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Книги з теми "Iconographic representations"

Автор: Grafiati

Опубліковано: 20 квітня 2024

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1

Foundation, A. G. Leventis, ed. Aspects of everyday life in ancient Cyprus: Iconographic representations. Nicosia: A.G. Leventis Foundation, 2006.

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2

Besares, Dominador. Hinabol nga pagtuo: An ethno-iconographic representation of St. Augustine as a Vissayan. Iloilo City, Philippines: University of San Agustin, 2004.

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3

McAlpine, Duncan Alister. Film robot: An iconographic study of the representation of the robot in science fiction film ... [s.l.]: typescript, 1985.

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4

Walbiri iconography: Graphic representation and cultural symbolism in a central Australian society. Chicago: University of Chicago Press, 1986.

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5

Didactic narration: Jataka iconography in Dunhuang with a catalogue of jataka representations in China. Münster: Lit, 2000.

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6

Vrieje Universiteit Brussel. Faculteit der Letteren en Wijsbegeerte. Sectie Kunstgeschiedenis enArcheologie., ed. Phoenician furniture: A typology based on Iron Age representations with reference to the iconographical context. Leuven: Peeters, 1987.

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7

Sourvinou-Inwood, Christiane. Studies in girlsʼ transitions: Aspects of the arkteia and age representation in Attic iconography. Athens: Kardamitsa, 1988.

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8

Sourvinou-Inwood, Christiane. Studies in girls' transitions: Aspects of the arkteia and age representation in Attic iconography. Athens: Kardamitsa, 1988.

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9

Nadav, Naʼaman, Zevulun ʻUzah, Ziffer Irit, Makhon le-arkheʼologyah ʻa. sh. Sonyah u-Marḳo Nadler., and Universiṭat Tel-Aviv Makhon le-arkheʼologyah, eds. Imagery and representation: Studies in the art and iconography of ancient Palestine : collected articles. Tel Aviv: Emery and Claire Yass Publications in Archaeology, 2002.

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10

E, Cosgrove Denis, and Daniels Stephen, eds. The Iconography of landscape: Essays on the symbolic representation, design, and use of past environments. Cambridge [England]: Cambridge University Press, 1988.

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11

Raffigurazioni femminili neolitiche in Italia, iconografia, iconologia, contesti (Conference) (2018 Udine, Italy). Le raffigurazioni femminili neolitiche in Italia: Iconografia, iconologia, contesti = The Neolithic female representations in Italy : iconography, iconology, contexts. Udine: Edizioni del Museo friulano di storia naturale, 2019.

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12

Tal, Guy. Art and Witchcraft in Early Modern Italy. Nieuwe Prinsengracht 89 1018 VR Amsterdam Nederland: Amsterdam University Press, 2023. http://dx.doi.org/10.5117/9789463722599.

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Анотація:

The figure of the witch is familiar from the work of early modern German, Dutch, and Flemish artists, but much less so in the work of their Italian counterparts. Art and Witchcraft in Early Modern Italy seeks to explore the ways in which representations of witchcraft emerged from and coincided with the main cultural currents and artistic climate of an epoch chiefly celebrated for its humanistic and rational approaches. Through an in-depth examination of a panoply of arresting paintings, engravings, and drawings—variously portraying a hag-ridden colossal phallus, a horror-stricken necromancer dodging the devil’s scrabbling claws, and a nocturnal procession presided over by an infanticidal crone—Guy Tal offers new ways of reading witchcraft images through and beyond conventional iconography. Artists such as Parmigianino, Alessandro Allori, Leonello Spada, and Angelo Caroselli effected visual commentaries on demonological notions that engaged their audience in a tantalizing experience of interpretation.

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13

de, Blois Lukas, and Impact of Empire (Organization), eds. The representation and perception of Roman imperial power: Proceedings of the Third Workshop of the International Network Impact of Empire (Roman Empire, c. 200 B.C. - A.D. 476), Netherlands Institute in Rome, March 20-23, 2002. Amsterdam: J.C. Gieben, 2003.

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14

Werner-Reimers-Stiftung, ed. Genres in visual representations: Proceedings of a conference held in 1986 by invitation of the Werner-Reimers-Stiftung in Bad Homburg (Federal Republic of Germany). Leiden: E.J. Brill, 1990.

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15

Piqueux, Alexa. The Comic Body in Ancient Greek Theatre and Art, 440-320 BCE. Oxford University PressOxford, 2022. http://dx.doi.org/10.1093/oso/9780192845542.001.0001.

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Анотація:

Abstract Using both textual and iconographic sources, this richly illustrated book examines the representations of the body in Greek Old and Middle Comedy, how it was staged, perceived, and imagined, particularly in Athens, Magna Graecia, and Sicily. The study also aims to refine knowledge of the various connections between Attic comedy and comic vases from Sout Italy and Sicily (the so-called ‘phlyax vases’). After introducing comic texts and comedy-related vase-paintings in the regional contexts, the book considers the generic features of the comic body, characterized as it is by a specific ugliness and a constant motion. It also explores how costumes—masks, padding, phallus, clothing, accessories—and gestures contribute to the characters’ visual identity in relation with speech: it analyzes the cultural, social, aesthetic, and theatrical conventions by which spectators decipher the body. This study thus leads to a re-examination of the modalities of comic mimesis, in particular when addressing sexual codes in cross-dressing scenes which reveal the artifice of the fictional body. It also sheds light on how comic poets make use of the scenic or imaginary representations of the bodies of those who are targets of political, social, or intellectual satire. There is a particular emphasis on body movements, where the book not only deals with body language and the dramatic function of comic gesture, but also with how words confer a kind of poetic and unreal motion to the body.

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16

Ulla, Haselstein, Ostendorf Berndt, and Schneck Peter 1943-, eds. Iconographies of power: The politics and poetics of visual representation. Heidelberg: Winter, 2003.

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17

Kippenberg, Hans G., and L. P. Van Den Bosch. Genres in Visual Representations (Visible Religion Annual for Religious Iconography, Volume VII). Brill Academic Publishers, 1990.

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18

Ugolini, Federico. Visualizing Harbours in the Classical World: Iconography and Representation Around the Mediterranean. Bloomsbury Publishing Plc, 2020.

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19

Ugolini, Federico. Visualizing Harbours in the Classical World: Iconography and Representation Around the Mediterranean. Bloomsbury Publishing Plc, 2021.

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20

Ľubica Hudáková. Representations of Women in the Middle Kingdom Tombs of Officials: Studies in Iconography. BRILL, 2019.

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21

Gensheimer, Maryl B. The Role of Iconographical Programs at the Baths of Caracalla. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190614782.003.0003.

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Анотація:

To query the sociopolitical rationale that may have prompted the emperor Caracalla to endow such a monumental bathing facility, Chapter 3 addresses the iconographical trends that mark distinctive emphases within the larger body of the Baths’ decorative program. Particular attention is paid to representations of Hercules, Bacchus, and other divinities and personifications associated with the emperor, as well as Homeric and other mythological exempla that are likewise an allusion to imperial largess. Similarly, the historical reliefs from the palaestrae and the honorific portrait statues of the imperial family displayed within the Baths are also scrutinized for their insights into the self-aggrandizing strategies of their eponymous benefactor. Together, the chapter’s discussion reveals both the obvious and subtler meanings underlying certain iconographical choices and uses those observations to recover the original motivations of the imperial patron.

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22

Frank, Jason. The Democratic Sublime. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190658151.001.0001.

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The transition from royal to popular sovereignty during the age of democratic revolutions—from 1776 to 1848—entailed not only the reorganization of institutions of governance and norms of political legitimacy, but also a dramatic transformation in the iconography and symbolism of political power. The representational difficulties posed by the replacement of the personal and external rule of the king, whose body was the tangible locus of authority, with the impersonal and immanent self-rule of the people, whose power could not be incontestably embodied, went beyond questions of institutionalization and law into the aesthetic realm of visualization, composition, and form. How to make the people’s sovereign will tangible to popular judgment was—and is—a crucial problem of democratic political aesthetics. This book explores how the revolutionary proliferation of popular assemblies—crowds, demonstrations, gatherings of the “people out of doors”—mediated and gave tangibility to the people manifesting itself as a collective actor capable of enacting dramatic political reforms and change. During the age of democratic revolutions, popular assemblies became privileged sites of democratic representation because they at once claim to represent the people while also signaling the material plenitude beyond any representational claim. They retain this power in part because popular assemblies make manifest that which escapes representational capture; they rend a tear in the established representational space of appearance and draw their power from tarrying with the ineffability and resistant materiality of the people’s will. During the age of democratic revolutions, popular assemblies became the locus of the democratic sublime.

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23

Feingold, Mordechai, ed. History of Universities. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198827344.001.0001.

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Анотація:

This text contains a mix of learned articles and book reviews. The text contains a combination of original research and invaluable reference material. Topics covered include: democratic representation and fifteenth-century crisis at the University of Paris, the iconography found in universities in the Holy Roman Empire, and university reform in Victorian Britain.

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24

Wagner, Tamara S. The Victorian Baby in Print. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198858010.001.0001.

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The Victorian Baby in Print: Infancy, Infant Care, and Nineteenth-Century Popular Culture explores the representation of babyhood in Victorian Britain. The first study to focus exclusively on the baby in nineteenth-century literature and culture, this critical analysis discusses the changing roles of an iconic figure. A close look at the wide-ranging portrayal of infants and infant care not only reveals how divergent and often contradictory Victorian attitudes to infancy really were, but also prompts us to revise persistent clichés surrounding the literary baby that emerged or were consolidated at the time, and which are largely still with us. Drawing on a variety of texts, including novels by Charles Dickens, Wilkie Collins, Mary Elizabeth Braddon, Mrs Henry Wood, and Charlotte Yonge, as well as parenting magazines of the time, childrearing manuals, and advertisements, this study analyses how their representations of infancy and infant care utilised and shaped an iconography that has become definitional of the Victorian age itself. The familiar clichés surrounding the Victorian baby have had a lasting impact on the way we see both the Victorians and babies, and a close analysis might also prompt a self-critical reconsideration of the still burgeoning market for infant care advice today.

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25

Roberson, Joshua Aaron. The Ancient Egyptian Books of the Earth. Lockwood Press, 2014. http://dx.doi.org/10.5913/2012000.

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Collections of scenes and texts designated variously as the "Book of the Earth," "Creation of the Solar Disc," and "Book of Aker" were inscribed on the walls of royal sarcophagus chambers throughout Egypt's Ramessid period (Dynasties 19–20). This material illustrated discrete episodes from the nocturnal voyage of the sun god, which functioned as a model for the resurrection of the deceased king. These earliest "Books of the Earth" employed mostly ad hoc arrangements of scenes, united by shared elements of iconography, an overarching, bipartite symmetry of composition, and their frequent pairing with representations of the double sky overhead. From the Twenty-First Dynasty and later, selections of programmatic tableaux were adapted for use in private mortuary contexts, often in conjunction with innovative or previously unattested annotations. The present study collects and analyzes all currently known Book of the Earth material, including discussions of iconography, grammar, orthography, and architectural setting.

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26

Relational Iconography, Representational Culture at the Qaraquyunlu and Aqquyunlu Courts (853 / 1449 CE to 907 / 1501 CE). BRILL, 2023.

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27

Misri, Deepti. “This Is Not a Performance!”. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252038853.003.0006.

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This chapter explores a set of visual representations deployed by the Association of Parents of Disappeared Persons (APDP),the now iconic women-led organization that draws attention to the enforced disappearances of Muslim men, judged “anti-nationals” en masse by the Indian state. The APDP members utilize a performative repertoire in their public protests, such as recognizable iconography—“branding” the organization into the public eye through the use of badges, headscarves, and banners; and the insistence that “This is Not a Performance (tamasha)!” The chapter looks at some graphic and cinematic practices that have accreted around the APDP's protests, placing this range of countervisual practices against the scopic regime of the Indian state.

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28

Elkins, Nathan T. Introduction. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190648039.003.0001.

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Although Nerva’s reign is largely the province of historians, owing to the lack of state-sanctioned art from his short reign, his coinage is very diverse and has been an untapped resource for studying contemporary “self-representation” in this period. It is argued that the emperor did not necessarily formulate coin iconography or messaging, as often assumed, but that it was directed at him, as were contemporary panegyric and poetry. He was, however, not the only audience. Coins were used by people throughout Roman society and so deploying quantitative and finds-based methods informs what images played the biggest role in contemporary praise and rhetoric and, to some degree, at what populations they were targeted.

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29

Gottlieb, Lisa. Applying Panofsky's theories of iconographical analysis to graffiti art: Implications for access to images of non-representational/abstract art. 2006.

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30

(Editor), Denis Cosgrove, and Stephen Daniels (Editor), eds. The Iconography of Landscape: Essays on the Symbolic Representation, Design and Use of Past Environments (Cambridge Studies in Historical Geography). Cambridge University Press, 1989.

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31

The Iconography of Landscape: Essays on the Symbolic Representation, Design and Use of Past Environments (Cambridge Studies in Historical Geography). Cambridge University Press, 1988.

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32

Cornwell, Hannah. Peace over Land and Sea. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198805632.003.0003.

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The focus of this chapter is on understanding the earliest stages of Augustus’ regime and its self-representation in terms of pax, exploring how peace fits into the profuse displays of triumphal ideology and rhetoric in the aftermath of the final decade of civil war. Augustus’ triple triumph cemented his position within the state in 29 BC. In this context the lack of a developed iconography for pax (compared to that of victoria) is tackled, particularly in reference to the monumental displays after Actium, to demonstrate the triumphal significance afforded to pax. The idea of expressing power not in relation to an opponent, but as an assertion of imperium over land and sea, as the achievement of peace, is a central concern of this chapter.

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33

Davies, Carole Boyce. “Haiti, I Can See Your Halo!”. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252038020.003.0010.

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This chapter uses the logic of the halo not in the way it appears in Christian iconography, but in the way the halo of what Haiti means radiates as a series of spatial principles across the African diaspora. The contradictory history of Haiti that produced today's American hemisphere's poorest country runs up against a history of glory and transcendence. Thus, in many ways, Haiti becomes an important and extreme representation of the black condition: on the one hand, a past of dignity and legendary greatness; on the other, the starkness created by the initial history of dispossession, subsequent economic difficulty, brought on sometimes by horrendous leadership, often in collusion with external actors, environment, climate, location, but through it all, an amazing resistance of its people matched by an outstanding creativity.

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34

Rousseaux, Xavier, Stefan Huygebaert, Georges Martyn, Vanessa Paumen, and Eric Bousmar. The Art of Law: Artistic Representations and Iconography of Law and Justice in Context, from the Middle Ages to the First World War. Springer, 2019.

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35

The Art of Law: Artistic Representations and Iconography of Law and Justice in Context, from the Middle Ages to the First World War. Springer, 2018.

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36

Oklopcic, Zoran. A New Hope. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198799092.003.0010.

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As the final chapter of the book, Chapter 10 confronts the limits of an imagination that is constitutional and constituent, as well as (e)utopian—oriented towards concrete visions of a better life. In doing so, the chapter confronts the role of Square, Triangle, and Circle—which subtly affect the way we think about legal hierarchy, popular sovereignty, and collective self-government. Building on that discussion, the chapter confronts the relationship between circularity, transparency, and iconography of ‘paradoxical’ origins of democratic constitutions. These representations are part of a broader morphology of imaginative obstacles that stand in the way of a more expansive constituent imagination. The second part of the chapter focuses on the most important five—Anathema, Nebula, Utopia, Aporia, and Tabula—and closes with the discussion of Ernst Bloch’s ‘wishful images’ and the ways in which manifold ‘diagrams of hope and purpose’ beyond the people may help make them attractive again.

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37

Veen, Christel. Roman Period Statuettes in the Netherlands and beyond. Amsterdam University Press, 2023. http://dx.doi.org/10.5117/9789463729383.

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The subject of this study is a relatively rare category of artefacts, bronze and terracotta statuettes that represent deities, human figures and animals. They were introduced in the northwestern provinces by Roman troops from the end of the 1st century BCE onwards. The statuettes have been recovered from military and non-military settlements, the surrounding landscape and, to a far lesser extent, from sanctuaries and graves. Until now, their meaning and function have seldom been analysed in relation to their find-spots. Contrary to traditional studies, they have been examined as one separate category of artefacts, which offers new insights into the distribution pattern and iconographic representation of deities. When studying a group of artefacts, a large research area or a large dataset is required, as well as dateable artefacts and find-contexts. These conditions do not apply to the Netherlands and to the majority of statuettes that are central to this study. Moreover, although the changing appearance of statuettes suggest a transformation of cults, the identities of the owners of these statuettes remain invisible to us. Therefore, the issue of Romanization is not put central here. Instead, the focus is on a specific aspect of religion, known as lived religion, within the wider subject of its transformation in the Roman period: how people used statuettes in everyday life, in the context of their houses and settlements.

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