Global ETD Search

71	Panovník v roli autora: Obraz anglosaského krále očima soudobých umělců a společnosti / The king as a writer: The image of Anglo-Saxon rulers in the perspective of contemporary artists and society Kantorová, Aneta January 2015 (has links) The present thesis focuses on the importance of the written word as a ruling device of the Anglo- Saxon kings. Due to the availability of historical evidence, the studied period begins in 597 with the arrival of Christian missionaries from Rome and ends prior to the Norman Conquest in 1066. The kings' approach to the written word is analyzed on the basis of surviving literary and iconographic evidence, i.e. on documents composed for or by the rulers, and on the visual images of the rulers as portrayed in surviving manuscripts. The first chapter provides a historical background necessary for the correct interpretation of the examined texts and portraits. This section is aimed at the main concepts discussed in the thesis: medieval authorship, medieval kingship, and the spread of Christianity within the Anglo- Saxon kingdoms. The second chapter offers the analysis of written documents and focuses on the texts composed within the scope of King Alfred's educational and religious reform. The close reading of the OE translations demonstrates the king's use of the texts as didactic tools mainly serving to promote religion and learning within the kingdom. The key texts are Gregory's Pastoral Care, Augustine's Soliloquies, and Boethius's Consolation of Philosophy; an additional context of the king's life and...
72	Ikonografiese studie van Ou Nabye-Oosterse ivoor gedurende die Ystertydperk, 1200 v.C. - 538 v. C. Grobler, Estelle Cornelia 02 1900 (has links) Die Bybel is die boek wat die meeste gelees word en tog is dit moeilik om die leefwêreld van daardie era te verstaan. My doel is om ’n nuwe blik te gee op ’n paar Ou-Testamentiese simbole. Die ontdekking van ivoorobjekte in die middel negentiende eeu in Nimrud se paleise het tot groot opwinding gelei, aangesien dit met die literatuur ooreenstem. Die ivoorstukke het ’n “verhaal” kom vertel. Deur die streke se kuns te bestudeer kan ons ’n prentjie vorm van die kuns wat in die Ystertydperk in Mesopotamië en Palestina se paleise en welaf huise voorgekom het. Die ikonografie word ontrafel deur ’n paar ivoorstukke te “lees.” Ikonografie is die beskrywing en verklaring van beelde wat op bepaalde onderwerpe betrekking het. Sekere beelde kom herhaaldelik voor in Mesopotamië. In dié studie word hoofsaaklik die Gevleuelde Wesens, die Boom van Lewe, die Gevleuelde Sonskyf asook Rosette beskryf. / The Bible is widely read but it is difficult to understand the world and culture of the era that it is set in. It is my aim to provide new insight into a few Old Testament verses with their symbolic meaning. When ivory was discovered at Nimrud the discovery elicited huge excitement. The ivory pieces came to tell a story. Through studying the art of the different cultures a picture begins to appear of the palaces and homes of the wealthy in the Levant. The iconography could be “read.” Iconography is the science of interpreting the message the art wants to convey to the viewer. A few images are repeatedly showing up in the Levant during the Iron Age. In this study I am focusing mainly on The Tree of Life, the Winged Disc, the Rosette and Winged Spiritual Beings. I am attempting to discern the meaning behind these images. / Biblical and Ancient Studies / M.A. (Ou Nabye-Oosterse Studies) Ou Nabye Ooste Ivoor Ystertydperk Boom van Lewe Gevleuelde spirituele wesens Gevleuelde sonskyf Ikonografie Simbolisme Klipreliëfs van Nimrud Roset simbool Ancient Near East Iron Age Ivory Tree of Life Winged spiritual beings Winged disc Iconography Symbolism Stonereliefs from Nimrud Roset symbol 709.94809394 Middle East -- Antiquities Bible. Old Testament -- Antiquities Iron Age -- Middle East Archaeology and religion -- Middle East Idols and images in art
73	Tvorba mnichovského malíře Jana Polacka v kontextu dobové výtvarné produkce v Bavorsku a možný ohlas v českém malířství kolem roku 1500. / The work of Jan Polack and its impact in the Bohemian painting around 1500 NAUŠ, Stanislav January 2018 (has links) In comparison with the art production at Nurnberg or at the cities of the so-called Danube School at the end of 15th century stands the simultaneous painting at Munich in the background. Therefore is sometimes forgotten, that there, in this period, a painter Jan Polack with his workshop was active. To his important customers/patrons belonged the dukes Sigmund and Albrecht of Wittelsbach and the Bavarian monasteries (Weihenstephan near Feising), for which he made few altars or portraits. A most of these altars were after that removed from the original sacral areas and today they are presented in the Bavarian National-museum at Munich or in other galleries. Only a few altars, for example three altars for the chapel in Blutenburg near Munich, have been staying on the original place in this small chapel. These Master thesis would like to compare his most representative pictures in the context with the others paintings, which were created in the middle or at the end of the 15th century in Bavaria (circle of Hans Pleydenwurff, Wolfgang Katzheimer etc.). This comparison can help to find the sources of the Polacks artistic expression. A special attention should be devoted his cooperation with Mair of Landshut, because few pictures of Polacks altar from the church of St. Peter in Munich have just been to Mair inscribed. It is also important to point to same compositional connections between the altar-pictures of Jan Polack and the graphics (Master E. S., Martin Schongauer) One highly-valued contribution of this thesis could be a capitol about the possible inspiration of the Polacks artistic expression for the artists, who came from Bohemia and who have been working here for a long times, but who could gain their training in the Bavaria (Munich). At the literature (Jaroslav Pešina) was one opinion expressed, that an altar in a church in Chudenitz concludes the formal features, which reveal a connection to the art at Munich in the middle of the 15th century. However, other authors (Roman Lavička) think that the painted boards of an original altar of Doudleby were inspired by Polacks artistic expression, although any concrete related features were not in the literature mentioned. It is appropriate too, point to the several compositional connections between the pictures of Jan Polack und a so-called Master of an altar from Litoměřice. This anonymous Bohemian painter, who is knowed only according to his most important commission, would be supposed to study in the Bavaria (an artistic circle of Rueland Frueauf at Passau) at the end of the 15th century. It is possible, that he could visit Munich und he could be inspired by the Polacks paintings.
74	Přátelské portréty v italském renesančním malířství / Portraits of friends in Italian Renaissance painting Marsova, Liubov January 2017 (has links) (in English): Represented dissertation dedicated to the issue of male portraits of friends in Italian renaissance painting. Despite of existence of some publications focused on the specific aspects of male portraiture, this area has not been yet given sufficient research interest. In the introductory clause is presented theoretical outline of the male friendship concept of male friendship in the culture of the Italian Renaissance and also some key aspects of the portrait genre. The work is divided into chapters by topic: for example, "Portrait and Antique", "Portrait and Remembrance", "Portrait and Poetry". Some particularly interesting moments were extracted into separate excursions as profile portraits of two men, the subject of a mirror in a portrait genre, the communication possibilities of images. Artworks analyzed in the present research are not classified into a classical model of chronological "development". The pictures are interconnected with theoretical thinking, which is also conditioned by the artwork itself. For each painting, existing researches have been gathered and comprehended. There are also new iconographic interpretations of some of the presented works. For research have been abundantly used literature of period, theoretical writings and poetry. The work tries to respond to...
75	A visual semiotic analysis of the hidden meanings, myths and ideologies in Old Mutual South Africa's CSR 2.0 corporate advertising Eiman, Simoné Marianne 05 1900 (has links) Abstracts in English and Afrikaans / The aim of this exploratory study was to investigate the underlying meanings of Old Mutual South Africa’s (OMSA’s) CSR 2.0 corporate advertisements. It specifically examined the underlying myths and ideologies conveyed through the texts. This qualitative study was conducted by means of a visual semiotic analysis (Machin 2012) on eight CSR 2.0 corporate advertisements, which were purposively selected. A theoretical framework to measure visual CSR 2.0 corporate advertisements was developed, which aided in the sampling, data analysis and interpretation processes. The findings of the study indicated that by positioning its CSR 2.0 positively in terms of change and transformation, progress and equal opportunities for all citizens, OMSA is fostering stakeholder-organisation relationships. In addition, it was also found that OMSA adopts established representational tropes of CSR 2.0 and use them repetitively that firmly entrenches the intended/encoded message to the viewer. / Die doel van hierdie verkennende studie was om die onderliggende betekenis van CSR 2.0 korporatiewe advertensies in Ou Mutual Suid-Afrika te ondersoek. Dit is spesifiek gemoeid met die onderliggende mites en ideologieë wat deur middel van die tekste oorgedra word. Die kwalitatiewe studie is uitgevoer deur middel van 'n visuele semiotiese ontleding (Machin 2012) op agt CSR 2.0 korporatiewe advertensies, wat doelbewus gekies is. 'n Teoretiese raamwerk, om visuele CSR 2.0 korporatiewe advertensies te meet, is ontwikkel, dit het bygedra tot die steekproefneming, data-analise en interpretasie prosesse. Die bevindinge van die studie dui daarop dat deur CSR 2.0 positief in terme van verandering en transformasie, vooruitgang, en gelyke geleenthede vir alle burgers te posisioneer, OMSA verhoudings met belanghebbendes kan bevorder. Daarbenewens is ook gevind dat OMSA gevestigde temas van CSR 2.0 implementeer en hulle herhaaldelik gebruik wat juis die beoogde / gekodeerde boodskap stewig aan die kyker bevestig. / Communication Science / M. A. (Communication Science) CSR 2.0 CSR 1.0 Visual semiotic analysis Iconography Denotation Connotation Carriers of connotation Iconographic symbolism Myth Ideology Contextualisation Representation Corporate identity Corporate advertising Interpretivist Realism CSR 2.0 CSR 1.0 Visuele semiotiese Ikonografie Denotasie Konnotasie Draers van konnotasie Ikonografiese simboliek Mites Ideologie Kontekstualisering Verteenwoordiging Korporatiewe identiteit Korporatiewe advertensies Interpretivistiese Realisme 659.10968

Page generated in 0.0365 seconds