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dc.contributor.author Chychota, Julie Charlene en_US
dc.date.accessioned 2007-07-12T17:48:02Z
dc.date.available 2007-07-12T17:48:02Z
dc.date.issued 2001-05-01T00:00:00Z en_US
dc.identifier.uri http://hdl.handle.net/1993/2530
dc.description Icons en_US
dc.description Cult en_US
dc.description Women en_US
dc.description Social conditions en_US
dc.description Icones en_US
dc.description Culte en_US
dc.description Femmes en_US
dc.description Conditions sociales en_US
dc.description.abstract In Western society, an icon is predominantly understood as an image, the visual "contrary to the verbal sign" (Mitchell, ' Iconology' 56). To accept this definition, however, is to ignore the historical definition of icon, which admits its status as a configuration of both visual and verbal media. Although the duality of the icon has been readily reclaimed by technology, most visibly in the case of computer icons, other disciplines have been more reluctant to accept it. In a world where many images admit a wide range of possible interpretations, and in a world where we observe and are told that "image is everything," it becomes increasingly important to encourage dialogue about images. As a society and as individuals, we need to examine especially those instances when images seem to be narrowly defined and manipulated so as to elicit particular responses. This thesis chooses to trace a path along which a particular icon, Marilyn Monroe, has evolved, in order to develop an insight into the changing role of women. en_US
dc.format.extent 5729562 bytes
dc.format.extent 184 bytes
dc.format.mimetype application/pdf
dc.format.mimetype text/plain
dc.language en en_US
dc.language.iso en_US
dc.title Configuring a cultural icon, interdisciplinary/interarts theory and the example of Marilyn Monroe en_US
dc.degree.discipline English en_US
dc.degree.level Master of Arts (M.A.) en_US


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