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Journal articles on the topic 'Iconology'

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Published: 4 June 2021
Last updated: 13 July 2024

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1

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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2

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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3

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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4

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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5

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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6

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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7

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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8

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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9

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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10

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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11

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

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12

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

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13

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

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14

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

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The present paper is the result of a comprehensive study of the author's collective. It touches upon different fields of humanitarian knowledge: art criticism, philology and folklore studies. The unifying core of the study is the principle of interdisciplinary and research methods of iconology and comparative studies. The appeal to these methods is dictated both by the polystylistic nature of contemporary art and culture, as well as the change in the correlation of text and context within scholarly discourse. The strengthening of the role of context within the boundaries of a particular scholarly area allows one to reach the level of general artistic and even multicultural generalizations. At the same time the fiction text under study is thought of as part of the overall system, which allows us seeing in it not only the singular, but also the unified. Thus, the literary text is conceptualized as a cultural concept. The authors demonstrate this approach through the analysis of several artistic and aesthetic phenomena: the modern architectural neoclassicism (by G. V. Varakina), the prose poem “Christ” by I. S. Turgenev (by S. N. Perevolochanskaya), the 20th century mystery (by V. V. Azarova), the storyline “Cupid and Psyche” (by V. E. Dobrovolskaya). The general conclusion of the research establishes the importance of cross-disciplinary approach in Humanities, due to the growing complexity of culture and art and increasing requirements for researcher’s erudition and systematic way of thinking. Science strives to reveal the true meanings, making up for the lack of spirituality of the post-industrial society. Taking such an active interest in cross-disciplinary research is due to an increased concern for human beings, anthropocentricity.
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15

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

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16

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

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17

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

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18

Pinotti, Andrea. "Self-Negating Images: Towards An-Iconology." Proceedings 1, no. 9 (December 13, 2017): 856. http://dx.doi.org/10.3390/proceedings1090856.

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19

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

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The article contains fragments of three chapters form the book Image Science. Iconology, Visual Culture and Media Aesthetics (Chicago 2015), titled The are no Visual Media , Back to the Drawing Board and Foundational Sites and Occupied Spaces . W. J. T. Mitchell created in his previous works the key concepts which imply an approach to images as true objects of investigation – an “image science”. Author, continuing with his influential line of thoughts, amplifies interdisciplinary studies of visual media. The chapters also delve into such topics as conections between new media and architecture or the occupation of space in contemporary popular uprisings. Image science is a call for a method of studying images that overcomes the “two-culture split” between the natural and human sciences.
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20

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

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21

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

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22

Chesnakova, K. V. "In varietate concordia: revisiting hte iconology." Proceedings of the National Academy of Sciences of Belarus, Humanitarian Series 68, no. 1 (February 11, 2023): 72–74. http://dx.doi.org/10.29235/2524-2369-2023-68-1-72-74.

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23

Jia, Xunyue. "A Study on the Second Frame in Film <The Power of The Dog> -Focusing on Iconology by Panofsky." Korean Institute of Smart Media 12, no. 1 (February 28, 2023): 102–11. http://dx.doi.org/10.30693/smj.2023.12.1.102.

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As one of the image symbols, the second frame has rich symbolic metaphor. In previous studies, second frames are mostly presented in physical forms such as doors, windows, but in <The Power of the Dog>, there are various forms of second frames, providing more types for the study of second frames. Panofsky's Iconology has put forward a rigorous research method on how to interpret the meaning of image symbols in the picture. This study aims to use Panofsky's Iconology to analyze the second frame in <the Power of the dog>. The purpose is to expand the methodology of film image research and break through the problem that the Iconology analysis of film image stays in narrative analysis (iconographical analysis). It can be seen from the results of this study that the second frame has different visual presentation according to the requirements of narrative. In the narrative of the film, it symbolizes the depressed tone of the film and the stressful relationship between different characters. What director Campion wants to show through the second frame is that in the film industry where the problem of women is getting better, the motif of feminist film creation has changed from the expression of female appeals in binary opposition to the expression of the appeals of diverse groups in “decentralization.”
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24

Ploymong, Traitrung, Poonpit Amatyaku, Narongchai Pidokrajt, and Manus Keawbucha. "Music Icons, Allegories and Symbolic Representation: Iconological Analysis of Thai Murals Along the Mae Klong Riverside." MANUSYA: Journal of Humanities 26, no. 1 (February 27, 2024): 1–22. http://dx.doi.org/10.1163/26659077-26010013.

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Abstract This article examines the Thai music iconology – with a focus on the instruments and ensembles and their symbolic representations – of monastery murals along the Mae Klong riverside. It also investigates how Thai music iconology links to broader views on Thai music, including those from Buddhism, culture, and social realms. Thirty-eight murals from the Ayutthaya period to the King Rama V period were selected for analysis. Improvised tools from Kress and Van Leeuwen’s (2020) inter-semiotic, multidimensional approach and Panosfky’s (1962) concepts of iconography were employed in the data analysis. Additionally, an in-depth interview was conducted with key informants, including local intellectuals and experts in the related areas, for data triangulation. The findings show significant influence of music on Thai social forms, religious beliefs, as well as cultural and historical values.
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25

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

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26

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

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27

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

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28

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

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29

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

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30

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

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31

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

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32

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

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33

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

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34

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

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35

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

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36

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

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37

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

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38

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

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The peculiarities of the iconological method are considered in this article in connection with the topical issues of teaching art history at children's art school. It is impossible to adequately understand painting and graphics of the Middle Ages, Renaissance and the 17th century without iconological interpretations, however, from the point of view of pedagogy difficulties arise associated with the complexity of semantic interpretation, many aspects of which are extremely difficult to be explained to schoolchildren. Competent and dosed application of iconological techniques will enrich students' perception of art works, expand their cultural horizons, and update existing knowledge and skills. The author formulates a comprehensive view on the specificity of iconology, examines the methodological foundations of various interpretations of works of classical Western European art and offers some recommendations regarding the use of iconology in teaching art history at initial stage of art education.
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39

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

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Some historical paintings are realistic enough to provide information for the study of ancient civil buildings and their corresponding living environment. This article uses architectural iconology, computer modeling, and quantitative analysis methods to interpret ancient images for contemporary research. This work selects Qingming Shanghe Tu , painted by Ying Qiu in the Ming Dynasty, and Gusu Fanhua Tu , created by Yang Xu in the Qing Dynasty to study the evolution of the living environment of ancient Suzhou at the natural meaning level. At the conventional meaning level, a comparison of the two images reveals that land use, landscaping, building performance, and building materials evolved due to social development. At the intrinsic meaning level, this development was found to be closely related to the expansion of urban construction, the development of compact landscaping, and the maturation of construction techniques. The architectural iconology method proposed by this work can be used to study other ancient buildings based on existing images.
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40

Sen, Moumita. "Corona-Jihad Memes: The Shifting Iconology of Islamophobia from Hindu Nationalists." Journal of Religion, Media and Digital Culture 11, no. 3 (January 18, 2023): 362–88. http://dx.doi.org/10.1163/21659214-bja10061.

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Abstract This article analyses the visual rhetoric of anti-Muslim imagery in the memetic internet cultures generated by Indian users, as well as the transnational iconology of terror that the Muslim male body is made to embody. The core problem the article addresses is located at the intersection of three crucial contemporary challenges: the global pandemic, rising global anti-Muslim ideology, and the role of socially mediated popular political imagery. Here, I look at corona-jihad memes – a subset of anti-Muslim popular imagery made viral through social media. These images illustrated the fake news spread globally, connecting Indian Muslims with the pandemic. Here, I show the strategies of representation used by Hindu nationalist users to create an iconology – or a mode of recognition – for the Muslim male as the threatening and dehumanised other, through a process of mimicry, counter-influence, translation, and flow in a rich intermedial world of transnational imagery.
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41

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

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42

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

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43

Gil, Steven. "Image science: iconology, visual culture, and media aesthetics." Visual Studies 35, no. 2-3 (August 23, 2019): 302–3. http://dx.doi.org/10.1080/1472586x.2019.1655296.

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44

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

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45

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

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46

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

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47

Shostak, Stanley. "Cognitive Iconology: When and How Psychology Explains Images." European Legacy 21, no. 7 (June 2016): 762–64. http://dx.doi.org/10.1080/10848770.2016.1188512.

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48

Peraica, Ana. "Image Science: Iconology, Visual Culture, and Media Aesthetics." Leonardo 49, no. 3 (June 2016): 285. http://dx.doi.org/10.1162/leon_r_01247.

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49

Shortess, George K. "Cognitive Iconology: How and When Psychology Explains Images." Leonardo 50, no. 3 (June 2017): 337–38. http://dx.doi.org/10.1162/leon_r_01437.

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50

BROWN, LEE B. "W. J. T. Mitchell, Iconology: Image, Text, Ideology." Journal of Aesthetics and Art Criticism 45, no. 2 (December 1, 1986): 211–13. http://dx.doi.org/10.1111/1540_6245.jaac45.2.0211.

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