Relevant bibliographies by topics / Iconology

Academic literature on the topic 'Iconology'

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Published: 4 June 2021
Last updated: 13 July 2024

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Journal articles on the topic "Iconology"

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Davison, Jane. "Icon, iconography, iconology." Accounting, Auditing & Accountability Journal 22, no. 6 (July 31, 2009): 883–906. http://dx.doi.org/10.1108/09513570910980454.

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

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

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

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

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

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

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Gallegos, Eduardo, and Jaime Otazo. "To travel is to Look, to Look is to Relate." Journeys 21, no. 2 (December 1, 2020): 67–89. http://dx.doi.org/10.3167/jys.2020.210204.

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Generally, analyzes of Otto Nordenskjöld’s trip to the Antarctic (1901-1904) ignore the preparations that required a previous trip to Chilean-Argentine Patagonia (1894-1897). Even more, these analyzes forget the Colonial dimension of this expedition. This paper intends to fill this void considering for the analysis two images present in the Swedish travel story. The concept of iconology is proposed here as a link between the image (icons) and the story (logos). The aim is to analyze the iconology to discuss the meaningful configuration of an identity gaze—the Europeans—and a gaze on the otherness—the indigenous. The results show that in the iconology presented in the story and in the images, appear paradoxical elements that allow questioning the relevance of the identity-alterity dichotomy through the appearance of third spaces.
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Beyers, Jaco, and Lize Kriel. "John Muafangejo’s How God Loves His People All Over the World as Material Religion." Religion and the Arts 24, no. 4 (October 26, 2020): 379–98. http://dx.doi.org/10.1163/15685292-02404002.

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Abstract The artworks produced at the Evangelical Lutheran Church Art and Craft Centre at Rorke’s Drift, KwaZulu-Natal, have been highly appraised and appreciated in South African art-historical circles, not in the least so as African expressions of postcolonial and anti-apartheid resistance. The work of Namibian artist John Muafangejo (1943–1987) is prominent amongst these. In this article, while borrowing generously from the methods of art historical research, our interest is primarily in works of art as objects of material religion. Erwin Panofsky introduced iconology as a way of determining the meaning of art. Iconology wants to enable the seeing of the unseen; seeing the transcendence—making it most applicable to the study of religion as a cultural practice. This article investigates in a critical way how iconology can assist in the study of material religion, especially as applied to the study of religious art. Because meaning is contextual, the conditions under which religious objects are made and interpreted are as important as the work itself. A discussion of a specific work by John Muafangejo originating from the Rorke’s Drift Centre will be conducted by testing the potential of iconology as an analytical tool in this African Christian environment.
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Gruzdev, А. А. "ICONOLOGICAL METHOD IN SEMIOTIC ANALYSIS OF ARTWORKS." Arts education and science 1, no. 4 (2021): 92–99. http://dx.doi.org/10.36871/hon.202104012.

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The history of art is marked by many experiments in expanding and contrasting different methods and concepts. Nevertheless, in recent years there have been increasing attempts to draw parallels between iconology and semiotics. Of particular interest is the so-called Erwin Panofsky method, which forms the basis of modern iconology. The article discusses various aspects of the use of the iconological method in connection with the semiotic analysis of artistic works. Both general questions of the formation of iconology and special questions of its application and synthesis in the context of semiotic analysis are highlighted. A brief overview of the main iconological principles in revealing the figurative and symbolic content of the work is given, and the main features of the structural mechanisms underlying the semiotic approach are summarized. The scientific novelty of the work is determined primarily by the fact that for the first time the peculiarities of the application of the iconological method as one of the tools of semiotic analysis are investigated. Semiotics and iconology have a wide range of application in the study of culture-specific relations, since in contemporary art criticism, there is a great scientific interest in understanding the artwork as a carrier of national-cultural information. All this increases the methodological possibilities for studying the artwork, and thus expands the boundaries of the historical study of fine art.
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Dissertations / Theses on the topic "Iconology"

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Wikramagamage, Chandra. "Principles of Buddhist iconology /." Polgasovita (Sri Lanka) : Academy of Sri Lankan culture, 1997. http://catalogue.bnf.fr/ark:/12148/cb370849024.

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Maçaranduba, Pedro Ernesto Rodrigues. "Encenações do desejo: contribuições para a iconologia do pornô." Universidade de São Paulo, 2017. http://www.teses.usp.br/teses/disponiveis/59/59141/tde-12122017-110913/.

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A pesquisa acadêmica sobre pornografia permaneceu por um longo período monopolizada pela lógica texts and effects; ou seja, a investigação se orientava pela busca de consequências (em âmbitos individual, interpessoal e social) supostamente desencadeadas pelo consumo de materiais pornográficos. Essa linha de pesquisa contribuiu para a polarização do debate científico, fomentando a conformação de retóricas pró e antipornografia. Embora esse tipo de pesquisa ainda prevaleça nas publicações internacionais, desde o final da década de 1980 novos estudos passaram a interrogar a pornografia sob outras perspectivas. A presente pesquisa busca se filiar a esse campo de investigação recente, mas que já rendeu frutos significativos nacional e internacionalmente. A partir de um roteiro procedimental inspirado no método iconológico de Panofsky e ferramentas teórico-conceituais tomadas de empréstimo à psicanálise, elegemos a categoria \"Pornô com história\", da produtora Brasileirinhas (maior empresa do gênero em atividade no país), como fonte de dados. À época da coleta (maio-julho/2017), a categoria contava com 83 filmes, dos quais três foram excluídos do nosso estudo por serem produções estrangeiras. A decisão de trabalhar com filmes dotados de uma narrativa ficcional se deu em função da própria dimensão da pornografia que buscamos aqui dar relevo, a saber, sua natureza fantasística. A visualização de cada filme foi acompanhada da descrição iconográfica atenta a elementos como cenário, roteiro, personagens e diálogos. O material acumulado foi organizado a partir de três eixos: cenários, vocabulário pornô e representações dos sexos. A pesquisa argumenta que o pornô da Brasileirinhas constrói uma representação particular do erotismo que, ao mesmo tempo em que se dirige quase que exclusivamente ao público masculino heterossexual, busca se distanciar de práticas que fujam da heteronormatividade. Enxergamos no conjunto de palavras-fetiche que caracterizam o vocabulário da representação pornográfica manifestações de uma posição ambivalente perante o objeto sexual. Por último, argumentamos que a pornografia oferece a seu público uma solução utópica para ansiedades masculinas em tempos de crescente igualdade entre os gêneros e problematização da masculinidade. Essa solução utópica se materializa em aspectos como a representação de personagens femininas facilmente disponíveis para o sexo, o falo impassível e dotado da capacidade de proporcionar prazeres extraordinários (para si e para outrem).
Academic research related to pornography remained for a long time monopolized by the texts and effects logic. This means that scientific investigation was guided by the search of individual, interpersonal, and social consequences supposedly caused by the consumption of pornographic material. This line of research contributed to the polarization of the scientific discussion and stimulated the conformation of the rhetoric in pro/anti-pornography positions. Although this kind of research still prevails in international publications, studies began to analyze pornography under other perspectives by the late 1980s. The present work seeks to join this new line of studies that have already produced meaningful outcomes in Brazil and internationally. Following procedures based on Palofskys iconological method and managing theoretic and conceptual tools provided by psychoanalysis, we elected the Pornô com História category from Brasileirinhas website (greatest Brazilian pornographic film studio still in activity) as our data source. The category comprises 83 films; three of them were excluded from our study due to being foreign productions. The decision to work with films endowed with a fictional narrative was based on the very dimension of pornography we want to highlight, namely, its fantastical nature. The visualization of each film was followed by the iconographical description of scenarios, plots, characters and dialogues. The collected material was organized into three axes: scenarios, pornographic vocabulary and gender representations. We observed that Brasileirinhas pornographic films present a particular representation of eroticism: while addressed to a male heterosexual public, they try to keep distance from non-heteronormative practices. We also noted the presence of ambivalent behavior toward the sexual object in the fetish-words that constitute the pornographic vocabulary. Finally, we concluded that pornography offers a utopian solution for male anxieties in times of increasing gender equality and problematization of masculinity. This utopian solution is materialized in female characters easily available for sex and the impassive phallus endowed with the capacity to provide extraordinary pleasures (for itself and for others).
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Gambling, Stella. "Iconology in The Merchant of Venice." Thesis, University College London (University of London), 1990. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.325295.

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Thompson, Marc. "Mimbres iconology, analysis and interpretation of figurative motifs." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp03/NQ47916.pdf.

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Yeh, Grace I.-chun. "Asian fighters in U.S. minority literature iconology, intimacy, and other imagined communities /." Diss., Restricted to subscribing institutions, 2007. http://proquest.umi.com/pqdweb?did=1481671281&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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Serva, Leão Pinto. "A “fórmula da emoção” na fotografia de guerra: como as imagens de conflitos se relacionam com a tradição iconográfica explorada por Aby Warburg." Pontifícia Universidade Católica de São Paulo, 2017. https://tede2.pucsp.br/handle/handle/20631.

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This research seeks to identify the element responsible for the attractiveness of war photography, considering that conflict scenes are responsible for increasing audience of the media. The hypothesis of the research is that they contain Pathosformeln ("pathos formulas" or "passion formulas", concept created by the German critic Aby Warburg, 1866-1929), which cause impact by the immediate recognition of the emotions of the characters portrayed. Warburg pointed to the presence of ancient images from Pagan (Greek or Roman) culture appropriated by Renaissance artists and used as precoined forms for elements of expression of sentiment in paintings and sculptures from after the Middle Ages on. Since his death, the disciples of the German thinker have kept him as a reference to the study of ancient or Renaissance cultural manifestations, with rare exceptions (such as Carlo Ginzburg and Pablo Schneider, who use their concepts in analyzes of contemporary images). This research, which is linked to studies and reflections on Norval Baitello Jr.'s "Image Theory", applies to the War Photography, as a method, Warburg's analyzes of classical works, breaking his containment on ancient subjects. The chosen corpus is formed by photographs that obtained repercussion and recognition, participants of anthologies of this genre. The work, innovative as to the composition of the applied method and its object, detected in the analysis of the images several “formulas of emotion” used as paradigms in photos of conflicts
Este trabalho busca identificar o elemento responsável pela atratividade da fotografia de guerra, considerando que as cenas de conflito são responsáveis pelo aumento da audiência dos meios de comunicação. A pesquisa tem a hipótese de que tais imagens contêm Pathosformeln (“fórmulas de páthos” ou “fórmulas de paixão”) – segundo o conceito criado pelo crítico alemão Aby Warburg (1866-1929) –, que provocam impacto pelo reconhecimento imediato das emoções dos personagens retratados. Warburg apontou a presença de imagens antigas, oriundas da cultura pagã (como grega ou romana), apropriadas pelos artistas do Renascimento e usadas como “fôrmas” pré-moldadas para elementos de expressão de sentimentos em pinturas e esculturas posteriores à Idade Média. Desde sua morte, os discípulos do pensador alemão o mantêm como a principal referência para ao estudo de manifestações culturais antigas ou renascentistas, com raras exceções (como Carlo Ginzburg e Pablo Schneider, que usam os conceitos também nas análises de imagens contemporâneas). Esta pesquisa – que se vincula aos estudos e às reflexões da Teoria da Imagem de Norval Baitello Jr. – aplica à fotografia de guerra, como método, as análises de Warburg sobre obras clássicas, rompendo sua contenção a objetos antigos. O corpus escolhido para o estudo é formado por fotografias que obtiveram repercussão e reconhecimento, tendo sido incluídas em antologias do gênero. O trabalho, inédito quanto ao método aplicado e a seu objeto, detectou nas imagens analisadas diversas “fórmulas de emoção” usadas como paradigmas em fotos de conflitos
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Vale, Charles Vasconcelos. "A imagem inquieta: pÃs- produÃÃo e sobrevivÃncia no cinema de Gus Van Sant." Universidade Federal do CearÃ, 2017. http://www.teses.ufc.br/tde_busca/arquivo.php?codArquivo=20274.

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nÃo hÃ
A presente pesquisa propÃe fazer uma anÃlise iconolÃgica de parte da obra do cineasta norte- americano Gus Van Sant, utilizando para tanto dois conceitos fundamentais, a saber, PÃs- ProduÃÃo (BOURRIAUD, 2009) e SobrevivÃncia (WARBURG, 2013; DIDI- HUBERMAN, 2013). Selecionamos, para isso, cinco de seus principais filmes, sendo eles respectivamente: Psicose (1998), Gerry (2002), Elefante (2003), Last Days(2005) e Paranoid Park(2007), por acreditar que eles dÃo fÃlego as anÃlises e os conceitos supracitados. Noprimeiro momento tentamos pensar essa filmografia a partir de procedimentos artÃsticos como:apropriaÃÃo, remake, remix, releitura; procedimentos estes relacionados com a arte contemporÃnea, cujo modus operandi pode ser sintetizado pelo termo pÃs-produÃÃo. No segundo momento da pesquisa tentamos pensar essa filmografia em relaÃÃo com a histÃria da arte, analisando essa obra a partir da ideia de sobrevivÃncia (nachleben), um conceito derivado da singular iconologia criada pelo historiador da arte Aby Warburg, que tentou pensar a imagem pelo prisma das sobrevivÃncias das formas antigas em manifestaÃÃes culturais e artÃsticas diversas. Por fim, propomos um ensaio visual acerca dessas obras cinematogrÃficas, utilizando como inspiraÃÃo o âAtlas Mnemosyneâ - matlas de imagens que sintetiza o mÃtodo warburguiano de investigaÃÃo â privilegiando, portanto, a potÃncia imagÃtica em detrimento da historiografia tradicional calcada na palavra.
The present research proposes to make an iconological analysis of part of the work of the American filmmaker Gus Van Sant, using two fundamental concepts, namely Post-Production (BOURRIAUD, 2009) and Survival (WARBURG, 2013; DIDI- HUBERMAN, 2013). We chose five of their main films, respectively: Psycho (1998), Gerry (2002), Elefante (2003), Last Days (2005) and Paranoid Park (2007), for believing they give breaths to the analyzes and the above-mentioned concepts. At first we try to think of this filmography based on artistic procedures such as: appropriation, remake, remix, rereading; procedures related to contemporary art, whose modus operandi can be synthesized by the term post-production. In the second moment of the research we try to think about this filmography in relation to the history of art, analyzing this work from the idea of ​​survival (nachleben), a concept derived from the singular iconology created by the historian of art Aby Warburg, who tried to think the image by prism of the survival of ancient forms in diverse cultural and artistic manifestations. Finally, we propose a visual essay about these cinematographic works, using as inspiration the "Atlas Mnemosyne" - matlas of images that synthesize the Warburguian method of investigation - thus favoring the imagery power to the detriment of the traditional historiography based on the word
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Sutcliffe, Tami [Verfasser]. "The Iconology of Pinterest : Exploring Naming Behavior in Personal Digital Image collections / Tami Sutcliffe." Munich : GRIN Publishing, 2015. http://d-nb.info/1126252522/34.

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Berry, Christine A. (Christine Alyce). "Juan Bautista Maino's Adoration of the Shepherds: An Analysis of Iconography, Iconology, and Style." Thesis, University of North Texas, 1998. https://digital.library.unt.edu/ark:/67531/metadc278375/.

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This thesis investigates the iconography, iconology, and style of Juan Bautista Maino s Adoration of the Shepherds (1615-1620) located at the Meadows Museum, Dallas, Texas. The study begins with an overview of general information on Maino and his works. Chapter 2 explores the evolution of the Adoration of the Shepherds depiction in art, while examining social and political factors which may have influenced Maino's iconographical choices. Chapter 3 is a comparative analysis of the Meadows Adoration of the Shepherds to two other Adoration of the Shepherds by Maino, revealing a stylistic progression and presenting an argument for the dates the Meadows painting was rendered. Chapter 4 reviews the findings and suggests further study on this and other paintings by Maino.
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Brandão, Antonio Jackson de Souza. "Iconofotologia do barroco Alemão." Universidade de São Paulo, 2008. http://www.teses.usp.br/teses/disponiveis/8/8144/tde-15122008-151940/.

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A presente Tese propõe uma nova abordagem da leitura de textos do período conhecido por Barroco e, para isso, fez-se necessário criar novos termos que correspondessem a essa expectativa: a iconofotologia e poemas fotográficos. Para que um leitor contemporâneo possa ler e compreender textos daquele período, teria de ter acesso a uma chave sígnica a que somente os leitores do Barroco tinham acesso: as iconologias. No entanto, esse referencial se perdeu, por isso temos de substituí-lo por um outro, a partir do acervo imagético-fotográfico de que dispomos hoje e que chamamos de iconofotológico. A partir dele, será possível lermos, sob o ponto de vista contemporâneo (não sob o ponto de vista seiscentista), os poemas que denominamos fotográficos.
The present Thesis intends to give a new approach to the reading of texts from the period known as Baroque and, for that, it was necessary to create new terms that corresponded to this expectation: the iconophotology and photographic poems. In order to enable a reader to read and understand texts of that period, he would have to have access to a signical key to which only readers of that moment had access: the iconologies. However, such reference has been lost; therefore, we have to replace it by another one, from the imagetic-photographic collection we have, which is called iconophotological. With this premise, it will be possible to read, under the contemporary point of view (not under the baroque point of view), the so- called photographic poems.
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Books on the topic "Iconology"

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G, Kippenberg Hans, ed. Approaches to iconology. Leiden: E.J. Brill, 1985.

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Malla, Mala. Lord Vishnu: An iconology. Kathmandu: Ashok Hada, 2012.

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Iconology: Image, text, ideology. Chicago: University of Chicago Press, 1986.

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1937-, Sarma Inguva Karthikeya, ed. Iconology of the Hindus. Delhi: Caxton Publications, 1988.

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Erdberg, Eleanor von. Ancient Chinese bronzes: Terminology and iconology. Bad Wildungen: Siebenberg-Verlag, 1993.

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Axel, Bolvig, and Lindley Phillip, eds. History and images: Towards a new iconology. Turnhout, Belgium: Brepols, 2003.

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Bakker, Hans. The Vākāṭakas: An essay in Hindu iconology. Groningen: E. Forsten, 1997.

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Cognitive iconology: When and how psychology explains images. Amsterdam: Rodopi, 2014.

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Tachikawa, Musashi. Mandara no kamigami: Bukkyō no ikonorojī = Nepalese Buddhist iconology. Tōkyō: Arina Shobō, 1987.

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Osamu, Nakayama. Images of their glorious maker: Iconology in Milton's poetry. Tokyo: Macmillan Languagehouse, 2002.

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Book chapters on the topic "Iconology"

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Hönes, Hans Christian. "Flat Iconology." In Art Historiography and Iconologies Between West and East, 91–102. New York: Routledge, 2024. http://dx.doi.org/10.4324/9781003137528-7.

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Sears, Elizabeth. "Iconology vs. Iconography." In Art Historiography and Iconologies Between West and East, 58–73. New York: Routledge, 2024. http://dx.doi.org/10.4324/9781003137528-5.

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Kalinowski, Lech. "Iconology or Iconography?" In Art Historiography and Iconologies Between West and East, 29–57. New York: Routledge, 2024. http://dx.doi.org/10.4324/9781003137528-4.

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Barnard, Malcolm. "Semiology, Iconology and Iconography." In Approaches to Understanding Visual Culture, 143–67. London: Macmillan Education UK, 2001. http://dx.doi.org/10.1007/978-1-137-11046-6_8.

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Purgar, Krešimir. "Introduction." In The Iconology of Abstraction, 1–18. New York: Routledge, 2020. | Series: Routledge advances in art and visual studies: Routledge, 2020. http://dx.doi.org/10.4324/9780429262500-1.

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Crowther, Paul. "Abstraction and Transperceptual Space." In The Iconology of Abstraction, 104–13. New York: Routledge, 2020. | Series: Routledge advances in art and visual studies: Routledge, 2020. http://dx.doi.org/10.4324/9780429262500-10.

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Cernuschi, Claude. "The Visualization of Temporality in the Abstract Paintings of Barnett Newman 1." In The Iconology of Abstraction, 114–25. New York: Routledge, 2020. | Series: Routledge advances in art and visual studies: Routledge, 2020. http://dx.doi.org/10.4324/9780429262500-11.

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Lessard, Bruno. "Rethinking Abstraction Post-phenomenologically: Michel Henry and Henri Maldiney." In The Iconology of Abstraction, 126–40. New York: Routledge, 2020. | Series: Routledge advances in art and visual studies: Routledge, 2020. http://dx.doi.org/10.4324/9780429262500-12.

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Betancourt, Michael. "Visual Music and Abstraction." In The Iconology of Abstraction, 143–59. New York: Routledge, 2020. | Series: Routledge advances in art and visual studies: Routledge, 2020. http://dx.doi.org/10.4324/9780429262500-14.

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Burchert, Linn. "Ecology and Climatology in Modern Abstract Art." In The Iconology of Abstraction, 160–75. New York: Routledge, 2020. | Series: Routledge advances in art and visual studies: Routledge, 2020. http://dx.doi.org/10.4324/9780429262500-15.

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Conference papers on the topic "Iconology"

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Bandalo, Visnja. "INTERDISCIPLINARITY OF LITERARY ICONOLOGY OF GIORGIO MANGANELLI." In 8th SWS International Scientific Conferences on SOCIAL SCIENCES - ISCSS Proceedings 2021. SGEM World Science, 2021. http://dx.doi.org/10.35603/sws.iscss.va2021/s09.53.

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Tao, Y., and B. Zhu. "Least-Squares High Resolution Processing Method based on Iconology." In 85th EAGE Annual Conference & Exhibition - Workshop Programme. European Association of Geoscientists & Engineers, 2024. http://dx.doi.org/10.3997/2214-4609.202410050.

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Chen, Yimo. "Study of image evolution on the iconology theories and methodology." In IV International Scientific and Practical Conference, Chair Ariunaa Shajinbat. Publishing house Sreda, 2023. http://dx.doi.org/10.31483/r-106594.

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Due to the development and innovation of technology, a new steering has taken place in the traditional artistic paradigm. In this new context, the use of: iconology research methods on the basis of the evolution of images, which summarizes image generation methods. and a series of art works were drawn based on the results of the research.
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Wang, YuLin. "Analysis of Monet’s “Water Lilies” Based on E.H.Gombrich’s Theory of Iconology." In 2022 International Conference on Social Sciences and Humanities and Arts (SSHA 2022). Paris, France: Atlantis Press, 2022. http://dx.doi.org/10.2991/assehr.k.220401.006.

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Rovenko, Elena. "ERWIN PANOFSKY�S ICONOLOGY AND THE ANALYSIS OF MUSICAL COMPOSITION: ON SEARCHING NEW SEMANTIC STRATEGIES." In 9th SWS International Scientific Conferences on ART and HUMANITIES - ISCAH 2022. SGEM WORLD SCIENCE, 2022. http://dx.doi.org/10.35603/sws.iscah.2022/s08.08.

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The paper offers a renewed interest for Erwin Panofsky�s iconology, which consists of the applying of this concept and analytical method to musical art per se. Although Panofsky himself did not intend to introduce his methodology into the sphere of music, he establishes correlations between some musical compositions and painting. Thus, Panofsky felt the presence of certain general laws of the formation of structure of the artistic whole in painting and music. In terms of iconology, music, like painting, presupposes the original hermeneutic algorithm, which consists of three steps. Firstly, the �purely formal perception� generates the factual meaning and consists of primary ordering of expressive means and unconscious establishing of their relations; and the �emphatic� perception produces the expressional meaning that is induced by the modality of an artwork and properties of expressive means. Secondly, the intelligible signification depends on conventional meanings assigned to expressive means. Thirdly, the aesthetic synthesis depends on an author�s intention, causes the content and consists of considering each of constructive and expressive means (strokes, color areas, lines, sounds, chords, modes) as a sense-generating unit. In the same epoch and in the same style these units have the equal intentional characteristics within the boundaries of a concrete art because of transmitting the same symbolic values (Ernst Cassirer) relating to space, time, mentality and world perception. This paper presents the applying of this three-step algorithm to musical artworks in total.
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De Sousa Carvalho, Rafael. "VIOLENTAS APARIÇÕES FANTASMAIS: ICONOLOGIA POLÍTICA E ERRÂNCIA EM DORA LONGO BAHIA." In 30º Encontro Nacional da ANPAP - (RE)EXISTÊNCIAS. ,: Even3, 2022. http://dx.doi.org/10.29327/30enanpap2021.384030.

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Lourenço, Emília Vicente. "Resgate da memória em Cândido Portinari." In Encontro da História da Arte. Universidade Estadual de Campinas, 2006. http://dx.doi.org/10.20396/eha.2.2006.3856.

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O presente trabalho, fragmento da pesquisa em desenvolvimento no Programa de Pósgraduação do Instituto de Artes da Universidade de Brasília, tem como objetivo analisar o fenômeno da memória dentro do campo antropológico. Para tanto, foi utilizado como aporte pictórico o projeto em cartão para mosaico da obra “Jesus e os Apóstolos”, de Cândido Portinari. O objetivo norteador do trabalho é o estudo da lacuna existente entre o projeto e o mosaico, que não chegou a ser realizado, e o resgate da “memória de esquecimento”, correspondido entre os anos de 1958 e 2003. A questão da simbologia presente na obra também é levada em consideração através de uma análise formal da iconologia central da obra, que faz parte de uma memória comum e cujo icograma é representado desde o período paleocristão.
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Rizolli, Marcos, and Mariana Fontes. "A FANTASIA NO TRABALHO FOTOGRÁFICO DE CHARLES DODGSON: UM OLHAR ENTRE A ICONOLOGIA E A SEMIÓTICA." In VII World Congresson Communication andArts. Science and Education Research Council (COPEC), 2014. http://dx.doi.org/10.14684/wcca.7.2014.196-200.

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Ferrari, Paula. "A história da Arte de Araújo Porto-Alegre." In Encontro da História da Arte. Universidade Estadual de Campinas, 2008. http://dx.doi.org/10.20396/eha.4.2008.3921.

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Gonzaga Duque Estrada, A arte brasileira – 1888, afirma ser Porto-alegre o primeiro a arrancar do esquecimento os únicos documentos existentes sobre a história da pintura brasileira, o primeiro a falar do músico Pe. José Maurício, e o primeiro a se ocupar da crítica das Belas Artes. Mesmo não partilhando dos mesmos valores estéticos e sua obra conter revisões e ampliações dos estudos de Porto-alegre, Gonzaga Duque não deixa de frisar a importância histórica dessa produção, seja pelo testemunho que legou, seja pelo ineditismo do tema e do método de trabalho no país. A história da arte de Araújo Porto-alegre pode ser pensada de três formas: como história dos artistas, como desenvolvimento das formas e como estética. A história dos artistas se aproxima mais da produção do IHGB e valoriza a biografia do artista. A história da estética é mais preocupada com pressupostos teóricos que estabeleçam elementos que conformam a arte, mais próxima da tendência da filosofia da história. O desenvolvimento das formas, ou história plástica foca o olhar propriamente no objeto de arte, partindo de uma ekphrasis passa a estabelecer a iconografia para, depois de compor o conjunto observado focar em elementos estratégicos, finalizando com a significação histórica através da iconologia. Sócio desde o primeiro ano do IHGB, contribuiu ativamente para Instituto como orador e escrevendo textos para a revista. A pluralidade de atividades que exerceu encontra um eixo de raciocínio na sua formação específica que trouxeram reflexões e indagações permanentes em seus textos. Sempre atento à Arte, inserido no debate do romantismo sobre a formação da nação, os manuscritos revelam o exercício de pensar a Arte e o Brasil perante as teorias de sua época.
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Miranda Mas, Carlos. "Arte vs turistificación: Souvenirs de resistencia." In V Congreso Internacional de Investigacion en Artes Visuales ANIAV 2022. RE/DES Conectar. València: Editorial Universitat Politècnica de València, 2022. http://dx.doi.org/10.4995/aniav2022.2022.15485.

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Esta comunicación plantea una investigación artística que atiende a uno de los efectos de la hiperconexión territorial global: los procesos de turistificación de que son objeto muchas ciudades, naturalizados como destino postcapitalista inalterable y que, aquí, propongo repensar mediante una serie de pinturas y esculturas. Así, éstas parten de la asimilación del consumo de recuerdos de viaje durante el primer fenómeno turístico (ss. XVIII y XIX), aquel Grand Tour que llevaba a potentados e intelectuales del norte de Europa hacia “exóticos” lugares del Sur y de Oriente. En el caso particular de Málaga, esos souvenirs se concretaban en los llamados “barros malagueños” (Malaga clay figures), pequeñas piezas de barro cocido y pintado que tuvieron entonces gran desarrollo comercial en la ciudad, las cuales representaban los tópicos culturales que la mirada orientalista de aquellos viajeros proyectaba sobre la Europa mediterránea. El desplazamiento que articulo toma aquella imaginería de bandoleros, manolas, bailaores, etc. para asociarla a la actual turistificación sistemática que sufren localidades históricas de todo el mundo, destacando el proceso malagueño por la rapidez y virulencia con la que este fenómeno de conversión en ciudades-marca como atractores de turismo masivo está modificando su estructura social, urbana, económica y política. Por tanto, estas obras articulan una relectura irónica de aquellos “barros malagueños” para, conservando intactas sus poses figurativas de marcado carácter goyesco, realizar una serie paralela de esculturas y pinturas que convierten los originarios tipos costumbristas en los actuales turistas “de fiesta y borrachera”, disfrutando de la culminación en clave perversa de aquella mirada romántica hoy devenida en devastadora ceguera consumista. El antiguo souvenir, pues, presta aquí su originaria iconología festiva y tópica a la reversión actualizada de su sentido: de recuerdo del viajero ilustrado pasa a ser arma representacional del indígena actual ante los desmanes de la actual turistificación.
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