural encounters between China and Europe in 19th-20th century, as well as the accommodation of Christian values in the Chinese society are vividly illustrated. The missionary posters of R.T.S. as visual materials document not only western missionaries’ attitude towards Chinese traditional beliefs and customs, but also the missionary strategies of R.T.S. in China, contributing new insights in terms of missionary, art historical and cultural history in China and Taiwan.
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Coetzee, Derick. "The impact of the symbolism and iconography of the Ankh, sun-disk and Wadjet eye on modern (“western”) society." Diss., 2017. http://hdl.handle.net/10500/23328.
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Ancient Egypt has long been a place of intrigue and mystery, being held in high esteem during ancient times. In modern times ancient Egypt has once again risen to such a position with many ancient Egyptian-based symbols and iconology being used in modern culture since its birth in the renaissance. Three easily identifiable and commonly used symbols are identified: the ankh, sun-disk and Wadjet Eye. This study attempts to evaluate and explore the extent of the influence of ancient Egyptian symbols and iconography on modern culture as a whole. This is achieved through emic analysis and comparative studies, comparing the context of the original ancient Egyptian symbols (in terms of their symbolic form, origins and meanings/usage) to the modern usage of the same symbols. A comparison between the contexts and usage of these three symbols in ancient Egypt and modern society shows that they are part of a wider trend of “romanticising” ancient cultures to “enchant” our modern culture.Old Testament and Ancient Near Eastern Studies
M.A. (Ancient Near Eastern Studies)
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"Surreal Classicism: Salvador Dalí Illustrates Don Quixote." Doctoral diss., 2017. http://hdl.handle.net/2286/R.I.44422.
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abstract: The purpose of this dissertation is to investigate the materiality of a unique text, Random House and The Illustrated Modern Library’s 1946 Don Quixote, illustrated by Catalonian painter Salvador Dalí. It analyzes Dalí’s classical trajectory, how Dalí and the text were received in mid-twentieth century North America, and how they both fit into the print history of illustrated editions of Don Quixote. Each is revealed to be unique in comparison with the history of the genre due to the publishing house’s utilization of Dalí’s high-quality illustrations in a small-sized text. Lavish illustrations traditionally have been reserved for larger, collectible editions. The contemporary material significance of the 1946 edition is revealed by examining organizations, people, and circumstances that were necessary for its production in the United States, and by contextualizing the text’s reception by North American popular culture, high art echelons, and art critics.
The overarching history of illustrated editions of Don Quixote is examined, comparing Dalí and his illustrations with important thematic and methodological benchmarks set by illustrators within this 400-year period, especially regarding renderings of reality and fantasy. Analyses of the first three watercolor illustrations of Dalí’s 1946 Don Quixote reveal how the painter forms mythological imagery and composes the quixotic dichotomy of reality and fantasy through the metaphoric gaze of an inanimate figure representing the protagonist. Dalí at times renders the “real” Don Quixote as incapacitated, omitting from his illustrations universalized iconography utilized in previous centuries achieved by rendering Don Quixote’s perspective, gaze, and heroic interpretation of events. In these three illustrations, Dalí forms Don Quixote as a deflated figure based in burla (mockery) and engaño (self-deception) by negating Don Quixote’s gaze within the compositions, without compromising the painter’s trademark surrealist style.
The text therefore challenges the genre’s print history while Dalí challenges French and German Romantic illustrators’ universalized iconography that traditionally highlights the nobility of the knight errant. By focalizing fantastic madness as interacting with burlesque reality, Dalí creates a new episteme within the genre of illustrated editions of Don Quixote, establishing his unique niche as an illustrator in this genre.Dissertation/Thesis
Doctoral Dissertation Spanish 2017
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Machková, Magda. "Podoby Orfea. Ikonografická studie o motivu Orfea v evropském a českém výtvarném umění 19. století." Doctoral thesis, 2014. http://www.nusl.cz/ntk/nusl-336121.
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Who says there is only one Orpheus, the mythical singer, poet, lover, musician, tragedian? The pivotal term of this study 'Orpheus' potential' refers to a set of characteristic datas or qualities, encrypted into the iconography of this theme by the time of c. 3 000 years and deciphered and interpreted by artists for nearly equivalent period. Although the Czech lands of the nineteenth century were both metaforically and literally distant from the Greek antiquity, we are able to trace a surprising volume of comments, receptions or appropriatons of Orpheus' iconography in various fields of arts: visual arts, dramatic arts, poetry, opera. The transformation of typology is discussed on illustrative examples using the genre of micro- stories, the second part of the study focuses on the localy determined shape of 'Slavic Orpheus', the person from the pre-Czech mythology, Lumír, who was gifted by analogic talents like his prototype.
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Klopper, Frances. "Oë in die wildernis : die religieuse funksie van fonteine en putte in die Hebreeuse Bybel : 'n godsdienshistoriese studie." Thesis, 2002. http://hdl.handle.net/10500/802.
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Text in AfrikaansDie proefskrif ondersoek die funksie van fonteine en putte in die religie van ou Israel. Die religie van die Hebreeuse Bybel word tradisioneel beskryf as 'n historiese religie waarin Jahwe, die god van Israel, fundamenteel gemoeid is met die verlossing van sy volk in die gang van die geskiedenis, terwyl die wêreld van die natuur van marginale belang is. Dit is egter duidelik dat die natuur in die vorm van haar grondwaterbronne 'n belangrike rol in ou Israel se leefwerêld gespeel het, nie alleen as lewegewende bronne in die droē fisiese Palestynse landskap nie, maar ook in hulle narratiewe en simboliese wêrelde. Fonteine en putte was kultiese plekke en heilige ruimtes waar teofanieē plaasgevind het, konings gekroon is, regsgedinge gevoer is, voorvadergeeste opgeroep is en die nageslag van ou Israel verseker is toe die voorvaders hulle toekomstige bruide by putte ontmoet het. Deur middel van die ou Nabye Oosterse ikonografie as hulpwetenskap in die interpretasieproses, is gevind dat die rede vir die sakrale waarde wat aan die waterbronne geheg is, opgesluit is in ou Israel se kosmologie wat hulle met hulle mitologies-gesinde en natuurvererende bure gedeel het. Daarvolgens ontspring fonteine uit die kosmiese onderaardse oeroseaan om lewe en vrugbaarheid te bring aan alles wat lewe. Die beeld het daartoe aanleiding gegee dat fonteine en putte metafories vir vroulike seksualiteit en vrugbaarheid gedien het. Die waterbronne tree ook as draers van hoop op. In verhale oor die wonderbaarlike ontstaan van fonteine in die wildernis deur lewensonderhoud aan die Israetiete tydens hulle woestynomswerwinge te voorsien. Ons kan met sekerheid aanneem dat ou Israel hulle watergate as lokaliteite van integrasie, sin en orde teen die aanslae van die chaosmagte ervaar het. Deur die eeue het die mensdom nagedink oor eksistensiele kwessles soos lewe en dood, vrugbaarheid en steriliteit, die redes vir rampe en oor wat die toekoms inhou. Dit is ten diepste religieuse vrae wat die vervloe bybelskrywers vir hulle tyd en omstandighede aangespreek het deur 'n refigurasie van Palestina se waterbronne. Grondliggend aan hierdie studie as 'n herevaluering van die natuur in die Hebreeuse Bybel om menslike wesens as deel van die natuur op te stel en nie as staande bo die natuur nie.
The dissertation investigates the function of springs and wells in the religion of ancient Israel. The religion of the Hebrew Bible has traditionally been descibed as a historical religion in which Yahweh, the god of Israel, was fundamentally concerned with the salvation of Yahweh's people In history in which the world of nature is of marginal interest. However, it is evident that nature in the form of its groundwater sources played an important role, not only as life giving sources in the arid physical environment of Palestine, but also in their narrative and symbolic worlds. Springs and wells served as cultic centres and sacred places where theophanies took place, kings were crowned, lawsuits conducted, ancestral spirits conjured up and the future progeny of Israel was ensured when patriarchs betrothed their future brides at wells. By means of ancient Near Eastern iconography as an interpretation aid, this study finds the reason for the sacred value attributed to groundwater sources in the cosmology of ancient Israel which she shared with her mythically-minded and nature-worshipping neighbours. Springs were believed to arise from the cosmic subterranean ooean to bring life and fertility to all living things. This image caused springs and wells to serve as metaphor of female sexuality and fertility. They also act as agents of hope in stories of miraculous springs in the desert which provide sustenance during the Israelites' desert wanderings. We can safely conclude that ancient Israel experienced their springs and wells as localities of integration, meaning and order amidst the threatening forces of chaos. Through the ages humankind reflected on existential questions regarding life and death, fertility and sterility, the reasons for disasters and what the future holds. These are profoundly religious questions addressed by the biblical authors for their time and circumstances by implementing a refiguration of the groundwater sources of Palestine. Ultimately this study serves to re-evaluate nature in the Hebrew Bible and to construe human beings not as standing above nature, but as part of nature.
Religious Studies and Arabic
D. Litt. et Phil. (Religious Studies)