Lenin as Cultural Icon

2021 ◽  
pp. 45-62
Author(s):  
Maria Brock
Keyword(s):  
Cultural Icon

The End of the Word as We Know It

2012 ◽  
Vol 6 (1-3) ◽  
pp. 165-184
Author(s):  
Timothy Beal
Keyword(s):  
Cultural Meanings ◽  
Cultural Icon ◽  
The Bible ◽  
Material Objectivity ◽  
The Difference ◽  
The Relationship

This essay attends to a distinction that requires closer examination and theorization in our discourse on iconic books and other scriptures: the difference between iconic object and cultural icon. How do we conceive of relations between the particular, ritualized iconicities of particular scriptures in particular religious contexts and the cultural iconicities of scriptures in general, such as “the Bible” or “the Quran,” whose visual and material objectivity is highly ambiguous? How if at all are the iconic cultural meanings of the ideas of such books related to the particular iconic textual objects more or less instantiate them? These questions are explored through particular focus on the relationship between the particular iconicities of particular print Bibles, as iconic objects, and the general iconicity of the cultural icon of the Bible.

Dante as Piagnone Prophet: Girolamo Benivienis "Cantico in laude di Dante" (1506)

2002 ◽  
Vol 55 (1) ◽  
pp. 49-80 ◽  
Author(s):  
Sherry Roush
Keyword(s):  
Divine Comedy ◽  
Symbolic Language ◽  
Cultural Icon ◽  
The Divine Comedy

If imitation is the highest form of praise, then Girolamo Benivienis canto describing his otherworldly encounter with Dante's spirit is certainly a tribute to the author of the Divine Comedy. Despite its title, however, Benivieni's project is not simply epideictic. In it, Benivieni represents Dante in a highly anachronistic way, as a kind of spokesman for the piagnoni, the ardent supporters of Girolamo Savonarola's program of moral austerity and Florentine republican politics between the 1490s and the first decades of the Cinquecento. This study argues that Benivieni articulates his controversial, ideological vision in a necessarily prudent way by appropriating Dante as a safe and authoritative cultural icon and adopting a deliberately ambiguous symbolic language, which lauds himself and his politics as much as it does Dante.

scholarly journals POSTMODERNITY, SEXUALITIES AND CULTURE: FEMINIST SCRIPTS AND GENDER POP-ICONS (Review of the book: Gaga Feminism. Sex, Gender, and The End of Normal. J. Jack Halberstam. Boston : Beacon Press, 2013. 157 p.)

2020 ◽  
pp. 105-106
Author(s):  
Tetiana Vlasova
Keyword(s):  
Popular Culture ◽  
Cultural Icon ◽  
Postmodern Feminism ◽  
Arts And Culture ◽  
And Gender ◽  
Lady Gaga

Lady Gaga as a postmodern cultural icon manipulating with images and symbols has created in her “performances” a kind of new “post”-postmodern feminism, in which she followed the line of feminine anarchists – in politics, arts and culture. “Gaga ideology”, which in fact “embraces a void”, nowadays is vividly presented across alternative forms of popular culture with the subsequent great impact on the generation of millennials.

Booting a Tramp: Charlie Chaplin, the FBI, and the Construction of the Subversive Image in Red Scare America

2003 ◽  
Vol 72 (4) ◽  
pp. 495-530 ◽  
Author(s):  
JOHN SBARDELLATI ◽  
TONY SHAW
Keyword(s):  
Popular Culture ◽  
Communist Party ◽  
Red Scare ◽  
Federal Bureau ◽  
American Legion ◽  
Federal Bureau Of Investigation ◽  
Cultural Icon ◽  
Charlie Chaplin

This article examines the battle over popular culture in the age of McCarthyism. The Federal Bureau of Investigation, under J. Edgar Hoover, targeted Charlie Chaplin because of his status as a cultural icon and as part of its broader investigation of Hollywood. Some of Chaplin's films were considered ““communist propaganda,”” but because Chaplin was not a member of the Communist Party, he was not among those investigated by HUAC in 1947. Nevertheless, he was vulnerable to protests by the American Legion and other patriotic groups because of both his sexual and political unorthodoxy. Yet, although countersubversives succeeded in driving Chaplin out of the country, they failed to build a consensus that Chaplin was a threat to the nation. Chaplin's story testifies to both the awesome power of the countersubversive campaign at mid-century and to some of its limitations as well.

From Farmworker to Cultural Icon:

2017 ◽  
pp. 83-118
Author(s):  
Richard J. Jensen ◽  
John C. Hammerback
Keyword(s):  
Cultural Icon
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