This book addresses the status and relevance of iconography and
iconology in the contemporary scholarly study of medieval art.
There is a widespread tendency among art historians today to regard
the study of iconography and iconology in the tradition of Erwin
Panofsky as an outmoded and trivial pursuit. Nonetheless,
Panofsky's three-level interpretative model sits firmly in the
methodological toolkit of art history and remains a common point of
reference among adherents and adversaries alike. Iconography and
iconology demand to be taken seriously as a feature of continued
praxis in the discipline. The book contains a collection of essays
on the validity of various approaches toward the interpretation of
meaning in medieval art today. These essays either demonstrate the
continued usefulness of iconography and iconology as analytical
strategies, or propose alternative approaches to the investigation
of meaning in the art of the Middle Ages.
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