Departing from the present need for cultural models within the public debate, this volume offers a new contribution to the study of cultural icons. From the traditional religious icon to the modern mass media icon, from the recognizable visual icon to the complex entanglement of image and collective narratives: The Construction and Dynamics of Cultural Icons offers an overview of existing theories, compares different definitions and proposes a comprehensive view on the icon and the iconic. Focusing in particular on the making of iconic representations and their changing social-cultural meanings through time, scholars from cultural memory studies, art history and literary studies present concrete operationalizations of the ways different types of cultural icons can be studied.
- Cover
- Table of Contents
- Introduction
- The Construction and Dynamics of Cultural Icons
- Erica van Boven and Marieke Winkler
- I: People
- The Iconization and Mythologization of Byron’s Life and Work in Nineteenth-Century Netherlands and Europe
- Lenin as Cultural Icon
- Brigitte Bardot: The Making, Recycling, and Afterlife of an Icon
- II: Places
- The Renaissance at a Glance
- The Panoramic View of Florence
- Paul van den Akker
- Iconic City Thrillers
- Encoding Geopolitics Through Cinema
- Rui Lopes
- City Branding
- Historical Culture and the Making of ‘Hanzestad Zwolle’
- Frank Inklaar
- III: Objects
- National Treasure Tea Bowls as Cultural Icons in Modern Japan
- What to Lea(f) In, What to Lea(f) Out
- Pedagogical Opportunities of a Cultural Icon – Anne Frank’s Chestnut Tree
- Kirsten E. Kumpf Baele
- Exploring the Iconic in History Museums
- Hitler Goes Pop
- Reflections on Media Representation and Collective Memory
- Yvonne Delhey
- Author Biographies
- Index of Names
- List of Images
- Image 1 Lord Byron. Engraving by Charles Turner, published by Anthony Molteno, after Richard Westall, published 15 July 1825
- Image 2 The Modern Prometheus, or Downfall of Tyranny. Print by George Cruikshank, satire on Napoleon’s exile to Elba (1814)
- Images 3 and 4 Soviet Propaganda Posters depicting Lenin
- Image 5 Brigitte Bardot during the Venice Film Festival. Venice, Italy, 1958
- Image 6 Florence seen from the Piazzale Michelangelo, 2009
- Image 7 Domenico Ghirlandaio, Visitation, 1485-1490, fresco
- Image 8 John Brampton Philpot, Panorama of Florence from San Miniato, ca 1857, albumen print, 16.5 × 42.3 cm
- Image 9 John Ruskin and George Hobbes (attributed), Panorama of Florence from San Miniato, 1845, daguerreotype, 16.9 × 21.3 cm
- Image 10 Viollet-le-Duc, Panorama of Florence from San Miniato, 1836, pen, brown and black ink, traces of pencil, 31.8 × 64.4 cm
- Image 11 Thomas Cole, View of Florence from San Miniato, 1837, oil on canvas, 99.1 × 160.3 cm
- Image 12 Jean-Baptiste Camille Corot, View of Florence from the Boboli Gardens, 1835-1840, oil on canvas, 51 × 73.5 cm
- Image 13 Louis Gauffier, Portrait of Dr. Thomas Penrose, 1798, oil on canvas, 49.2 × 65.4 cm
- Image 14 Louis Gauffier, The Family of André-François, Count Miot de Melito, 1795-1796, oil on canvas, 68.7 × 88 cm
- Image 15 Andrea Verrocchio (attributed), Madonna and four saints, detail with a model of the city of Florence in the left hand of San Zenobius, oil on panel, 173 × 165 cm (full painting)
- Image 16 Anonymous, after Jacopo de’ Barbari, Birds-eye view of Venice, ca 1500, woodcut (6 blocks on 12 leaves of paper), 134 × 283 cm
- Image 17 Francesco di Lorenzo Rosselli (?), Panoramic view of Florence, ca 1471-82, woodcut, 58.5 × 13.15 cm (in six leaves)
- Image 18 George Cook, Panorama to Florence from the San Miniato hill, after a design which William Turner made after a sketch by James Hakewill, engraving, in: James Hakewill. A Picturesque Tour of Italy, from Drawings Made in 1816-1817
- Image 19 George Eliot, Romola, Leipzig: Bernhard Tauchnitz Verlag, vol. 1, 1863: frontispiece
- Image 20 Singapore’s poster, packed with regional iconography, including the inflated title, which evokes the colour and stripes of Chinese lamps
- Image 21 Istanbul’s poster, with the protagonists enveloped by local architecture and an orientalist tagline. The title’s initial resembles a pattern from the Hagia Sophia, followed by letters simulating the calligraphy of qalam pens.
- Image 22 Tea bowl (Japan) named Unohanagaki (Fence of Deutzia Flowers),
16th-17th cent. Shino ware stoneware, 9.5 x 11.8 cm
- Image 23 Tea bowl (Korea) named Kizaemon, 16th cent. Stoneware, 8.9 x 15.4 cm
- Image 24 Tea bowl (China), 12th-13th cent. Jian ware stoneware with ‘oil spot’ (yuteki) tenmoku glaze. 7 x 12.3 cm
- Image 26 Tea bowl (China), 12th-13th cent. Jian ware stoneware with iridescent spotted (yōhen) tenmoku glaze, 6.8 x 13.6 cm
- Image 25 Tea bowl (China), known as “Inaba Tenmoku,” 12th-13th cent. Jian ware stoneware with iridescent spotted (yōhen) tenmoku glaze. 6.8 x 12 cm
- Image 27 Tea bowl (China), 12th-13th cent. Jian ware stoneware with iridescent spotted (yōhen) tenmoku glaze, 6.6 x 12.1 cm
- Image 28 Tea bowl (China), 12th-13th cent. Jizhou ware ware stoneware with tortoise shell (taihi) glaze, 6.7 x 11.8 cm
- Image 30 Tsujimura Shirō, Tea bowl of the Ido type, 2003. Stoneware, 9.8 x 15.4 cm
- Image 29 Oketani Yasushi, Tea bowl (Japan), 2014, Stoneware with iridescent spotted (yōhen) tenmoku glaze. 6.6 x 12.9 cm
- Image 31 Hon’ami Kōetsu (1558-1637),
Fuji-san, Raku fired earthenware, 8.5 x 11.5 cm
- Image 32 Engraving of The Brookes slaveship around 1788
- Image 33 Illustration by Cristoforo dall’Acqua for a 1818 Italian translation of Captain John Stedman: A negro hung by his ribs from a gallows, 1792
- Images 34 and 35 Walter Moers, Adolf, the Nazi Pig (1998) & Little Asshole and Old Curmudgeon (1993)
- Image 36 Cover of James Carr and Archana Kumar, Hipster Hitler (2013)
- Image 37 Cover De Groene Amsterdammer, July 8, 1939
- Image 38 Page from Master Comics 47 (1944), ‘Capt. Marvel meets Corp. Hitler Jr.’
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