200:“The first generation of Protestant publicists and propagandists, the Edwardian generation, made polemical and creative use of cultural vehicles which their spiritual children and grandchildren later repudiated, as part of their rather general programme of rejection. They wrote and staged Protestant plays. They sang Protestant songs and godly ballads to secular and popular tunes. And they made brilliant use of the graphic image, both to attack Catholicism and to commend their own religious convictions and values. These strategies constitute, for my purpose, what is meant by Iconoclasm ... Iconoclasm in this sense may imply the substitution of other, acceptable images, or the refashioning of some images for an altered purpose.”
137:“If iconophobia is defined as the suspicion and anxiety towards the power exerted by images, its history is an ancient one in all of its Platonic, Christian, and Judaic forms. At its most radical, iconophobia results in an act of iconoclasm, or the total destruction of the image. At the other end of the spectrum, contemporary iconophobia may be more subtle. Images are simply withdrawn from circulation with the aim of eliminating their visibility.”
22:
189:. Collinson’s work has shaped a generation of scholarly enquiry into the impact of religion on culture, and of culture on religion, in post-reformation England. Scholars have accepted, rejected, and modified Collinson’s arguments, but one way or another they continue to exert a powerful influence over reformation studies.
204:
Iconophobia, by comparison, is defined as “the total repudiation of all images”, which
Collinson associates with a watershed moment around 1580, introducing a “sudden and drastic” change. This “secondary thrust” of reform “came close to dispensing with images and the mimetic altogether, while
208:
Collinson describes the “age of extreme iconophobia” as “quite short, equivalent to little more than a single generation”. Nevertheless, much subsequent scholarship has suggested that iconophobia characterised post-Reformation
Protestantism from 1580 onwards.
165:... Protestant iconophobia had a huge and not exclusively negative impact on aesthetics and the history of art. It permanently affected the ways images were made, exhibited, and judged.”
196:(generally defined as “the destruction of religious icons and other images or monuments for religious or political motives”) in his essay as follows:
320:
266:
161:
in 1517, brought iconophobia to the forefront of contemporary politics... Iconophobia was pushed to its extreme in the teachings of
65:
32:
227:
47:
43:
313:
The
Birthpangs of Protestant England: Religious and Cultural Change in the Sixteenth and Seventeenth Centuries
181:, applied the term iconophobia to a specific period in post-Reformation England in his 1985 Stenton Lecture,
146:
154:
142:
174:
130:
316:
290:
262:
258:
178:
89:
342:
150:
141:
The history of iconophobia begins with ancient Greece and Rome and continues with the
336:
287:
From
Iconoclasm to Iconophobia: the Cultural Impact of the Second English Reformation
251:
183:
From
Iconoclasm to Iconophobia: the Cultural Impact of the Second English Reformation
158:
157:
that is most associated with iconophobia: “The
Protestant Reformation, initiated by
205:
disparaging the tastes and capacities of the illiterate, the mass of the people”.
162:
117:
294:
129:
refers to the actual destruction of images that may arise from iconophobia.
50:. Statements consisting only of original research should be removed.
108:
15:
185:. The arguments also informed chapter 4 of his 1988 book,
125:
refers to the aversion to or hatred of the images whereas
289:. Stenton Lectures. Vol. 19. University of Reading.
107:) refers to an aversion to images, especially religious
39:
249:
228:"Suspicious Images: Iconophobia and the Ethical Gaze"
88:
83:
250:
8:
306:
304:
280:
278:
80:
66:Learn how and when to remove this message
218:
169:Iconophobia and the English Reformation
7:
187:The Birthpangs of Protestant England
14:
20:
192:Collinson carefully re-defined
1:
145:of the period 726-842 in the
232:Journal of Media and Culture
311:Collinson, Patrick (1988).
285:Collinson, Patrick (1986).
46:the claims made and adding
359:
315:. Macmillan. p. 120.
253:Encyclopedia of Aesthetics
173:The leading historian of
226:Larsson, Chari (2012).
147:Eastern Orthodox Church
115:is differentiated from
202:
155:Protestant Reformation
139:
198:
175:English Protestantism
135:
143:violent iconoclasms
31:possibly contains
179:Patrick Collinson
98:
97:
78:Medical condition
76:
75:
68:
33:original research
350:
327:
326:
308:
299:
298:
282:
273:
272:
256:
246:
240:
239:
223:
153:. But it is the
151:Byzantine Empire
81:
71:
64:
60:
57:
51:
48:inline citations
24:
23:
16:
358:
357:
353:
352:
351:
349:
348:
347:
333:
332:
331:
330:
323:
310:
309:
302:
284:
283:
276:
269:
248:
247:
243:
225:
224:
220:
215:
171:
79:
72:
61:
55:
52:
37:
25:
21:
12:
11:
5:
356:
354:
346:
345:
335:
334:
329:
328:
321:
300:
274:
267:
241:
217:
216:
214:
211:
170:
167:
96:
95:
92:
86:
85:
77:
74:
73:
28:
26:
19:
13:
10:
9:
6:
4:
3:
2:
355:
344:
341:
340:
338:
324:
322:9780333543078
318:
314:
307:
305:
301:
296:
292:
288:
281:
279:
275:
270:
268:9780195113075
264:
260:
255:
254:
245:
242:
237:
233:
229:
222:
219:
212:
210:
206:
201:
197:
195:
190:
188:
184:
180:
176:
168:
166:
164:
160:
159:Martin Luther
156:
152:
148:
144:
138:
134:
132:
131:Chari Larsson
128:
124:
120:
119:
114:
110:
106:
105:fear of icons
102:
93:
91:
87:
82:
70:
67:
59:
49:
45:
41:
35:
34:
29:This article
27:
18:
17:
312:
286:
252:
244:
235:
231:
221:
207:
203:
199:
193:
191:
186:
182:
172:
140:
136:
126:
122:
116:
112:
104:
100:
99:
62:
53:
30:
163:John Calvin
149:within the
123:iconophobia
113:Iconophobia
103:(literally
101:Iconophobia
84:Iconophobia
257:. p.
213:References
194:iconoclasm
127:iconoclasm
118:iconoclasm
94:Psychology
40:improve it
295:0309-0469
90:Specialty
56:July 2015
44:verifying
337:Category
121:in that
343:Phobias
133:wrote:
38:Please
319:
293:
265:
109:icons
317:ISBN
291:ISSN
263:ISBN
238:(1).
259:453
42:by
339::
303:^
277:^
261:.
236:15
234:.
230:.
177:,
111:.
325:.
297:.
271:.
69:)
63:(
58:)
54:(
36:.
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.