Iconography

Aniconismo e iconografía monetal en al-Andalus

by Almudena Ariza Armada

Primer Simposio España y Estados Unidos. Ed. A. Janzon. Madrid, 2001. pp. 23 - 33.

Iconspicuous Revolutions of 1989. Culture and Contingency in the Making of Political Icons

by Dominik Bartmanski

A Chapter in the Book "Iconic Power"

Published in 2012 by Palgrave Macmillan

Sociological interpretation of news images inevitably take us beyond the surface of pictures to the surfaces and... more Sociological interpretation of news images inevitably take us beyond the surface of pictures to the surfaces and depths of events, to singular bodies and powerful crowds, sights and sites, built structures, and symbolically constructed narratives. It is precisely the new prism of iconicity through which the effects of shocking and euphoric events that seem well known can be explained in full. If icons are indeed stars of the social universe, then sociological analysis provides lenses through which we can better see them. With the theory of iconic power, we can make use of the light of “social stars” to learn new things about the social universe as such.

In his chapter “Iconspicuous Revolution: Culture and Contingency in the Making of Political Icons,” Dominik Bartmański revisits the European icons of the euphoric year of 1989 and asks what constitutes a powerful iconic fact. Specifically, he explains why the fall of the Berlin Wall emerged as the icon of 1989 and has retained this symbolic status ever since. The answer is not obvious. 1989 was full of epochal events and important figures busy making history. Especially the earlier, politically unprecedented changes in Hungary and Poland had opened up a revolutionary space in which such events like the fall of the wall became possible. And yet they have not attained the same lasting influence on the international audiences. To reconstruct this phenomenon is to tell a story about how the iconic can trump the political. By demonstrating what counts in public perception as “revolutionary,” “political signal,” and “beginning” and “end” of a social process, Bartmański shows the role that iconicity plays in constituting these key categories and thus in structuring our ability to notice, understand, and remember events. He argues that it is precisely the iconic power of events that turns them into “objective,” temporal markers of history.

Materiality and Meaning in Social Life: Toward an Iconic Turn in Cultural Sociology

by Dominik Bartmanski

Introduction to the book "Iconic Power" co-authored with Jeffrey C. Alexander

With this volume, we push the study of culture into the material realm, not to make cultural sociology materialistic... more With this volume, we push the study of culture into the material realm, not to make cultural sociology materialistic but to make the study of material life more cultural. We introduce the concept of iconicity, and alongside it the idea of iconic power. Objects become icons when they have not only material force but also symbolic power. Actors have iconic consciousness when they experience material objects, not only understanding them cognitively or evaluating them morally but also feeling their sensual, aesthetic force.

Iconografía y legitimación en el califato Hammudí. El símbolo del hexagrama

by Almudena Ariza Armada

Numisma 254. Año LX (2010), pp. 61-83

This paper analyzes the religious and symbolic meanings and the legitimating role of the hexagram (or King Solomon’s... more This paper analyzes the religious and symbolic meanings and the legitimating role of the hexagram (or King Solomon’s Seal) appearing on a coin type from the Hammudí Caliph Idris [II], struck in 438/1046-1047 with a die bearing the mint name of al-Andalus. To do this, the Seal of Solomon is contextualized within
Islamic iconographic symbols; its use in earlier, contemporary and later Islamic coins is also considered.
As will be shown, the hexagram has a clear legitimating and propitiatory function attached to the coin issue itself as well as to the caliph.

LEYENDAS MONETALES, ICONOGRAFÍA Y LEGITIMACIÓN EN EL CALIFATO HAMMUDÍ. LAS EMISIONES DE 'ALl B. HAMMUD DEL AÑO 408/1017-1018

by Almudena Ariza Armada

Al-Qantara XXV, 1 (2004) 203-231

This article analyzes the coins issued by 'Alï b. Hammüd, the first caliph of the Hammüdi dynasty in al-Andalus, in... more This article analyzes the coins issued by 'Alï b. Hammüd, the first caliph of the Hammüdi dynasty in al-Andalus, in the year 408/1017-1018. Special attention has been given to the analysis of monetary legends and their relation with different aspects of legitimation of the dynasty. The images of fish depicted in one of the series of coins has been studied and a number of hypotheses have been suggested, to provide a deeper knowledge of Hammüdi numismatic.
Finally, the article includes a catalogue of the coins decorated with fish figures from that year.

Mosaicos romanos com motivos aquáticos em Portugal

by Cátia Mourão

Published in O mosaico romano nos centros e nas periferias: originalidades, influências e identidades - Actas do Xº Colóquio Internacional da AIEMA, 28 de Outubro a 2 de Novembro de 2005, Museu Monográfico de Conimbriga, Conimbriga, 2005-2011, pp. 343-351.

PORTUGUÊS:
O presente texto refere-se aos mosaicos romanos com motivos aquáticos encontrados no actual... more PORTUGUÊS:
O presente texto refere-se aos mosaicos romanos com motivos aquáticos encontrados no actual território português até 2005 e datáveis de finais do século II d.C. até meados do século VI d.C.

ENGLISH:
This text focuses on the roman mosaics found in Portuguese territory until 2005, dating from late 2nd century A.D. to middle 6th century A.D.

Sprachliche Zeichen und die kontextabhängige Rezeption

by Utku Tanrıvere

The reverse types from the local mint of Viminacium. An iconographic analysis

by Lajos Juhasz

Numizmatikai Közlöny 108-109 (2009-2010)

HYPERICONICS: Hypertext and the social construction of information about the history of artistic notions

by Gerhard Jan Nauta

Symbols of Power in Rituals of Violence: The Personality Cult and Iconoclasm on the Soviet Empire’s Periphery (East Germany, 1945–61)

by Alexey Tikhomirov

published in: Kritika: Explorations in Russian and Eurasian History, Volume 13, Number 1, Winter 2012, pp. 47-88.

Call for Papers: New Approaches to Ancient Coin Iconography

by Stefan Krmnicek

Représentations et identités du soldat romain, de Constantin à Théodose

by Maxime Emion

Mémoire de Master, sous la direction de P. Faure et D. Sansy (M1, Université du Havre) ; de P. Cosme et E. Soler (M2, Université de Rouen, en cours)

[FRENCH] Ce mémoire a pour objectif de montrer les multiples facettes de la figure du soldat romain au IVe siècle apr.... more [FRENCH] Ce mémoire a pour objectif de montrer les multiples facettes de la figure du soldat romain au IVe siècle apr. J.-C.
Notre travail repose sur une grande diversité des sources – littéraires, épigraphiques, iconographiques – et est articulé en trois grands axes :
- Le soldat idéal : la figure du militaire dans l'iconographie est aisément reconnaissable par un ensemble d'attributs qui montrent sa fonction. De même, le corps du soldat idéal doit correspondre à certains critères. Un ensemble de valeurs morales doivent régir, dans l'idéal, le comportement du militaire. Enfin, l'émergence du christianisme comme religion d'état transforme la figure du soldat parfait, qui combat sous les auspices de Dieu, sans toutefois renier les valeurs traditionnelles.
- Le soldat dans la société : cette partie de l'étude s'intéresse au soldat tel qu'il est perçu par ses contemporains. La tendance générale de la période est au rapprochement entre civils et militaires. Ces derniers ont toutefois une réputation de brutes parasites. L'armée romaine du IVe siècle est de plus en plus considérée comme un nid de barbares indisciplinés ; cette étude considère la barbarisation comme un ensemble de comportements culturels définissant en partie l'identité militaire. Le soldat a une image également ambigüe dans les milieux chrétiens, entre une réputation héritée de persécuteur, et une fonction de modèle de vie chrétienne.
- Le soldat parmi ses semblables : cette dernière partie considère la pluralité des identités militaires. Chaque individu, par sa carrière ou sa spécialisation, remodèle la figure du soldat. Nous mettons également en évidence la pluralité des échelles de l'esprit de corps, de l'exercitus au contubernium. L'identité chrétienne des soldats fait enfin l'objet d'une discussion. Si la christianisation est indiscutable, son rythme et sa sincérité sont difficiles à appréhender. Il convient enfin de s'interroger sur l'originalité (ou non) des pratiques chrétiennes des soldats.

[ENGLISH] This dissertation aims to show the multiple aspects of the figure of the Roman soldier in the fourth century. Various types of sources (literary, epigraphic, iconographic) are used. Three main axes of reflection are to be distinguished:
-The soldier as an ideal. Iconography depicts the Roman soldier with particular attributes. The soldier also embodies physical and moral qualities. The rise of Christianity transforms the image of the army, now protected by the banners of God.
-The soldier in society. The fourth century is marked by the permanent contact between soldiers and civilians. The former have among the latter the reputation of being barbarians bullies, despite their role as guardians of Romanity. In Christian circles too, the soldiers are perceived ambiguously.
-The soldier amongst his peers. This last part considers the plurality of military identities. Each individual reforms the figure of the soldier by the means of his own career or specialization. The esprit de corps is also marked by a diversity of scale, from the exercitus to the contubernium. Christian identity in the military is a complicated question, as its sincerity is open to question. Some religious behaviors are to be studied.

Review of Derek B. Counts, Bettina Arnold (eds.), The Master of Animals in Old World Iconography

by judith weingarten

Elementi iconografici della glittica fenicia israelita e giudaica dell'età del Ferro. Confronti e problemi

by Cinzia Olianas

You can find my own paper on pages 18-21.

Constancy in Continuity: Native Oral history, Iconography and the Earthworks of the Upper Purus.

by pirjo kristiina virtanen

In Ethnicity in Ancient Amazonia: Reconstructing past identities from archaeology, linguistics, and ethnohistory. Alf Hornborg & Jonathan D. Hill (eds.). Pp. 279-298. Boulder: University Press of Colorado, 2011.

Postavenie psa v spoločnosti doby halštatskej. Dog in the Early Iron Age society (summary).

by Petra Kmeťová

published in: "Medea – Studia mediaevalia et antiqua 10, Bratislava 2007"

Presented paper deals with representations of dog in figural art of East Alpine Hallstatt region, especially motives... more Presented paper deals with representations of dog in figural art of East Alpine Hallstatt region, especially motives exept hunting scenes (these were presented in another paper). Representations from the East Alpine Hallstatt region are compared to dogs representations from other contemporary centres of figural art. The representations are compared to selected dog burials from presented region and also to role of dog in mythology and ancient religions.

'The “Chariots of the Sun” (2 Kings 23:11)'

by Ido Koch

Semitica 54 (2012): 211-219

«Il vaso dipinto di Merv»

by Niccolò Manassero

Drafts only
Published in Parthica, 5 (2003), 131 – 152.

Pictorial Seasons: a Cultural Study of the Cycle of Calendar Paintings In the Torre Dell'Aquila

by Diane Booton

Ph.D. dissertation, Institute of Fine Arts, New York University

The missing link? Iconography and literary legend of Alexander the Great

by Agnieszka Fulinska

Published in: Studies in Ancient Art and Civilization 15 (2011)