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Autore: Grafiati

Pubblicato: 25 luglio 2024

Ultima modifica: 31 luglio 2024

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1

Swoboda, Sylvia. "Symbolism and Art". VCU Scholars Compass, 2010. http://scholarscompass.vcu.edu/etd/2034.

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I am interested in communication through symbolism. The symbols that I incorporate in my mixed media work are simplified into essential lines and shapes. I use the Kabbalah’s Tree of Life diagram as a structure to hold my own personal symbols. These symbols are my interpretation of the phases of life. I also use prehistoric symbols such as the spiral, circle, square, triangle, and cross as a focus to emphasize the beauty of these very basic lines and shapes which we see all around our world. To emphasize the beauty of symbols I use repetition, color, and texture. Life is overwhelming and chaotic at times. Having simplicity in my visual surroundings creates a sense of tranquility and contentment. I aim to convey these feelings to the viewer while having them interpret what the symbols mean to them.

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2

Leyva-Perez, Irina. "Alchemy and Symbolism in the Work of Carlos Estevez". FIU Digital Commons, 2012. http://digitalcommons.fiu.edu/etd/740.

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The purpose of this thesis was to explore how alchemy has influenced Carlos Estevez’s work through a study of the symbolic repertoire and the philosophical concepts associated with it in his art, particularly how these are expressed in his artworks and how alchemy has evolved thematically in his oeuvre. The study of alchemy influenced this artist so deeply that even pieces that were not primarily inspired by this philosophical system show traces of it, essentially by representing the concept of transformation, crucial to understanding the alchemical process. This thesis is based on Carl Gustav Jung’s idea of metaphysical transformation as one of the main aspects of alchemy, and on his theory of active imagination as a tool to represent thoughts through artworks. Alchemy transformed Estevez’s art, and by extension the way he approaches life, making him conscious of the importance of transmutation and alchemical concepts.

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3

Alexandri, Alexandra. "Gender symbolism in Late Bronze Age Aegean glyptic art". Thesis, University of Cambridge, 1994. https://www.repository.cam.ac.uk/handle/1810/251901.

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4

d'Esterre, Elaine, e mikewood@deakin edu au. "Feminist poetics: Symbolism in an emblematic journey reflecting self and vision". Deakin University. School of Literary and Communication Studies, 1999. http://tux.lib.deakin.edu.au./adt-VDU/public/adt-VDU20050902.123532.

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Abstract (sommario):

My thesis tilled Feminist Poetics: Symbolism in an Emblematic Journey Reflecting Self and Vision, consists of thirty oil paintings on canvas, several preparatory sketches and drawings in different media on paper, and is supported and elucidated by an exegesis. The paintings on unframed canvases reveal mise en scènes and emblems that present to the viewer a drama about links between identities, differences, relationships and vision. Images of my daughter, friends and myself fill single canvases, suites of paintings, diptyches and triptychs. The impetus behind my research derives from my recognition of the cultural means by which women's experience is excluded from a representational norm or ideal. I use time-honoured devices, such as, illusionist imagery, aspects of portraiture, complex fractured atmospheric space, paintings and drawings within paintings, mirrors and reflective surfaces, shadows and architectural devices. They structure my compositions in a way that envelops the viewer in my internal world of ideas. Some of these features function symbolically, as emblems. A small part of the imagery relies on verisimilitude, such as my hands and their shadow and my single observing eye enclosed by my glasses. What remains is a fantasy world, seen by the image of my other eye, or faction, based on memories and texts explaining the significance of ancient Minoan symbols. In my paintings, I base the subjects of this fantasy on my memories of the Knossos Labyrinth and matristic symbols, such as the pillar, snake, blood, eye and horn. They suggest the presence of a ritual where initiates descended into the adyton (holy of holies) or sunken areas in the labyrinth. The paintings attempt a rewriting of sacrality and gender by adopting the symbolism of death, transformation and resurrection in the adyton. The significance of my emblematic imagery is that it constructs a foundation narrative about vision and insight. I sought symbolic attributes shared by European oil painting and Minoan antiquity. Both traditions share symbolic attributes with male dying gods in Greek myths and Medusa plays a central part in this linkage. I argue that her attributes seem identical to both those of the dying gods and Minoan goddesses. In the Minoan context these symbols suggest metaphors for the female body and the mother and daughter blood line. When the symbols align with the beheaded Medusa in a patriarchal context, both her image and her attributes represent cautionary tales about female sexuality that have repercussions for aspects of vision. In Renaissance and Baroque oil painting Medusa's image served as a vehicle for an allegory that personified the triumph of reason over the senses. In the twentieth century, the vagina dentata suggests her image, a personified image of irrational emotion that some male Surrealists celebrated as a muse. She is implicated in the male gaze as a site of castration and her representation suggests a symbolic form pertaining to perspective. Medusa's image, its negative sexual and violent connotations, seemed like a keystone linking iconographic codes in European oil painting to Minoan antiquity. I fused aspects of matristic Minoan antiquity with elements of European oil paintings in the form of disguised attribute gestures, objects and architectural environments. I selected three paintings, Dürer's Setf-Portrait, 1500, Gentileschi's Self-Portrait as the Allegory of Painting, 1630 and Velazquez's Las Meniruis, 1656 as models because 1 detected echoes of Minoan symbolism in the attributes of their subjects and backgrounds. My revision of Medusa's image by connecting it to Minoan antiquity established a feminist means of representation in the largely male-dominated tradition of oil painting. These paintings also suggested painting techniques that were useful to me. Through my representations of my emblematic journey I questioned the narrow focus placed on phallic symbols when I explored how their meanings may have been formed within a matricentric culture. I retained the key symbols of the patriarchal foundation narratives about vision but removed images of violence and their link to desire and replaced it with a ritual form of symbolic death. I challenged the binary oppositional defined Self as opposed to Other by constructing a complex, fluid Self that interacts with others. A multi-directional gaze between subjects, viewers and artist replaces the male gaze. Different qualities of paint, coagulation and random flow form a blood symbolism. Many layers of paint retaining some aspects of the Gaze and Glance, fuse and separate intermittently to construct and define form. The sense of motion and fluidity constructs a form of multi-faceted selves. The supporting document, the exegesis is in two parts. In the first part, I discuss the Minoan sources of my iconography and the symbolic gender specific meanings suggested by particular symbols and their changed meanings in European oil painting, I explain how I integrate Minoan symbols into European oil paintings as a form of disguised symbolism. In the second part I explain how my alternative use of symbolism and paint alludes to a feminist poetic.

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5

Li, Gregory Kenneth, e 李群雄. "Tantric symbolism in Vajrayogini imagery". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2010. http://hub.hku.hk/bib/B45166225.

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6

Crosby, Nancy A. "Shifting reality /". Online version of thesis, 1992. http://hdl.handle.net/1850/11760.

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7

Waltz, Connie Lou. "Sources and iconography of the figural sculpture of the Church of the Holy Cross at Aght'amar". Connect to resource, 1986. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1228504313.

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8

Snyder, Cara L. "The Christ child as Salvator Mundi a reexamination of the devotional image in Germany, 1450-1550 /". Morgantown, W. Va. : [West Virginia University Libraries], 2001. http://etd.wvu.edu/templates/showETD.cfm?recnum=1957.

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Abstract (sommario):

Thesis (M.A.)--West Virginia University, 2001.
Title from document title page. Document formatted into pages; contains vii, 41, [24] p. : ill. (some col.). Includes abstract. Includes bibliographical references (p. 37-41).

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9

Peacock, Judith Ann. "Ecclesiastical vestments as works of art : intertextuality, meaning and design". Thesis, Roehampton University, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.324165.

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10

Haynes, Dawn. "The symbolism and significance of the butterfly in ancient Egypt". Thesis, Stellenbosch : Stellenbosch University, 2013. http://hdl.handle.net/10019.1/79920.

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Abstract (sommario):

Thesis (MPhil)--Stellenbosch University, 2103.
ENGLISH ABSTRACT: Ancient Egyptian art and artefacts reveal a great deal about the culture and beliefs of this civilization. It was a civilization steeped in myth, symbolism and imagery. Tomb art has been extensively analysed and studied in an effort to reveal the essential way of life of the Ancient Egyptians, their religious beliefs and their philosophy of life. It is agreed that symbolism was an inherent part of their lives and beliefs. They looked to nature and observed the behaviour of animals, plants, the environment and also the weather to attempt to rationalize the world they lived in. Their close observation of behaviour patterns in nature resulted in a complex hierarchy of gods and goddesses who were accountable for successful living. Among the animal kingdom, certain animals gained such distinction that they were linked to certain deities. The scarab beetle is one such creature. Insects featured variously in their art, their myths and their belief in magic. While the scarab beetle is possibly the most documented of the insects, other insects such as the bee, the fly, the locust and the praying mantis have all been investigated. The butterfly features frequently in Ancient Egyptian art and yet has not been the subject of in-depth study. This investigation attempts to examine the symbolism and significance of the butterfly in Ancient Egypt. Richard Wilkinson (1994) has provided a framework for analysing symbolism in Egyptian art. He suggests nine aspects which can be examined in order to reveal symbolism. In this study, a selection of art from various dynasties is systematically examined according to these nine aspects. Each art work portrays the butterfly. Through this careful examination it is hoped that a clearer indication of the role of the butterfly in Ancient Egypt will be obtained. Having discussed all nine aspects for each of the sources, a discussion and various conclusions follow which look at the trends which appear. Certain patterns emerge which indicate that the butterfly does indeed play a significant role as a symbol in Ancient Egypt.
AFRIKAANSE OPSOMMING: Antieke Egiptiese kuns en artefakte openbaar baie oor die kultuur en oortuigings van hierdie beskawing. Dit was 'n beskawing ryk aan mites, simboliek en beelde. Grafkuns is deeglik ontleed en bestudeer in 'n poging om die wesenlike lewenswyse van die antieke Egiptenare, hul godsdienstige oortuigings en lewensfilosofie te openbaar. Daar word saamgestem dat simboliek 'n inherente deel van hul lewens en oortuigings uitgemaak het. Hulle het op die natuur gesteun en die gedrag van diere, plante, die omgewing en ook die weer waargeneem om te probeer om hul lewenswêreld te verklaar. Hul noukeurige waarneming van natuurverskynsels het tot 'n komplekse hiërargie van gode en godinne gelei wat vir 'n suksesvolle lewe verantwoordelik was. Sekere diere in die diereryk was so besonders dat hulle met sekere gode en godinne verbind was. Die skarabee kewer is een so 'n skepsel. Insekte verskyn onder andere in hul kuns, hul mites en hul geloof in magie. Terwyl die skarabee moontlik die mees gedokumenteerde insek was, is ander insekte soos bye, vlieë, sprinkane, en die bidsprinkaan ook almal ondersoek. Die skoenlapper verskyn gereeld in die antieke Egiptiese kuns, maar was nog nie die onderwerp van 'n grondige studie nie. Hierdie studie poog om die simboliek en belangrikheid van die skoenlapper in antieke Egipte te ontleed. Richard Wilkinson (1994) verskaf 'n raamwerk vir die ontleding van simboliek in Egiptiese kuns. Hy het nege aspekte voorgestel wat bestudeer kan word om die simboliek te openbaar. In hierdie studie, word 'n seleksie kuns van verskillende dinastieë, sistematies aan die hand van dié nege aspekte ontleed. Elke kunswerk beeld die skoenlapper uit. Deur hierdie noukeurige ondersoek, word daar gehoop dat die rol van die skoenlapper in antieke Egipte duideliker voorskyn. Na die bespreking van al nege aspekte vir elk van die bronne, volg daar 'n bespreking met verskillende gevolgtrekkings wat kyk na die tendense wat voorkom. Sekere patrone kom te voorsyn wat daarop dui dat die skoenlapper wel 'n belangrike rol as 'n simbool in antieke Egipte gespeel het.

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11

Cosentino, Daniel. "Cosentinoworks /". Online version of thesis, 2009. http://hdl.handle.net/1850/9603.

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12

Schmiedel, Dean. "The other mother : an artist's conception /". Online version of thesis, 2007. http://hdl.handle.net/1850/4486.

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13

Hall, Rebecca Sue. "Of merit and ancestors Buddhist banners of Northern Thailand and Laos /". Diss., Restricted to subscribing institutions, 2008. http://proquest.umi.com/pqdweb?did=1694502661&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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14

Evans, Phyllis Leverich. "Empty pleasures". Morgantown, W. Va. : [West Virginia University Libraries], 1999. http://etd.wvu.edu/templates/showETD.cfm?recnum=632.

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Abstract (sommario):

Thesis (M.F.A.)--West Virginia University, 1999.
Title from document title page. Document formatted into pages; contains v, 24 p. : col. ill. Includes abstract. Includes bibliographical references (p. 19).

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15

Chandrasekhar, Chaya. "Påla-period Buddha images their hands, hand gestures, and hand-held attributes /". Connect to this title online, 2004. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1092830047.

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Abstract (sommario):

Thesis (Ph. D.)--Ohio State University, 2004.
Document formatted into pages; contains xvi,375 p.; also contains graphics. Includes bibliographical references. Abstract available online via OhioLINK's ETD Center; full text release delayed at author's request until 2009 Aug. 18.

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16

Dennington, Charles. "Altered matter. Like icons, stored". Thesis, The University of Sydney, 2013. http://hdl.handle.net/2123/12763.

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Abstract (sommario):

This thesis proposes research findings that run parallel to my own practice. At the heart of the concepts discussed there is a notion of invention and the transmutation of materials. Attempting to find clear ways of making something with the legitimacy of an artwork. Artists considered along side my practice include Alberto Giacometti, Manfred Pernice, Mike Nelson and Ryan Trecartin. As a result of my academic inquiry, my ideas start to move towards the informational as a way to understand how information and invented symbolism may be inscribed or instilled into something. This may be through constellational choices in joining, script writing or by embracing technological ways to mediate the world and the artwork, extending its quiddity or “thingness” by embracing editing and manipulation. The studio work extends on my previous installation practice:sculptures in a variety of sizes and materials. Sculptures that suggest function in an ambiguous way, mimesis in an uncanny way and have an unclear classification as support, artwork, relic or invention. Amid this ambivalent environment I use constellational choices, inscription into materials and proximity relationships to communicate a fictional language or signs of what may appear to have come from an extraterrestrial culture, in, around and on the sculptures. Some materials appear as “repurposed” through the unusual joining of everyday components. Other materials may have been reduced to mere “matter” by altering them to near unrecognisable states. The sculptures and installation elements have a second mediated form by appearing in still and moving images.

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17

Wilson, Carole. "Woven mantra : a visual expression of meditation". Thesis, School of Visual Arts, University of Ballarat Mt. Helen, Vic. :, 2001. http://researchonline.federation.edu.au/vital/access/HandleResolver/1959.17/59951.

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Abstract (sommario):

"This research project examines the links between spiritual practice and visual art. More specifically, the research examines the relationship between the repetition of a mantra, the repetition of an image and the repetition of a stich.
Master of Arts Visual Arts

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18

Wang, Chain Khiang. "Using autobiographical figuration in painting as a vehicle for conveying my understanding of Buddhism". Thesis, New School of Arts, University of Ballarat Mt. Helen, Vic. :, 2002. http://researchonline.federation.edu.au/vital/access/HandleResolver/1959.17/68573.

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19

Yoder, Abigail Eileen. "Decoration and symbolism in the late works of Odilon Redon". Diss., University of Iowa, 2013. https://ir.uiowa.edu/etd/2300.

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Abstract (sommario):

From approximately 1900 until 1914, Odilon Redon worked almost exclusively on decorative projects, both privately and publicly commissioned. Additionally, he created numerous uncomissioned decorative works - highly ornamental paintings with decorative subject matter that were conceived of by the artist himself as decorations. Yet despite the fact that decorative works made up a significant portion of Redon's late oeuvre, he is rarely considered as a major figure within the decorative arts movement at the turn of the century, unlike his contemporaries Paul Gauguin and the Nabis. His close involvement with these artists, as well as his affiliation with a number of the same important critics, makes his exclusion from discussion of the decorative revival all the more surprising. There has been very little scholarship on Redon's decorative works that consider them in in relation to the international decorative movement. Nevertheless, his late works actively engaged with the avant-garde aesthetic theories of the time. My dissertation will place Redon in the context of the decorative and Symbolist art movements by examining the profusion of decorative projects with which he was involved during the last decades of his career. By considering important themes within these movements, like elevation of craft arts, the encouragement of floral designs, the revival of religious and mythological subject matter, and principles regarding the unification of the arts, I argue that Redon warrants consideration as a decorative painter at the turn of the century in France. My first chapter introduces the idea of the decorative revival in the nineteenth century, and considers the way the definition of the term "decorative" evolved during the period. I also present the historiography of Redon scholarship, as it relates to his decorative works. The second chapter examines the historical background of the decorative and Symbolist movements in the nineteenth century. I focus first on the pan-European decorative revival, especially in England and Belgium, then examining how this influenced French art. The Symbolist artistic movement developed simultaneously, and as such, I will examine the ways in which the two movements overlapped. Finally, I consider how Redon's artistic development was affected in this aesthetic climate. Subsequent chapters examine specific themes in Redon's decorative oeuvre, and how these related to ideas and undercurrents in the general decorative and Symbolist art movements. Chapter three focuses on flowers and nature as decoration, exploring the increase of floral imagery in both decoration and Symbolist painting, and how Redon adapted his own artistic language from these influences. Chapter four examines the revival of traditional imagery from religious and mythological subjects, as well as occultist themes, and explores the way Redon used his decorative style to create new symbolic meanings for these themes. Chapter five focuses on Redon's murals at the Abbaye de Fontfroide, in which I argue that they represent a modern Gesamtkunstwerk. My final chapter underscores Redon's place within the decorative and Symbolist movements and examines the influence he exerted on his contemporaries through his use of the decorative arts.

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20

Hitchmough, Ruth Wendy. "Studies in the symbolism and spirituality of the arts and crafts movement". Thesis, University of Sussex, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.340859.

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21

Lewis, Lynnell K. "The poetry of symbolism and the music of Gabriel Fauré". Muncie, Ind. : Ball State University, 2009. http://cardinalscholar.bsu.edu/836.

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22

Dascal, Elana. "Reading Midrash as graphic artistic activity : the compilation of Midrash Rabbah as possible influences on early Jewish and Christian art". Thesis, McGill University, 1997. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=28257.

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Midrash is a genre of rabbinic Bible exegesis, composed by various authors and compiled in anthologies during the first seven centuries of the Common Era. This thesis explores the reading of Midrash and its possible influence on early artistic activity. Examples of early Jewish and Christian biblical representations that display some degree of midrashic impact, are presented in order to establish the existence of a relationship between Midrash and art. Finally, by a systematic reading of the corpus of midrashic literature found in Midrash Rabbah, Midrashim that suggest graphic representation, but which have not yet to been found among early art forms, are categorized and analyzed.

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23

Sorrels, Charles. "Cullet /". Online version of thesis, 1993. http://hdl.handle.net/1850/11257.

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24

Harnois, Richard D. "Gone to a Better Land: A Study of Gravestone Forms, Art and Symbolism". W&M ScholarWorks, 2000. https://scholarworks.wm.edu/etd/1539720293.

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25

Franzén, Niclas. "Ensamhetsmotivet hos Ivar Arosenius". Thesis, Linköpings universitet, Institutionen för kultur och kommunikation, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-65997.

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Abstract (sommario):

Uppsatsen behandlar ensamhetsmotivet hos konstnären Ivar Arosenius. Ensamhetsbilderna delas in i olika kategorier efter motiv och stämningsläge. Bilderna analyseras sedan med fokus på symbolistiska tendenser, återkommande teman och influenser från andra konstnärer.
This paper deals with the solitude motif of the artist Ivar Arosenius. His solitude pictures are divided into different categories according to subject and sentiment. The images are then analyzed with a focus on symbolistic tendencies, recurring themes and influences from other artists.

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26

Suprunova, Miliena, e Kseniia Kugai. "Interdisciplinary approach: semiotics and art". Thesis, Яроченко Я. В, 2021. https://er.knutd.edu.ua/handle/123456789/19152.

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Abstract (sommario):

The work is devoted to semiotics and art as two sciences guided by symbolism and signs. Semiotics studies symbols, signs and myths, which can explain works of art to ordinary viewers as well as creative people. Thus, artists can be guided in the creation of works of art to accurately convey their ideas and convey the feelings and imagery of their thinking. The interdisciplinarity of these sciences provides an opportunity to better communicate, exchange ideas and research the sciences.
Робота присвячена семіотиці та мистецтву як двом наукам, що керуються символікою та знаками. Семіотика вивчає символи, знаки та міфи, що може пояснити мистецькі твори звичайним глядачам, а також творчим людям. Тим самим митці можуть керуватись при створенні художніх творів аби достатньо точно донести свій задум та передати почуття і образність свого мислення. Міждисциплінарність цих наук дає можливість краще комунікувати, обмінюватись думками та досліджувати науки.

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27

Fassie, Vanessa Laure. "reunion: A Journey Through History, Symbolism, and Fear". VCU Scholars Compass, 2007. http://scholarscompass.vcu.edu/etd/794.

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Abstract (sommario):

The contents here in examine the artistic process undertaken by Vanessa Fassie to create the mixed media work, reunion. The subjects of fear, archetypal symbolism, personal and collective histories were examined through research, archival evidence, video, sound, movement, and installation. reunion, examines not only the powers of personal and collective histories through the symbolic language of archetypes, but also how fear manifests and evolves through time. The culmination of this work was the creation of an installation within the Anderson Gallery at Virginia Commonwealth University. This Thesis was created through the use of Microsoft Word 2004.

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28

Stutzer, Rina. "The hybrid monster as a figure of liberation in selected artworks of Minnette Vári". Pretoria : [s.n.], 2008. http://upetd.up.ac.za/thesis/available/etd-10082008-083705.

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29

Wise, Heather M. "A studio project in woodcarving : the symbolism of the buffalo in art yesterday, today, and tomorrow". Virtual Press, 2001. http://liblink.bsu.edu/uhtbin/catkey/1217379.

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Abstract (sommario):

This creative project interpreted and applied the buffalo in Native American culture - its symbolism, significance and virtues - to woodcarvings for the lives of people today. The carvings explored a range of styles, media and symbols but all use buffalo imagery and each piece represents how I have applied the buffalo to my life. Some pieces are based on historical events while others explore personal emotions. Wood surfaces differ from natural or bleached to painted. No style unifies the body of work. In each piece realism and abstraction, positive and negative space is handled differently. Buffalo facts and myths were interpreted to convey what white people can learn from the buffalo. It was a spiritual link and messenger from Native Americans to the Great Spirit. The buffalo was revered and respected as a vital in the life cycle. White man destroyed the buffalo during the nineteenth century through the acts of greed, disrespect and ignorance. It seems to have returned with a message for people of all races. This message is one that must be found within each individual.
Department of Art

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30

Morgan, David. "The origin and use of compositional geometry in Christian painting /". Thesis, McGill University, 1994. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=68125.

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Painters of Christian subjects in the late Middle Ages and early Renaissance developed a complex system of geometry which they used to order the various elements in the image. They did this because they were convinced that the aesthetic dimension of their work resided in the structure of the work. More specifically, the artists of the late Middle Ages and the Renaissance believed that the particular aesthetic experience which geometric compositional structure provides corresponded to Christian mystical experience. Thus a work of art that combined geometric structure, naturalistic style, and Christian imagery could provide an experience analogous to that of Christian revelation. This paper traces the development of this idea from its origin in the Old Testament tradition, its formalization in Greek thought and its full flowering in early Christian painting.

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31

Pinkham, Todd Alan. "Brazen idols /". Online version of thesis, 1993. http://hdl.handle.net/1850/11902.

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32

Munk, Ana. "Pallid corpses in golden coffins : relics, reliquaries, and the art of relic cults in the Adriatic Rim /". Thesis, Connect to this title online; UW restricted, 2003. http://hdl.handle.net/1773/6213.

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33

Williams, Dennis II. "Portraiture and Text in African-American Illustrated Biographical Dictionaries, 1876 to 1917". VCU Scholars Compass, 2014. http://scholarscompass.vcu.edu/etd/3666.

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Containing portraiture and biography as well as protest text and affirmative text, African- American Illustrated biographical dictionaries made from 1876 to 1917 present Social Gospel ideology and are examples of Afro-Protestantism. They are similar to the first American illustrated biographical dictionaries of the 1810s in that they formed social identity after national conflict while contesting concepts of social inferiority. The production of these books occurred during the early years of Jim Crow, a period of momentous change to the legal and social fabric of the United States, and because of momentous changes in modern American print industries. While portraits within the books simultaneously form, blur, and stabilize identity, biographies convey themes of perseverance, social equity, and social struggle. More specifically, text formed an imagined community in the African-American middle class imaginary. It worked together with image to help create a proto-Civil Rights social movement identity during the beginning of racial apartheid.

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34

Forrest, Matthew. "Iconography profiles". Morgantown, W. Va. : [West Virginia University Libraries], 2008. https://eidr.wvu.edu/etd/documentdata.eTD?documentid=5698.

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Thesis (M.F.A.)--West Virginia University, 2008.
Title from document title page. Document formatted into pages; contains v, 29 p. : ill. (some col.). Vita. Includes abstract. Includes bibliographical references (p. 11).

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35

Heaton, Haidee R. "Symbolism and the actor's perspective : a grounded theory study of the actor's approach to symbolist vocal work /". free to MU campus, to others for purchase, 2004. http://wwwlib.umi.com/cr/mo/fullcit?p3137709.

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36

Lantz, Lisa. "Katten i konsten på Nationalmuseum". Thesis, Södertörn University College, The School of Culture and Communication, 2007. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-981.

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The purpose of this science of Art History research paper is to find out the meaning of Cats in Art. I have limited my studies to the Nationalmuseums picture gallery and found forty paintings with cats. I have chosen sixteen of these to furthur analyze typographically and chronologically from a symbolic perspective. The forty paintings from the Nationalmuseum were created during four centuries, with the first being painted in the Sixteenth Century. I have studied the cats dimensional placement in the picture, if the cat is in an outdoor or indoor environment, with people and if the cat is active or passive. I have studied which color the cat has in the motive, if it is painted on the left or right side of the picture and if the cat as at symbol enhances the motives.

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Kappel, Caroline J. "Labyrinthine depictions and tempting colors the synaesthetic dances of Loïe Fuller as symbolist choreography /". Ohio : Ohio University, 2007. http://www.ohiolink.edu/etd/view.cgi?ohiou1195707359.

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38

Aguilar-Moreno, Manuel. "Tequitqui art of sixteenth-century Mexico : an expression of transculturation /". Digital version accessible at:, 1999. http://wwwlib.umi.com/cr/utexas/main.

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39

Aguilar, Moreno José Manuel. "Tequitqui art of sixteenth-century Mexico : an expression of transculturation /". Digital version accessible at:, 1999. http://wwwlib.umi.com/cr/utexas/main.

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40

Kay, Nancy J. "The sacred public sculptures in Antwerp: From their medieval origins to the French Revolution". View abstract/electronic edition; access limited to Brown University users, 2008. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3318337.

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41

Wylie, Janet S. "The development, practical application and cultural implications of the use of visual art by missionaries for the intercultural communication of the Gospel". Theological Research Exchange Network (TREN), 1996. http://www.tren.com.

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42

Moreschi, Bruno 1982. "Art Book : a construção de uma enciclopédia de artistas". [s.n.], 2014. http://repositorio.unicamp.br/jspui/handle/REPOSIP/285264.

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Orientador: Lygia Arcuri Eluf
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-25T21:32:40Z (GMT). No. of bitstreams: 1 Moreschi_Bruno_M.pdf: 3230662 bytes, checksum: 8bd825c129f981c4cf9b4a22628dac32 (MD5) Previous issue date: 2014
Resumo: Esta pesquisa propõe o estudo do processo de legitimação do autor e de suas obras nas artes visuais em duas frentes complementares de trabalho. A primeira, de natureza artística, é a criação de uma enciclopédia de artistas que, em um primeiro momento, não se difere de outras publicações desse tipo, mas que, na verdade, possui uma característica bastante peculiar. A segunda frente de trabalho, de natureza mais teórica, é a escrita de uma dissertação que analisará o processo de criação dessa enciclopédia e algumas das questões levantadas em sua produção. Entre elas, o papel da fotografia do objeto artístico e do texto crítico na validação de obras e de artistas no campo das Artes Visuais
Abstract: This research proposes a study about the author and his works' process of legitimation in the visual arts on two complementary work fronts. The first, from artistic nature, is the creation of an encyclopedia of artists which, at first, does not differ from other publications of this type, but in fact has a very peculiar feature. The second work front, more theoretical, is the writing of a dissertation that will examine this encyclopedia's creative process and some of the issues raised in its production, among them the roles photography, art object and critic text concerning the validation of works and artists in the visual arts
Mestrado
Artes Visuais
Mestre em Artes Visuais

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43

Hawley, Jessica R. "Religious Symbolism in Salvador Dali's Art: A Study of the Influences on His Late Work". Digital Commons @ East Tennessee State University, 2012. https://dc.etsu.edu/honors/34.

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Salvador Dalí was an artist who existed not long before my generation; yet, his influence among the contemporary art world causes many people to take a closer look at the significance of the imagery in his paintings. For the most part, Dalí is categorized as a Surrealist artist, yet in this essay, I also plan to explore other possibilities of influence that surrounded Salvador Dalí’s generation and inspirational background. Around 1941, Dalí’s work began to shift away from Surrealism and, instead, moved toward a more Classical style that contained many religious themes, a style which he called “Nuclear Mysticism” (Taylor 2008, 8). My interest in this subject stemmed from a visit to the High Museum of Art in Atlanta to see the exhibition “Dalí: The Late Work.” This exhibition contained highly regarded paintings such as Christ of Saint John of the Cross (1951), The Persistence of Memory (1931), and The Madonna of Port Lligat (first version, 1949). Seeing these paintings caused me to consider the possible situations, groups, and events occurring in 20th-century Spain and elsewhere that could have caused this transformation in Dalí’s art. In most of our minds, Dalí was an artist who painted amorphous figures and objects that would only exist within his dreams and unconscious state; yet, Dalí’s subject matter after the 1940s showed a remarkable consideration of figures and objects that are symbolic to the fundamentals of the Catholic tradition.

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44

Dowling, Susan J. "Constructing Identity Identity Construction". Digital Archive @ GSU, 2011. http://digitalarchive.gsu.edu/art_design_theses/88.

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In this art-based study I will examine the construction of identity creating three life size figures utilizing metaphor and symbolism. I recorded and analyzed the process through reflections. The artist/teacher/researcher will provide conclusions based on art production and self-reflection.

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45

Compton, Mark Daniel. "Neo-Raconteur: Allocating Southern-Gothic Symbolism into Design Media". Digital Commons @ East Tennessee State University, 2011. https://dc.etsu.edu/etd/1394.

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I created the term Neo-Raconteur to convey my interest in medium theory to support the artistic custom of revealing cultural conventions for allocation into artistic genres. The term evolved from the French word "Raconteur," meaning: somebody who tells stories or anecdotes in an interesting or entertaining way. In the past a Raconteur's anecdotes were verbally volleyed, ever voluble, yet quip. Neo-Raconteurs may decide not to speak at all choosing their anecdotal expression to manifest itself through singular or multiple means, manners, or methods of design and technology as well as or involving more traditional techniques of extraction to convey the narrative. I demonstrate how it applies to my work in time-based-media within the realms of Southern Gothic symbolism -- which rely on the supernatural, physical geographic settings, instances of the grotesque and irony along with visual and/or psychological shadow(s) of foreboding caused by tradition or hidden truths, occasionally both.

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46

Joumaa, Jamal, University of Western Sydney, of Arts Education and Social Sciences College e School of Contemporary Arts. "The influence of the icon in contemporary Egyptian art". THESIS_CAESS_CAR_JOUMAA_J.xml, 2002. http://handle.uws.edu.au:8081/1959.7/229.

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The icon represents a great part of the heritage of Christian arts in Egypt. In this thesis the early stages of iconic art are studied to find out the influential factors leading to the formation of the icon as it is now. The Coptic icon in particular is studied, both the icon itself and how it differs from the Byzantine icon. The religious factor is focussed on as an effective and modelling element in defining the icon, and the symbols are studied in order to go back to their historical roots. This study also aims at tracing the phenomenon of iconic art, by studying its characteristics and the works themselves and by clarifiying the iconic symbols as part of the cultural and creative activity. The important artworks in iconic art are analysed, and the effect of iconic art on human and social life is shown
Master of Arts (Hons)

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47

Westhead, Jonathan Michael. "Royal ideology in Mesopotamian iconography of the third and second millennia BCE with special reference to gestures". Thesis, Stellenbosch : Stellenbosch University, 2015. http://hdl.handle.net/10019.1/96899.

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Thesis (MA)--Stellenbosch University, 2015.
ENGLISH ABSTRACT: This thesis aims to examine to what extent the visual representations of ancient Mesopotamia portrayed the royal ideology that was present during the time of their intended display. The iconographic method is used in this study and this allows for a better understanding of the meaning behind the work of art. This method allows the study to better attempt to comprehend the underlying ideology of the work of art. The eight images studied date between three thousand BCE and one thousand BCE and this provides a broad base for the study. By having such a broad base it enables the study to provide a brief understanding of how the ideology adapted over two thousand years. The broad base also enables the study to examine a variety of different gestures that are portrayed on the representations. This thereby provides the reader with a better understanding of why certain gestures were used and how the underlying ideology was communicated through these movements. The study concludes that while the gestures lend a life-like appearance to the representation they do not solely portray an underlying ideological message. Rather, they enhance the already inherent ideological message.
AFRIKAANSE OPSOMMING: Hierdie tesis ondersoek tot watter mate die visuele voorstellings van Ou Mesopotamië die koninklike ideologie — van die tyd toe hulle uitgestal is — uitgebeeld het. Die ikonografiese metode is in hierdie studie gebruik en maak dit moontlik om 'n beter begrip van die betekenis agter die kunswerk te verkry. Die metode stel die studie in staat om die onderliggende ideologie van die kunswerk beter te verstaan. Die agt bestudeerde beelde dateer tussen drieduisend v.C. en 'n duisend v.C. en bied 'n breë basis vir die studie. So ‘n breë basis stel die studie in staat om te verstaan hoe die ideologie oor meer as twee duisend jaar aangepas is. Die breë basis stel die studie ook in staat om 'n verskeidenheid verskillende gebare wat uitgebeeld word, te ondersoek. Hierdeur verskaf dit die leser met 'n beter begrip waarom sekere gebare gebruik is en hoe die onderliggende ideologie deur middel van hierdie bewegings gekommunikeer is. Die studie kom tot die gevolgtrekking dat terwyl die gebare 'n lewensgetroue voorkoms aan die voorstelling gee, hulle nie uitsluitlik onderliggende ideologiese boodskappe uitbeeld nie. Inteendeel, hulle versterk die reeds onderliggende ideologiese boodskap.

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48

Ilbeyi, Gonca. "The way to the absolute /". Online version of thesis, 1991. http://hdl.handle.net/1850/11968.

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49

Opperman, J. A. "Imaging the metaphysical in contemporary art practice : a comparative study of intertextuality, poststructuralism and metaphysical symbolism". Thesis, Port Elizabeth Technikon, 2002. http://hdl.handle.net/10948/101.

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It was then that I decided to investigate how contemporary forms of metaphysical imaging have evolved formally and stylistically. I began to question how such approaches might be informed by current philosophical thought, given that many contemporary theorists have adopted a sceptical view towards metaphysical discourse. This point of contention presented me with the initial challenge of finding an artist whose exploration of metaphysical content is supported by topical philosophical thought. I intended this inquiry to serve as a basis from which to develop my own approach to imaging metaphysical content and to situate it within the context of contemporary thought.

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50

Dickerson, Brendhan Bailie. "Magical realism and subjective reality : an investigation of poetic symbolism and the development of related sculptures". Master's thesis, University of Cape Town, 1995. http://hdl.handle.net/11427/13862.

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Bibliography: leaves 58-62.
To meet the requirements for the Master of Fine Art degree at the University of Cape Town my intention was to develop a series of sculptural assemblages which address a sense of subjective or poetic reality, using symbolically resonant found and fabricated objects. The body of work is to be understood as a sculptural parallel to (but not illustrative of) Magical Realist literature, in which arcane phenomena are incorporated into a narrative in order to achieve just such a sense of subjective reality.

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