Spelling suggestions: "subject:"symbolism inn art"" "subject:"symbolism iin art""
51 |
Roman women portrayed in divine guises : reality and construct in female imagingHansen, Inge Lyse January 2001 (has links)
The thesis concerns representations of Roman women of the imperial period depicted in the guise of a divinity. Portraits of women of all social levels have been included as have representations in any media excluding numismatic evidence. The latter, with its specific contextual characteristics, is only included and discussed as comparanda for the main body of material. The juxtaposition of a recognisable reality and a heightened reality in these representations raises a variety of interpretative questions: whether it is possible to establish a correlation between the mythological interpretation of a goddess and the socio-personal interpretation of an image of a mortal woman; the nature of the message being communicated through the choice of a particular deity; and whether the choice of deity for association in some way may be seen to conform to established ideals or topoi for women. The work examines Roman portraiture as a vehicle for self-expression and the transmission of ideals. Various aspects of the 'mechanics' for achieving this (idealisation, imitation, etc.) are investigated. Though, of particular importance to the argument is the relationship between image and spectator: the perception of portraits and the various factors contributing to forming an interpretation. Thus portraiture is established as a medium which within its contextual framework also includes the spectator - and the spectator's cultural reference points. The main body of the thesis centres on a dual examination of the range of deities with which Roman women were associated and the women presented in the divine guises, respectively proposing avenues of interpretations for the divine allusions and offering suggestions for methods of interpreting their use. The examination of the various deities in whose guises Roman women appear is also juxtaposed with the distinctions and attributes used to characterise women in literary and epigraphic sources. The correlation between these helps to elucidate the values represented in the images of women under discussion, and how they fit within a framework of ideals and virtues, and with the social personae of Roman women. Similarly, affinities between social status and mythological depiction are juxtaposed with a discussion of the role of the mythological representations themselves - exploring especially the relationship between mythological narrative and the tradition of exempla in Roman literature. It is further argued that interpretation is influenced also by viewer response - encouraged through empathetic identification and social emulation - and that the images of women in divine guises therefore may be perceived both as revealing intrinsic personal characteristics and as a costume symbolically articulating aspirational values. The inherent duality in these representations does in other words not so much concern degrees of reality as interacting realities: the individual"as a social participant, the public persona evidencing personal virtues. The images of Roman women presented therefore contain equally a reconfiguring response to the world and a socialising affirmation of identity.
|
52 |
The formal and metaphoric dimensions of art : the problem of reconciling artistic autonomy with aesthetic relevance25 October 2015 (has links)
D.Litt. et Phil. / Please refer to full text to view abstract
|
53 |
Lifeline: Expressions of Intimacy Through PaintUnknown Date (has links)
Lifeline: Expressions of Intimacy Through Paint is a body of paintings that seeks
to bridge physical distance by sensually applying layers of oil paint to recreate the
physicality of my husband. I allow the viewer to enter into a private exchange by the use
of intimately charged spaces, like the bed, which demonstrates how paint can be a
conduit for touch in absentia. By intensely remembering my partner in these works, I
reconstitute my knowing him through paint and seek to move beyond mere representation
to know and express him better. Therefore, these paintings not only bridge the physical
distance between my body and his, but search for meaningful expressions of my internal
conversations as I make visual discoveries that expand my understanding of him. / Includes bibliography. / Thesis (M.F.A.)--Florida Atlantic University, 2017. / FAU Electronic Theses and Dissertations Collection
|
54 |
An analysis of visual religious symbols appearing in the Improvement Era, Ensign, and New Era published by the Church of Jesus Christ of Latter-day SaintsChristensen, Carl Landus. January 1974 (has links)
Thesis (M.A.)--Brigham Young University. Dept. of Art & Design. / Electronic thesis. Also available in print ed.
|
55 |
Pallid corpses in golden coffins : relics, reliquaries, and the art of relic cults in the Adriatic Rim /Munk, Ana. January 2003 (has links)
Thesis (Ph. D.)--University of Washington, 2003. / Vita. Includes bibliographical references (leaves 340-373).
|
56 |
Sir John Everett Millais' use of Tractarian symbolism, 1848-1852 / Millais' use of Tractarian symbolism, 1848-1852.Stiebeling, Detlef. January 1984 (has links)
No description available.
|
57 |
The mirror as device : a study of the mirror motif in select examples of South African and western artworks.Parsuram, Sirola. January 2010 (has links)
No abstract available. / Thesis (M.A.)-University of KwaZulu-Natal, Pietermaritzburg, 2010.
|
58 |
A studio project in woodcarving : the symbolism of the buffalo in art yesterday, today, and tomorrowWise, Heather M. January 2001 (has links)
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
|
59 |
Johannes Vermeer's allegory of faith reconsideredMarval, Mary January 1988 (has links)
No description available.
|
60 |
The poetics of thresholds : chair as a social portrait /Thomas, P. R. January 1995 (has links)
Thesis (M.A.)(Hons)--University of Western Sydney, Nepean, 1995. / Includes bibliography.
|
Page generated in 0.067 seconds