Tesis sobre el tema "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 hÃA 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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Sutcliffe, Tami. "Exploring Naming Behavior in Personal Digital Image Collections: the Iconology and Language Games of Pinterest". Thesis, University of North Texas, 2014. https://digital.library.unt.edu/ark:/67531/metadc699943/.
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As non-institutional digital image collections expand into social media, independent non-professional image curators are emerging, actively constructing alternative naming conventions to suit their needs in a social collecting environment. This project considers how independent user-curators are developing particular sense-making behaviors as they actively contribute names to large, unstructured social image collections. In order to capture and explore this evolving language adaptation, Pinterest names are analyzed using a matrix composed of Panofsky’s three strata of subject matter, Rosch’s levels of categorical abstraction, Shatford Layne’s image attributes and Wittgenstein’s language game constructions. Analyzing Pinterest image names illuminates previously unnoticed behaviors by independent user-curators as they create shared collections. Exploring the various language choices which user-curators select as they apply this new curating vocabulary helps identify underlying user needs not apparent in traditionally curated collections restricted to traditional naming conventions.
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Landry-Belleau, Jeanne. "ICONOLOGIA WEB - UNE ICONOLOGIE HUMANISTE POUR LE WEB". Thesis, Université Laval, 2010. http://www.theses.ulaval.ca/2010/27546/27546.pdf.
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Rieber, Audrey. "Concepts fondamentaux d’une iconologie. Etude des présupposés philosophiques de la méthode historique d’Erwin Panofsky". Thesis, Paris 4, 2009. http://www.theses.fr/2009PA040243.
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L’étude des concepts fondamentaux de l’iconologie permet de dégager la conception de l’art, de l’histoire et de la création qu’elle implique. L’examen de l’analyse iconographique, des formations par analogie et de la critique du formalisme de Wölfflin permet de réviser l’idée selon laquelle l’intellectualisme de Panofsky le conduirait à méconnaître la spécificité du visuel. La mise au jour des torsions que l’iconologue fait subir au concept de forme symbolique clarifie la question du néo-kantisme et pose celle de l’usage de concepts (philosophiques) par l’historien. Le propre de la démarche historienne ressort aussi de l’analyse du concept rieglien de Kunstwollen qui engage la théorie de la création, la définition de l’art, son autonomie et la légitimité de l’iconologie. Celle-ci passe également par la résolution d’une tension entre le souci d’écarter toute approche esthétique ou normative de l’objet d’art et la nécessaire prise en compte de sa spécificité épistémologique et pratique. Enfin le concept d’habitus et la refonte des notions d’influences et de tradition lèvent l’antinomie entre liberté créatrice et nécessité historique. L’usage du modèle dialectique (hégélien) de l’histoire relève d’un choix de méthode et d’une prise de distance par rapport à Warburg dont les concepts centraux sont détournésThe study of the fundamental concepts of iconology enables us to identify the idea of art, of history and of creation it presupposes and also to rethink the traditional interpretation which is made of it. The analysis of the iconographical moment, of the creation by analogy and of the criticism of Wölfflin’s formalism challenges the idea that Panofsky supposedly fails to recognize the implacability of the visual aspect. As for Panofsky’s thesis of Neo-Kantianism, it is based on resorting to the concept of symbolic form. But the twisting it undergoes is relevant of the unique way in which the historian resorts to (philosophical) concepts. The distinguishing feature of the historical approach also emerges from the study of the Rieglian Kunstwollen concept which involves the theory of creation, the definition and the autonomy of art, and the legitimacy of iconology. This legitimacy also emerges from the solving of the tension between the desire to turn down any esthetical or normative approach of the objet d’art, and the necessity to take its epistemological and practical specificity into account. The historian’s will to be objective and the transformation of the taste-based judgment into the knowledge-based judgment it seems to imply are also questioned. Finally, the concept of habitus and the transformation of the notions of influence and tradition remove the antinomy between creative freedom and historical necessity. The use of the dialectic (Hegelian) model of history is a choice of method and implies that Panofsky voluntarily stands back from Warburg’s philosophy, the key concepts of which are thus embezzled
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Pardee, Mirella Guerra. "The Iconology of Suffering: Providing a Locus of Control for the Victim in Early Modern Italy". Bowling Green State University / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1237490158.
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Vázquez, Villamediana Daniel. "El conocimiento por montaje. La supervivència del pensamiento de Aby Warburg en la obra de Georges Didi-Huberman". Doctoral thesis, Universitat Pompeu Fabra, 2020. http://hdl.handle.net/10803/670942.
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La lectura realizada por el teórico de la imagen Georges Didi-Huberman de la obra de Aby Warburg (1866-1929), así de como de su terminología (Nachleben y Pathosformel), resultan hoy en día fundamentales para la comprensión de los textos del historiador del arte alemán. Sin embargo, el centro de la recuperación de la obra y del pensamiento de Aby Warburg por parte de Didi-Huberman se encuentra en el atlas Mnemosyne. El atlas -una disposición sinóptica de fotografías expuestas en diversos paneles que permitía pensar con imágenes- supondrá la base a partir de la cual Didi-Huberman desarrollará su propia teoría del montaje. Su original planteamiento es que el montaje se trata de una técnica que no solo ayuda a descubrir vínculos ocultos entre cosas dispares, sino que permitiría comprender el funcionamiento de la memoria de las imágenes y visibilizar sus distintas temporalidades. La intención de esta tesis será, por tanto, realizar un recorrido por la obra Didi-Huberman para comprender cómo ha leído a Aby Warburg, y de qué modo ha desarrollado su propia teoría del montaje de imágenes, entendido como una forma innovadora y productora de saberes que se caracteriza por su naturaleza transversal e interdisciplinaria.Georges Didi-Huberman´s reading of Aby Warburg´s work, as well as of its terminology (Nachleben and Pathosformel), is fundamental to the understanding of the texts of the German art historian. Moreover, at the centre of Didi-Huberman's recovery of Aby Warburg's work and thought the Mnemosyne atlas is to be found. The atlas -a synoptic arrangement of photographs displayed on various panels that allowed him to think in images- will form the starting point from which Didi-Huberman will develop his own theory of montage. Thus, the originality of this approach resides in the understanding of montage as a technique that does not only unravel hidden links between elements, but makes possible to understand how the memory and different temporalities of images work. Therefore, the thesis aims to revisit Didi-Huberman’s work in order to understand how he has read Aby Warburg, and how he has developed his genuine theory of image montage, understood as an innovative and knowledge-producing form that is characterised by its transversal and interdisciplinary nature.
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Oksbjerg, Ellen J. "Religious imagery of middle Yayoi settlements : an iconology of engraved drawings on Kinai pottery and bronze bells". Thesis, SOAS, University of London, 2009. http://eprints.soas.ac.uk/29265/.
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This thesis investigates pictorial engraving on pottery vessels and bronze bells of the Yayoi Period (500 BC-AD 250) in Japan. A particular focus is placed on the pottery pictures and their main phase of production at the end of Middle Yayoi - phase IV - (up to circa AD 1). The circumstances behind the shift of motifs from a predominance of animals to a preference for humans and human constructions such as houses comprise the primary area of investigation. Focussing on pictures from Karako Kagi and other Nara Basin settlements, these are studied in relation to the physical surroundings of their making. Their interpretation is connected to that of the settlements and tells of the area's religio-sociological developments. Through statistics of temporal motif distribution and comparisons to ethnographic evidence, I demonstrate that the iconographic changes relate to changes in ritual material in the shape of animal bones and crafted artefacts during Middle Yayoi; together telling of a transition from a basically nature-bound spiritual animism to a more politically manipulative shamanism. Examining the general enclosing of settlement spaces during the Yayoi Period, it is explored how a number of small moated settlements dissolve and amalgamate into large settlements inside and beyond the Nara Basin at the transition between Early and Middle Yayoi. It is suggested that this was a result of a strong factional competition between the basin's settlement leaders from the end of Early Yayoi. Karako Kagi, whose location was in the centre of the basin, developed into the regional centre of craft production; tying up population groups to the settlement and the cultivated zone. Part of the ritual sphere was moved away from the settlement, and a nature-culture dichotomy came to prevail that had not existed before, but which supported the leading tier's interests in a stronger focus on human ancestry and differentiated descent.
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Zhou, Yixing <1989>. "Studies on Nestorian iconology in China and part of Central Asia during the 13th and 14th centuries". Doctoral thesis, Università Ca' Foscari Venezia, 2020. http://hdl.handle.net/10579/18449.
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The period 13-14 century is called “Pax Mongolica”, during which the Mongolian Tribe established an empire across the Eurasian continent and created an unprecedented national migration and great national integration. Because of the unobstructed traffic, a branch of Christian – Nestorianism developed rapidly.
Recent years, the ruins of Nestorianism in Eastern Europe and Asia continue to be found, especially Nestorian Stele excavated in 1623 that has opened a prelude to the study of Nestorianism. From the existing Nestorian relics (such as tombstones and architectural monuments), we could find that most of them are decorated with Christian crosses, angels, lotus, moire, canopy or other patterns.
The paper will focus on Nestorian images that found from several main archaeological areas: Samarkand, Seven River Basin in Central Asian, especially in the Chu River; Region of Xinjiang; Region of Inner Mongolia and Quanzhou.
The goals to be achieved are:
1. To complete the catalogue of Nestorian images in Mongol – Yuan period;
2. To explore the cultural sources and art style of the motifs of Nestorian images such as lotus-cross, “Apsaras”, etc;
3. To explore the propagation process of Nestorianism along the Silk Road;
4. To focus on the characteristics and significance of the localization of Nestorian images under the background of Asian culture.
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Oxley, Noémie. "“The Real Nasty Side of War" : An iconology of amateur productions shot by American soldiers in Iraq". Paris, EHESS, 2016. http://www.theses.fr/2016EHES0733.
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Cette thèse explore les vidéos filmées par les soldats américains en Irak et postées sur Youtube. En m'appuyant sur leurs images portant sur des opérations de combat ou de maintien de la paix, je démontre la spécificité de leurs productions, loin des représentations médiatiques traditionnelles de la guerre, ainsi que des doctrines de guerre technologique et de contre-insurrection. Ces versions, qu'elles proviennent des manuels à destination des soldats, des discours officiels, des reportages télévisés, des jeux vidéos ou des caméras automatisées fixées sur les missiles longue-portée, délivrent une version technologique, victorieuse, spectaculaire et humanitaire excluant la mort et la violence du champ de bataille. En confrontant les vidéos de soldats à d'autres représentations de la guerre et à des témoignages directs et indirects de soldats, j'explore le contraste, dans leurs productions, entre une représentation structurée par des références constantes à d'autres images de conflits, et les images directes de leur anxiété, leur euphorie, leur agressivité et même leur désarroi sur le front. Ce contraste refléte les contradictions inhérentes au rôle du soldat sur le champ de bataille technologique, virtualisé et de contre-insurrection, au delà des versions humanitaires, aseptisées et sans risque véhiculée par beaucoup de médias officiels. En ce sens, les vidéos sont bien plus que les "images manquantes" (Daney) de la repre��sentation officielle de la guerre. Elles dévoilent la puissance du "complexe de visualité" (Mirzoeff), déployé par l'armée et les médias afin d'orchestrer la conduite et la représentation, sur les visions que les soldats donnent de la guerre. Leurs productions, dans le même mouvement, soulignent ses contradictions profondes. En ce sens, elles illustrent la défiance et la déshumanisation des civils perçus comme ennemis potentiels, la vulnérabilité et l'impuissance des troupes face aux stratégies de l'insurrection, et cela malgré la suprématie militaire de l'armée américaineThis article examines videos shot by american troops in Irak and posted on Youtube. Focusing on their accounts of combat and peacekeeping contexts, these productions convey direct and spontaneous acounts of the soldiers'frontline experience, far from the revolution of military affairs' conuterinsurgency and operational doctrines conveyed by the military-entertainment complex. These versions of war, whether expressed through official discourses, news reports, virtual simulations or weapons camera footage, deliver a technological, entertaining, spectacular or humanitarian vision, thereby excluding death and physical violence from the battlefield. By contrasting the soldiers' videos with other representations of war and including their direct and indirect testimonials, I explore how the soldiers' productions are located between a representation structured by constant references to other images of conflicts, and their own rough accounts of battlefield distress, exhilaration or agressiveness. This contrast reflects the contradictions inherent to the role of the soldier on the technological and virtualized counterinsurgency battlefield, beyond the sanitized, riskless and humanitarian versions conveyed in official media. In this way, the videos are more than Daney's "lacking images" of war's official representation; rather, they lay bare the power of the "complex of visuality" (Mirzoeff) designed by the military and media to orchestrate the war and its representation of soldiers' own visions of war, as well as exposing its profound contradictions. The soldiers' productions illustrate the defiance and deshumanisation of the civilian perceived as a potential enemy, while underlining the vulnerability and powerlessness of infantrymen confronted by insurgency strategies despite the military's technological supremacy
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Baychelier, Guillaume. "Des dispositifs de contrainte : iconologie interartiale et vidéoludique des corps monstrueux". Thesis, Paris 1, 2016. http://www.theses.fr/2016PA01H310.
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La contrainte positive de Barney permet d’'aborder la capacité du dispositif à produire des usages qui, parce que contraints, s'avèrent féconds. Les corps monstrueux sont analysés dans le genre vidéoludique horrifique à partir de cette problématique de la fertilité artistique des dispositifs de contrainte développant une nouvelle approche iconologique tant des enjeux de la relation vidéoludique à l'image que du pouvoir générateur des monstres. Les dispositifs sont conçus comme parcours dont la spatialité est étroitement liée aux idées de clôture et d'obstacle. En écho à Jankélévitch, ces entraves se constituent en organes-obstacles engageant à une pratique où le malgré est paradoxalement le grâce-à. Le recours à l'entrave est souhaité en vue d'un processus génératif ne pouvant prendre corps qu'au risque de l'épreuve d'un déplaisir, d'une «horreur délicieuse» engageant à approfondir l'affinité entre le sublime et la façon dont les dispositifs de contrainte se constituent à travers l'expérience de plaisirs négatifs, d'une disconvenance conduisant selon Schiller à une convenance supérieure. Au-delà de la conjuration de la stupeur horrifiée, par l'artialisation de l' image, l'ouverture iconologique interartiale (picturale, vidéoplastique...) et mythologique permet la mise à jour heuristique de la genèse du monstrueux par un dispositif de contrainte (Tête de Méduse, Rubens) et de la résistance par impossibilité de la capture (Protée) qui conduit à examiner les dispositifs irréductibles à !'enclosure et la question de l'absence de contrainte comme contrainte paradoxale, induisant l' exercice de la mètis qui permet d'éviter l'achoppement dans le clos comme la perte dans l'ouvertThe notion of positive restraint (Barney) brings to light the apparatuses' ability to produce practices that prove to be fertile, because restrained. Monstrous bodies in horror video games are analyzed from the perspective of the restraint apparatuses' artistic fertility, thus elaborating a new iconological approach to the image issues in videogames and monsters' generating power. Apparatuses are understood as routes whose spatialit is closely linked to the ideas of enclosure and obstacle. Echoing to Jankélévitch, these constraints establish organs-obstacles that set in motion a practice in which despife is paradoxically thanks to. Submitting to constraint engages a generalive process that can only take shape in the presence of a displeasure trial, a "delightful horror" leading us to investigate further the link between sublime and the way restraint apparatuses are grounded in the experience of negative pleasures, of a unsuitability leading, according to Schiller, to a superior suitability. Beyond discharging oneself from horrified stupor by the "artialisation" of the image, the interartial iconological (pictorial, video...) and mythological fields allow us to explore the genesis of monstrosity by restrainl apparatuses (Rubens' Medusa). It also underlines the idea of resistance by the impossibility of capture (Proteus) that leads us to examine the apparatuses without considering them as necessarily linked to closure, and the question of the lack of restraint considered as a paradoxical restraint, which leads to the practice of mètis that enables to avoid stumbling in closed spaces as well as getting lost in wide open spaces
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Fornacciari, Ilaria. "Foucault et les images : pratiques de l'image et visibilité entre analyse archéologique et irréductibilité critique". Thesis, Paris 8, 2017. http://www.theses.fr/2017PA080088/document.
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Dans le cadre des actuels débats autour du rôle et des pouvoirs des images, notre étude explore, à la lumière de la recherche du philosophe Michel Foucault, l'étendue et les fonctionnements discontinus, et parfois conflictuels, des rapports entre visibilités et pratiques d'images. La première partie de notre travail analyse le rôle des descriptions et évocations picturales des ouvrages du philosophe que l'on peut associer à l'analyse archéologique, s'attachant à montrer la singularité du rapport entre les images et l'émergence historique de différentes « modalités de voir» dans leurs articulations aux pratiques discursives. À l'appui des textes et manuscrits simultanés ou immédiatement successifs à l'élaboration de L'archéologie du savoir, la deuxième partie de la recherche valorise les défis que la question du traitement du visible et des images a lancés à la mise en place d'un champ de cohérence pour l'analyse discursive. Avec une attention particulière portée aux cours inédits sur la peinture du Quattrocento et aux projets sur la peinture de Manet, l'étude retrace les tentatives du philosophe vouées à considérer les dispositions culturelles de la visibilité et les configurations historiques de la présentation visuelle comme des dimensions articulées historiquement par des modalités différentes. La troisième partie analyse, enfin, les expérimentations foucaldiennes concernant des pratiques de l'image, présentant, à partir des conditions d'émergence de la notion d'attitude critique, les enjeux politiques de la réflexion autour des rapports entre visibilité et modernité picturaleIn the framework of the present ongoing debates about the role and power of images, our work aims to explore the extent and the discontinuous characterizing the historical relations between visibilities and practices of images in the light of the research of the philosopher Michel Foucault. The first part analyzes the role of descriptions and pictorial evocations in Foucault's works which can be associated with archaeological analysis; its objective is to show the singular relation between images and the historical emergence of different “modalities of seeing” in their articulations with discursive practices. Thanks to the analysis of texts and unedited manuscripts on painting, the second part points out the discrepancies between the visual dimension of Foucauldian research and the methodological elaboration of the archaeological discourse, with its claim to disclose a field of coherence for the discursive analysis. In light of the debates between art history's methodology and philosophy in France at the time, our analysis presents this apparently marginal section of the research of Foucault as an attempt to consider the cultural dispositions of visibility and the historical configurations of visual presentation as differently articulated through historical modalities. The third part analyzes various Foucauldian experiments concerning image practices. Through the study of archival material, the political stakes of the Foucauldian reflection about pictorial modernity through the emergence of the notion of critique as attitude are presented
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Leite, Sílvia Maria Brito Gomes. "A arte do manuelino como discurso simbólico-categorias ordenadoras da imagem do mundo e representação do poder no tardo-medievalismo portugues". Master's thesis, Instituições portuguesas -- UL-Universidade de Lisboa -- -Faculdade de Letras, 2003. http://dited.bn.pt:80/29955.
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Ramos, José Artur Vitória de Sousa. "O auto-retrato ou a reversibilidade do rosto". Master's thesis, Instituições portuguesas -- UL-Universidade de Lisboa, 2001. http://dited.bn.pt:80/30041.
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Chaufour, Marie. "Le moraliste et les images : recherches sur l'expression emblématique chez Jean Baudoin (ca.1584 - 1650)". Thesis, Dijon, 2012. http://www.theses.fr/2012DIJOL038.
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La thèse est consacrée à l’expression emblématique chez Jean Baudoin (1584-1650). D’abord Lecteur de Marguerite de Valois, Marie de Médicis l’envoya en Angleterre afin de traduire l’Arcadie de la Comtesse de Pembroke en 1624. Il fit partie de la maison du cardinal de Richelieu et fut un protégé du chancelier Séguier. Dès 1634, il rejoignit les premiers membres de l’Académie française et participa à la rédaction de ses statuts. À cet auteur et traducteur très abondant, on attribue quatre-vingt six ouvrages, dont la plupart sont des traductions significatives pour l’orientation qu’il donne à son oeuvre : les Discours politiques sur l’oeuvre de Tacite de Scipio Ammirato (1618), La Sagesse Mysterieuse des Anciens de Francis Bacon, la Mythologie de Natale Conti (1627) ou encore les Monita et Exempla politica de Juste Lipse (1606 et 1650). La tradition iconographique est essentielle chez Jean Baudoin, ainsi que l’explication symbolique. Le Recueil d’Emblemes divers, publié pour la première fois à Paris en 1638-1639 est l’objet principal de la recherche ici entreprise. Ce recueil d’emblèmes est une oeuvre de l’invention de Jean Baudoin qui a toutefois été fortement influencé, dans sa rédaction, par ses traductions antérieures. Deux autres ouvrages traduits par Baudoin sont indispensables à l’étude approfondie du Recueil d’Emblemes divers : l’adaptation de l’Iconologia de Cesare Ripa (première partie, 1636-1637 ; première et seconde parties, 1644) et la traduction des Fables d’Esope Phrygien (1631). Ce travail se propose d’aborder dans un premier temps la façon dont Baudoin n’a eu de cesse de mettre sa personne et son oeuvre au service du renforcement et de l’affirmation de la monarchie française et de l’édification morale du lecteur. Dans un second temps, nous nous proposons d’étudier les connexions entre ces trois ouvrages majeurs qui permettent de comprendre la portée de l’expression emblématique chez Jean Baudoin, à travers trois axes majeurs. Le renouvellement de la forme emblématique ; la création d’un vocabulaire allégorique qui avait pour fin la codification de la représentation du pouvoir et de la figure royale et une étude des gravures, de leur fonctionnement dans le texte et des mécanismes de leur productionThis dissertation is about the emblematical expression in the work of Jean Baudoin. At first Marguerite de Valois’s lecturer, he was sent to England by Marie de Médicis in order to translate L’Arcadie de la Comtesse de Pembroke, in 1624. Baudoin belonged to the House of the Cardinal de Richelieu and was one of chancelier Séguier’s protégés. As soon as 1634, hejoined the first members of the Académie française and took part in the writing of its statutes. Eighty six pieces of work are attributed to this prolific author and translator, most of which are translations significant of the orientation he gave to his work: the “Discours politiques” on Tacite’s work by Scipio Ammirato (1618), La Sagesse Mystérieuse des Anciens by Francis Bacon (1619), Mythologie by Natale Conti (1627) or Monita et Exempla politica by Justus Lipsus (1606 & 1650). The iconographical tradition is paramount in Jean Baudoin’s work, as well as the emblematical expression. The Recueil d’Emblemes divers, first published in Paris in 1638-1639 is the focus of the present dissertation. This collection of emblems was designed by Jean Baudoin, but he was largely influenced in its writing by previous translations. Two other pieces of work translated by Baudoin are essential to the thorough study of the Recueil d’Emblemes divers: the adaptation of Cesare Ripa’s Iconologia (First part 1636-1637, First and second part 1644) and the translation of Esope Phrygien’s Fables in 1631. The present work will first focus on how Baudoin constantly put himself and his work at the service of the reinforcement and affirmation of the French monarchy and of the moral edification of the reader. Then, we will study the connections between these three major works which enable to understand the importance of emblematical expression in Jean Baudoin. To do so, three main aspects will be studied: the renewal of the emblematical form/ genre, the creation of an allegorical vocabulary whose aim was the codification of the representation of power and monarchy, and a study of engraving, of it functioning in the text and of its production processes
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Melo, Ana Maria Botelho de Vasconcelos e. "Imagens do Nordeste brasileiro no século XVII-um discurso visual de apropriação colonial". Master's thesis, Instituições portuguesas -- UNL-Universidade Nova de Lisboa -- FCSH-Faculdade de Ciências Sociais e Humanas -- -Departamento de História da Arte, 2000. http://dited.bn.pt:80/29434.
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Ajaccio, François-Xavier. "Représentations peintes dans les chapelles et églises de Corse (XVe - XVIe siècles) : Sens, fonctions et portées historiques". Thesis, Corte, 2022. http://www.theses.fr/2022CORT0008.
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Cette étude historico-iconographique des fresques déployées en Corse, dans la seconde partie du XVe siècle, cherche à enrichir la connaissance de l’histoire du fait religieux corse. Il s’agit d’appréhender la question de l’évangélisation insulaire à la fin du Moyen Âge, qui souffre d’un manque de connaissance qualitative. Dans le contexte d’un redéploiement de l’Observance franciscaine, l’enquête vise à faire ressortir l’essence de cette pastorale et la nature de l’évangélisation des campagnes. L’exploitation du corpus iconographique, révélant une unité sémantique des programmes peints, manifeste une transformation du message pastoral et une redynamisation tant de l’espace sacré des lieux de cultes anciens que des communautés de fidèles, réunies autour de chapelles isolées, dispersées dans les campagnes du territoire intérieur. L’étude détaillée de ces images, rapportée à la tradition iconographique chrétienne, à leur fondement théologique et pastorale, au contexte de leur production, fournit dès lors de nombreux enseignements relatifs à leurs fonctions et à leurs sens iconiques. Ceux-ci viennent enrichir notre appréhension du niveau d’évangélisation de la Corse et de la spiritualité qui s’est diffusée avant la réforme tridentine, et encore largement après. Cette recherche sous-tend trois questionnements : quelles visions ces représentations nous donnent-elles, dans cette fin du XVe siècle, de l’évangélisation de la Corse, de la pratique religieuse, de la foi des fidèles ?This historico-iconographic study of the frescoes deployed in Corsica, in the second part of the XVth century, seeks to enrich knowledge of the history of religious fact in Corsica. It is a question of gaining more insight into the matter of the insular evangelization at the end of the Middle Ages, which suffers from a lack of qualitative knowledge. In the context of a redeployment of the Franciscan Observance, the investigation aims at bringing out the essence of this pastoral and the nature of the evangelization of the people in the countryside. The exploitation of the iconographic corpus, revealing a semantic unit of the painted programs, expresses a transformation of the pastoral message and a new dynamic as well of the sacred space of the old places of worship as of the communities of the faithful, huddled round isolated chapels, dispersed throughout the countryside of the inland area. The detailed study of these images, applied to the Christian iconographic tradition, to their theological and pastoral foundation, to the context of their production, consequently provides many teachings relating to their functions and their iconic directions. Those enrich our apprehension of the level of evangelization of Corsica and the spirituality which was diffused before the Tridentine Reform, and still widely afterwards. This research underlies three questionings: which visions of the evangelization of Corsica, of the religious practice and of the faith of the faithful, do these representations give us, in this last part of the XVth century ?
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Kaminski, Jason. "Kolokol : spectres of the Russian bell". University of Technology, Sydney. Faculty of Humanities and Social Sciences, 2006. http://hdl.handle.net/2100/421.
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Kolokol: Spectres of the Russian Bell, submitted by Jason Kaminski in fulfilment of the requirements of PhD (Humanities and Social Sciences) candidature at the University of Technology, Sydney, is an interpretative history of Russian bells (kolokola) and bell music (zvon). As a cultural object and sign, the Russian bell is associated with ideas of transcendence, and ideological and creative ‘vision.’ This interpretation of the signification of the kolokol as a sign arises directly from the perception that the bell is essentially a physical (anthropomorphic) body that is capable of ‘projecting’ or ‘transcending’ itself in the form of a spectrum. This essential ‘spectrality’ defines a history of the Russian bell as an instrument of magical, spiritual and religious ritual, as a cultural artefact associated with changing ideological movements (paganism, Christianity and communism) and as a sign represented synaesthetically in image, sound and text. Ethnographic and campanological studies observe that the kolokol ‘reflects Russian social history like a mirror’, representing the ‘voice of God’ or Logos as an aural or ‘singing’ icon, pointing to the primordial origins of language. This dissertation further investigates the idea that the kolokol acts as an ‘acoustical mirror’ and ‘ideological apparatus’: a medium or spectre through which Russian history and culture is interpellated and reflected. The various logical streams (storytelling, legend, script, text, song, cultural theory, philosophy and ethnography) that contribute to this dissertation form a textual ‘polyphony’ through which the essential meanings and ‘personae’ of the kolokol as a cultural object are interpreted. The bell is regarded as presenting an enigma of signification that must be resolved through investigation and definition. The thesis concludes that the kolokol acts as an iconic sign of the creative ‘Word’ (Logos) and as a symbolic sign that implies a ‘bridge’, copula or psychic ‘hook’, articulating the relationship between the cosmos and consciousness, the material and spiritual, the real and imaginary. Keywords: Russia, Russian History, Russian Arts, Russian Music, Russian Poetry, Russian Political History, Russian Orthodoxy, Russian Revolution, Bell-founding, Bell Music, Bell-ringing, Campanology, Iconology, Kolokol, Zvon. Word-count: 82,250 (excluding endnotes) 98,300 (including endnotes).
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Quental, Joana Maria Ferreira Pacheco. "Ideogramas interactivos-para um estudo dos ícones em interfaces multimédia". Master's thesis, Instituições portuguesas -- UP-Universidade do Porto -- -Faculdade de Belas Artes, 2000. http://dited.bn.pt:80/29356.
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Dias, Aida Costa de Sousa. "O corpo feminino na escultura dos anos 50 em Portugal-(escultores formados pala ESBAL)". Master's thesis, Instituições portuguesas -- UL-Universidade de Lisboa -- -Faculdade de Belas Artes, 2000. http://dited.bn.pt:80/29370.
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Onnis, Francesca. "La composante iconographique mésopotamienne dans les coupes "phéniciennes" en métal". Thesis, Lyon 2, 2015. http://www.theses.fr/2015LYO20095.
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Dans le décor des coupes dites «phéniciennes», dont l’éclectisme a posé tant de questions, nous étudions les éléments d’origine mésopotamienne. Ces éléments concernent aussi bien les thèmes des représentations que leur mise en œuvre formelle ; nous en avons retracé la pénétration dans le corpus des coupes et leur diffusion. Du moment où la civilisation levantine a produit ces coupes, nous avons cherché à déterminer la façon dont elle a assimilé et adapté les types iconographiques mésopotamiens à l’expression de son propre univers culturel, ainsi que les critères qui ont pu orienter son choix des motifs parmi le vaste répertoire mésopotamien. Notre approche se veut iconologique : l’analyse du décor des coupes « phéniciennes » s’accompagne de l’étude de l’objet en tant que support matériel, de sa forme, de sa fonction, de sa valeur matérielle et symbolique, comme du cadre historique et culturel dans lequel cette catégorie spécifique de vaisselle a été produiteThis research concerns elements of Mesopotamian origin in the decoration of the so-called « Phoenician » bowls, whose eclectic nature has been long debated. My study focuses on two different aspects of this class of vessels. First, following the traditional iconographical approach, I study the formal and thematic elements of the various bowls in this series. Second, as the « Phoenician » bowls were produced within the Levantine culture, I aim to establish to what extend they reflect the way the Levantine culture assimilated and adapted Mesopotamian iconography for the expression of its own customs and values. I also intend to find out what cri-teria guided the Levantine artists in selecting which motifs to put on the bowls from the rich Mesopotamian iconographic repertoire.In addition, my approach is iconological: in order to ascertain what the Mesopotamian iconography reveals about the society where the « Phoenician » bowls were produced and used, I study the material aspects of the bowl in light of the figurative imagery, paying attention to its shape, its function, its material and symbolic value, foregrounding the historical context in which this class of vessel was produced
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Drake, Suzanne. "L’art contemporain du Moyen-Orient entre traditions et nouveaux défis". Thesis, Pau, 2014. http://www.theses.fr/2014PAUU1012/document.
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Dans les pays du Moyen Orient, nous sommes face à une réalité complexe, qui est encore peu comprise en Europe. Les médias nous dépeignent souvent une société majoritairement islamique fondamentaliste. Cette image, qui pourrait relever d’une représentation tardive du Moyen Orient par l’Occident est empreinte de problématiques d’ordre économique et sociétal. Une analyse précise permet de mettre au jour des singularités nationales et intranationales. Les développements artistiques profitent de ces sources multiples. Pour inclure les artistes du Moyen Orient dans l’histoire de l’art du monde, et comprendre les œuvres d’art contemporain, nous nous sommes servis de plusieurs approches. Outre l’analyse esthétique et la recherche d’influences formelles, il s’agit de comprendre les positions politiques de l'artiste, sa psychologie, son rôle dans la société, mais aussi la place de la religion dans la vie publique, la valeur attribuée à l’art contemporain et sa réception dans la société. Les marchés de l’art sont manifestement mondialisés, les critiques et commissaires d’expositions influencés par les goûts et jugements occidentaux et pour tout compliquer, nombre d’artistes qui se réclament d’un pays du Moyen Orient sont nés et vivent dans un pays occidental. Nous pouvons, en lien avec tous ces paramètres, constater des développements rapides dans le domaine de la production artistique et celui de sa diffusion dans la région. Notre recherche concerne ici à la production artistique actuelle de six pays et/ou peuples de la région: l’Egypte, la Jordanie, la Syrie, le Liban, la Palestine, Israël, et les KurdesWe face complexe realities in the countries of the Middle East and they are still often ignored in Europe. The media usually show us societies which are basically Muslim fundamentalist. This image is a shadow of the late colonialisation of the Middle East and is influenced by our own social and economic problems. The differences between countries, and inside the actual countries, are analysed in order to understand artistic development and to include the artists of the Middle East in the world’s Art history. To understand the contemporary works of artists, we used a variety of approaches. Besides the aesthetic analysis and the research of formal influences, we also regarded the political position of the artist, his or her psychology, his or her role in society, but also the place of religion in public life, the value given to contemporary art inside the society and the way it is perceived. The world art markets are globalised, art critics and curators are however influenced by the tastes and judgements of the West, and to complicate the whole matter, a great number of artists who claim to come from a certain place in the Middle East are actually born somewhere else and live in diaspora. We can, in using all these parameters, see the rapid developments in the production of art and its appreciation in the region. This research aims to scrutinize the actual artistic production of six peoples in the region: Egypt, Jordan, Libanon, Palestine, Israel and the Kurds
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Karlsson, Klemens. "Face to face with the absent Buddha : The formation of Buddhist Aniconic art". Doctoral thesis, Uppsala University, Department of Theology, 2000. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-421.
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Early art in Buddhist cultic sites was characterized by the absence of anthropomorphicimages of the Buddha. The Buddha was instead represented by different signs, like awheel, a tree, a seat and footprints. This study emphasizes the transformation this artunderwent from simple signs to carefully made aniconic compositions representing theBuddha in a narrative context.
Buddhist aniconic art has been explained by a prohibition against images of theBuddha or by a doctrine that made it inappropriate to depict the body of the Buddha.This study rejects such explanations. Likewise, the practice of different meditationalexercises cannot explain this transformation. Instead, it is important to understand thatearly art at Buddhist cultic sites consisted of simple signs belonging to a shared sacredIndian culture. This art reflected a notion of auspiciousness, fertility and abundance.The formation of Buddhist aniconic art was indicated by the connection of these auspi- cious signs with a narrative tradition about the life and teachings of the Buddha.
The study emphasizes the importance Sakyamuni Buddha played in the formation ofBuddhist art. The Buddha was interpreted as an expression of auspiciousness, but hewas also connected with a soteriological perspective. Attention is also focused on thefact that the development of Buddhist art and literature was a gradual and mutualprocess. Furthermore, Buddhist aniconic art presaged the making of anthropomorphicimages of the Buddha. It was not an innovation of motive for the Buddhists when theystarted to make anthropomorphic images of the Buddha. He was already there.
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Leite, Ana Cristina 1959. "O jardim em Portugal nos séculos XVII e XVIII". Master's thesis, Instituições portuguesas -- UNL-Universidade Nova de Lisboa -- FCSH-Faculdade de Ciências Sociais e Humanas -- -Departamento de História da Arte, 1988. http://dited.bn.pt:80/29754.
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Soulay, Véronique. "Étude d’un paysage urbain : l’impact du fait monumental religieux sur la structuration de la rive droite de la Seine à Paris au Moyen Âge". Thesis, Paris 4, 2014. http://www.theses.fr/2014PA040219.
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L’histoire des monuments religieux de la rive droite de Paris au Moyen Âge est étroitement liée à celle dudéveloppement de la ville. L’étude considère, sur dix siècles, l’ensemble des manifestations monumentales, dela simple chapelle à l’enclos monastique, comme des éléments structurants de la « Ville ». Lorsque le Parismédiéval atteint son apogée dans le courant du XIVe siècle, l’évolution de la construction religieuse dépendd’un espace urbain complexe dans lequel se confrontent les pouvoirs royal, ecclésiastique et laïc. La création etle développement du fait monumental religieux sont soumis à des influences architecturales diverses et à dessituations multiples dans un contexte bâti de plus en plus dense. La compilation de ces données architecturalesrépond à de nouvelles problématiques d’étude du paysage urbain, notamment l’iconologie des monuments, enmettant en place une méthodologie au confluent d’analyses architecturale, topographique, cartographique eticonologiqueThe history of the religious monuments of Paris right bank in the Middle Ages is closely linked to that of thecity’s development. This study is looking at every monumental expression as structuring elements of the ‘City’,from the simple chapel to the monastic enclosure, over ten centuries of history. When medieval Paris reachedits pinnacle during the fourteenth century, the evolution of religious construction depended on a complexurban space in which royal, ecclesiastical and lay powers confronted each other. The creation and developmentof the religious monumental phenomenon were the result of diverse architectural influences and manifoldsituations, in a progressively denser built context. The compiling of this architectural data responds to newproblems regarding the study of the urban landscape, specifically the iconology of monuments, by establishinga new methodology at the crossroad of architectural, topographical, cartographical and iconological analysis
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Skoting, Joel. "Bilder av Sjömän : En studie om queera uttryck och maskulinitet". Thesis, Karlstads universitet, Institutionen för samhälls- och kulturvetenskap (from 2013), 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-78143.
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In this essay I will study three different paintings by the Swedish artists Lars Lerin and Gösta Adrian Nilsson (also known as GAN). All of these pieces incorporate sailors as part of their motives. The aim of the study is to analyse how these pieces differ in how they convey homoerotic themes. Both of these artists refer to their sexuality through their artistry, the sailor being a common motive between the two. I will also examine how the sailor relate to different ideas of masculinity. To do this I will use methods from both the iconologic and semiotic schools of art analysis, before comparing the different pieces, presenting my interpretations of them. The result of this study shows that these artists use varying methods to present their sexual identity. The motives of GAN are more subtle than those of Lars Lerin, relying on symbolic interpration rather than men posing suggestivily. This is not suprising, as homosexuality was still illegal during GANs life. The artists also portray masculinity in different ways.
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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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Beaufils, Marion. "Filles d'Ariane. Pathosformel du corps abandonné dans les arts du XVe au XVIIe siècles". Thesis, Paris, EHESS, 2020. http://www.theses.fr/2020EHES0125.
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La survivance de l’Ariane endormie dans l’art européen démontre l’existence d’une opération de migration expressive entre les formules gestuelles antiques et celles favorisées par les artistes de la Renaissance. Soutenant l’opérativité de la notion warburghienne de pathosformel, la thèse introduit la « pathosformel du corps abandonné ». L’analyse est consacrée aux modalités d’actualisation de la forme antique dans l’art italien, du Quattrocento jusqu’au XVIIeme siècle. Dans une approche désireuse de poursuivre les préceptes méthodologiques d’Aby Warburg et Jacob Burckhardt, lathèse vise à délimiter un contexte anthropologique conditionnant la polarisation genrée de la pathosformel, en interrogeant la traditionnelle association du corps féminin et des images dans la culture européenneThe resurgence of the Sleeping Ariadne posture in European art demonstrates the existence of an operation of expressive migration around gestures inherited from Antiquity and emerging in Renaissance religious or profane art. Arguing for the operability of Warburg’s notion of pathosformel, the thesis introduces the pathosformel of the abandoned body. The study investigates the modalities of these resurgences by detecting their underlying symbolic logics from the Quattrocento to the seventeenth century in Italian art. In an approach inherited from Aby Warburg and Jacob Burckhardt, this study delimits an anthropological context which determines the gendered polarisation of the pathosformel by analyzing the long-term association between images and the female body in european culture
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Gress, Thibaut. "Le sens du sensible. Essai de théorisation d’une philosophie de l’art à partir de la peinture renaissante". Thesis, Paris 4, 2011. http://www.theses.fr/2011PA040240.
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Il s’agit dans cette thèse de penser les conditions de possibilité d’une philosophie de l’art à partir d’un examen précis et rigoureux de la production artistique picturale de la Renaissance italienne. Cherchant d’abord à définir une méthode, nous étudions en détail les présupposés de l’iconologie afin d’établir ce qui nous en semble être les limites. Puis, forts de cette analyse, nous en déduisons la nécessité d’une philosophie de l’art qui, loin de se contenter d’une analyse érudite de l’icône, cherche à extraire la signification de l’œuvre à partir de sa forme sensible. Si les pensées de Platon, Hume et Kant nous semblent échouer à proposer pareille démarche, les leçons de Hegel consacrées à l’Esthétique nous offrent un schéma analytique opérant, grâce auquel l’espace, le dessin et le coloris fournissent le lieu même à partir duquel peut surgir le sens. C’est ainsi que les œuvres de Fra Angelico, Botticelli, Léonard de Vinci et Michel-Ange constituent le matériau artistique grâce auquel nous mettons à l’épreuve la pertinence du triptyque espace-dessin-coloris, tel qu’il fut élaboré par Hegel. En outre, ce sont les pensées philosophiques consacrées au lieu, à la lumière ou encore à la couleur que nous convoquons – tant chez Thomas d’Aquin que chez Marsile Ficin, chez Albert le Grand que chez Plotin, chez Aristote que chez Nicolas de Cues – afin de proposer un sens philosophique des œuvres picturales, que ne nous semblent paradoxalement pas pouvoir délivrer les théories de l’art que proposent ces derniers. Chercher le sens philosophique des œuvres à même leur sensibilité et non dans une théorie de l’image, tel est donc le projet essentiel de cette thèseThis thesis discusses the conditions of possibility for a philosophy of art based on a precise and rigorous analysis of the pictorial artistic production of the Italian Renaissance. After attempting at defining a method, the presuppositions of iconology are studied in detail with a view to establishing what appear to be their limits. On the basis of this analysis, the author deduces the need for a philosophy of art which, rather than just carrying out an erudite analysis of the icon, endeavours to extract the meaning of a work of art on the basis of its sensitive shape. While Plato, Hume and Kant’s thoughts seem to fail in proposing such an approach, Hegel’s teachings dedicated to aesthetics offer an operational analytical framework, thanks to which space, drawing and colour provide the very place out of which sense can come into being.Hence the works of Fra Angelico, Botticelli, Leonardo da Vinci and Michelangelo constitute the artistic material out of which the relevance of the space-drawing-colour triptych, as developed by Hegel, is put to the test. Furthermore, reference is made to the philosophical thoughts on space, light and colour – as expressed by authors like Thomas Aquinas, Marsilio Ficino, Albert the Great, Plotinus, Aristotle and Nicholas of Kues – with a view to proposing a philosophical sense of pictorial works of art, which paradoxically the theories of art provided by these authors do not seem able to deliver. It is the fundamental aim of this thesis to look for the philosophical sense of works of art through their own sensitiveness and not through a theory of the image
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Rotival, Aurel. "Images-lucioles. : Iconologie chrétienne et marxisme hérétique dans le cinéma européen des années 1960 et 1970". Thesis, Lyon, 2020. http://www.theses.fr/2020LYSE2071.
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Comment appréhender, au tournant des années 1970 et dans des films réalisés par des cinéastes ne faisant pas mystère de leur engagement marxiste, communiste ou révolutionnaire (Pasolini, Arrabal, Fassbinder, Jancsó, Garrel, etc.), la récurrence de motifs et de schèmes empruntés à l’iconographie et à la liturgie chrétiennes ?« L’article des lucioles », publié par Pasolini en 1975, offre la matrice allégorique et théorique permettant d’appréhender la séquence historico-politique singulière qui va de la fin des années 50 au milieu des années 70. Il désigne d’abord l’avènement d’un dangereux pouvoir néo-capitaliste, destructeur et totalisant, face auquel marxisme et christianisme vont être amenés à modifier leurs outils de lutte et de vision du monde. Il décrit ensuite une véritable crise anthropologique qui solde la destruction de mondes culturels entiers, face à laquelle il s’agira de rendre aux rites et aux traditions leur potentiel contestataire, qui leur permet de jouer comme les opérateurs capables de mobiliser les énergies manquantes aux luttes politiques, comme la mémoire ou la communion. En tant qu’élégie pleurant la disparition de cultures aimées, il présente enfin un véritable constat eschatologique sur la fin du monde, problématique théologique ré-exposée, à cette même époque, par la menace nucléaire, paroxysme industriel de la domination du règne de la technique.Ainsi, les lucioles pasoliniennes dessinent-elles le régime iconologique singulier dont procèdent ces films résistants, qui oppose la faible lueur d’une gestualité archaïque, fût-elle religieuse, aux puissants projecteurs rationalistes de la civilisation capitaliste. Les problèmes d’images repérés dans ces œuvres filmiques procèdent donc d’un paradigme historico-esthétique qui fait du passé survivant l’outil privilégié d’une prise de position politique, dont il est possible de tracer l’archéologie, depuis les notions de Nachleben, de Pathosformel et d’Inversion forgées par l’historien de l’art Aby Warburg jusqu’à celle d’« image dialectique » chez Walter Benjamin ; et dont il est possible de retrouver les traces à l’époque, dans des disciplines très variées (la théologie politique de Johann Baptist Metz, qui a fait de la memoria passionis chrétienne une catégorie anti- bourgeoise ; ou encore l’ethnologie du geste élaborée par l’anthropologue Ernesto De Martino, qui devait ouvrir le marxisme à son impensé : l’essentielle dimension réparatrice et socio-culturelle des rites et des images d’origine religieuse).Au confluent de ces deux grandes traditions de l’espérance que sont le christianisme et le communisme, les films analysés dans cette étude mettent en crise le paradigme contemporain de la sécularisation et nous renseignent sur la relance, à l’époque moderne, des grands problèmes anthropologiques qui n’ont cessé d’occuper la pensée humaine : la contestation d’un ordre établi, la fin d’un monde ou d’une civilisation, mais aussi l’énergie morale qui permet de les faire survivreHow to grasp, at the turn of the 1970s and in films made by filmmakers who made no secret of their Marxist, Communist or revolutionary commitment (Pasolini, Arrabal, Fassbinder, Jancsó, Garrel, etc.), the recurrence of patterns and schemes borrowed from Christian iconography and liturgy?The article about « the disappearance of the fireflies », published by Pasolini in 1975, offers the allegorical and theoretical matrix permitting to apprehend the singular historical and political sequence which goes from the end of the 50s to the middle of the 70s. First, it designates the advent of a dangerous neo-capitalist power, destructive and totalizing, in the face of which Marxism and Christianity will be led to modify their tools of struggle and vision. The article, then, describes a real anthropological crisis which attains the destruction of entire cultural worlds, in the face of which it will be a question of giving back to rites and traditions their potential for revolt, which allows them to play as operators capable of mobilizing the energies lacking in the political struggles, such as memory or communion. As an elegy mourning the disappearance of beloved cultures, the article finally presents a real eschatological report on the end of the world, a theological problematic re-exposed, at the same time, by the nuclear threat, the industrial paroxysm of the domination of the technical reign.Thus, the Pasolinian fireflies draw the singular iconological regime from which these resistant films proceed, opposing the faint gleam of an archaic gesture, albeit religious, to the powerful rationalist spotlights of capitalist civilization. The patterns identified in these films therefore proceed from a historical-aesthetic paradigm which makes the surviving past the privileged tool of a political struggle, of which it is possible to trace the archeology, from the notions of Nachleben, Pathosformel and Inversion forged by the german art historian Aby Warburg to the “dialectical image” in Walter Benjamin; and of which it is possible to find traces at the time, in a wide variety of disciplines (the political theology of Johann Baptist Metz, who made Christian memoria passionis an anti-bourgeois category; or the ethnology of gesture elaborated by the anthropologist Ernesto De Martino, who was to open Marxism to its unthought: the essential restorative and socio-cultural dimension of rites and images of religious origin).At the confluence of these two great traditions of hope that are Christianity and Communism, the films analyzed in this study challenge the contemporary paradigm of secularization and inform us about the revival, in modern times, of the great anthropological problems which have never ceased to occupy human thought: the contestation of an established order, the end of a world or a civilization, but also the moral energies which allows them to survive
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Wikrén, Maria. "Att förmedla eller förnöja? : En diskursanalytisk studie av debatten kring förekomsten av moraliska budskap i holländsk 1600-talskonst". Thesis, Linköpings universitet, Institutionen för kultur och kommunikation, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-91088.
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Uppsatsen undersöker den konstvetenskapliga diskussionen angående rimligheten i att läsa in moraliska budskap i holländsk genrekonst från 1600-talet. Detta görs utifrån en diskursanalytisk metod med fokus på textanalys. De texter som behandlas är skrivna av konsthistoriker under 1980- och 1990-talet och belyser tolkningsfrågan ur olika synvinklar.This thesis investigates the art historical debate about whether or not it is reasonable to assume the presence of moralistic messages in Dutch seventeenth-century genre art. The study is conducted according to a discourse analytical method with emphasis on textual analysis. The texts chosen for analysis were written during the 1980s and 1990s by art historians who advocate different standpoints.
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Serra, Zamora Anna. "Iconología del Monte de Perfección. Para una teoría de la imagen en San Juan de la Cruz". Doctoral thesis, Universitat Pompeu Fabra, 2010. http://hdl.handle.net/10803/7456.
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Este trabajo pretende establecer una teoría de la imagen en San Juan de la Cruz a partir de los textos del autor y de la interpretación del dibujo del Monte de perfección o Monte Carmelo (ca.1580). Nuestro estudio parte de la comprensión de los hechos vitales fundamentales que llevaron a este religioso a la creación literaria y de ésta, a la creación plástica. Se analizarán las características de dicha imagen, como diagrama espiritual vinculado a técnicas de memorización, como ejemplo de poesía visual, como plasmación del mundo interior e invisible y como icono que responde a lo que podríamos llamar una estética de la negatividad, antiidolátrica, abstracta. El estudio se basa en una recopilación iconográfica que muestra la evolución de la imagen original a través de distintas ediciones de las obras de San Juan.This dissertation aims to establish a theory of image in Saint John of the Cross through his texts and an interpretation of the drawing of the Mount of Perfection or Mount Carmel (ca. 1580). Our investigation starts with an explanation of the facts that brought this religious man to the literary creation, and from it, up to the graphical creation. We carry out an analysis of the features of this image, understood as a spiritual diagram related to mnemonic techniques, as an example of visual poetry, as an expression of the inner and invisible world and as an icon in response to what we could call aesthetics of negativity, antiidolatry and abstraction. This work is based on an iconographical recopilation that shows the evolution of the primitive image through different editions of Saint John's works.
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ROSSI, Alessandro. "Dipinti tra sguardo e pensiero. Studi attorno a Giorgione, Morazzone e Tiepolo". Doctoral thesis, Università degli studi di Bergamo, 2013. http://hdl.handle.net/10446/30845.
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Alessandro Rossi’s Ph.D. thesis is divided into three essays concerning the sixteenth- and eighteenth-century Venetian painting (Giorgione and Tiepolo) and the seventeenth-century Lombard painting (Morazzone). The titles are: I) Giorgione, Titian, Sebastiano. A problematic picture in the Detroit Institute of Arts: a new interpretation; II) Angelic migrations, from origin to vortex. The question of the model; III) The Old Man Embracing a Maiden. From Tiepolo to Warburg and back. History of Art as History of Symptomatic Intensity.
Through an interdisciplinary approach each essay will try to investigate the rules of the hermeneutic procedure. The aim of this research is to try to give traditional Art History some possible methodological tools with which to face the anthropological complexity of images.
The (artistic) image which is the principal object of this research has been conceived as a temporal stratification of multiple fusions of horizons, or as an elaborate formal and conceptual container of gazes and thoughts. Overlaying one another, these create strata that are not geologically crystallised but, on the contrary, porous and constantly (if not easily) permeable to other, novel forms of looking and thinking. This porousness of the object of study is especially expressed on a methodological level, in an attempt to cross between two disciplines such as History and Philosophy, using as a guiding principle what Georges Didi-Huberman (2002) wrote regarding Aby Warburg’s method: “Being a philologist beyond the facts (because the ultimate value of facts lies in the fundamental questions they activate) and being a philosopher beyond the systems (because the ultimate value of fundamental questions lies in their individual applications to history)”.
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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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Zunino-Lecoq, Bérénice. "La littérature illustrée pour enfants à l’époque de la Première Guerre mondiale : origines et évolution de la culture de guerre enfantine allemande". Thesis, Paris 4, 2014. http://www.theses.fr/2014PA040196.
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Dans une perspective d’histoire culturelle, cette thèse, fondée sur une approche iconologique, se propose de montrer, à partir de l’exemple de la littérature illustrée, que la culture de guerre enfantine allemande n’apparut pas ex nihilo en 1914. Elle avait ses racines dans la culture mémorielle d’avant-guerre. Issu de la peinture historique, un imaginaire héroïque en constituait les fondements. 1914 provoqua une intensification de la culture de guerre. Alors que les éditeurs commercialisèrent des livres patriotiques au moment où la guerre de position était déjà en place, ces ouvrages continuèrent à véhiculer l’image d’une guerre de mouvement. À mesure que les hostilités duraient, des dessins kitsch aux motifs enfantins et des caricatures de l’ennemi permirent de justifier le conflit, stylisé en une guerre défensive. Ces strates ludiques de la culture de guerre enfantine, qui provenaient de l’iconographie politique pour adultes, favorisèrent un élargissement du lectorat, auparavant scolaire, aux jeunes enfants. Les auto-images apologétiques l’emportaient toutefois sur la ridiculisation de l’ennemi. Conjointement aux caricatures, elles renforçaient la communauté nationale et traitaient des liens entre le front et l’arrière, qui devinrent une préoccupation croissante des familles, séparées durablement. Face aux difficultés matérielles, les livres, au ton moralisateur et performatif, cherchèrent à mobiliser matériellement les enfants à l’arrière. Dans ce contexte, des albums furent vendus au profit d’associations patriotiques. D’après les tirages, la littérature patriotique, probablement adressée aux enfants issus des milieux bourgeois, connut un certain succèsIn a cultural history perspective based on the methods of the “visual turn” this thesis deals with the illustrated children’s literature before and during the First World War and shows that the German children’s “war culture” did not appear ex nihilo in 1914. It had its origins in the memorial culture of pre-war time, which glorified the warfare. It relied on a heroic fantasy that came from historical paintings and used emotional reflexes. 1914 provoked an intensification and development of the “war culture”. While publishers put patriotic books on the market when the war of attrition took place, these books continued to convey familiar and reassuring images of a war of movement. As hostilities lasted, kitsch drawings with children’s characters and caricatures of the enemy used to justify the conflict, stylized in a defensive war. These fun strata of the children’s “war culture”, which came from the political iconography for adults, created an expansion of readership: children from the age of three up were concerned as well as school children. However, apologetic self-images were more important than the hatred and jeer of the enemy. Together with caricatures, they reinforced the national community and dealt with the bonds between the soldiers and the home front, which became a growing concern for permanently separated families. Because of deprivations, the books became sanctimonious and aimed at mobilizing children in the home front. In this context, albums were sold to raise funds for patriotic associations. According to the number of books printed, this patriotic literature, probably targeting children from both the middle and upper classes, were a success
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Puigarnau, Torelló Alfons. "Imago Dei y Lux Mundi en el siglo XII: La recepción de la teología de la luz en la iconografía del Pantocrátor en Cataluña". Doctoral thesis, Universitat Pompeu Fabra, 1999. http://hdl.handle.net/10803/7481.
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En el contexto del siglo XII europeo, se impone la iconografía del Cristo Luz aureolado por una almendra mística, sosteniendo un libro abierto con inscripciones alusivas a una teología de la luz. La proliferación de la iconografía de la Maiestas Domini se produce en el contexto histórico de la reforma litúrgica canóniga agustiniana, cuyo origen se encuentra en san Rufo de Avignon y san Víctor de Marsella. Cataluña, se hace depositaria de la Regla se san Agustín, que propugna un ideal renovado de belleza mística neoplatónica.
La llegada al Principado de manuscritos de la Homilía al Prólogo de Juan, escrita por Juan Escoto Eriúgena, es una prueba, en pleno siglo XII, de la relación entre una iconografía teológica de la luz y una tradición neoplatónica originada en el siglo IX en la corte carolingia.
El texto de la Vox spiritualis aquilae representa la recepción de la teología de la luz en la iconografía de la Maiestas Domini y, con ella, una nueva forma de representar a Dios, al hombre y al mundo en el arte.
In the 12th century European context, predominates the iconography of Christ placed in a light mystic mandorla holding an open book containing inscriptions concerning a special theology of light.
The Maiestas Domini iconography strongly arises together with the historical fact of the agustinian liturgical movement. The so called agustinian canonigas were originally born in saint Ruph of Avignon and saint Victor of Marseille holding the spirituality of the Rule written by saint Agustin himself and later moved into Cataluña renewing his original idea of neoplatonic mystical beauty.
The arrival of collections of manuscripts into Catalonia containing the Homily to the Prologus of saint John by Scotus Eriugena is enough to proof the relationship between the theology of light iconography and the neoplatonic traditions originated in the 9th century Carolingian Court.
The text of the Vox Spiritualis Aquilae involves a reception of the Theology of light within the Maiestas Domini iconography. It is a new way of representing God, man and world in art.
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Dávila, Aguilar Luis Fernando. "¡Pásala!: Hacia una Iconología de la Nota Roja". Tesis de Licenciatura, Universidad Autónoma del Estado de México, 2021. http://hdl.handle.net/20.500.11799/110552.
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¿Por qué existe la nota roja y que mensaje trata de
emitir? Esta pregunta de investigación lleva a una búsqueda histórica del
surgimiento de la nota roja en México, las distintas representaciones de la violencia
y que la hace tan popular hasta nuestros días. El periódico seleccionado es ¡Pásala!,
su reciente popularidad lo vuelve adecuado para el desarrollo del estudio
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PETERSEN, ARNDT MARLIS. "Iconographie - iconologie. L'anthropo-logique de l'ideologie boudhiste tibetaine". Paris 7, 1989. http://www.theses.fr/1989PA070097.
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L'iconologie tibetaine se presente comme une theorie des connaissances imaginatives et des formes symboliques, une psycho-physiologie mystique qui puise sa force dans la these affirmant que la realite de n'importe quel acte de connaissance est en fait une representation percue par la voie des cinq sens. L'iconographie du tibet, d'origine indienne, fut apportee au tibet, au 7eme siecle en meme temps que le bouddhislme, dont elle illustrait la legende. L'inconometrie. Les textes canoniques decrivent minutieusement les divinites du pantheon boudhiste tibetain, leur attitudes, leurs gestes, leurs attributs comme la couleur des visages, du corps et des vetements. Les categories des divinites se divisent selon les figures d'expression paisible, mi-farouche et courroucee. Dans le chapitre 5 de la these, les interets politiques, economiques et coutumes religieuses se rejoignent dans un jeu complexe entre les collectivites urbaines ou villageoises et les gompas boudhistes tibetains.
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Toillon, Valérie. "Corps et âme en mouvement. Expression et signification du mouvement dans la peinture de vases en Grèce ancienne (Ve s. av. J.-C.). Ivresse, possession divine et mort". Thesis, Besançon, 2014. http://www.theses.fr/2014BESA1009/document.
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Cette thèse se propose d’étudier l’expression du mouvement dans la peinture grecque ancienne, ici la peinture de vases, source très riche concernant l’univers visuel des Grecs de l’antiquité, et plus particulièrement le lien qui unit les émotions aux mouvements corporels. Les théories anciennes à propos de la représentation figurée sont unanimes : l’objet de la peinture est l’être humain et le peintre, dès les mythes qui relatent la création de la peinture et plus généralement des arts plastiques (sculpture et modelage), se doit de représenter le vivant sous tous ses aspects, extérieur comme intérieur; autrement dit, le corps humain apparaît comme le moyen le plus efficace pour exprimer et transmettre les émotions qui l’animent, par les mouvements ou les attitudes que le corps adopte ou encore les expressions faciales. Ce constat s’applique à l’expression des états émotionnels intenses ou altérés comme par exemple : les modifications qu’entraînent la consommation de vin, une action divine comme la possession par un dieu ou encore l’imminence de la mort. Il faut, pour mieux comprendre ces phénomènes, se tourner vers la conception ancienne de l’âme (θυμός et/ou ψυχή), qui dès l’époque homérique est conçue comme le siège des sentiments mais aussi comme un souffle qui entre et sort du corps. C’est une notion primordiale pour saisir la nature des mouvements qui animent les personnages figurés en proie à l’ivresse, sous le joug d’une possession divine ou sur le point de mourir : dans chacun de ces cas, l’âme est sollicitée d’une manière ou d’une autre, soit que ses liens avec le corps se trouvent relâchés ou qu’elle quitte temporairement ou définitivement le corps. Il apparaît que l’expression de ces états particuliers, dans l’imagerie grecque ancienne, n’ignore pas de tels concepts que ce soit à propos du but fixé à l’art ou sur la relation que l’âme entretient avec le corps : les mouvements corporels expriment clairement un état qui sort de l’ordinaire par l’orientation des corps, les gestes, les actions et les expressions faciales et ne semblent pas se borner à la figuration d’une simple réaction physiologique. Il s’agira également d’établir un lien entre les images anciennes et les théories modernes développées à propos de la figuration des mouvements dans l’art : le but étant de montrer que les peintres de vases privilégiaient bien plus l’expressivité, dans le but d’illustrer un concept, une idée, plutôt que de rendre compte d’une parfaite réalitéThis thesis proposes to study the expression and depiction of movement in ancient Greek painting, specifically vase painting. While illustrating the very rich and unique source of the visual world of ancient Greece, the emphasis is kept on the link which unites the emotions to the body movements, gesture or posture. Theories about ancient pictorial representations are unanimous on the subject of painting the human figure. From the myths concerning the creation of painting and visual arts (sculpture & modeling), the artist must portray and illustrate the living in all aspects, external and internal. Using the human figure and representation of the anatomy, appears to be the most effective way to convey the emotions and feelings that animate the body through the depiction of gesture, posture or facial expression. This portrayal applies to the expression of intense emotion or altered state of being such as: the over consumption of wine, being possessed by a god (divine action) or the imminence of death. For a better understanding of the portrayal of this phenomenon, it is necessary to turn to the origin of the ancient Greek idea of the soul (θυμός or/and ψυχή). From the Homeric age this concept can be understood as the basis of sentiment and emotion and can be seen as natural as a breath which enters and exits the body. This notion is of key importance, to understand the origin of movement that brings to life the characters depicted in the images, whether consumed by drunkenness, under the yoke of divine possession or about to die. In each case, the soul is solicited, in one way or another, whether in its temporary or permanent separation or dissociative state from the body. Whether the aim is set out in art or in the relationship that the soul maintains with the body, Ancient Greek imagery does not ignore such concepts as the expression of these intense emotional and altered states whatsoever. Bodily movements clearly articulate an out of the ordinary state by the orientation of the body, gestures, actions and facial expressions and does not seem to be limited to the representation of only a physiological reaction. A link will be established between ancient images and modern theories developed on the subject of representation of movement in art. The objective: To demonstrate that the artists who adorned ancient vases favored the illustration of a concept or an idea, by imagination and expressivity, above the reporting of a perfect reality
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Moreira, Altamir. "A Morte e o além : iconografia da pintura mural religiosa da região central do Rio Grande do Sul (século XX)". reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2006. http://hdl.handle.net/10183/7181.
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Este trabalho analisa pinturas murais religiosas sobre temáticas relacionadas à morte e ao além, encontradas em igrejas católicas da região central do Rio Grande do Sul. Pinturas realizadas ao longo do século XX e selecionadas com base em amostragem reunida em arquivos fotográficos representativos de 192 municípios. A partir de uma abordagem iconológica, busca entender: como os modelos iconográficos europeus foram retomados pelo muralismo religioso regional. Para tanto, identifica a origem dos principais temas escatológicos representados, bem como algumas das fontes visuais utilizadas, compostas, sobretudo, por gravuras que reproduzem temas religiosos de obras dos séculos XV ao início do século XX. Entre as formas evitadas pelo muralismo rio-grandense destacam-se: alusões à nudez, poses com pouco dinamismo, e gestos considerados constrangedores para os padrões morais da região. Nas formas incluídas, destacam-se as poses com expressão gestual mais acentuada, vestes moralizantes e detalhes zoomórficos na figuração de demônios. Enquanto que o conjunto das formas preservadas aponta para um predomínio dos gestos representativos de emoções intensas. Com base nos estudos de Aby Warburg sobre a influência da empatia no resgate de configurações emotivas, e a partir do resultado das análises formais, foi estruturada a proposição principal desta pesquisa. Proposição que procura evidenciar uma relação entre a eficiência empática dos antigos gestos de ações passionais e a conseqüente preservação desses no muralismo religioso escatológico regional.This work analyzes paintings murais on themes related to the death and to the beyond found at Catholic churches of the central area of Rio Grande do Sul. These paintings accomplished along the century XX there were selected from the sampling gathered in representative photographic files of 192 municipal districts. Starting from an iconological approach it looks for to understand: How the European iconographic models were retaken by the regional religious mural painting . For so much, it identifies the origin of the main eschatological themes represented and some of the visual sources used, which were composed, above all, for engravings that reproduce religious themes from works of art originated between the century XV and the beginning of the century XX. Among the forms avoided by the mural paintings of Rio Grande do Sul stand out: allusions to the nakedness, pose with little dynamism, and gestures considered constraining for the moral patterns of the region. In the included forms, there are poses with gesture expression more accentuated, zoomorphic details in the demons' figuration, and moralized garments, while the group of preserved forms appears for a prevalence of the representative gestures of intense emotions. With base in Aby Warburg's studies ou the influence of the empathy in the rescue emotional configurations, and starting from the result of the formal analyses, the main proposition of this research was structured . Proposition that tries to evidence a relationship: that links the emphatic efficiency of the old gestures of passionate actions and the consequent preservation of those in the regional religious mural paintings.
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Benzaken, Jean-Charles. "Iconologie des monnaies et médailles de la Révolution française". Paris 1, 1992. http://www.theses.fr/1992PA010654.
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Nous étudions la numismatique de l'époque de la révolution française comme support iconologique privilégié, et nous nous referons constamment aux autres supports (gravures et estampes, statues, faïences, etc. ). Nous avons recherche, dans la première partie, dans quelle mesure la numismatique est un reflet fidèle des évènements. Notre recherche en s'est pas limitée à la France, mais s'est étendue à l'ensemble des territoires occupés par les armées françaises, qui deviennent les républiques sœurs, et aux pays en guerre contre la France. Nous avons étudié, dans la second partie, les allégories et les symboles rencontres sur la monnaie (métallique et de papier) et la médaille. Enfin, dans la troisième partie, nous avons examiné plus spécialement la monnaie. En considérant tout particulièrement les rapports entre les autorités politiques, les graveurs, surtout le graveur général des monnaies Augustin Dupré, et l'opinion publique, d'un point de vue politique essentiellementThe present study concerns the numismatic record of the French revolution. This record is shown to yield especially valuable insights into the iconography of the period. Other iconographic areas such as engraving, painting and ceramics are also examined. The first part of the study considers the extent to which numismatic evidence is an accurate reflection of revolutionary events. This part is not limited to events within France but also encompasses developments in foreign territories ocupied by the French revolutionary army or at war with France. The second part of the study inquires into the meaning and use of sumbols and allegories found on medals and money (both paper and coin). The third and final section of the study focuses on the activity of the mint. The central concern here is the web of relationships found among politicians, engravers (particularly the chief engraver, Augustin Dupré), and public opinion, mainly on the political ground
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Vial, Françoise. "La visibilité de la mort et l’expression de la vie : la fondation funéraire de Philibert II de Savoie et Marguerite d’Autriche à Brou (1504-1532)". Thesis, Paris 4, 2012. http://www.theses.fr/2012PA040017.
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Traditionnellement perçu comme expression de la politique impériale de Marguerite d’Autriche, régente des Pays-Bas, dans le duché de Savoie dont elle était douairière en Bresse, le couvent Saint-Nicolas de Tolentin à Brou monumentalise en fait la dévotion de son défunt époux Philibert II. Le souverain avait hérité des derniers ducs de la branche aînée son inclination ignorée pour l’influente congrégation observante des Augustins de Lombardie qui participant de la création renaissante, fournit, transcrit dans un style local, le schéma claustral de Brou. L’idée maîtresse de Marguerite fut le prestige de la Renaissance, découverte au dôme Saint-Jean de Turin. A l’encontre des lectures erronées du XIXe siècle, la princesse ne s’inspira pas de Champmol. Pour son italianisme, elle confia les tombeaux et l’église au français Perréal. Seules des impossibilités pratiques l’amenèrent à recruter fin 1512 le bruxellois van Boghem. Son art et son réseau brabançons accompagnaient le tropisme ibérique de la cour de Bourgogne mais dès 1524-25, il insuffla à Brou les touches maniéristes que permettait la pénétration de la Renaissance aux Pays-Bas, plus tardive qu’en France. Le programme de l’église sotériologique emphatise la piété du duc et à un second rang, celle de la maison de Marguerite, mais aussi les devoirs du regnum, que Philibert et sa veuve exercèrent dans des pays distincts : ils culminent dans l’exercice de la justice dont le modèle est le Christ du Jugement dernier qui jadis, figurait sur le vitrail nord du transept de Brou. Marguerite signa l’œuvre : promouvant l’échange compassionnel, elle incitait autant à la conversion de chacun qu’à la prière d’intercession et à la mémoire, par-delà les siècles, de l’archiduchesse dont la naissance d’exception, impériale, avait engagé la vie et le monument d’exceptionInstead of expressing, as it is traditionally regarded, the imperial politics in Savoy of Margaret of Austria, regent of the Netherlands, the convent Saint Nicolas of Tolentino in Brou she erected in her dower of Bresse embodies the devotion of her late husband Philibert II, duke of Savoy. The sovereign had received from the last dukes of the eldest branch that unrecognized inclination towards the soaring observant congregation of the Austin Friars of Lombardia, which joined the Renaissance and provided the claustral scheme of Brou. Margaret’s main idée was the search of the Renaissance she had discovered through the Duomo San Giovanni of Torino. Against the incorrect readings of the XIXth century, she was not inspired by Champmol. She entrusted the graves and the church of Brou to the Italianizing French artist Perréal, and only practical impediments prompted her to sign on van Boghem at the end of 1512. His brabantine Gothic’s practice and circle accorded to the Spanish tropism of the burgundian court but around 1524-1525, the arrival of the Renaissance in the Netherlands allowed him to bring mannerist accents. The iconology of Brou reveals its soteriological aim. It magnifies the duke’s devotion and at a second rank, the one of Margaret’s house, but also the duties of the regnum that Philibert and his widow both practiced in different countries. Their acme is the ministry of Justice whose reference is the Christ of the Last Judgment, which once figured on the lost northern glass window of the transept. Margaret signed the work: ruled by a will of compassion and exchange, it induced anyone both to the conversion for one’s own salvation, to intercede for the princes, and to remind through ages the memory of the archduchess, whose exceptional imperial birth had involved her unique life and memorial