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University of Georgia
1.
Gandy, Stuart Lawton.
A measure of grace.
Degree: 2014, University of Georgia
URL: http://hdl.handle.net/10724/29042 
► During the reign of Tsar Ivan IV of Russia, a new form of icons was developed and created for members of the imperial family. Upon…
(more)
▼ During the reign of Tsar Ivan IV of Russia, a new form of icons was developed and created for members of the imperial family. Upon the birth of a prince or princess, the new child would be measured. The Tsar would then commission a likeness
of their patron saint which used these measurements to determine the length of the painted panel. These icons uniformly incorporated a motif known as the Old Testament Trinity, which depicts the three angelic visitors who came to Abraham in the Book of
Genesis. By considering the extant literature on this practice, their particular iconography, and their relation to other forms of Holy images, it is the purpose of this thesis to demonstrate that these icons were part of a new model of Russian
autocracy, developed during the reign of Ivan IV and maintained during the reign of the Romanov dynasty and involving the process of sacralization of the ruler.
Subjects/Keywords: Russia; Icons; Measured icons; Tsars; Old Testament Trinity; Russian history; Russian icons; Russian Orthodoxy
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APA (6th Edition):
Gandy, S. L. (2014). A measure of grace. (Thesis). University of Georgia. Retrieved from http://hdl.handle.net/10724/29042
Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation
Chicago Manual of Style (16th Edition):
Gandy, Stuart Lawton. “A measure of grace.” 2014. Thesis, University of Georgia. Accessed January 19, 2021.
http://hdl.handle.net/10724/29042.
Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation
MLA Handbook (7th Edition):
Gandy, Stuart Lawton. “A measure of grace.” 2014. Web. 19 Jan 2021.
Vancouver:
Gandy SL. A measure of grace. [Internet] [Thesis]. University of Georgia; 2014. [cited 2021 Jan 19].
Available from: http://hdl.handle.net/10724/29042.
Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation
Council of Science Editors:
Gandy SL. A measure of grace. [Thesis]. University of Georgia; 2014. Available from: http://hdl.handle.net/10724/29042
Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation
Northeastern University
2.
Zheng, Jiani.
Daigou: can a complex story be told without words?.
Degree: M.F.A., Department of Art + Design, 2017, Northeastern University
URL: http://hdl.handle.net/2047/D20258135
► A new figure in the luxury market is called Daigou. Through Daigou, customers can enjoy a wider range of product choices and purchase foreign goods…
(more)
▼ A new figure in the luxury market is called Daigou. Through Daigou, customers can enjoy a wider range of product choices and purchase foreign goods at a lower price and higher quality than domestic goods.; Therefore, the first question arises when Daigou changes the traditional retailing model of the business market. The market adds another stakeholder into the transaction process. The thesis question is: can a complex market be told through icons?; The thesis analyzes the market of Daigou. Base on my research, the study exposes the process of the market system. The experiments are trying to answer the thesis questions.
Subjects/Keywords: Daigou; grey market; icons; story
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APA (6th Edition):
Zheng, J. (2017). Daigou: can a complex story be told without words?. (Masters Thesis). Northeastern University. Retrieved from http://hdl.handle.net/2047/D20258135
Chicago Manual of Style (16th Edition):
Zheng, Jiani. “Daigou: can a complex story be told without words?.” 2017. Masters Thesis, Northeastern University. Accessed January 19, 2021.
http://hdl.handle.net/2047/D20258135.
MLA Handbook (7th Edition):
Zheng, Jiani. “Daigou: can a complex story be told without words?.” 2017. Web. 19 Jan 2021.
Vancouver:
Zheng J. Daigou: can a complex story be told without words?. [Internet] [Masters thesis]. Northeastern University; 2017. [cited 2021 Jan 19].
Available from: http://hdl.handle.net/2047/D20258135.
Council of Science Editors:
Zheng J. Daigou: can a complex story be told without words?. [Masters Thesis]. Northeastern University; 2017. Available from: http://hdl.handle.net/2047/D20258135
Michigan State University
3.
Johnson, Bethany Brooke.
The Icon in Greek art, religion, and philosophy : 700 B.C. – A.D. 1200.
Degree: MA, Department of Art, 1983, Michigan State University
URL: http://etd.lib.msu.edu/islandora/object/etd:39795
Subjects/Keywords: Icons; Greek
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APA (6th Edition):
Johnson, B. B. (1983). The Icon in Greek art, religion, and philosophy : 700 B.C. – A.D. 1200. (Masters Thesis). Michigan State University. Retrieved from http://etd.lib.msu.edu/islandora/object/etd:39795
Chicago Manual of Style (16th Edition):
Johnson, Bethany Brooke. “The Icon in Greek art, religion, and philosophy : 700 B.C. – A.D. 1200.” 1983. Masters Thesis, Michigan State University. Accessed January 19, 2021.
http://etd.lib.msu.edu/islandora/object/etd:39795.
MLA Handbook (7th Edition):
Johnson, Bethany Brooke. “The Icon in Greek art, religion, and philosophy : 700 B.C. – A.D. 1200.” 1983. Web. 19 Jan 2021.
Vancouver:
Johnson BB. The Icon in Greek art, religion, and philosophy : 700 B.C. – A.D. 1200. [Internet] [Masters thesis]. Michigan State University; 1983. [cited 2021 Jan 19].
Available from: http://etd.lib.msu.edu/islandora/object/etd:39795.
Council of Science Editors:
Johnson BB. The Icon in Greek art, religion, and philosophy : 700 B.C. – A.D. 1200. [Masters Thesis]. Michigan State University; 1983. Available from: http://etd.lib.msu.edu/islandora/object/etd:39795
Penn State University
4.
Anguelova, Vessela Nikolova.
THE SOUND OF SILENCE:
SACRED PLACE IN BYZANTINE AND POST-BYZANTINE DEVOTIONAL ART
.
Degree: 2011, Penn State University
URL: https://submit-etda.libraries.psu.edu/catalog/12169
► This study explores the representation of holy places in devotional images from the early Christian era to the post-Byzantine period. I delineate five phases of…
(more)
▼ This study explores the representation of holy places in devotional images from the early Christian era to the post-Byzantine period. I delineate five phases of this development. The first phase (300s-500s) was connected to the rise of Christian sacred sites. Christian ideas about sacredness of locations built upon the Greek and Roman cults, and the Jewish religion but reflected Christianity’s own practices. Despite the variety of Christian holy places, only biblical sites appeared in religious images. This tendency changed in the post-Iconoclastic period. After the 900s, non-biblical sacred places gradually populated
icons. All of these were monastic. The roots of this iconographic development must be sought in the standardization of the representation of saints. The Menologion of Basil II (976-1025) exemplifies the first systematic association of saints with specific locations. In this illuminated church calendar the eremitic desert or a cityscape suggests a saint’s occupation. The manuscript provided an important source to iconographers of devotional images that showed non-biblical holy places in the twelfth and the thirteenth centuries. These places—the church of the Miracle at Chonae and the eremitic desert of the Koimesis of St. Ephrem—specifically acclaimed ascetic virtues and praxis. The next step towards the representation of non-biblical sacred sites came in the early 1300s with the icon of the Virgin from the Zoōdochos Pēgē monastery in Constantinople. This new image bound devotion to a miracle-working spring in the Byzantine capital, yet it became popular in the neighboring countries. My study examines the reasons for this popularity through the decorative program of Archangel Michael at Lesnovo (1349). I argue that the Virgin Zoōdochos Pēgē effectively evoked Byzantine imperial power, and Christian doctrine and thus served the Serbian ruling class to legitimate its patriarchal church. The advertising potential of
icons of places was fully appreciated in the post-Byzantine period. At this time
icons expanded the holy sites conferring sacredness to ordinary monasteries. A case study of the Rila monastery paper
icons attributes the wide distribution of these
icons to the printing medium, and to the economic and political circumstances of Ottoman rule.
Advisors/Committee Members: Anthony Cutler, Dissertation Advisor/Co-Advisor, Anthony Cutler, Committee Chair/Co-Chair, Elizabeth Bradford Smith, Committee Member, Brian A Curran, Committee Member, Garrett Fagan, Committee Member, Annemarie Weyl Carr, Committee Member.
Subjects/Keywords: paper icons; Byzantine art; icons; post-Byzantine; devotional art
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APA (6th Edition):
Anguelova, V. N. (2011). THE SOUND OF SILENCE:
SACRED PLACE IN BYZANTINE AND POST-BYZANTINE DEVOTIONAL ART
. (Thesis). Penn State University. Retrieved from https://submit-etda.libraries.psu.edu/catalog/12169
Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation
Chicago Manual of Style (16th Edition):
Anguelova, Vessela Nikolova. “THE SOUND OF SILENCE:
SACRED PLACE IN BYZANTINE AND POST-BYZANTINE DEVOTIONAL ART
.” 2011. Thesis, Penn State University. Accessed January 19, 2021.
https://submit-etda.libraries.psu.edu/catalog/12169.
Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation
MLA Handbook (7th Edition):
Anguelova, Vessela Nikolova. “THE SOUND OF SILENCE:
SACRED PLACE IN BYZANTINE AND POST-BYZANTINE DEVOTIONAL ART
.” 2011. Web. 19 Jan 2021.
Vancouver:
Anguelova VN. THE SOUND OF SILENCE:
SACRED PLACE IN BYZANTINE AND POST-BYZANTINE DEVOTIONAL ART
. [Internet] [Thesis]. Penn State University; 2011. [cited 2021 Jan 19].
Available from: https://submit-etda.libraries.psu.edu/catalog/12169.
Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation
Council of Science Editors:
Anguelova VN. THE SOUND OF SILENCE:
SACRED PLACE IN BYZANTINE AND POST-BYZANTINE DEVOTIONAL ART
. [Thesis]. Penn State University; 2011. Available from: https://submit-etda.libraries.psu.edu/catalog/12169
Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation
University of Georgia
5.
Morlino, Rose Michele.
Evaluation of the effects of a generic-icon based speech-generating device and an individualized-icon based speech-generating device on independence of mands.
Degree: 2019, University of Georgia
URL: http://hdl.handle.net/10724/38608
► The purpose of this study was to evaluate the effects of generic icons and individualized icons on a speech generating device (SGD) on the independence…
(more)
▼ The purpose of this study was to evaluate the effects of generic icons and individualized icons on a speech generating device (SGD) on the independence of mands and assess preference for icon type. The researcher used a single-subject
alternating treatment design to compare icon types with one participant with a limited mand repertoire. Two preference assessments were conducted to determine edibles for mand training. The intervention consisted of mand training with physical prompting
and alternating icon types. Results showed that there was no difference in independence of mands based on icon-type. After mand training sessions, the researcher conducted a concurrent operant preference assessment to determine if one icon-type was more
preferred. Results demonstrated a clear preference for one icon-type.
Subjects/Keywords: SGD; generic icons; individualized icons; icon type; preference; communication training
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APA (6th Edition):
Morlino, R. M. (2019). Evaluation of the effects of a generic-icon based speech-generating device and an individualized-icon based speech-generating device on independence of mands. (Thesis). University of Georgia. Retrieved from http://hdl.handle.net/10724/38608
Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation
Chicago Manual of Style (16th Edition):
Morlino, Rose Michele. “Evaluation of the effects of a generic-icon based speech-generating device and an individualized-icon based speech-generating device on independence of mands.” 2019. Thesis, University of Georgia. Accessed January 19, 2021.
http://hdl.handle.net/10724/38608.
Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation
MLA Handbook (7th Edition):
Morlino, Rose Michele. “Evaluation of the effects of a generic-icon based speech-generating device and an individualized-icon based speech-generating device on independence of mands.” 2019. Web. 19 Jan 2021.
Vancouver:
Morlino RM. Evaluation of the effects of a generic-icon based speech-generating device and an individualized-icon based speech-generating device on independence of mands. [Internet] [Thesis]. University of Georgia; 2019. [cited 2021 Jan 19].
Available from: http://hdl.handle.net/10724/38608.
Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation
Council of Science Editors:
Morlino RM. Evaluation of the effects of a generic-icon based speech-generating device and an individualized-icon based speech-generating device on independence of mands. [Thesis]. University of Georgia; 2019. Available from: http://hdl.handle.net/10724/38608
Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation
6.
Visel, Jeana.
Praying with Icons.
Degree: 2017, The Catholic University of America
URL: http://hdl.handle.net/1961/cuislandora:72126
► Today, many Roman Catholics do not understand the role of religious images. Unfamiliar with how to pray with sacred art, many are uncomfortable venerating icons…
(more)
▼ Today, many Roman Catholics do not understand the role of religious images. Unfamiliar with how to pray with sacred art, many are uncomfortable venerating icons or other images of Christ or the saints. Often, sacred art is used as mere decoration. At the same time, we see increasing interest among Christians in Eastern icons. Without adequate training or theological education, many well-meaning Catholics and Protestants start painting “icons” of poor artistic quality, not following principles of Eastern iconography. Often, the result is bad art and bad visual theology. Consequently, some Orthodox become protective of their tradition, sometimes refusing to work with others who would want to learn iconography. This tension does not help build ecumenical unity.What is needed at this time? Broadly speaking, Roman-rite Catholics must be more intentional about how religious art functions within different sacred spaces. Many could benefit from catechesis on how to “read” religious art, and a deeper understanding of the ancient Christian tradition of visual culture. Beyond cognitive understanding, many Catholics also need to learn how to pray with images. While basic education about sacred images is a start, some people may need assistance “crossing cultures,” from the aniconic to the visual. This project utilized presentations and guided experience within the framework of a 6-day Intensive Spiritual Formation Week held at Saint Meinrad Seminary and School of Theology. The immediate goal was to help seminarians gain understanding of and comfort with using icons in different forms of prayer, so as to prepare them to use religious images appropriately in their future ministry, and to become better partners in grassroots ecumenical dialogue between the Eastern and Western churches. Assessment data gleaned from the project found that with focused catechesis and guided experience interacting with icons, Roman Catholics can become more knowledgeable and comfortable with appropriate use of religious images.
Theology
Spirituality
Art history
art, Byzantine, Catholic, icons, images, prayer
Spirituality
Degree Awarded: D.Min. Spirituality. The Catholic University of America
Advisors/Committee Members: The Catholic University of America (Degree granting institution), Witczak, Michael (Thesis advisor), Alexopoulos, Stefanos (Committee member), Darling Young, Robin (Committee member).
Subjects/Keywords: art; Byzantine; Catholic; icons; images; prayer
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APA ·
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Manager
APA (6th Edition):
Visel, J. (2017). Praying with Icons. (Thesis). The Catholic University of America. Retrieved from http://hdl.handle.net/1961/cuislandora:72126
Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation
Chicago Manual of Style (16th Edition):
Visel, Jeana. “Praying with Icons.” 2017. Thesis, The Catholic University of America. Accessed January 19, 2021.
http://hdl.handle.net/1961/cuislandora:72126.
Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation
MLA Handbook (7th Edition):
Visel, Jeana. “Praying with Icons.” 2017. Web. 19 Jan 2021.
Vancouver:
Visel J. Praying with Icons. [Internet] [Thesis]. The Catholic University of America; 2017. [cited 2021 Jan 19].
Available from: http://hdl.handle.net/1961/cuislandora:72126.
Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation
Council of Science Editors:
Visel J. Praying with Icons. [Thesis]. The Catholic University of America; 2017. Available from: http://hdl.handle.net/1961/cuislandora:72126
Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation
Karlstad University
7.
Wester, Linus.
Ikoners inverkan på användbarhet och förståelse : Användarbarhetstest för ikonbiblioteket Font Awesome.
Degree: Karlstad Business School, 2016, Karlstad University
URL: http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-44332
► Syftet med denna studie är att undersöka användbarheten hos ikonbiblioteket Font Awesome samt hur sammanhanget påverkar användares uppfattning av en ikon. Frågeformulär och intervjuer…
(more)
▼ Syftet med denna studie är att undersöka användbarheten hos ikonbiblioteket Font Awesome samt hur sammanhanget påverkar användares uppfattning av en ikon. Frågeformulär och intervjuer har besvarats av 20 testpersoner för att undersöka hur internetanvändare uppfattar användningen av 35 utvalda ikoner och hur dessa ikoner bör presenteras för att bidra till hög användbarhet på webbplatser och i applikationer. Resultatet från frågeformuläret påvisar att flertalet ikoner kräver tillhörande text eller tydliga sammanhang för att vara användbara. Resultatet från intervjuerna påvisar att sammanhanget där en ikon presenteras har stor betydelse för hur användarna uppfattar ikonens representation.
This research is aimed to investigate the usability of the icon library Font Awesome and how context affects the user’s perception of an icon. Questionnaires and interviews were conducted by 20 respondents in order to examine how users perceive the use of 35 selected icons and how the icons should be presented for achieving good usability on web sites and in applications. The results of the questionnaire indicate that the majority of icons require accompanying text or clear context to demonstrate usability. The results of the interviews demonstrate that the context in which an icon is presented is of great importance for how users perceive the intention behind the application of the icon.
Subjects/Keywords: Font Awesome; användbarhet; ikoner; icons; usability
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APA (6th Edition):
Wester, L. (2016). Ikoners inverkan på användbarhet och förståelse : Användarbarhetstest för ikonbiblioteket Font Awesome. (Thesis). Karlstad University. Retrieved from http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-44332
Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation
Chicago Manual of Style (16th Edition):
Wester, Linus. “Ikoners inverkan på användbarhet och förståelse : Användarbarhetstest för ikonbiblioteket Font Awesome.” 2016. Thesis, Karlstad University. Accessed January 19, 2021.
http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-44332.
Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation
MLA Handbook (7th Edition):
Wester, Linus. “Ikoners inverkan på användbarhet och förståelse : Användarbarhetstest för ikonbiblioteket Font Awesome.” 2016. Web. 19 Jan 2021.
Vancouver:
Wester L. Ikoners inverkan på användbarhet och förståelse : Användarbarhetstest för ikonbiblioteket Font Awesome. [Internet] [Thesis]. Karlstad University; 2016. [cited 2021 Jan 19].
Available from: http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-44332.
Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation
Council of Science Editors:
Wester L. Ikoners inverkan på användbarhet och förståelse : Användarbarhetstest för ikonbiblioteket Font Awesome. [Thesis]. Karlstad University; 2016. Available from: http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-44332
Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation
University of Johannesburg
8.
Steyn, Raita.
Christian divine, holy and saintly protection of African rulers in the Byzantine ‘Coptic’ iconographic tradition.
Degree: 2014, University of Johannesburg
URL: http://hdl.handle.net/10210/12506
► D.Litt. et Phil. (Greek)
This thesis deals with the Christian divine, holy and saintly protection of African rulers in the Afro-Byzantine ‘Coptic’ (mainly Nubian and…
(more)
▼ D.Litt. et Phil. (Greek)
This thesis deals with the Christian divine, holy and saintly protection of African rulers in the Afro-Byzantine ‘Coptic’ (mainly Nubian and Ethiopian) iconographic tradition. The term ‘icon’ is used in its Byzantine Orthodox meaning as “a theological art picture; a religious, sacred image”, according to the theological and artistic Byzantine prescriptions.1 The term is also applied to frescos, murals, mosaics, larger wooden panels, illustrations in manuscripts and scrolls and smaller items such as protective amulets and charms, depicting a Christian holy representation. The iconographic themes, representing authority and its preservation and protection will be discussed, analysed and examined, the two coefficients being authority and protection of royals and their deputies and officials (i.e. the ‘protected’) on the one hand, and on the other hand Christ, the Holy Virgin, angels, military and non-military saints, supernatural and holy beings (i.e. the ‘protectors’). Firstly, a historical overview of the Byzantine and Afro-Byzantine Orthodox society in terms of religious, social, cultural and political influences is presented and the importance of Orthodox iconography and hagiography and the transformation of local Afro-Byzantine themes are analysed. As such, once the conversion from paganism to Christianity took place in Africa, influences of the Byzantine iconography and hagiography were transformed and integrated with local African Orthodox themes. Byzantine ideology and political theory as well as their relevance for the Coptic-Egyptian, Nubian and Ethiopian context have been discussed, while the artistic and symbolic iconographic representations of the Byzantine (and Medieval Afro-Byzantine) periods...
Subjects/Keywords: Icons, Byzantine; Coptic icons; Christian art and symbolism - Medieval, 500-1500; Christianity and art - Orthodox Eastern Church
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APA (6th Edition):
Steyn, R. (2014). Christian divine, holy and saintly protection of African rulers in the Byzantine ‘Coptic’ iconographic tradition. (Thesis). University of Johannesburg. Retrieved from http://hdl.handle.net/10210/12506
Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation
Chicago Manual of Style (16th Edition):
Steyn, Raita. “Christian divine, holy and saintly protection of African rulers in the Byzantine ‘Coptic’ iconographic tradition.” 2014. Thesis, University of Johannesburg. Accessed January 19, 2021.
http://hdl.handle.net/10210/12506.
Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation
MLA Handbook (7th Edition):
Steyn, Raita. “Christian divine, holy and saintly protection of African rulers in the Byzantine ‘Coptic’ iconographic tradition.” 2014. Web. 19 Jan 2021.
Vancouver:
Steyn R. Christian divine, holy and saintly protection of African rulers in the Byzantine ‘Coptic’ iconographic tradition. [Internet] [Thesis]. University of Johannesburg; 2014. [cited 2021 Jan 19].
Available from: http://hdl.handle.net/10210/12506.
Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation
Council of Science Editors:
Steyn R. Christian divine, holy and saintly protection of African rulers in the Byzantine ‘Coptic’ iconographic tradition. [Thesis]. University of Johannesburg; 2014. Available from: http://hdl.handle.net/10210/12506
Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation
Temple University
9.
Boone, William.
The Beautiful Struggle: an Analysis of Hip Hop Icons, Archetypes, and Aesthetics.
Degree: PhD, 2008, Temple University
URL: http://digital.library.temple.edu/u?/p245801coll10,21145
► African American Studies
Hip hop reached its thirty-fifth year of existence in 2008. Hip hop has indeed evolved into a global phenomenon. This dissertation is…
(more)
▼ African American Studies
Hip hop reached its thirty-fifth year of existence in 2008. Hip hop has indeed evolved into a global phenomenon. This dissertation is grounded in Afro-modern, Afrocentric and African-centered theory and utilizes textual and content analysis. This dissertation offers a panoramic view of pre-hip hop era and hip hop era icons, iconology, archetypes and aesthetics and teases out their influence on hip hop aesthetics. I identify specific figures, movements and events within the context of African American and American folk and popular culture traditions and link them to developments within hip hop culture, discourse, and aesthetics.
Because hip-hop emerged as an American phenomenon, I examine pre-hip hop American popular culture in the twentieth century such as America's World's Fairs, superhero mythology, popular culture iconography, etc. and illustrate the ways in which they served as cultural, social and historical precursors to hip hop aesthetics. Chapter 1 provides an introduction, which includes a definition of terms, statement of the problem and literature review. It also offers a perfunctory discussion of hip hop as culture. Chapter 2 examines pre-hip hop era African-American and American iconography, iconology and archetypes and the subcultures that spawned them (e.g. sports culture, comic super hero narratives, westerns, and the culture of capitalism, etc.). I explore early twentieth century popular culture, iconography, and manhood, and link them to hip-hop aesthetics. Lastly, this chapter identifies Afrocentric cross-currents within hip hop culture, which I describe as the post-Afrocentric movement in hip hop culture, and illustrate the ways in which hip hop culture grappled with the efficacy and viability of Afrocentric motifs, theory and aesthetics Chapter 3 offers a comparative analysis of blues and hip hop aesthetics. I explore gender dynamics within the context of inter-genre, call-and-response between male emcees and female neo-soul artists. Chapter 4 traces the development of hip-hop aesthetics and draws on African, American and African-American cultural practices to analyze its development. I focus on early characteristics of hip-hop culture, which are foundational components of hip-hop expression such as the influence of comic book super hero narratives. Hip-hop aesthetics are an amalgamation of post-modern, post-industrial, urban blues sensibilities filtered through African-American musical traditions. I utilize Bakari Kitwana's conceptualization of the hip hop worldview as a basis for highlighting hip hop attitudes, aesthetics, and expectations. Lastly, chapter 4 expands upon previous socio-economic discussions on hip hop culture with a focus on hip hop aesthetics and expression. In chapter 5, I identify specific pre-hip hop icons and their influence on hip-hop aesthetics. I examine the significance of the selection of these icons and their relevance to hip-hop aesthetics. This chapter explores hip-hop iconography, iconology and archetypes. I explore the significance…
Advisors/Committee Members: Norment, Nathaniel, Hill, Marc Lamont, Peterson, James, Abarry, Abu Shardow.
Subjects/Keywords: Black Studies; Music; Hip Hop; Popular Culture Icons
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APA (6th Edition):
Boone, W. (2008). The Beautiful Struggle: an Analysis of Hip Hop Icons, Archetypes, and Aesthetics. (Doctoral Dissertation). Temple University. Retrieved from http://digital.library.temple.edu/u?/p245801coll10,21145
Chicago Manual of Style (16th Edition):
Boone, William. “The Beautiful Struggle: an Analysis of Hip Hop Icons, Archetypes, and Aesthetics.” 2008. Doctoral Dissertation, Temple University. Accessed January 19, 2021.
http://digital.library.temple.edu/u?/p245801coll10,21145.
MLA Handbook (7th Edition):
Boone, William. “The Beautiful Struggle: an Analysis of Hip Hop Icons, Archetypes, and Aesthetics.” 2008. Web. 19 Jan 2021.
Vancouver:
Boone W. The Beautiful Struggle: an Analysis of Hip Hop Icons, Archetypes, and Aesthetics. [Internet] [Doctoral dissertation]. Temple University; 2008. [cited 2021 Jan 19].
Available from: http://digital.library.temple.edu/u?/p245801coll10,21145.
Council of Science Editors:
Boone W. The Beautiful Struggle: an Analysis of Hip Hop Icons, Archetypes, and Aesthetics. [Doctoral Dissertation]. Temple University; 2008. Available from: http://digital.library.temple.edu/u?/p245801coll10,21145
10.
Philidou, Anthi.
Η ζωγραφική των φορητών εικόνων στην περιοχή του Ζαγορίου της Ηπείρου: 15ος-17ος αιώνας.
Degree: 2020, National and Kapodistrian University of Athens; Εθνικό και Καποδιστριακό Πανεπιστήμιο Αθηνών (ΕΚΠΑ)
URL: http://hdl.handle.net/10442/hedi/47561
► In the Zagori region the favorable historical conditions formed a suitable economic and cultural environment for the flourishing of religious art. The dependence on the…
(more)
▼ In the Zagori region the favorable historical conditions formed a suitable economic and cultural environment for the flourishing of religious art. The dependence on the neighboring city of Ioannina, the self-governing privileges that the region received since the early post-Byzantine years, and, finally, the significant sponsorship of church and communities set the conditions for the transfer of important artists from other regions and the formation of a local artistic tradition. The starting point of the religious painting of Zagori are the frescoes of the monastery of Agia Paraskevi of Monodentri (1414), a work connected with the artistic centre of Kastoria. Corresponding origins are reflected in three icons of the late 15th century and in one of the sixth decade of the 16th century, in which a direct connection with the art of northwestern Macedonia is recognized. Then, over the 16th century, the effect of the conquests of the so-called “School of Thebes” or “School of the northwestern Greece”, that flourishes in neighboring Ioannina, is felt in the art of the region. These influences include the frescoes of the temples of Agios Nikolaos at Kalyvia in Elafotopos and of the Dormition of the Virgin in Skamneli (last decades of the 16th century), as well as the icons from the villages of Kalota and Vradeto. Since the last quarter of the 16th century, the arrival of the painters from Linotopi, a village in the mountain range of Grammos, has been decisive for local artistic developments. Recent research has linked the frescoes of the temple of Agios Demetrios in Palatitsia (1570), the first signed mural ensemble of the workshop, to the frescoes in the monastery of Evangelistria of Kastraki (1575/6) in western Zagori, a correlation that, in our opinion, is also confirmed by the comparative study of the icons of the two monuments. In the last decade of the 16th century the art of the painters from Linotopi seems to have already gained prestige in Zagori’s ordering circles, so that they were assigned with the painting of at least five iconostasis in the villages of Kato and Ano Pedina, Elafotopos, Koukouli and Negades.During the 17th century their activity in the region continued uninterruptedly until the sixth decade. They are the dominant artistic group and undertake the frescoing as well as the painting of iconostasis and icons, sometimes signing their works. Among the artists of the group, Michael is currently working in the region producing portable works in Elafotopos, Vitsa, Monodentri and Kleidonia, his son Konstantinos with works in Koukouli, Ano Pedina and Elafotopos, while the hand of another member of the group is detected, that of Nikolaos (IV), to whom we attribute icons and a section of an iconostasis in the villages of Vitsa, Negades and Monodentri.From the sixth until the eighth decade of the 17th century the Grammostians Ioannis Skoutaris and brothers Demetrios (II) and Georgios dominate in the art of Zagori. They work on frescoes, iconostasis and icons in the villages of Kleidonia, Aristi,…
Subjects/Keywords: Εικόνες; Ζαγόρι; Ζωγραφική, Μεταβυζαντινή; Icons; Zagori; Post-byzantine art; ιcônes
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APA ·
Chicago ·
MLA ·
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Manager
APA (6th Edition):
Philidou, A. (2020). Η ζωγραφική των φορητών εικόνων στην περιοχή του Ζαγορίου της Ηπείρου: 15ος-17ος αιώνας. (Thesis). National and Kapodistrian University of Athens; Εθνικό και Καποδιστριακό Πανεπιστήμιο Αθηνών (ΕΚΠΑ). Retrieved from http://hdl.handle.net/10442/hedi/47561
Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation
Chicago Manual of Style (16th Edition):
Philidou, Anthi. “Η ζωγραφική των φορητών εικόνων στην περιοχή του Ζαγορίου της Ηπείρου: 15ος-17ος αιώνας.” 2020. Thesis, National and Kapodistrian University of Athens; Εθνικό και Καποδιστριακό Πανεπιστήμιο Αθηνών (ΕΚΠΑ). Accessed January 19, 2021.
http://hdl.handle.net/10442/hedi/47561.
Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation
MLA Handbook (7th Edition):
Philidou, Anthi. “Η ζωγραφική των φορητών εικόνων στην περιοχή του Ζαγορίου της Ηπείρου: 15ος-17ος αιώνας.” 2020. Web. 19 Jan 2021.
Vancouver:
Philidou A. Η ζωγραφική των φορητών εικόνων στην περιοχή του Ζαγορίου της Ηπείρου: 15ος-17ος αιώνας. [Internet] [Thesis]. National and Kapodistrian University of Athens; Εθνικό και Καποδιστριακό Πανεπιστήμιο Αθηνών (ΕΚΠΑ); 2020. [cited 2021 Jan 19].
Available from: http://hdl.handle.net/10442/hedi/47561.
Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation
Council of Science Editors:
Philidou A. Η ζωγραφική των φορητών εικόνων στην περιοχή του Ζαγορίου της Ηπείρου: 15ος-17ος αιώνας. [Thesis]. National and Kapodistrian University of Athens; Εθνικό και Καποδιστριακό Πανεπιστήμιο Αθηνών (ΕΚΠΑ); 2020. Available from: http://hdl.handle.net/10442/hedi/47561
Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation
Aristotle University Of Thessaloniki (AUTH); Αριστοτέλειο Πανεπιστήμιο Θεσσαλονίκης (ΑΠΘ)
11.
Lazidou, Dimitra.
Ανάπτυξη νέας, πράσινης μεθόδου καθαρισμού των ρητινωδών επιστρώσεων βυζαντινών εικόνων: συστηματική μελέτη και χρήση της πολυμερικής διασποράς πολύ-βινυλικής αλκοόλης βόρακα (PVA-b).
Degree: 2019, Aristotle University Of Thessaloniki (AUTH); Αριστοτέλειο Πανεπιστήμιο Θεσσαλονίκης (ΑΠΘ)
URL: http://hdl.handle.net/10442/hedi/45967
► The stage of chemical cleaning of the oxidized varnish is very important in the conservation of paintings and the degree of its success determines not…
(more)
▼ The stage of chemical cleaning of the oxidized varnish is very important in the conservation of paintings and the degree of its success determines not only the aesthetic presentation of the painting but also the good condition of the painting layers in the future.This PhD thesis presents the deterioration factors and the aging mechanism of the natural resins used as varnishes of the Byzantine icons.Prior to conservation treatment, it is necessary to determine the pathology of the icons and to identify the components of their layers, a process which contributes to the development of the conservation methodology. The stratification of the icons, which are the case studies of this PhD research, was in-vestigated and their materials were identified.In the context of preservation, for the safety of organic pigments during the varnish cleaning, it is nec-essary to calculate the solubility parameters first. For this purpose the solubility of organic pigments was studied experimentally and Partial Solvation Parameters (PSP) were calculated.In order to propose an effective varnish cleaning method, the use of PVA-b, pure, without solvent load-ing, was studied, in a temperature range of 20-60 °C. The system water was used as a solvent. Its appli-cation was studied in fresh and aged specimens as well as in icons case studies. This application of PVA-b was then evaluated. The research focused on the safe and effective removal of the varnish, the cleaning control and its monitoring in real time, the pigment removal as well as the PVA-b residue.The application areas of PVA-b were characterized at the various stages of the treatment and measure-ments of acidity, hydrophobicity and roughness were carried out.A one-step cleaning method was developed in which PVA-b is applied and then removed by simple peel-off. A two-step cleaning method was developed in which PVA-b is applied and then removed by simple peel-off and, furthermore, a cotton swab is used to remove swollen varnish and any residue.Other uses of PVA-b have also been proposed as a sampler of varnish and as a sample plate. The mechanism of action of PVA-b cleaning was also proposed.In conclusion, it is reported that the cleaning of oxidized varnishes with PVA-b is a simple, innovative, green cleaning method, easy to apply, friendly to the environment and to the conservator.
Στη συντήρηση έργων ζωγραφικής, το στάδιο του χημικού καθαρισμού του οξειδωμένου βερνικιού είναι πολύ σημαντικό και από τον βαθμό της επιτυχίας του κρίνεται όχι μόνο η αισθητική παρουσίαση του έργου, αλλά και η καλή κατάσταση διατήρησης της ζωγραφικής στο μέλλον. Στην παρούσα διδακτορική διατριβή παρουσιάζονται αρχικά οι παράγοντες φθοράς και ο μηχανισμός γήρανσης των φυσικών ρητινών που έχουν χρησιμοποιηθεί ως βερνίκια των Βυζαντινών εικόνων. Πριν από τις επεμβάσεις συντήρησης, απαιτείται ο προσδιορισμός της παθολογίας των εικόνων και η ταυτοποίηση των συστατικών των στρωμάτων τους, κάτι που συμβάλλει στην κατάρτιση της μεθοδολογίας συντήρησης. Ερευνήθηκε η διαστρωμάτωση των εικόνων, που αποτελούν…
Subjects/Keywords: Καθαρισμός; Βερνίκι; Πηκτώματα; Συντήρηση; Εικόνες; Cleaning; Varnish; Gels; Conservation; Icons
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APA ·
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MLA ·
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Export
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APA (6th Edition):
Lazidou, D. (2019). Ανάπτυξη νέας, πράσινης μεθόδου καθαρισμού των ρητινωδών επιστρώσεων βυζαντινών εικόνων: συστηματική μελέτη και χρήση της πολυμερικής διασποράς πολύ-βινυλικής αλκοόλης βόρακα (PVA-b). (Thesis). Aristotle University Of Thessaloniki (AUTH); Αριστοτέλειο Πανεπιστήμιο Θεσσαλονίκης (ΑΠΘ). Retrieved from http://hdl.handle.net/10442/hedi/45967
Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation
Chicago Manual of Style (16th Edition):
Lazidou, Dimitra. “Ανάπτυξη νέας, πράσινης μεθόδου καθαρισμού των ρητινωδών επιστρώσεων βυζαντινών εικόνων: συστηματική μελέτη και χρήση της πολυμερικής διασποράς πολύ-βινυλικής αλκοόλης βόρακα (PVA-b).” 2019. Thesis, Aristotle University Of Thessaloniki (AUTH); Αριστοτέλειο Πανεπιστήμιο Θεσσαλονίκης (ΑΠΘ). Accessed January 19, 2021.
http://hdl.handle.net/10442/hedi/45967.
Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation
MLA Handbook (7th Edition):
Lazidou, Dimitra. “Ανάπτυξη νέας, πράσινης μεθόδου καθαρισμού των ρητινωδών επιστρώσεων βυζαντινών εικόνων: συστηματική μελέτη και χρήση της πολυμερικής διασποράς πολύ-βινυλικής αλκοόλης βόρακα (PVA-b).” 2019. Web. 19 Jan 2021.
Vancouver:
Lazidou D. Ανάπτυξη νέας, πράσινης μεθόδου καθαρισμού των ρητινωδών επιστρώσεων βυζαντινών εικόνων: συστηματική μελέτη και χρήση της πολυμερικής διασποράς πολύ-βινυλικής αλκοόλης βόρακα (PVA-b). [Internet] [Thesis]. Aristotle University Of Thessaloniki (AUTH); Αριστοτέλειο Πανεπιστήμιο Θεσσαλονίκης (ΑΠΘ); 2019. [cited 2021 Jan 19].
Available from: http://hdl.handle.net/10442/hedi/45967.
Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation
Council of Science Editors:
Lazidou D. Ανάπτυξη νέας, πράσινης μεθόδου καθαρισμού των ρητινωδών επιστρώσεων βυζαντινών εικόνων: συστηματική μελέτη και χρήση της πολυμερικής διασποράς πολύ-βινυλικής αλκοόλης βόρακα (PVA-b). [Thesis]. Aristotle University Of Thessaloniki (AUTH); Αριστοτέλειο Πανεπιστήμιο Θεσσαλονίκης (ΑΠΘ); 2019. Available from: http://hdl.handle.net/10442/hedi/45967
Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation
National University of Ireland – Galway
12.
Humphrey, Hayley.
Representations of the Virgin Mary on Irish High Crosses: Icons, Narratives and Symbols of Power
.
Degree: 2011, National University of Ireland – Galway
URL: http://hdl.handle.net/10379/2943
► Representations of the Virgin Mary on the Irish high crosses form two distinct categories: iconic Virgin and Child panels, and narrative Infancy of Christ scenes.…
(more)
▼ Representations of the Virgin Mary on the Irish high crosses form two distinct categories: iconic Virgin and Child panels, and narrative Infancy of Christ scenes. This study begins with an iconographic analysis of the extant Marian scenes, providing new identifications for previously unidentified panels, and determining the relationship between the Iona-group and the Irish
icons.
This study synthesizes the visual and historical evidence to determine the motivations behind the typological shift that occurs from iconic to narrative Marian scenes, and to determine whether the presence or absence of the Virgin symbol is representative of the political and ideological beliefs of a particular monastic paruchia. This methodological framework allows for the development of Marian symbolism in Ireland to be linked with similar developments in continental Marian imagery, particularly in Rome, where the symbol was rife with political subtext and was used as a direct response to Byzantine iconoclasm. While the papacy responded to the first phase of iconoclasm with the iconic Maria Regina-type, during the period of Second Iconoclasm, the Virgin was placed into narrative Infancy panels; this typological shift mirrors the shift that occurred in Ireland.
In addition to political and ideological influences from the continent, the effects of contemporary political developments within Ireland are analysed. The appearance of narrative Infancy scenes on crosses associated with the paruchia of Patrick, and the absence of the symbol on crosses associated with the paruchia of Columba, suggests that the typological shift may have been caused by a political shift, as the favourable position enjoyed by the Columbans began to decline in the early decades of the ninth century, and the Patricians reasserted their bid for primacy. Rather than a strictly theological message, the Patrician takeover of the Marian symbol suggests that images of the Virgin Mary on the high crosses were representative of political power and authority.
Advisors/Committee Members: Ó Cróinín, Dáibhí (advisor).
Subjects/Keywords: Irish high crosses;
Iconography;
Infancy narratives;
Marian icons;
Paruchia;
Iconoclasm
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APA ·
Chicago ·
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CSE |
Export
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Manager
APA (6th Edition):
Humphrey, H. (2011). Representations of the Virgin Mary on Irish High Crosses: Icons, Narratives and Symbols of Power
. (Thesis). National University of Ireland – Galway. Retrieved from http://hdl.handle.net/10379/2943
Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation
Chicago Manual of Style (16th Edition):
Humphrey, Hayley. “Representations of the Virgin Mary on Irish High Crosses: Icons, Narratives and Symbols of Power
.” 2011. Thesis, National University of Ireland – Galway. Accessed January 19, 2021.
http://hdl.handle.net/10379/2943.
Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation
MLA Handbook (7th Edition):
Humphrey, Hayley. “Representations of the Virgin Mary on Irish High Crosses: Icons, Narratives and Symbols of Power
.” 2011. Web. 19 Jan 2021.
Vancouver:
Humphrey H. Representations of the Virgin Mary on Irish High Crosses: Icons, Narratives and Symbols of Power
. [Internet] [Thesis]. National University of Ireland – Galway; 2011. [cited 2021 Jan 19].
Available from: http://hdl.handle.net/10379/2943.
Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation
Council of Science Editors:
Humphrey H. Representations of the Virgin Mary on Irish High Crosses: Icons, Narratives and Symbols of Power
. [Thesis]. National University of Ireland – Galway; 2011. Available from: http://hdl.handle.net/10379/2943
Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation
13.
Auber, Julien.
Yūḥannā al-Armanī al-Qudsī et le renouveau de l'art de l’icône en Égypte ottomane : Yūḥannā al-Armanī al-Qudsī and the renewal of icon art in Ottoman Egypt.
Degree: Docteur es, Histoire de l'art, 2018, Paris Sciences et Lettres (ComUE)
URL: http://www.theses.fr/2018PSLEP051
► Actif de 1740 à 1786, année de sa mort, Yūḥannā al Armanī al-Qudsī fut l’un des plus prolifiques peintres d’icônes que l’Égypte ottomane ait pu…
(more)
▼ Actif de 1740 à 1786, année de sa mort, Yūḥannā al Armanī al-Qudsī fut l’un des plus prolifiques peintres d’icônes que l’Égypte ottomane ait pu connaître. Bénéficiant d’un renouveau politique et économique, les chrétiens d’Égypte ont pu restaurer et mettre en valeur leur patrimoine religieux, notamment en faisant réaliser de nombreuses icônes pour décorer les églises. Yūḥannā al Armanī et son proche collègue Ibrāhīm al-Nāsiḫ répondirent à cet appel en développant de grands ateliers prêts à répondre à ces commandes. Le résultat est si spectaculaire que, encore aujourd’hui, il est difficile de ne pas visiter une église copte du Caire sans voir un panneau réalisé par l’un ou l’autre de ces hommes. La réunion d’un corpus de plus de quatre cents icônes permet désormais d’envisager l’ampleur du travail qui résulta de ce tandem. Le style des peintres est également ce qui fait la grande originalité de cette production. Souvent indéfinissable, comme le remarquait déjà en son temps A. J. Butler à la fin du XIXe siècle, celui-ci illustre les multiples sources qui ont été utilisées. On y trouve à la fois, pêle-mêle, des inspirations des traditions chrétiennes locales, des évocations de tissus ottomans ou des compositions issues de tableaux européens. Cette particularité tient dans un fait bien concret. Yūḥannā al Armanī, comme son nom l’indique, est issu d’une famille arménienne. Bien qu’étant né en Égypte et ayant épousé une Égyptienne copte, il n’en demeure pas moins très attaché à ses racines, aussi bien par son lieu d’habitation au Caire – proche de l’église arménienne – que par la sociabilité qu’il développe. Afin de mieux cerner ce peintre atypique et son œuvre, il convient de cerner les réseaux qui existent au Caire dans la seconde moitié du XVIIIe siècle. Ses sources d’inspiration ont ainsi pu notamment être découvertes au détour d’ouvrages liturgiques imprimés en Europe ou à la Nouvelle-Djoulfa et retrouvés dans la bibliothèque des pères franciscains du Mūski au Caire. Comprendre l’art de Yūḥannā al Armanī permet ainsi de mieux cerner la diffusion des iconographies chrétiennes en Afrique et au Proche-Orient, voguant, au gré des courants de la mer Méditerranée. Son œuvre montre qu’il n’est pas simplement entre Orient et Occident, il est au croisement de circulations complexes qui font éclater cette problématique.
Active from 1740 to 1786, the year of his death, Yūḥannā al Armanī al-Qudsī was one of the most prolific icon painters that Ottoman Egypt has ever known. Benefiting from a political and economic renewal, the Christians of Egypt have been able to restore and enhance their religious heritage, in particular by having many icons made to decorate churches. Yūḥannā al Armanī and his close colleague Ibrāhīm al-Nāsiḫ responded to this call by developing large workshops ready to respond to these orders. The result is so spectacular that, even today, it is difficult not to visit a Coptic church in Cairo without seeing a panel made by one or the other of these men. The gathering of a corpus of more than four hundred…
Advisors/Committee Members: Heyberger, Bernard (thesis director).
Subjects/Keywords: Icônes; Copte; Égypte; Le Caire; Icons; Copt; Egypt; Cairo
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Record Details
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APA ·
Chicago ·
MLA ·
Vancouver ·
CSE |
Export
to Zotero / EndNote / Reference
Manager
APA (6th Edition):
Auber, J. (2018). Yūḥannā al-Armanī al-Qudsī et le renouveau de l'art de l’icône en Égypte ottomane : Yūḥannā al-Armanī al-Qudsī and the renewal of icon art in Ottoman Egypt. (Doctoral Dissertation). Paris Sciences et Lettres (ComUE). Retrieved from http://www.theses.fr/2018PSLEP051
Chicago Manual of Style (16th Edition):
Auber, Julien. “Yūḥannā al-Armanī al-Qudsī et le renouveau de l'art de l’icône en Égypte ottomane : Yūḥannā al-Armanī al-Qudsī and the renewal of icon art in Ottoman Egypt.” 2018. Doctoral Dissertation, Paris Sciences et Lettres (ComUE). Accessed January 19, 2021.
http://www.theses.fr/2018PSLEP051.
MLA Handbook (7th Edition):
Auber, Julien. “Yūḥannā al-Armanī al-Qudsī et le renouveau de l'art de l’icône en Égypte ottomane : Yūḥannā al-Armanī al-Qudsī and the renewal of icon art in Ottoman Egypt.” 2018. Web. 19 Jan 2021.
Vancouver:
Auber J. Yūḥannā al-Armanī al-Qudsī et le renouveau de l'art de l’icône en Égypte ottomane : Yūḥannā al-Armanī al-Qudsī and the renewal of icon art in Ottoman Egypt. [Internet] [Doctoral dissertation]. Paris Sciences et Lettres (ComUE); 2018. [cited 2021 Jan 19].
Available from: http://www.theses.fr/2018PSLEP051.
Council of Science Editors:
Auber J. Yūḥannā al-Armanī al-Qudsī et le renouveau de l'art de l’icône en Égypte ottomane : Yūḥannā al-Armanī al-Qudsī and the renewal of icon art in Ottoman Egypt. [Doctoral Dissertation]. Paris Sciences et Lettres (ComUE); 2018. Available from: http://www.theses.fr/2018PSLEP051
University of Toronto
14.
Moss, Elizabeth Yoder.
Framing the Holy: Revetments on Late Byzantine Icons.
Degree: PhD, 2016, University of Toronto
URL: http://hdl.handle.net/1807/82410
► This study examines icon revetments produced during the late Byzantine period (1261–1453), situating them within the diversity of mixed-media, multisensory, and multivalent devotional images that…
(more)
▼ This study examines icon revetments produced during the late Byzantine period (1261–1453), situating them within the diversity of mixed-media, multisensory, and multivalent devotional images that combined personal piety with conspicuous consumption and the public spectacle of lavish patronage. These works are evidence of the “ornamental turn”—a paradigm shift marked by the increase of ornament on visual works that mediated wealth, spiritual devotion, and social power. Revetted
icons do not make arguments about the faithful representation of prototypes; they make arguments about faithful veneration. Beginning with a historiographic study of ornament, the thesis examines how the ornamental vocabulary on revetments manifests relationships between specific decorated
icons. Indices of ornament motifs and a catalogue of surviving icon revetments and frames from the eleventh through fifteenth centuries constitute the appendices.
In chapter 2, I argue that the previously unstudied decorated strips added to the icon of the Mother of God Hodegetria in Ohrid were part of a larger project aimed at legitimizing Serbian emperor Stefan Uroš IV Dušan (r. 1331–55) and his archbishop Nicholas in Ohrid. They structured their leadership in the Balkans on their contemporaries in Constantinople. In chapter 3, I present a new reading of the dedicatory prayers inscribed on the icon of the Mother of God in Freising. These texts manifest the icon veneration of wealthy individuals whose gifts of enamel, silver, and gold mediated their desire for divine aid and broadcasted their piety to viewers. Inscriptions on other revetments complement the central holy figures whose gestures direct viewers to names and key sentiments of the inscribed prayer.
In chapter 4, I argue that the hitherto unexamined facture of the revetted icon of the Virgin in Fermo was an invention born of the desire for Byzantine imagery in thirteenth-century Italy. It was designed to emulate the materiality and ornamental vocabulary of Byzantine revetted
icons. By drawing conclusions about how elite individuals conceptualized the efficacy and materiality of revetments, this dissertation augments the burgeoning discourse on late Byzantine
icons. Examining the ornamental turn reveals new insights into how these objects functioned in late Byzantine political, social, and devotional matrices.
Advisors/Committee Members: Safran, Linda, Caskey, Jill, History of Art.
Subjects/Keywords: Byzantium; Decoration and ornament; Holy icons; Late Byzantine; Revetment; Silver; 0377
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APA (6th Edition):
Moss, E. Y. (2016). Framing the Holy: Revetments on Late Byzantine Icons. (Doctoral Dissertation). University of Toronto. Retrieved from http://hdl.handle.net/1807/82410
Chicago Manual of Style (16th Edition):
Moss, Elizabeth Yoder. “Framing the Holy: Revetments on Late Byzantine Icons.” 2016. Doctoral Dissertation, University of Toronto. Accessed January 19, 2021.
http://hdl.handle.net/1807/82410.
MLA Handbook (7th Edition):
Moss, Elizabeth Yoder. “Framing the Holy: Revetments on Late Byzantine Icons.” 2016. Web. 19 Jan 2021.
Vancouver:
Moss EY. Framing the Holy: Revetments on Late Byzantine Icons. [Internet] [Doctoral dissertation]. University of Toronto; 2016. [cited 2021 Jan 19].
Available from: http://hdl.handle.net/1807/82410.
Council of Science Editors:
Moss EY. Framing the Holy: Revetments on Late Byzantine Icons. [Doctoral Dissertation]. University of Toronto; 2016. Available from: http://hdl.handle.net/1807/82410
15.
Salas, Juan.
Red Star Studded Chaos: Sex Scandal.
Degree: MA, 2014, Eastern Illinois University
URL: https://thekeep.eiu.edu/theses/1281
► Leon de Cruz is a fame hungry journalist that published sex pictures of the greatest pop group in the world: Red Star Studded Chaos.…
(more)
▼ Leon de Cruz is a fame hungry journalist that published sex pictures of the greatest pop group in the world: Red Star Studded Chaos. The group was genetically engineered to be physically perfect and live a minimum of 10,000 years without aging. Leon's news article about the group catapults him into international superstardom, and RSSC's only rival, a recently founded Christian pop group called Properness, wants to manipulate Leon into using his new found fame to write a novel that condemns the very debauchery RSSC stands for.
Looking to capitalize on the chaos sparked by the sex photographs, Properness's management sends their naïve lead singer, Tate Jeoff, to try and negotiate a record deal with RSSC's Gin Ollie, a.k.a. the King of Party. Tate's journey brings him face to face with Tiffany Tye Dye-Ollie's lover and the most beautiful woman in the world. Tiffany finds herself having to decide whether or not she wants to crush Tate's heart, the only person that has ever truly loved her.
The Roman Catholic Pope and Jommy Harrow, Studded Chaos's own lead singer, are the puppet masters behind the exposure of the most legendary sex pictures in history, but they are definitely not working toward the same goal. While the Pope wants to put an end to all debauchery, Harrow works to find the very meaning of existence, seeking to confront whatever gods may or may not exist.
Advisors/Committee Members: Olga Abella.
Subjects/Keywords: satire; pop music icons; consumerism; superficiality; novel; creative writing; Fiction
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APA (6th Edition):
Salas, J. (2014). Red Star Studded Chaos: Sex Scandal. (Masters Thesis). Eastern Illinois University. Retrieved from https://thekeep.eiu.edu/theses/1281
Chicago Manual of Style (16th Edition):
Salas, Juan. “Red Star Studded Chaos: Sex Scandal.” 2014. Masters Thesis, Eastern Illinois University. Accessed January 19, 2021.
https://thekeep.eiu.edu/theses/1281.
MLA Handbook (7th Edition):
Salas, Juan. “Red Star Studded Chaos: Sex Scandal.” 2014. Web. 19 Jan 2021.
Vancouver:
Salas J. Red Star Studded Chaos: Sex Scandal. [Internet] [Masters thesis]. Eastern Illinois University; 2014. [cited 2021 Jan 19].
Available from: https://thekeep.eiu.edu/theses/1281.
Council of Science Editors:
Salas J. Red Star Studded Chaos: Sex Scandal. [Masters Thesis]. Eastern Illinois University; 2014. Available from: https://thekeep.eiu.edu/theses/1281
Duquesne University
16.
Sherman, Catherine A.
Depictions of Mental Disorder in Mainstream American Film 1988-2010.
Degree: PhD, Counselor Education and Supervision (ExCES), 2012, Duquesne University
URL: https://dsc.duq.edu/etd/1183
► The following qualitative research study examined visual and thematic depictions of mental disorder in mainstream American film from 1988 to 2010. The research was an…
(more)
▼ The following qualitative research study examined visual and thematic depictions of mental disorder in mainstream American film from 1988 to 2010. The research was an extension of an earlier investigation on portrayals of psychological disability in Hollywood movies (Levers, 1988, 2001). The theoretical and historical grounding for the project included Sander Gilman's (1982) scholarship on madness in the pictorial arts, the history and treatment of mental disorder over the course of time, social constructionism and the media, and research on media depictions of mental illness. The author employed two content analysis instruments (Levers, 1988, 2001) to record the appearance of
icons, stereotypes, and positive portrayals of mental illness in 14 feature-length American films, which contain scenes of psychiatric hospitalization. Each film became a case study, and for each case, the author included content analysis findings, plot and character summaries, and discussion on mental disorder representation through images, speech, and themes. The multiple cases culminated in a filmography, which can be a resource for individuals interested in, and concerned about, the nature in which mental disorder is portrayed in popular, contemporary movies. The results from this study indicate that iconic and stereotypical representations of mental disorder have remained consistent since Levers' (1988, 2001) inquiries. The author identified 60 of 61
icons listed on the
Icons of Madness viewing rubric (Levers, 1988, 2001) and all stereotypes and positive portrayals on the Thematic Portrayals of Mental Disorder viewing rubric (Levers, 1988, 2001). More specifically, the four most commonly depicted
icons and the top five stereotypes were the same in both the present and Levers' (1988, 2001) studies. The one notable difference between these and Levers' (1988, 2001) results was the increased frequency of positive portrayals of mental illness; more positive portrayals occurred in this investigation as compared to Levers' earlier research. New
icons, stereotypes, and positive portrayals of mental disorder not originally listed on the viewing rubrics were identified, too. The author discusses the present findings in light of future research possibilities, counselor education, and client advocacy.
Advisors/Committee Members: Lisa L Levers, Jered Kolbert, Emma Mosley.
Subjects/Keywords: Film; Icons; Mental disorder; Mental illness; Stereotypes; Stigma
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APA (6th Edition):
Sherman, C. A. (2012). Depictions of Mental Disorder in Mainstream American Film 1988-2010. (Doctoral Dissertation). Duquesne University. Retrieved from https://dsc.duq.edu/etd/1183
Chicago Manual of Style (16th Edition):
Sherman, Catherine A. “Depictions of Mental Disorder in Mainstream American Film 1988-2010.” 2012. Doctoral Dissertation, Duquesne University. Accessed January 19, 2021.
https://dsc.duq.edu/etd/1183.
MLA Handbook (7th Edition):
Sherman, Catherine A. “Depictions of Mental Disorder in Mainstream American Film 1988-2010.” 2012. Web. 19 Jan 2021.
Vancouver:
Sherman CA. Depictions of Mental Disorder in Mainstream American Film 1988-2010. [Internet] [Doctoral dissertation]. Duquesne University; 2012. [cited 2021 Jan 19].
Available from: https://dsc.duq.edu/etd/1183.
Council of Science Editors:
Sherman CA. Depictions of Mental Disorder in Mainstream American Film 1988-2010. [Doctoral Dissertation]. Duquesne University; 2012. Available from: https://dsc.duq.edu/etd/1183
University of Edinburgh
17.
Paterson, Andrew Lindsay.
The earliest Christian icons from the collection of the Monastery of St Catherine, Sinai, and their possible sources.
Degree: PhD, 2017, University of Edinburgh
URL: http://hdl.handle.net/1842/22957
► The central material studied in this thesis is a representative group of the earliest surviving Christian icons from the collection of St Catherine’s Monastery in…
(more)
▼ The central material studied in this thesis is a representative group of the earliest surviving Christian icons from the collection of St Catherine’s Monastery in Sinai, all dated to the sixth or seventh centuries. These are discussed specifically in relation to their possible sources within the preceding Greco-Roman tradition of portraiture. While each of these sources is important to a full understanding of the Sinai icons’ visual languages, original functions and meanings, they have not previously been analysed alongside each other in a single study. By doing so, the aim is to reconstruct a more complete artistic context for the icons’ production, as well as to arrive at a fuller understanding of the historical, social and religious factors that would have conditioned their reception. Three categories of portrait-image are critically considered as possible sources for the Sinai icons in terms of technique, style, iconography and function: Roman imperial portraiture (from the first to the sixth centuries); the funerary portraiture of Roman Egypt (first to third centuries); and the corpus of sacred pinakes or ‘pagan icons’ produced in the Fayum region of Egypt (mainly second century). Following the Introduction in which recent scholarly literature on the topic is critically assessed and definitions of key terms are given, the opening chapter presents a detailed visual analysis of each of the eight selected Sinai icons. Questions of dating and geographical attribution are addressed, with previous proposals either revised or confirmed. In Chapter Two, Roman imperial portraiture is discussed, principally in terms of its meanings and functions, and comparisons are made with early portraits of Christ. Questions of the construction of likeness, and the complex relationship between a portrait (whether of an emperor or of Christ) and its prototype, are addressed. It is argued that while early Christian portraits did adopt various elements of imperial iconography to convey a message of universal authority, at the same time they performed functions which were not shared by imperial portraits – for example, participating in intercessory and anagogical prayer. Chapter Three analyses the techniques and styles used in the corpus of Romano- Egyptian ‘mummy-portraits’, with correspondences and differences highlighted between these and the early Sinai icons, and also discusses the question of whether portrait-mummies performed a devotional function comparable to that of early Christian icons. To this end, importance is again given to the question of the relationship between a portrait-mummy and its prototype (the soul of the deceased), as well as questions of audience, display and reception. On the basis of this discussion it is argued that the portraits participated in a reciprocal ‘exchange of gazes’ with their intended viewers, and that this is likely to have been a key factor in the reception of some of the Sinai icons as well. Chapter Four discusses the smaller extant corpus of painted panels depicting pagan deities, produced…
Subjects/Keywords: 704.9; icons; St Catherine’s Monastery; sources; portraiture; visual language; Sinai
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APA (6th Edition):
Paterson, A. L. (2017). The earliest Christian icons from the collection of the Monastery of St Catherine, Sinai, and their possible sources. (Doctoral Dissertation). University of Edinburgh. Retrieved from http://hdl.handle.net/1842/22957
Chicago Manual of Style (16th Edition):
Paterson, Andrew Lindsay. “The earliest Christian icons from the collection of the Monastery of St Catherine, Sinai, and their possible sources.” 2017. Doctoral Dissertation, University of Edinburgh. Accessed January 19, 2021.
http://hdl.handle.net/1842/22957.
MLA Handbook (7th Edition):
Paterson, Andrew Lindsay. “The earliest Christian icons from the collection of the Monastery of St Catherine, Sinai, and their possible sources.” 2017. Web. 19 Jan 2021.
Vancouver:
Paterson AL. The earliest Christian icons from the collection of the Monastery of St Catherine, Sinai, and their possible sources. [Internet] [Doctoral dissertation]. University of Edinburgh; 2017. [cited 2021 Jan 19].
Available from: http://hdl.handle.net/1842/22957.
Council of Science Editors:
Paterson AL. The earliest Christian icons from the collection of the Monastery of St Catherine, Sinai, and their possible sources. [Doctoral Dissertation]. University of Edinburgh; 2017. Available from: http://hdl.handle.net/1842/22957
Virginia Tech
18.
Belz, Steven M.
A Simulator-Based Investigation of Visual, Auditory, and Mixed-Modality Display of Vehicle Dynamic State Information to Commercial Motor Vehicle Operators.
Degree: MS, Industrial and Systems Engineering, 1997, Virginia Tech
URL: http://hdl.handle.net/10919/35851
► This simulator-based study examined the use of conventional auditory warnings (tonal, non-verbal sounds) and auditory icons> (representational non-verbal sounds), alone and in combination with a…
(more)
▼ This simulator-based study examined the use of conventional auditory warnings (tonal, non-verbal sounds) and auditory
icons> (representational non-verbal sounds), alone and in combination with a dash-mounted visual display, to present information about impending collision situations to commercial motor vehicle operators. Brake response times were measured for impending front-to-rear collision scenarios under six display configurations, two vehicle speeds, and two levels of headway. Accident occurrence was measured for impending side collision scenarios under two vehicle speeds, two levels of visual workload, two auditory displays, absence/presence of mirrors, and absence/presence of dash-mounted iconic display. Subjective preference data was also obtained from participants.
For both front-to-rear and side collision scenarios, auditory
icons elicited significantly improved driver performance over conventional auditory warnings. Driver performance improved when collision warning information was presented through multiple modalities. Brake response times were significantly faster for impending front-to-rear collision scenarios using the longer headway criterion. The presence of mirrors significantly reduced the number of accidents for impending side collision scenarios. Subjective preference data indicated that participants preferred multi-modal displays over single-modality displays.
A technique for systematically identifying, selecting, and evaluating candidate auditory
icons was also developed. The potential exists to expand upon these developments, toward the goals of identifying appropriate auditory
icons, improving operator performance, and developing information display techniques to effectively managing workload across multiple modalities.
Advisors/Committee Members: Casali, John Gordon (committeechair), Robinson, Gary S. (committee member), Kleiner, Brian M. (committee member).
Subjects/Keywords: Auditory Icons; Warnings; Operator Workload
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APA (6th Edition):
Belz, S. M. (1997). A Simulator-Based Investigation of Visual, Auditory, and Mixed-Modality Display of Vehicle Dynamic State Information to Commercial Motor Vehicle Operators. (Masters Thesis). Virginia Tech. Retrieved from http://hdl.handle.net/10919/35851
Chicago Manual of Style (16th Edition):
Belz, Steven M. “A Simulator-Based Investigation of Visual, Auditory, and Mixed-Modality Display of Vehicle Dynamic State Information to Commercial Motor Vehicle Operators.” 1997. Masters Thesis, Virginia Tech. Accessed January 19, 2021.
http://hdl.handle.net/10919/35851.
MLA Handbook (7th Edition):
Belz, Steven M. “A Simulator-Based Investigation of Visual, Auditory, and Mixed-Modality Display of Vehicle Dynamic State Information to Commercial Motor Vehicle Operators.” 1997. Web. 19 Jan 2021.
Vancouver:
Belz SM. A Simulator-Based Investigation of Visual, Auditory, and Mixed-Modality Display of Vehicle Dynamic State Information to Commercial Motor Vehicle Operators. [Internet] [Masters thesis]. Virginia Tech; 1997. [cited 2021 Jan 19].
Available from: http://hdl.handle.net/10919/35851.
Council of Science Editors:
Belz SM. A Simulator-Based Investigation of Visual, Auditory, and Mixed-Modality Display of Vehicle Dynamic State Information to Commercial Motor Vehicle Operators. [Masters Thesis]. Virginia Tech; 1997. Available from: http://hdl.handle.net/10919/35851
University of New South Wales
19.
Raft, Emanuel.
A study of geometria in Byzantine icons (330-1453) and the adaptation of these principles into original art works.
Degree: City Art Institute, Sydney College of Advanced Education, 1985, University of New South Wales
URL: http://handle.unsw.edu.au/1959.4/66208
;
https://unsworks.unsw.edu.au/fapi/datastream/unsworks:65946/SOURCE01?view=true
Subjects/Keywords: Icons, Byzantine; Thesis Digitisation Program
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APA (6th Edition):
Raft, E. (1985). A study of geometria in Byzantine icons (330-1453) and the adaptation of these principles into original art works. (Masters Thesis). University of New South Wales. Retrieved from http://handle.unsw.edu.au/1959.4/66208 ; https://unsworks.unsw.edu.au/fapi/datastream/unsworks:65946/SOURCE01?view=true
Chicago Manual of Style (16th Edition):
Raft, Emanuel. “A study of geometria in Byzantine icons (330-1453) and the adaptation of these principles into original art works.” 1985. Masters Thesis, University of New South Wales. Accessed January 19, 2021.
http://handle.unsw.edu.au/1959.4/66208 ; https://unsworks.unsw.edu.au/fapi/datastream/unsworks:65946/SOURCE01?view=true.
MLA Handbook (7th Edition):
Raft, Emanuel. “A study of geometria in Byzantine icons (330-1453) and the adaptation of these principles into original art works.” 1985. Web. 19 Jan 2021.
Vancouver:
Raft E. A study of geometria in Byzantine icons (330-1453) and the adaptation of these principles into original art works. [Internet] [Masters thesis]. University of New South Wales; 1985. [cited 2021 Jan 19].
Available from: http://handle.unsw.edu.au/1959.4/66208 ; https://unsworks.unsw.edu.au/fapi/datastream/unsworks:65946/SOURCE01?view=true.
Council of Science Editors:
Raft E. A study of geometria in Byzantine icons (330-1453) and the adaptation of these principles into original art works. [Masters Thesis]. University of New South Wales; 1985. Available from: http://handle.unsw.edu.au/1959.4/66208 ; https://unsworks.unsw.edu.au/fapi/datastream/unsworks:65946/SOURCE01?view=true
University of Johannesburg
20.
Steyn, Raita.
Archangel Michael as "icon" in the Byzantine and Post-Byzantine periods.
Degree: 2010, University of Johannesburg
URL: http://hdl.handle.net/10210/3143
M.A.
Subjects/Keywords: Michael (Archangel); Michael (Archangel) in art; Icons, Byzantine; Icons, Greece; Art, Byzantine
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APA (6th Edition):
Steyn, R. (2010). Archangel Michael as "icon" in the Byzantine and Post-Byzantine periods. (Thesis). University of Johannesburg. Retrieved from http://hdl.handle.net/10210/3143
Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation
Chicago Manual of Style (16th Edition):
Steyn, Raita. “Archangel Michael as "icon" in the Byzantine and Post-Byzantine periods.” 2010. Thesis, University of Johannesburg. Accessed January 19, 2021.
http://hdl.handle.net/10210/3143.
Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation
MLA Handbook (7th Edition):
Steyn, Raita. “Archangel Michael as "icon" in the Byzantine and Post-Byzantine periods.” 2010. Web. 19 Jan 2021.
Vancouver:
Steyn R. Archangel Michael as "icon" in the Byzantine and Post-Byzantine periods. [Internet] [Thesis]. University of Johannesburg; 2010. [cited 2021 Jan 19].
Available from: http://hdl.handle.net/10210/3143.
Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation
Council of Science Editors:
Steyn R. Archangel Michael as "icon" in the Byzantine and Post-Byzantine periods. [Thesis]. University of Johannesburg; 2010. Available from: http://hdl.handle.net/10210/3143
Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation
21.
Koutsikou, Chryssavgi.
Les icônes hagiographiques post-byzantines (XVe-XVIIe siècles) : le cas des ateliers crétois : The postbyzantine vita icons (15-17th century) : the case of cretan workshops.
Degree: Docteur es, Archéologie, 2018, Paris 1
URL: http://www.theses.fr/2018PA01H022
► La présente thèse a comme sujet les icônes hagiographiques exécutées du début du XVe à la fin du XVIIe siècle dans l'île de Crète qui…
(more)
▼ La présente thèse a comme sujet les icônes hagiographiques exécutées du début du XVe à la fin du XVIIe siècle dans l'île de Crète qui était sous domination vénitienne depuis 1210. La prise de Constantinople par les Ottomans en 1453 a privé l'empire byzantin de son centre et la Crète, où plusieurs peintres constantinopolitains se sont réfugiés, a développé, sous leur influence, l'art du chevalet dans des ateliers organisés sur le modèle des ateliers occidentaux. La présente étude inclut 74 icônes de 26 saints. Dans l'introduction, la présentation du sujet est suivie de l'intégration des œuvres dans leur contexte historique et artistique, de la présentation de l'état de la recherche et de J'approche méthodologique. Le texte s'articule en quatre chapitres. Le premier inclut une présentation de la fréquence de l'illustration des saints sur les icônes, de la répartition des œuvres par siècle, de la localisation des peintres connus et des commanditaires d'après des inscriptions dédicatoires. Le deuxième aborde l'évolution de la typologie quant à la disposition du cycle hagiographique du saint par rapport à la représentation centrale, au nombre des compartiments et le rapport avec celui des épisodes illustrés, les modes de délimitation des compartiments et la mise en place des épisodes illustrés. Le troisième chapitre étudie en détail l'évolution de l'iconographie des scènes, de la constitution des cycles et de la diffusion des formules iconographiques, avec comme point de départ les cycles des saints Georges et Nicolas. L'étude de l'évolution iconographique des cycles des toutes les icônes, suivant l'ordre chronologique des œuvres, est abordée dans le quatrième chapitre.
The present thesis is about vita icons executed from the beginning of the 15th to the end of the 17th c. on the island of Crete which was under Venetian rule since 1210. The capture of Constantinople by the Ottomans in 1453 deprived the Byzantine empire of its center and Crete, where several Constantinopolitan painters have taken refuge, has developed, under their influence, the art of the icons painting in workshops organized on the mode] of Western workshops. This study includes 74 icons of 26 saints. ln the Introduction, the presentation of the subject is followed by the integration of the works in their historical and artistic context, the presentation of the state of the research and the methodological approach. The text is divided into 4 chapters. The 1st includes a presentation of the frequency of illustration of saints on icons, the distribution of works by century, the location of known painters and sponsors based on dedicatory inscriptions. The 2nd deals with the evolution of the typology as to the disposition of the hagiographic cycle of the saint in relation to the central representation, the number of compartments and the relationship with that of the illustrated episodes, the modes of delimitation of the compartments and the establishment of the illustrated episodes. The 3d chapter studies in detail the evolution of the iconography of the…
Advisors/Committee Members: Jolivet-Lévy, Catherine (thesis director).
Subjects/Keywords: Icônes historiées; Cycles de saints; Icônes post-byzantines; École crétoise; Peinture byzantine; Art post-byzantin; Crète sous domination vénitienne; Vita icons; Byzantine empire; Icons painting; 704.948
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APA ·
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MLA ·
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Export
to Zotero / EndNote / Reference
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APA (6th Edition):
Koutsikou, C. (2018). Les icônes hagiographiques post-byzantines (XVe-XVIIe siècles) : le cas des ateliers crétois : The postbyzantine vita icons (15-17th century) : the case of cretan workshops. (Doctoral Dissertation). Paris 1. Retrieved from http://www.theses.fr/2018PA01H022
Chicago Manual of Style (16th Edition):
Koutsikou, Chryssavgi. “Les icônes hagiographiques post-byzantines (XVe-XVIIe siècles) : le cas des ateliers crétois : The postbyzantine vita icons (15-17th century) : the case of cretan workshops.” 2018. Doctoral Dissertation, Paris 1. Accessed January 19, 2021.
http://www.theses.fr/2018PA01H022.
MLA Handbook (7th Edition):
Koutsikou, Chryssavgi. “Les icônes hagiographiques post-byzantines (XVe-XVIIe siècles) : le cas des ateliers crétois : The postbyzantine vita icons (15-17th century) : the case of cretan workshops.” 2018. Web. 19 Jan 2021.
Vancouver:
Koutsikou C. Les icônes hagiographiques post-byzantines (XVe-XVIIe siècles) : le cas des ateliers crétois : The postbyzantine vita icons (15-17th century) : the case of cretan workshops. [Internet] [Doctoral dissertation]. Paris 1; 2018. [cited 2021 Jan 19].
Available from: http://www.theses.fr/2018PA01H022.
Council of Science Editors:
Koutsikou C. Les icônes hagiographiques post-byzantines (XVe-XVIIe siècles) : le cas des ateliers crétois : The postbyzantine vita icons (15-17th century) : the case of cretan workshops. [Doctoral Dissertation]. Paris 1; 2018. Available from: http://www.theses.fr/2018PA01H022
University of Georgia
22.
Thomas, Brigette Nicole.
Portrait/icon/code.
Degree: 2014, University of Georgia
URL: http://hdl.handle.net/10724/25677
► In 2001, Marc Quinn was commissioned to create a portrait of Sir John Edward Sulston for the National Portrait Gallery of London. The resulting portrait,…
(more)
▼ In 2001, Marc Quinn was commissioned to create a portrait of Sir John Edward Sulston for the National Portrait Gallery of London. The resulting portrait, a framed plate of cloned DNA, looks unlike any other portrait in the gallery. This
portrait and two subsequent DNA portraits appear at first to be critical of both portraiture and DNA science. However, a careful analysis of these works and the traditions of art which they reference those of portraiture, self portraiture, and icons -
show these to be studies in the history of the image and the ways in which the human relationship with the image can be seen to move in a cyclical, rather than linear fashion. While DNA may be a new medium, Quinn points out that the fears and fantasies
inspired by DNA science are both timeless and timely, stemming from enduring anxieties about the image.
Subjects/Keywords: Marc Quinn; Portraiture; Self-Portraiture; Icons; Subjectivity; Bio-Art; DNA; Genetics; Cloning
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APA (6th Edition):
Thomas, B. N. (2014). Portrait/icon/code. (Thesis). University of Georgia. Retrieved from http://hdl.handle.net/10724/25677
Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation
Chicago Manual of Style (16th Edition):
Thomas, Brigette Nicole. “Portrait/icon/code.” 2014. Thesis, University of Georgia. Accessed January 19, 2021.
http://hdl.handle.net/10724/25677.
Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation
MLA Handbook (7th Edition):
Thomas, Brigette Nicole. “Portrait/icon/code.” 2014. Web. 19 Jan 2021.
Vancouver:
Thomas BN. Portrait/icon/code. [Internet] [Thesis]. University of Georgia; 2014. [cited 2021 Jan 19].
Available from: http://hdl.handle.net/10724/25677.
Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation
Council of Science Editors:
Thomas BN. Portrait/icon/code. [Thesis]. University of Georgia; 2014. Available from: http://hdl.handle.net/10724/25677
Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation
University of Georgia
23.
Bjelicic-Miletkov, Bojana.
An icon as a prayer, a poem as an icon.
Degree: 2014, University of Georgia
URL: http://hdl.handle.net/10724/23060
► The Serbian princess (despotica) Jelena Mrnjav evi (c. 1349-1404), later known as the nun Jefimija, was a noble woman whose great piety and artistic talents…
(more)
▼ The Serbian princess (despotica) Jelena Mrnjav evi (c. 1349-1404), later known as the nun Jefimija, was a noble woman whose great piety and artistic talents inspired the creation of a number of precious devotional objects. The focus of this
thesis is a small enkolpion diptych, a pendant icon, 1367-71, that was originally presented to Jelena’s son Uglješa Despotovi on his christening day by the Metropolitan of Serres, Teodosije (c. 1366-after 1371). When Jelena’s son died prematurely at the
age of four, the mother composed a poem expressing her sorrow over the loss of her son. The poem was engraved on the back of the diptych. The diptych resides in the Hilandar monastery, Mount Athos, where Jelena’s son is buried. The purpose of the present
study is to discuss the iconographic program of the diptych and examine the meaning of this iconography and Jelena’s literary composition in relation to the different contexts in which the Metropolitan and the Mrnjav evi family found
themselves.
Subjects/Keywords: Byzantine art; Diptych; Enkolpion; Hilandar; Icon; Jefimija; Medieval Serbia; Miniature woodcarving; Mrnjavèeviæ; Panagiarion; Russian icons
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Chicago ·
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Export
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APA (6th Edition):
Bjelicic-Miletkov, B. (2014). An icon as a prayer, a poem as an icon. (Thesis). University of Georgia. Retrieved from http://hdl.handle.net/10724/23060
Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation
Chicago Manual of Style (16th Edition):
Bjelicic-Miletkov, Bojana. “An icon as a prayer, a poem as an icon.” 2014. Thesis, University of Georgia. Accessed January 19, 2021.
http://hdl.handle.net/10724/23060.
Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation
MLA Handbook (7th Edition):
Bjelicic-Miletkov, Bojana. “An icon as a prayer, a poem as an icon.” 2014. Web. 19 Jan 2021.
Vancouver:
Bjelicic-Miletkov B. An icon as a prayer, a poem as an icon. [Internet] [Thesis]. University of Georgia; 2014. [cited 2021 Jan 19].
Available from: http://hdl.handle.net/10724/23060.
Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation
Council of Science Editors:
Bjelicic-Miletkov B. An icon as a prayer, a poem as an icon. [Thesis]. University of Georgia; 2014. Available from: http://hdl.handle.net/10724/23060
Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation
Stellenbosch University
24.
Van Dijk, Renate Marian.
The form, function and symbolism of standards in ancient Mesopotamia during the Third and Fourth Millennia BCE : an iconographical Study.
Degree: D.Phil, Ancient Studies, 2016, Stellenbosch University
URL: http://hdl.handle.net/10019.1/98400
► ENGLISH SUMMARY: A standard can be defined as a long shaft with a sign or emblem attached to the top which may be held or…
(more)
▼ ENGLISH SUMMARY: A standard can be defined as a long shaft with a sign or emblem attached to the top which
may be held or which may stand on the ground. Standards are represented in Mesopotamian
art from the emergence of the first city-states in the fourth millennium BCE until the first
millennium BCE. This study examines how standards are depicted in the iconographic
record of the third and fourth millennia BCE by examining their form, function and
symbolism. Perhaps the most well-known type of standard is the battle standard, but there
were also other types of standards — divine standards, royal standards, standards in ritual
context, standards in judicial procedures, architectural, ritual, and city standards.
The iconographic sources include glyptic art, or cylinder seals, as well as representations on
vessels, inlays, plaques, stelae or stelae fragments, and rare examples of extant standards. A
catalogue of all known iconographic representations of standards is provided. These
examples are presented and compared, and commonalities and differences are identified and
examined.
The study is laid out in seven chapters. Chapter 1 provides the methodological framework
for the study. Chapter 2 follows as a short background to the period under discussion, the
third and fourth millennia BCE, providing a general context for the discussion. The main
discussion of standards begins from Chapter 3. The standards of the four periods under
consideration — namely, the Uruk, Early Dynastic, Akkadian and Neo-Sumerian periods —
are discussed in Chapter 3, Chapter 4, Chapter 5 and Chapter 6 respectively. Each standard
represented in each period is discussed in turn and some preliminary summaries and
conclusions are presented. In Chapter 7 the findings from Chapters 3-6 are presented,
analysed and interpreted. This entails first a discussion on the different standards themselves,
then an evaluation of the different functions or the different contexts within which these
standards are depicted, and thereafter a brief summary of each of the four periods under
discussion is provided.
AFRIKAANSE OPSOMMING: ’n Standaard kan gedefinieer word as ’n lang stok met ’n teken of ’n embleem wat aan die
bopunt van die stok aangeheg is en wat vasgehou kan word of op die grond kan staan.
Standaarde word in die kuns van Mesopotamië van die eerste stadstate in die vierde
millennium vC tot die eerste millenium vC verteenwoordig. Hierdie studie ondersoek hoe
standaarde uitgebeeld word in die ikonografiese rekord van die derde en vierde millennia vC
deur hulle vorm, funksie en simboliek te ondersoek. Die mees bekende tipe standaard is dalk
die oorlogstandaard, maar daar was ook ander tipes standaarde — goddelike standaarde,
koninklike standaarde, standaarde in rituele konteks, standaarde in geregtelike prosedures,
argitektoniese en stad standaarde.
Die ikonografiese bronne sluit in gliptiese kuns, of silinderseëls, asook voorstellings op potte,
inlegsels, gedenkplate, stelae of fragmente van stelae, en seldsame…
Advisors/Committee Members: Cornelius, I., Stellenbosch University. Faculty of Arts and Social Sciences. Dept. of Ancient Studies..
Subjects/Keywords: Mesopotamia – Art – 3rd and 4th millennia BCE; Iconography; Standards, Military; Emblems – Mesopotamia; Icons, Mesopotamia; UCTD
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APA ·
Chicago ·
MLA ·
Vancouver ·
CSE |
Export
to Zotero / EndNote / Reference
Manager
APA (6th Edition):
Van Dijk, R. M. (2016). The form, function and symbolism of standards in ancient Mesopotamia during the Third and Fourth Millennia BCE : an iconographical Study. (Doctoral Dissertation). Stellenbosch University. Retrieved from http://hdl.handle.net/10019.1/98400
Chicago Manual of Style (16th Edition):
Van Dijk, Renate Marian. “The form, function and symbolism of standards in ancient Mesopotamia during the Third and Fourth Millennia BCE : an iconographical Study.” 2016. Doctoral Dissertation, Stellenbosch University. Accessed January 19, 2021.
http://hdl.handle.net/10019.1/98400.
MLA Handbook (7th Edition):
Van Dijk, Renate Marian. “The form, function and symbolism of standards in ancient Mesopotamia during the Third and Fourth Millennia BCE : an iconographical Study.” 2016. Web. 19 Jan 2021.
Vancouver:
Van Dijk RM. The form, function and symbolism of standards in ancient Mesopotamia during the Third and Fourth Millennia BCE : an iconographical Study. [Internet] [Doctoral dissertation]. Stellenbosch University; 2016. [cited 2021 Jan 19].
Available from: http://hdl.handle.net/10019.1/98400.
Council of Science Editors:
Van Dijk RM. The form, function and symbolism of standards in ancient Mesopotamia during the Third and Fourth Millennia BCE : an iconographical Study. [Doctoral Dissertation]. Stellenbosch University; 2016. Available from: http://hdl.handle.net/10019.1/98400
Columbia University
25.
Kobasa, Clare Marie Somsel.
Sacred Impressions in Seventeenth-Century Sicily.
Degree: 2020, Columbia University
URL: https://doi.org/10.7916/d8-hn3p-yb06
► This dissertation reveals significant aspects of the use and understanding of prints in seventeenth-century Sicily by exploring their function in the realm of sacred images.…
(more)
▼ This dissertation reveals significant aspects of the use and understanding of prints in seventeenth-century Sicily by exploring their function in the realm of sacred images. It centers on three of the most substantial printmaking ventures carried out in Palermo and Messina: Ottavio Gaetani's Icons of Mary (Palermo, 1663), Placido Samperi's Iconology of the Virgin (Messina, 1644), and Giordano Cascini's St. Rosalia (Palermo, 1651). All three books treat religious subjects and feature intaglio prints claiming to reproduce the sacred images – paintings, sculptures, and mosaics – that constitute a crucial element of each narrative. The project examines the production of these works and the subsequent textual and visual responses made on the island and at farther distances. The three chapters treat each book both as a collection of prints and as an exchange between text and image that renders those prints as evidence for the value and flexibility of images.
The first chapter focuses on Gaetani’s collection of icons of the Virgin from through the island and the utilization of prints as effective surrogates for those miraculous images. In the second chapter, the lines between devotional and art historical value are questioned in Samperi’s illustrated collection of paintings and sculptures depicting the Virgin. The third chapter unfolds the strategies by which prints were presented as evidence of a cult’s material history and continued to inform St. Rosalia’s legitimacy. In doing so, the chapters reveal a range of possible understandings of the relationship between prints and their sources, as well as active manipulations of that relationship to a range of ends. The dissertation identifies a Sicilian approach to generating historical, political, and sacred narratives that was inventive in both depending on and incorporating the reproduction of images in print.
Subjects/Keywords: Art, Baroque; Prints, Italian; Icons; Intaglio printing; Mary, Blessed Virgin, Saint; Rosalia, Saint, -1160
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APA ·
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APA (6th Edition):
Kobasa, C. M. S. (2020). Sacred Impressions in Seventeenth-Century Sicily. (Doctoral Dissertation). Columbia University. Retrieved from https://doi.org/10.7916/d8-hn3p-yb06
Chicago Manual of Style (16th Edition):
Kobasa, Clare Marie Somsel. “Sacred Impressions in Seventeenth-Century Sicily.” 2020. Doctoral Dissertation, Columbia University. Accessed January 19, 2021.
https://doi.org/10.7916/d8-hn3p-yb06.
MLA Handbook (7th Edition):
Kobasa, Clare Marie Somsel. “Sacred Impressions in Seventeenth-Century Sicily.” 2020. Web. 19 Jan 2021.
Vancouver:
Kobasa CMS. Sacred Impressions in Seventeenth-Century Sicily. [Internet] [Doctoral dissertation]. Columbia University; 2020. [cited 2021 Jan 19].
Available from: https://doi.org/10.7916/d8-hn3p-yb06.
Council of Science Editors:
Kobasa CMS. Sacred Impressions in Seventeenth-Century Sicily. [Doctoral Dissertation]. Columbia University; 2020. Available from: https://doi.org/10.7916/d8-hn3p-yb06
Univerzitet u Beogradu
26.
Rakićević, Tihon M.
Олтарска преграда - иконостас од IV до средине XVII века
: форма, функција и значење.
Degree: Pravoslavni bogoslovski fakultet, 2015, Univerzitet u Beogradu
URL: https://fedorabg.bg.ac.rs/fedora/get/o:9212/bdef:Content/get
► Теологија - Практично богословље / Theology - Practical theology
У свести данашњих хришћана храм се доживљава истовремено и као кућа молитве за саборно окупљање верних…
(more)
▼ Теологија - Практично богословље / Theology -
Practical theology
У свести данашњих хришћана храм се доживљава
истовремено и као кућа молитве за саборно окупљање верних и као дом
Господњи – место посебног присуства Божијег. Оба ова схватања храма
имају свој развој. Појави хришћанских храмова и теологији која је
везана за њих претходе два периода чији се утицај директно
одражавао на богослужбени простор. Први је старозаветни период чији
концепт је подразумевао Божије обитавање у храму и сакралну поделу
простора са постојањем једног олтара. Други је ранохришћански
период у коме молитвена сабрања уводе појам Божијег присуства у
заједници, или тачније као заједница (Отк 21:2–4; 22:3–4). У овом
периоду је, уместо старозаветних концепата који су подразумевали
постојање само једног олтара, уведена равноправност олтарâ.
Отпочињањем Константиновог мира, порастом броја хришћана, њихових
заједница и ширењем Цркве, губила се уска веза која је постојала
међу вернима, као и веза свештенство–верни. Уласком Цркве у правни
систем државе одиграле су се промене у схватању култног простора.
Дошло је до својеврсне религизације хришћанског култа и
богослужбених простора те поново на сцену ступа храмовна
концепција. У њој постоје олтарске преграде чија је спољашња форма
преузета из јавних античких грађевина. Јачање значаја олтарске
апсиде, која просто преузима улогу срца храма, повлачило је са
собом и жељу да се она, на неки начин, не само одвоји него и
заштити. Ране олтарске преграде су имале и одговарајућа имена. Ови
називи откривају њихов облик, величину и практичну намену. Од 7.
века почиње употреба термина темплон. Овај термин, који је
латинског порекла, вековима је означавао олтарску преграду.
Последњих векова је, уместо њега, постепено ушао у употребу термин
иконостас. Овај термин је у средњем веку означавао постоље, носач
за иконе, а за означавање олтарске преграде употребљен је јер је
ова преграда управо то и постала. Њен развој је текао од форме
ниског, допојасног паноа, преко узвишавања стубића на које је
постављана греда, временом све до високог паравана, тј. зида
испуњеног иконама. Ипак, систематско проучавање историјата
олтарских преграда, које се догађало упоредо са засићењем њиховом
високом формом, довело је до тога да се крајем 19. века постави
питање сврсисходности оваквог њеног развоја. Овај проблем који је,
као такав, постављен у Русији, касније је почео да се намеће као
проблем много ширих размера. То је било зато што су се кроз њега
преламали многи важни елементи православног богослужења, теологије
и духовности...
Advisors/Committee Members: Vukašinović, Vladimir, 1967-.
Subjects/Keywords: altar; altar screen; templon; iconostasis; linear
concept; Eschaton; Eucharist; icons; iconolatry; intercession of
saints
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APA ·
Chicago ·
MLA ·
Vancouver ·
CSE |
Export
to Zotero / EndNote / Reference
Manager
APA (6th Edition):
Rakićević, T. M. (2015). Олтарска преграда - иконостас од IV до средине XVII века
: форма, функција и значење. (Thesis). Univerzitet u Beogradu. Retrieved from https://fedorabg.bg.ac.rs/fedora/get/o:9212/bdef:Content/get
Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation
Chicago Manual of Style (16th Edition):
Rakićević, Tihon M. “Олтарска преграда - иконостас од IV до средине XVII века
: форма, функција и значење.” 2015. Thesis, Univerzitet u Beogradu. Accessed January 19, 2021.
https://fedorabg.bg.ac.rs/fedora/get/o:9212/bdef:Content/get.
Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation
MLA Handbook (7th Edition):
Rakićević, Tihon M. “Олтарска преграда - иконостас од IV до средине XVII века
: форма, функција и значење.” 2015. Web. 19 Jan 2021.
Vancouver:
Rakićević TM. Олтарска преграда - иконостас од IV до средине XVII века
: форма, функција и значење. [Internet] [Thesis]. Univerzitet u Beogradu; 2015. [cited 2021 Jan 19].
Available from: https://fedorabg.bg.ac.rs/fedora/get/o:9212/bdef:Content/get.
Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation
Council of Science Editors:
Rakićević TM. Олтарска преграда - иконостас од IV до средине XVII века
: форма, функција и значење. [Thesis]. Univerzitet u Beogradu; 2015. Available from: https://fedorabg.bg.ac.rs/fedora/get/o:9212/bdef:Content/get
Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation
Universitat de Barcelona
27.
Aguirre Romero, Federico.
El giro hermenéutico del ícono en el contexto de Grecia moderna: de «ícono bizantino» a «imagen eclesial».
Degree: Departament de Filologia Grega, 2016, Universitat de Barcelona
URL: http://hdl.handle.net/10803/392673
► Nowadays there is a real passion for the Byzantine icon, demonstrated by the increasing amount of workshops around the world, where icons are painted according…
(more)
▼ Nowadays there is a real passion for the Byzantine icon, demonstrated by the increasing amount of workshops around the world, where
icons are painted according to the traditional techniques, as well as by conferences and university courses on Byzantine art and Orthodox theology. In countries with Orthodox tradition, icon painting has even become again the official art of the Church and monumental mural paintings are created. Nevertheless, the passion of our age for the icon raises certain questions which have not yet been dealt with by current research. For example, the discovery of the pictorial value of the icon itself and its direct relationship with the emergence of Russian Suprematism is an issue that has not been sufficiently discussed by the history of art. On the other hand, the attempts to use the icon painting tradition as a vehicle of the current Christian experience underlines the need to link the theological perspective of the icon with the quests of contemporary civilisation, especially if one is to see the icon as a pictorial language able to express the contemporary man's faith experience.
As pointed out by several authors, the modern history of the icon is an outstanding issue. Not only because we lack in studies on it, but foremost because of the abscense of a suitable methodological frame for dealing with the question which is hovering over our contemporary passion for the
icons: it is possible that a tradition of the past comes back to life leading to a poetics of the present time or is it about a nostalgic mirage?
This study focuses on the process of recovery of the icon painting tradition in the context of modern Greece and the hermeneutic issues it entails. Its aim is not a detailed analysis but the creation of a methodological framework for addressing the above question. In order to perform this task, we analyse the work of three contemporary Greek authors: Photis Kontoglou, Giorgos Kordis and Christos Giannaras. In their work, one can see in a paradigmatic way the three stages that constitute the "hermeneutict turn" of the icon in the context of modern Greek civilisation, i.e. the turn in the interpretation of Byzantine pictorial tradition, which does no longer present itself as a fact of the past but as an essential driving force for the development of modern Greek culture.
Advisors/Committee Members: [email protected] (authoremail), false (authoremailshow), Marcos Hierro, Ernest, 1963- (director), Gilabert Barberà, Pau (tutor), true (authorsendemail).
Subjects/Keywords: Icones; Iconos; Icons; Hermenèutica; Hermenéutica; Hermeneutics; Grècia; Grecia; Greece; Ciències Humanes i Socials; 80
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APA ·
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MLA ·
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Export
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APA (6th Edition):
Aguirre Romero, F. (2016). El giro hermenéutico del ícono en el contexto de Grecia moderna: de «ícono bizantino» a «imagen eclesial». (Thesis). Universitat de Barcelona. Retrieved from http://hdl.handle.net/10803/392673
Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation
Chicago Manual of Style (16th Edition):
Aguirre Romero, Federico. “El giro hermenéutico del ícono en el contexto de Grecia moderna: de «ícono bizantino» a «imagen eclesial».” 2016. Thesis, Universitat de Barcelona. Accessed January 19, 2021.
http://hdl.handle.net/10803/392673.
Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation
MLA Handbook (7th Edition):
Aguirre Romero, Federico. “El giro hermenéutico del ícono en el contexto de Grecia moderna: de «ícono bizantino» a «imagen eclesial».” 2016. Web. 19 Jan 2021.
Vancouver:
Aguirre Romero F. El giro hermenéutico del ícono en el contexto de Grecia moderna: de «ícono bizantino» a «imagen eclesial». [Internet] [Thesis]. Universitat de Barcelona; 2016. [cited 2021 Jan 19].
Available from: http://hdl.handle.net/10803/392673.
Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation
Council of Science Editors:
Aguirre Romero F. El giro hermenéutico del ícono en el contexto de Grecia moderna: de «ícono bizantino» a «imagen eclesial». [Thesis]. Universitat de Barcelona; 2016. Available from: http://hdl.handle.net/10803/392673
Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation
Brunel University
28.
Kaur, Manjinder.
Designing effective animated icons for children.
Degree: PhD, 2011, Brunel University
URL: http://bura.brunel.ac.uk/handle/2438/6327
;
http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.553674
► Information Technology is an essential part of the National Curriculum in the UK, yet despite the growth of IT in schools that this has generated,…
(more)
▼ Information Technology is an essential part of the National Curriculum in the UK, yet despite the growth of IT in schools that this has generated, there is evidence that children are not to be taken into consideration enough when designing aspects of educational software. The functionality available in education software packages tends to be made available through static icons, yet there are problems with their implementation as they can at times cause confusion for the user in terms of the functionality that they are aiming to represent. In order to make icons in educational software more effective, and to meet the needs of children, of the use of animated icons has been suggested. Animating the function of the icon aims to provide a clarification of its meaning and demonstrate its capabilities, as well as explaining to the user the method of use. However, there is little information available on how to support the design of effective animated icons. Focusing on a target age group of 11 to 12 year olds, this thesis argues that some form of support mechanism should be developed for the design of animated icons to ensure that consideration is being given to the types of object that children find useful and accessible. A set of dimensions where guidance on visual aspects of the icon may be useful are developed through analysis of relevant literature and it is highlighted that they do not provide any insight into what types of object may be helpful in designing the animated icons. This thesis then argues that animated icon design can be usefully informed by psychological theories of learning and that using such theories as a base may provide an understanding of how children identify icon functionality. The thesis introduces and critiques Piaget’s Genetic Epistemology theory, Vygotsky’s Sociocultural theory and Leontjev’s Activity Theory, identifying aspects of the theories which may be of relevance to the design of animated icons. By investigating the relationships between the dimensions of animated icons and the concepts from the theories of learning, insights are developed into the impact of visual factors on a child’s identification and understanding of icon functionality. The thesis goes on to report a practical study where the sample is a group of 11 to 12 year old children. The practical study consists of three phases. The first phase gathers data related to the children’s familiarity with computers and the types of software packages that they use. The second phase looks at their use and recognition of static icon functionality. The last phase involves using the findings from phases 1 and 2 to create and evaluate a set of animated icons, the development of which is based on the relationships between the concepts from theories of learning and the identified dimensions of animated icons. The analysis of the evidence from the practical study leads to a small set of design principles being proposed that are aimed to provide advice/guidance on how to design animated icons effectively for this target age group, with an…
Subjects/Keywords: 372.34; Animated icons; Design principles; Icon dimensions; Theories of learning; Children (11-12 years old)
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APA (6th Edition):
Kaur, M. (2011). Designing effective animated icons for children. (Doctoral Dissertation). Brunel University. Retrieved from http://bura.brunel.ac.uk/handle/2438/6327 ; http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.553674
Chicago Manual of Style (16th Edition):
Kaur, Manjinder. “Designing effective animated icons for children.” 2011. Doctoral Dissertation, Brunel University. Accessed January 19, 2021.
http://bura.brunel.ac.uk/handle/2438/6327 ; http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.553674.
MLA Handbook (7th Edition):
Kaur, Manjinder. “Designing effective animated icons for children.” 2011. Web. 19 Jan 2021.
Vancouver:
Kaur M. Designing effective animated icons for children. [Internet] [Doctoral dissertation]. Brunel University; 2011. [cited 2021 Jan 19].
Available from: http://bura.brunel.ac.uk/handle/2438/6327 ; http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.553674.
Council of Science Editors:
Kaur M. Designing effective animated icons for children. [Doctoral Dissertation]. Brunel University; 2011. Available from: http://bura.brunel.ac.uk/handle/2438/6327 ; http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.553674
29.
Thörnqvist, Adam Daregård.
The Sound of Learning : Supporting the learning in games with Auditory Icons and Earcons.
Degree: 2018, , Blekinge Institute of Technology
URL: http://urn.kb.se/resolve?urn=urn:nbn:se:bth-16498
► The purpose of the survey is to answer the following question: How is the learning process in digital games affected by an informative sound…
(more)
▼ The purpose of the survey is to answer the following question: How is the learning process in digital games affected by an informative sound design? The survey analyzes the adaptation of sound design in digital games for optimized learning regarding the digital environment's responses to the actor's interaction. The work investigates actors' decisions in a digital environment and the changes in decision after a change in sound design. The study resulted in a reinforced perception when auditory icons occurred in a non-representative environment, these interactions were recorded and recalled to a greater extent in relation to remaining auditory methods. Analysis of Kolb's learning patterns in a digital environment enhanced by informative sound design was documented in the following steps: observation of interaction, reflection on interaction, implementation of hypothesis on a similar interaction, reflection on differences and similarities of varying results of interaction.
Undersökningens syfte är att besvara följande frågeställning: Hur påverkas inlärningsprocessen i digitala spel med hjälp av en informativ ljuddesign?Undersökningen analyserar anpassning av ljuddesign i digitala spel för en optimerad inlärning gällande den digitala miljöns reaktioner till aktörers interaktion. Arbetet undersöker aktörers beslut i en digital miljö och förändringarna i beslut efter en förändring i ljuddesign.Undersökningen resulterade i en förstärkt uppfattningsförmåga då Auditory Icons uppstod i en icke-representativ miljö, dessa interaktioner registrerades och återkallas i en större omfattning i förhållande till resterande auditiva metoder.Analys av Kolb’s inlärningsmönster i en digital miljö stärkt av informativ ljuddesign dokumenterades i följande steg: observation av interaktion, reflektion över interaktion, implementation av hypotes på en liknande interaktion, reflektion över skillnader och likheter av varierande resultat av interaktion.
Subjects/Keywords: Earcons; Auditory Icons; Inlärningsmodeller; Inlärningsärketyper; Pleasentness; Unpleasentness; Hearing och Listening.; Media Engineering; Mediateknik
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APA ·
Chicago ·
MLA ·
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CSE |
Export
to Zotero / EndNote / Reference
Manager
APA (6th Edition):
Thörnqvist, A. D. (2018). The Sound of Learning : Supporting the learning in games with Auditory Icons and Earcons. (Thesis). , Blekinge Institute of Technology. Retrieved from http://urn.kb.se/resolve?urn=urn:nbn:se:bth-16498
Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation
Chicago Manual of Style (16th Edition):
Thörnqvist, Adam Daregård. “The Sound of Learning : Supporting the learning in games with Auditory Icons and Earcons.” 2018. Thesis, , Blekinge Institute of Technology. Accessed January 19, 2021.
http://urn.kb.se/resolve?urn=urn:nbn:se:bth-16498.
Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation
MLA Handbook (7th Edition):
Thörnqvist, Adam Daregård. “The Sound of Learning : Supporting the learning in games with Auditory Icons and Earcons.” 2018. Web. 19 Jan 2021.
Vancouver:
Thörnqvist AD. The Sound of Learning : Supporting the learning in games with Auditory Icons and Earcons. [Internet] [Thesis]. , Blekinge Institute of Technology; 2018. [cited 2021 Jan 19].
Available from: http://urn.kb.se/resolve?urn=urn:nbn:se:bth-16498.
Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation
Council of Science Editors:
Thörnqvist AD. The Sound of Learning : Supporting the learning in games with Auditory Icons and Earcons. [Thesis]. , Blekinge Institute of Technology; 2018. Available from: http://urn.kb.se/resolve?urn=urn:nbn:se:bth-16498
Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation
University of Western Ontario
30.
Shan, Bo.
Multivariate Spatial Visualization using GeoIcons and Image Charts.
Degree: 2014, University of Western Ontario
URL: https://ir.lib.uwo.ca/etd/2542
► Spatial databases are growing in size and complexity, yet current visual data mining methods are challenged when it comes to multivariate spatial data. The specific…
(more)
▼ Spatial databases are growing in size and complexity, yet current visual data mining methods are challenged when it comes to multivariate spatial data. The specific research question addressed in this thesis is: how can spatial multivariate data be effectively visualized using an icon based non-fused co-visualization approach? The thesis presents a Python based design and implementation of a visualization program termed GeoIcon Viewer. The program incorporates two different visualization methods: GeoIcon Image Map and Region-of-Interest Image Layers Chart. The GeoIcon Image Map technique uses an icon to co-visualize up to nine attributes at a single location. The Region-of-Interest Image Layers Chart method uses a small multiples approach to support the GeoIcon Image Map technique for data with negligible value differences. The thesis demonstrates the successful implementation of the GeoIcon Viewer with a case study involving remote sensing digital image analysis of a copper deposit. With the two visualization methods and eight input attributes, the GeoIcon Viewer generated real time interactive visualization outputs that can aid a user in multivariate spatial data mining.
Subjects/Keywords: Visualization; Multivariate; Spatial Data; Icons; GIS; GeoIcon; Geographic Information Sciences; Remote Sensing
Record Details
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Share »
Record Details
Similar Records
Cite
« Share
❌
APA ·
Chicago ·
MLA ·
Vancouver ·
CSE |
Export
to Zotero / EndNote / Reference
Manager
APA (6th Edition):
Shan, B. (2014). Multivariate Spatial Visualization using GeoIcons and Image Charts. (Thesis). University of Western Ontario. Retrieved from https://ir.lib.uwo.ca/etd/2542
Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation
Chicago Manual of Style (16th Edition):
Shan, Bo. “Multivariate Spatial Visualization using GeoIcons and Image Charts.” 2014. Thesis, University of Western Ontario. Accessed January 19, 2021.
https://ir.lib.uwo.ca/etd/2542.
Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation
MLA Handbook (7th Edition):
Shan, Bo. “Multivariate Spatial Visualization using GeoIcons and Image Charts.” 2014. Web. 19 Jan 2021.
Vancouver:
Shan B. Multivariate Spatial Visualization using GeoIcons and Image Charts. [Internet] [Thesis]. University of Western Ontario; 2014. [cited 2021 Jan 19].
Available from: https://ir.lib.uwo.ca/etd/2542.
Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation
Council of Science Editors:
Shan B. Multivariate Spatial Visualization using GeoIcons and Image Charts. [Thesis]. University of Western Ontario; 2014. Available from: https://ir.lib.uwo.ca/etd/2542
Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation
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Open Access Theses and Dissertations
