I am looking for articles/studies that reccomend or have used Iconogpraphy methodology while analsying print or digital advertisements. Any suggestion would be useful. Thank you.
Iconography is very important to unfold the meanings in symbols and symbols are very specific in every civilization it is something which could be called collective psyche.
the turning point are icons under technology and scripture; they are going to iconography, they're related (icon) one to the other (iconography), then don't you think on what an icon is?... for this reason theory of icons is available and Peirce in his semiotics, he puts three classes of signs; from the most to less complex meaning: symbol (arbitrarily), icon (arbitrary part and real part); the signal is emerging from the reality signal-clue-hint-suggestions... thanks a lot ...
If a particular ad or set of ads contain images, then the iconographic methodology will definitely come in handy. There are (fortunately or unfortunately) many of them, because in European reflection this field was developing very dynamically. Researchers worth remembering: Heinrich Wollflin, Aby Warburg, Rudolf Arnheim, Ernst Gombrich. But an additional problem is not only that individual images (of animals, buildings, works of art) have different meanings in different cultures, but also that a method is needed to read meanings. For example, an advertisement using the image of a lion refers to existing meanings (this is the so-called connotation, i.e. basic associations with a lion: courage, predation), and then subjects these meanings to some modifications (which is called denotation). In short, the iconographic methodology must also be a semiotic methodology.
first of all, Wallena you should delimitate the field, is a huge one, whether historical (any special period), or religious (Russian assumption of identity through religious icons), and even intertwinning reality and theoretical art.. getting in touch if convenient bibliography must to be researched...
concrete or open mind, more useful that history of human thought to be aware of what existed before? or we need only immediate reaction that is one of adjoining results, a kind of meaning that it gives a sudden impression of contemporary theories of sudden effects… things, objects, images, icons, symbols are present throughout the thought, then items that have to be treated under psychic properties rather than with the body physiology… “Cognitive Iconology” is a new theory of the relation of psychology to art, far away of applying psychological principles, it is attempting methodologically account of psychology, art and the nature of explanation, so in terms in semiotics are “senses”; and finally, rather than fighting over biology or culture, it shows how they must fit together; because “cognitive iconology” is pointing to other disciplines like cognitive poetics and musicology but as disciplines are not determinative psychology of an artistic meaning and case studies: images depicted within images, basic corrections to architectural renderings in images, and murals and paintings seen from the side….
la arqueología es una ciencia técnica, en cada contexto debe proceder con lo encontrado, su método es suministrar y autentificar datos, por ella misma facilita y convive con otras disciplinas a las que ofrece datos científicos, es una disciplina técnica de intervención en yacimientos, que incluye la prospección, cuyos principios (estratigrafía de Harris, cultura material de Bandinelli, rebaños de caribús en Bindford, lo desconocido siberiano en Klima) forman la base de otras disciplinas como la historia, la geografía, la sociología, la demografía, la política, la arquitectura, etc., por eso su extensión alcanza la filosofía, la hermeneútica o la semiótica, entre otras disciplinas; de ahí que en las excavaciones aparezcan imágenes, sean indicios, iconos o símbolos, que cada una de las disciplinas mencionadas interpretará, lo que Frege fijó como sentido(lógico, en Nueva Arqueología de Hodder o en lingüística como Renfrew), que en nuestro caso sería el estudio del icono, y que será objeto de tratamiento en la iconografía y si se desea con Panofsky o Bialostocki de la iconología...
thank you very much for all Dr. Asli Cazorla, very sorry yesterday writing was in spanish, I briefly translate it and I'm giving a summary of it: archaeology is a technical science, in every archaeological site it have to examine remains; the background is treated by the principles of strata, layers of Harris, together with material culture of Bandinelli, or flocks of caribus -Bindford-, and siberian unknown world -Leon Klima-, all of them point to a scientific world of knowledge upon tokens an types, samples and classes, that are the basic graphic field of icons, clues and symbols, which are items of iconography, but the theory work out why solve and manage their problems of iconology as Panofsky or Bialostocki...
Iconography is both a method and an approach to studying the content and meanings of visuals. I suggest you to access the Chapter 15 | Iconography and Iconology as a Visual Method and Approach, In: The SAGE Handbook of Visual Research Methods. Check it: https://methods.sagepub.com/book/sage-hdbk-visual-research-methods/n15.xml Good luck!
thank to you Prof. Asli Cazorla for providing uselful and available tool about icons and in order to study them, we don't scarcely know what to do with them, we must harness the potential of the idea the "historical icon", partly real and partly conventional and arbitrary, as well, far away of symbols, whole metaphysical shaping of an idea, moved away from immediately perception.... thanks again...
Part III. Critical Art: New Ways of Seeing Style and Confguration in Prehistoric Iconography, pp. 223-238, Vernon James Knight Jr.
Selected Papers from the Annual Meeting of the Southern Anthropological Society, Richmond, Virginia March, 2011 Robert Shanafelt, Series Editor
the author starts with: "The iconography of ancient art has to do with making propositions about what that art depicts. Stylistic studies, in contrast, make propositions about the sharedness of formal properties with other objects. Tese can be done separately. Although many iconographic analyses of ancient art proceed with little or no consideration of style, I argue that the two modes of analysis are interdependent. I offer a methodological case that stylistic analysis is logically prior to iconography study in the domain of ancient art...", the reason is why deals with images depicted under the iconography of ancient art as the point of view stylistic analysis an prerequisite under symbolical and athropological cognition to be depicted, to help to interpret what is depicted... Iconography transfers representational images and whatever they refer to cultural models, which rule styles that are going to be applied. Contemporaneous theories of art have in common with ancient cultures that they were products of artists whether known whether anonymus. The study of styles and the representations are imagery and skills to represent as trusthworthy as possible. The sources of iconographic interpretation are mainly stylistic traits of execution and layout.