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The volume is a cross-section of contributions to the Glasgow International Emblem Conference 1990, and demonstrates the range of research currently under way into the emblem tradition in the Renaissance and Baroque periods and the variety of its development across the centuries in many European countries. The seventeen papers are arranged here in broad national and thematic groupings, showing the emblem tradition in France, Italy, the Low Countries, Germany, Britain, within the field of alchemy, and extending into wider European traditions. The volume is generously illustrated, and an index is provided for the orientation of the reader. An impression of the richness of the European emblem tradition is given for the general reader, whilst the specialist is provided with a comprehensive insight into the many and varied strands of current emblem research and the diversity of approach adopted by scholars internationally.
This collection of nineteen essays focuses on the ways in which, in England, France and Spain, the Renaissance made propagandistic, or aesthetic, use of the image in various spectacles. Under surface differences between genres, what emerges is a surprising similarity in tactics and response, which invites further questioning about image elaboration and its reception.
The present volume contains eighteen papers of a conference devoted to iconography and emblem studies. The essays represent the state of research and are arranged according to the following aspects: Iconography and Ideology, Iconography and History, The World of Emblems and Occult Emblematics.
This re-examination of alchemical engravings of the late Renaissance uses an innovative semiotic method in analysing their geometrical and optical rhetorical devices. The images are contextualised within contemporary metaphysics, specifically, the discourse of light, and in Protestant reformism.
This collection of nineteen essays focuses on the ways in which, in England, France and Spain, the Renaissance made propagandistic, or aesthetic, use of the image in various spectacles. Under surface differences between genres, what emerges is a surprising similarity in tactics and response, which invites further questioning about image elaboration and its reception.
This twenty-third volume of ABBB (Annual bibliography of the history of the printed book and libraries) contains 3956 records, selected from some 1600 periodicals, the list of which follows this introduction. They have been compiled by the National Committees of the following countries: Arab Countries Italy Australia Latin America Austria Latvia Belgium Luxembourg Byelorussia The Netherlands Canada Poland Croatia Portugal Denmark Rumania Estonia Russia Finland South Africa Spain France Germany Sweden Great Britain Switzerland Hungary Ukrain Ireland (Republic of) USA Benevolent readers are requested to signal the names of bibliographers and historians from countries not mentioned above, who would be willing to co-operate to this scheme of international bibliographic collaboration. The editor will greatly appreciate any communication on this matter. Subject As has been said in the introduction to the previous volumes, this bibliography aims at recording all books and articles of scholarly value which relate to the history of the printed book, to the history of the arts, crafts, techniques and equipment, and of the economic, social and cultural environment, involved in its production, distribution, conservation, and description. Of course, the ideal of a complete coverage is nearly impossible to attain.
The relationship between medieval animal symbolism and the iconography of animals in the Renaissance has scarcely been studied. Filling a gap in this significant field of Renaissance culture, in general, and its art, in particular, this book demonstrates the continuity and tenacity of medieval animal interpretations and symbolism, disguised under the veil of genre, religious or mythological narrative and scientific naturalism. An extensive introduction, dealing with relevant medieval and early Renaissance sources, is followed by a series of case studies that illustrate ways in which Renaissance artists revived conventional animal imagery in unprecedented contexts, investing them with new meanings, on a social, political, ethical, religious or psychological level, often by applying exegetical methodology in creating multiple semantic and iconographic levels.Brill's Studies on Art, Art History, and Intellectual History, vol. 2
Symbolic Scores is the first monograph on Renaissance music devoted to discussing more than 150 compositions which involve symbolism inspired by ideas and themes inherent in the musical culture of the time. The introduction describes the historical and theoretical premises of the use of the terms 'allegory', 'sign', and 'symbol', and goes into the aspect of number symbolism as well as the aims, limits, and principles of musico-symbolical analysis. Other studies concentrate on Dufay and Josquin, deal with the symbolical application of soggetto ostinato and canon technique, or treat such themes as music for the dead and the Holy Virgin. The final study is about the conception of heavenly music and musical composition. Symbolic Scores is finely illustrated and includes musical examples, and indices of compositions and names.
The literature of the 16th and 17th centuries was informed by the symbolic thought embodied in the mixed art form of emblems. This study explores the relationship between the emblem and the literature of England and Germany during the period.
Complète les deux ouvrages publiés dans la même collection, d'Alison Saunders, Stephen Rawles et Alison Adams. L'index des noms et des lieux enrichit la bibliographie des oeuvres secondaires consacrées aux emblèmes français et en facilite l'utilisation.