Die Darstellung des ersten Menschenpaares in der bildenden Kunst von der ältesten Zeit bis auf unsere Tage /

Includes index.

Der Albanipsalter in Hildesheim und seine beziehung zur symbolischen kirchensculptur des XII. jahrhunderts.

Anhang I. Beschreibung der einzelnen initialen.--Anhang II. Verzeichniss der ganzseitigen bilder der handschrift.--Anhang III. Verzeichniss der monatsbilder und verse im kalender.

Der nimbus und verwandte attribute in der frühchristlichen kunst.

Mode of access: Internet.

Christian art in Spain ...

Thesis--Univ. de Lille.

Festgabe für Christliche Kunst in München : zur Erinnerung an das 50 Jähr. Jubiläum den Ehrenmitgliedern, Mitgliedern und Gönnern gewidmet.

Mode of access: Internet.

Religion & art; a study in the evolution of sculpture, painting and architecture,

Translation of: Religione e arte figurata.

The voice of a child: Archaeological limitations in interpretive stories

In the archaeological record, it seems children are rarely seen. If they are, children are referred to, to explain symbolism, rituals, past lifeways, and behavior of a society or culture rather than the past lifeways of children and their relationship to family and society. This lack of investigation suffers in all forms of archaeological research. However, this bias appears to be unconscious rather than intentionally applied. Archaeology, generally, involves the nameless and faceless rather than the individual. The archaeological signature of children appears minimal. It is adults, or more succinctly, society that generates material remains. This paper discusses interpretation of sites within the context of different archaeologies, thereby providing researchers with information that may not usually be considered when approaching interpretation of sites to visitors.

Protocol, image, and discourse in political leadership competition:the case of Prime Minister Lionel Jospin, 1997-2002

This article examines the relationship between Prime Minister Jospin and President Chirac in the period 1997 to 2002. It is concerned in particular with symbolism, discourse and protocol, and how these have mediated the political competition between Chirac and Jospin. We develop a framework of analysis with several main strands. We consider the effects of the institutions of the Fifth Republic upon the political conduct of Prime Minister and President. We observe the perceived character traits of the individuals concerned, as well as the character traits expected of the offices of President and Prime Minister. We investigate the influence of the past upon the behaviour of Chirac and Jospin in the present, both in terms of notions of regime crisis which configured the institutions in the first place, and in relation to the image of previous holders of the offices (especially Charles de Gaulle and Franois Mitterrand).

Analysing organisational culture : a critical ethnography of public relations and personnel specialists in a state bureaucracy

Following an introductory chapter, I examine (i) typologies which have differentiated the literature on organisational culture and symbolism (Chapter 2), (ii) the contribution of organisation theory to organisation culture (Chapter 3), and (iii) recent literature on organisational culture and symbolism (Chapter 4). Within these chapters, I adopt Habermas' (1972) notion of knowledge-constitutive interests, assessing the contrubutions to understanding organisational culture made by literature guided by technical, practical and emancipatory cognitive interests. In doing so, I suggest that more critical studies on organisational culture and symbolism have been comparatively neglected. Lamenting this neglect, I suggest that Giddens' theory of structuration can be employed to advance the development of a critical, emancipatory conceptualisation of organisational culture. In particular, I argue that this Giddensian analysis, by penetrating the existential, poltical and material processes of cultural reproduction (Chapter 5), is able to disclose some of the more contradictory features of organisation culture. The remainder of the thesis comprises of a critical ethnography of the work cultures of public relations and personnel specialists located in a state bureaucracy. I begin the ethnography with a dicussion of my research methods (Chapter 6) and an overview of the departments studied (Chapter 7): I then examine (i) the work cultures of the specialists (Chapter 8), (ii) the specialists' management of the relationships with the hosts bureaucracy (Chapter 9); and, (iii) opportunities the specialists had for developing an emancipatory praxis (Chapter 10). Finally, in a concluding section, I offer some critical reflections on the contributions of the thesis and suggest areas for future research.

Gnosticism, Transformation, and the Role of the Feminine in the Gnostic Mass of the Ecclesia Gnostica Catholica (E.G.C.)

The Gnostic Mass of the Ecclesia Gnostica Catholica (E.G.C.) suggests a heterosexual gender binary in which the female Priestess seated on the altar as the sexual and fertile image of the divine feminine is directed by the male Priest’s activity, desire and speech. The apparent contradiction between the empowered individual and the polarized gender role was examined by comparing the ritual symbolism of the feminine with the interpretations of four Priestesses and three Priests (three pairs plus one). Findings suggest that the Priestess’ role in the Gnostic Mass is associated with channeling, receptivity, womb, cup, and fertility, while the Priest’s role is associated with enthusiasm, activity, phallus, lance, and virility. Despite this strong gender duality, the Priestesses asserted that their role was personally and spiritually empowering, and they maintained heterosexual and polarized gendered roles are necessary in a transformative ritual which ultimately reveals the godlike unified individual.

Forging Iconographies and Casting Colonialism: Monuments and Memories in Ontario, 1850-2001

Commemorations are a critical window for exploring the social, political, and cultural trends of a specific time period. Over the past two centuries, the commemorative landscape of Ontario reaffirmed the inclusion/exclusion of particular racial groups. Intended as static markers to the past, monuments in particular visually demonstrated the boundaries of a community and acted as ongoing memorials to existing social structures. Using a specific type of iconography and visual language, the creators of monuments imbued the physical markers of stone and bronze with racialized meanings. As builders were connected with their own time periods and social contexts, the ideas behind these commemorations shifted. Nonetheless, creators were intent on producing a memorial that educated present and future generations on the boundaries of their “imagined communities.” This dissertation considers the carefully chosen iconographies of Ontario’s monuments and how visual symbolism was attached to historical memory. Through the examination of five case studies, this dissertation examines the shifting commemorative landscape of Ontario and how memorials were used to mark the boundaries of communities. By integrating the visual analysis of monuments and related images, it bridges a methodological and theoretical gap between history and art history. This dissertation opens an important dialogue between these fields of study and demonstrates how monuments themselves are critical “documents” of the past.

CERAMICS IN BRITAIN (1840-90): MEANINGS AND METAPHORS

The intention of this thesis, “Ceramics in Britain (1840–90): Meanings and Metaphors” is to present new approaches for interpreting ceramics in nineteenth-century Britain by situating, problematizing, and contextualizing pottery and porcelain in the popular debates of the day within the methodologies of material culture, design, cultural and art histories. I ask how did ceramics—portable, functional, and often decorative objects—contribute to shaping modes of experiences? Crockery, tableware and blue-white-porcelain, admittedly largely mediated in texts and paintings, are at the centre of this research to examine how they imposed symbolism and influenced the engagement of their subjects beyond their intended meanings and functions. This thesis tracks a common rhetoric shared by writers and artists across genres and understood by readers and viewers: crockery in the cupboard, on the mantel, the table or the floor were popular motifs exemplifying class, gender, character, etiquette, and taste. This thesis also seeks to map ceramics’ relations with other objects and people depicted. Their meanings and metaphors changed, depending on their exchange with other objects in the room and who uses them. The conventions of representing ceramics dictated a particular grammar that writers and artists used, critiqued, discarded or personalized. The examination of ceramics mediated in text and image especially in comparison with extant objects invites a deeper probing of both material culture and artistic practice, which helps to situate the agency of the ceramic objects themselves. Also this thesis, in attempt to explore new methodological approaches for ceramic studies, examines the social life of the mid-Victorian relief-moulded “Minster” Jug in the Gardiner Museum in Toronto. The product originating in Staffordshire in 1843 and exported to the colonies holds significance due to its multiple life histories. Viewing the “Minster” through the lenses of curator, collector, consumer, and critic its layered lives unfold to reveal the protocols of museum praxis as well as important aspects of mid-nineteenth-century British society related to design reform, gender, imperialism and consumption patterns. This thesis contends that the British experienced ceramics in sometimes unexpected ways, unrelated to their original purpose, such as tools of violence or containers of solace, and transformative fantasy.

Daughter of Eve, "Femme Fatale", and Persecuted Artist: The Mythic Transgressive Woman in Oscar Wilde's and Richard Strauss's "Salome"

Historically, Salome was an unexceptional figure who never catalyzed John the Baptist's death. However, in Christian Scripture, she becomes the dancing seductress as fallen daughter of Eve.  Her stepfather Herod promises Salome his kingdom if she dances for him, but she follows her mother’s wish to have John beheaded. In Strauss’s opera, after Wilde's Symbolist-Decadent play, Salome becomes independent of Herodias’ will, and the mythic avatar of the femme fatale and persecuted artist who Herod has killed after she kisses John's severed head.  Her signature key of C# major, resolving to the C major sung by Herod and Jokanaan at her death, represent her tragic fate musically.