In:
Annales. Histoire, Sciences Sociales, Cambridge University Press (CUP), Vol. 51, No. 1 ( 1996-02), p. 93-133
Abstract:
Within the framework of the present-day renewal of historical approaches to medieval imagery, it seems necessary to propose a methodological redefinition of the iconographical method. This particular approach aims specifically at the plastic implementation of meanings, but can only be deemed pertinent on the condition that it takes the whole work into account, without disassociating meaning and form and by considering the modalities of its reception as well as the effects it produces. On the other hand, if the traditional conception of a medieval art at once codified and subject to dogma could be satisfied by the classification of iconographic types, the recognition of the extreme inventivity of this art invites one, on the contrary, to define a serial approach. This kind of approach aims at constructing ranges of transformations, allowing for the articulation of regularities and variations, constants and sudden bursts. Finally, we suggest the extension of the serial method to the study of hyperthemes, thematic networks which, without postulating the unity of a global iconographic system, reveal their structuring, multiform and complex relations (for example, here, between several themes concerning divine Kinship).
Type of Medium:
Online Resource
ISSN:
0395-2649
,
1953-8146
DOI:
10.3406/ahess.1996.410835
Language:
English
Publisher:
Cambridge University Press (CUP)
Publication Date:
1996
detail.hit.zdb_id:
298-7
detail.hit.zdb_id:
2209294-8
SSG:
8,2
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