Results for 'Iconology'

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  1.  16
    Iconology: Image, Text, Ideology.W. J. T. Mitchell - 1986 - Journal of Aesthetics and Art Criticism 45 (2):211-214.
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  2.  50
    Iconology: Image, Text, Ideology.W. J. T. Mitchell - 1987 - University of Chicago Press.
    "[Mitchell] undertakes to explore the nature of images by comparing them with words, or, more precisely, by looking at them from the viewpoint of verbal language.... The most lucid exposition of the subject I have ever read."—Rudolf Arnheim, _Times Literary Supplement_.
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  3.  9
    Peirce and Iconology: Habitus, Embodiment, and the Analogy Between Philosophy and Ar-Chitecture.Tullio Viola - 2012 - European Journal of Pragmatism and American Philosophy 4 (1):6-31.
    ―[I]t is the belief men betray, and not that which they parade which has to be studied‖. This short Peircean sentence has been the subject of important yet underrated at-tention in the reception of Peirce‘s philosophy, passing through the art historians Edgar Wind and Erwin Panofsky and arriving finally at Bourdieu. This paper explores the affini-ties between Peirce‘s and Panofksy‘s thinking, as well as their historical connections and their common sources, taking its cue from an analysis of the similar arguments (...)
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  4. Cognitive Iconology: When and How Psychology Explains Images.Ian Verstegen - 2014 - Editions Rodopi.
    Cognitive Iconology is a new theory of the relation of psychology to art. Instead of being an application of psychological principles, it is a methodologically aware account of psychology, art and the nature of explanation. Rather than fight over biology or culture, it shows how they must fit together. The term “cognitive iconology” is meant to mirror other disciplines like cognitive poetics and musicology but the fear that images must be somehow transparent to understanding is calmed by the (...)
     
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  5.  51
    The Genesis of Iconology.Jaś Elsner & Katharina Lorenz - 2012 - Critical Inquiry 38 (3):483-512.
    Erwin Panofsky explicitly states that the first half of the opening chapter of Studies in Iconology—his landmark American publication of 1939—contains ‘the revised content of a methodological article published by the writer in 1932’, which is now translated for the first time in this issue of Critical Inquiry.1 That article, published in the philosophical journal Logos, is among his most important works. First, it marks the apogee of his series of philosophically reflective essays on how to do art history,2 (...)
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  6.  17
    The Iconology of Style (or Wölfflin Reconsidered).Irving L. Zupnick - 1961 - Journal of Aesthetics and Art Criticism 19 (3):263-273.
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  7.  55
    Studies in Iconology. Humanistic Themes in the Art of the Renaissance.Paul A. Underwood - 1940 - Philosophical Review 49 (5):584-586.
  8.  79
    Studies in Iconology. Humanistic Themes in the Art of the Renaissance.T. M. G. - 1939 - Journal of Philosophy 36 (26):717.
  9.  33
    Ideology and Iconology.Giulio Carlo Argan & Rebecca West - 1975 - Critical Inquiry 2 (2):297-305.
    Is it possible to compose a history of images? It is obvious that history can be composed only from that which is intrinsically historical; history has an order of its own because it interprets and clarifies an order which already exists in the facts. But is there an order in the birth, multiplication, combination, dissolution and re-synthesis of images? Mannerism had discredited or demystified form with its pretense of reproducing an order which does not exist in reality. But is the (...)
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  10. Iconology and Formal Aesthetics: A New Harmony. A Contribution to the Current Debate in Art Theory and Philosophy of Arts on the (Picture-)Action-Theories of Susanne K. Langer and John M. Krois.Sauer Martina - 2016 - Sztuka I Filozofia (Art and Philosophy), Warschau 48:12-29.
    Since the beginning of the 20th Century to the present day, it has rarely been doubted that whenever formal aesthetic methods meet their iconological counterparts, the two approaches appear to be mutually exclusive. In reality, though, an ahistorical concept is challenging a historical analysis of art. It is especially Susanne K. Langer´s long-overlooked system of analogies between perceptions of the world and of artistic creations that are dependent on feelings which today allows a rapprochement of these positions. Krois’s insistence on (...)
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  11. Iconology and Iconicity. Towards an Iconic History of Figures, Between Erwin Panofsky and Jean-Luc Marion.Adi Efal - 2008 - Naharaim - Zeitschrift Für Deutsch-Jüdische Literatur Und Kulturgeschichte 2 (1).
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  12. Iconology and Iconicity.Adi Efal - 1985 - History and Theory 24 (3):293-306.
     
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  13. American Iconology New Approaches to Nineteenth-Century Art and Literature.David C. Miller - 1993
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  14.  22
    Iconology: Image, Text, Ideology: WJT Mitchell,(Chicago and London: University of Chicago Press, 1987), X+ 226 Pp. ISBN 0-226-53228-3 Hardback, ISBN 0-226-53229-1 Paperback£ 8.95. [REVIEW]Hans-Jörg Rheinberger - 1994 - Studies in History and Philosophy of Science Part A 25 (4):647-654.
  15.  14
    Cognitive Iconology: When and How Psychology Explains Images.Stanley Shostak - 2016 - The European Legacy 21 (7):762-764.
  16. Iconology and Imagination : Explorations in Sociogenetic Economies.Chris Sinha - 2010 - In Armin W. Geertz & Jeppe Sinding Jensen (eds.), Religious Narrative, Cognition, and Culture: Image and Word in the Mind of Narrative. Equinox.
     
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  17.  6
    Iconology: Image, Text, Ideology (Review).Anna J. Smith - 1988 - Philosophy and Literature 12 (1):130-132.
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  18. Theatrical Iconography/ Iconology: The Iconic Sign and Its Referent.Tadeusz Kowzan - 1985 - Diogenes 33 (130):53-70.
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  19.  17
    Studies in Iconology. Humanistic Themes in the Art of the Renaissance. [REVIEW]M. G. T. - 1939 - Journal of Philosophy 36 (26):717-717.
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  20.  15
    Semantic and Symbolic Elements in Architecture: Iconology as a First Step Towards an Architectural Semiotic.Mieczyslaw Wallis - 1973 - Semiotica 8 (3).
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  21.  73
    Panofsky - Warburg - Cassirer. From Iconology to Image Science.Martina Sauer - 2020 - In Homo Pictor. Image Studies and Archaeology in Dialogue [Freiburger Studien zur Archäologie & Visuellen Kultur 2], ed. by Jacobus Bracker, Heidelberg: Propylaeum. pp. 159-171.
    Neither the art historians Panofsky and Warburg nor the philosopher Cassirer had any interest with their cultural-historical research in fact-based, historical questions. An approach that had become common in the 19th century due to the loss of validity of the speculative aesthetics. On the contrary, instead of this substantial understanding as the documentary concept represents, these researchers focused on a functional understanding of art historical sources. Nevertheless, in contrast to this starting point, Panofsky invented a methodological procedure, the so-called iconological (...)
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  22.  23
    A Critical Presentation of the Iconology of St. John of Damascus in the Context of the Byzantine Iconoclastic Controversies.Dimitrios Pallis - 2015 - Heythrop Journal 56 (2):173-191.
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  23. W. J. T. Mitchell, Iconology: Image, Text, Ideology.Lee B. Brown - 1986 - Journal of Aesthetics and Art Criticism 45 (2):211-213.
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  24.  1
    Toward an Iconology for Temporal Object.Galligo Igor - 2017 - Latest Issue of Philosophy of Photography 8 (1-2):183-209.
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  25.  4
    Toward an Iconology for Temporal Object.Igor Galligo - 2017 - Philosophy of Photography 8 (1-2):183-209.
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  26.  8
    Philosophy and Iconology.John Michael Krois - 2017 - In Franz Engel, Johanna Schiffler & Marion Lauschke (eds.), Ikonische Formprozesse: Zur Philosophie des Unbestimmten in Bildern. De Gruyter. pp. 1-28.
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  27.  5
    Present Tense 2020: An Iconology of the Epoch.W. J. T. Mitchell - 2021 - Critical Inquiry 47 (2):370-406.
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  28. "Images of Crisis: Literary Iconology, 1750 to the Present": George P. Landow. [REVIEW]Stephen Prickett - 1983 - British Journal of Aesthetics 23 (3):279.
     
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  29. WJT Mitchell, Iconology: Image, Text, Ideology Reviewed By.Roger Seamon - 1986 - Philosophy in Review 6 (10):514-516.
     
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  30. W.J.T. Mitchell, Iconology: Image, Text, Ideology. [REVIEW]Roger Seamon - 1986 - Philosophy in Review 6:514-516.
     
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  31.  2
    A Plea for a Cognitive Iconology Within Visual Culture.Ian Verstegen - 2006 - Contemporary Aesthetics 4.
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  32.  3
    Metadata: New Perspectives on Aby Warburg’s ‘Critical Iconology’.von Müller Johannes - 2017 - Latest Issue of Philosophy of Photography 8 (1-2):171-182.
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  33.  16
    Metadata: New Perspectives on Aby Warburg’s ‘Critical Iconology’.Johannes von Müller - 2017 - Philosophy of Photography 8 (1-2):171-182.
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  34.  51
    Tiger-Hunting Scene on Yeh Pulu Relief in Bali: Romanticism of People’s Heroism in the Study of Iconology.I. Wayan Adnyana - 2018 - Cultura 15 (1):147-160.
    This article aims to analyze the tiger-hunting scene on Yeh Pulu relief, located in Bedulu Village, Gianyar, Bali. This relief is estimated to have been created by Balinese artists of the end of the era of Ancient Bali Kingdom in about the 14th century AD. There are only few in-depth studies conducted on this monumental relief in the context of iconology by visual art researchers. Therefore, the author has conducted intensive field research and studies since a year ago based (...)
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  35. Diva Matrix: A Faked Gnostic Intaglio in the Possession of P. P. Rubens and the Iconology of a Symbol.A. A. Barb - 1953 - Journal of the Warburg and Courtauld Institutes 16 (3/4):193-238.
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  36.  66
    Image, Medium, Body: A New Approach to Iconology.Hans Belting - 2005 - Critical Inquiry 31 (2):302-319.
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  37.  12
    Image, Medium, Body: A New Approach to Iconology.Hans Belting - 2005 - Critical Inquiry 31 (2):302.
  38.  16
    Music of the Spheres and the Dance of Death: Studies in Musical Iconology. Kathi Meyer-Baer.Morton Bloomfield - 1971 - Speculum 46 (1):172-174.
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  39.  10
    The Vākāṭakas: An Essay in Hindu IconologyThe Vakatakas: An Essay in Hindu Iconology.Robert L. Brown & Hans Bakker - 2001 - Journal of the American Oriental Society 121 (4):664.
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  40.  4
    Barbara Baert, Revisiting Salome’s Dance in Medieval and Early Modern Iconology. (Studies in Iconology 7.) Leuven, Paris, and Bristol, CT: Peeters, 2016. Paper. Pp. 90; 25 Color Figures. €36. ISBN: 978-9-0429-3428-3. [REVIEW]Kathryn Dickason - 2020 - Speculum 95 (2):507-509.
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  41.  9
    Roberta Milliken, Ambiguous Locks: An Iconology of Hair in Medieval Art and Literature. Jefferson, NC: McFarland, 2012. Paper. Pp. X, 290; 40 Black-and-White Figures. $45. ISBN: 978-0-7864-4870-8. [REVIEW]Martha Easton - 2016 - Speculum 91 (3):825-826.
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  42.  19
    History and Images: Towards a New Iconology. Axel Bolvig, Phillip Lindley.Gerald B. Guest - 2005 - Speculum 80 (2):520-521.
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  43. Who is the Author? M. Foucalt-P. Bourdieu-Iconology.O. Kascak - 2004 - Filozofia 59 (9):681-687.
     
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  44.  18
    The Decameron "Cornice": Allusion, Allegory, and Iconology. Lucia Marino.B. Layman - 1981 - Speculum 56 (2):405-408.
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  45. Music of the Spheres and the Dance of Death: Studies in Musical Iconology.Kathi Meyer-Baer - 1970 - Da Capo Press.
  46.  6
    Lorenz Ancient Mythological Images and Their Interpretation: An Introduction to Iconology, Semiotics and Image Studies in Classical Art History. Cambridge: Cambridge University Press, 2016. Pp. Xiv + 288. £59.99/ £19.99 9780521195089/9780521139724. [REVIEW]Michael Squire - 2018 - Journal of Hellenic Studies 138:292-293.
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  47.  42
    Iconic Turn: A Plea for Three Turns of the Screw.Emmanuel Alloa - 2015 - Culture, Theory, and Critique 56 (3).
    In the early 1990s, W.J.T. Mitchell and Gottfried Boehm independently proclaimed that the humanities were witnessing a ‘pictorial’ or ‘iconic turn’. Twenty years later, we may wonder whether this announcement was describing an event that had already taken place or whether it was rather calling forth for it to happen. The contemporary world is, more than ever, determined by visual artefacts. Still, our conceptual arsenal, forged during centuries of logocentrism, still falls behind the complexity of pictorial meaning. The essay has (...)
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  48. Das Bild Als Eigenständiges Semiotisches System.Martina Sauer - 2016 - In Natalia Igl Julia Menzel (ed.), Illustrierte Zeitschriften um 1900. Mediale Eigenlogik, Multimodalität und Metaisierung. transcript. pp. 137-165.
    Do we communicate with pictures? If so, the text asks, what about their complex, dynamic appearances? Are they part of the communication process? By analysing a cover image of the journal Jugend from 1896 and by consulting the research on the logic of pictures (“Eigenlogik”) in Bildwissenschaft, Iconology and Cultural Anthropology these questions shall be persued. The analysis suggests, that instead of consenting the results of epistemological aesthetic research a new understanding of pictures shall be implemented: They can be (...)
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  49. Ästhetik Versus Kunstgeschichte?: Ernst Cassirer Als Vermittler in Einer Bis Heute Offenen Kontroverse Zur Relevanz der Kunst Für Das Leben.Martina Sauer - 2018 - In Stefan Niklas & Thiemo Breyer (eds.), Ernst Cassirer in Systematischen Beziehungen: Zur Kritisch-Kommunikativen Bedeutung Seiner Kulturphilosophie. De Gruyter. pp. 239-260.
    Aesthetics versus Art History? Ernst Cassirer as Mediator in an ongoing Controversy on the Relevance of Art for Life. Against the background of Ernst Cassirer’s cultural philosophy, art studies are to be classified as cultural studies. Central to this is Cassirer’s philosophy as the basis for answering a question that has been posed by the methods of formal aesthetics and iconology since the 19th century but is still unanswered today, namely the question of the relevance of the arts for (...)
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  50. Confronting Images: Questioning the Ends of a Certain History of Art.Georges Didi-Huberman - 2009 - Pennsylvania State University Press.
    When the French edition of _Confronting Images_ appeared in 1990, it won immediate acclaim because of its far-reaching arguments about the structure of images and the histories ascribed to them by scholars and critics working in the tradition of Vasari and Panofsky. According to Didi-Huberman, visual representation has an “underside” in which seemingly intelligible forms lose their clarity and defy rational understanding. Art historians, he goes on to contend, have failed to engage this underside, where images harbor limits and contradictions, (...)
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