Citations:iconoplast

English citations of iconoplast

• 1898 January 8, Lionel A. Tollemache, “Renan and Mark Pattison. To the Editor.”, in Henry Duff Traill, editor, Literature, →LCCN, →OCLC, page 24, column 2:

  He could not, like Renan, and especially like Matthew Arnold, be a thorough iconoclast, and yet delude himself into thinking that he was (if I may coin such a word) an iconoplast all the time.

• 1943 November, Theodore Yardley, “Soviet Saviors of Church Art”, in The Catholic Digest‎^[1], volume 8, number 1, →ISSN, page 35:

  [heading] Iconoclasts become iconoplasts

• 1950, Tomorrow‎^[2], volume 10, numbers 2-10, Creative Age Press, →OCLC, page 30:

  A great clown is both iconoplast and iconoclast; for though no one else breaks our images with such thoroughness, neither does anyone else first build them up with such skill.

• 1971, Merritt Y. Hughes, “Milton's Eikon Basilike”, in John Siemon Diekhoff, editor, Calm of Mind: Tercentenary Essays on Paradise Regained and Samson Agonistes in Honor of John S. Diekhoff, Press of Case Western Reserve University, →ISBN, →LCCN, →OCLC, page 1:

  At various times Milton worked on four royal images: one human, one diabolic, and two divine. On the first he worked as an iconoclast. On the second he worked as an ironist. On the two last he worked as a poet, an iconoplast or creative shaper of images.

• 1975 November, James Monaco, “The Mythologizing of Citizen Patty”, in More‎^[3], volume 5, number 11, →ISSN, page 20, column 2:

  The Hearst family have been image-builders—iconoplasts—for three generations.

• 1984, Indian Philosophical Annual‎^[4], volume 17, Centre of Advanced Study in Philosophy, University of Madras, →LCCN, →OCLC, page 52:

  But what is one to make of a person who is a moulder of icons, an icon maker, an “iconoplast”?

• 1994, Thure Stenström, “Fiction and Metafiction in Lars Gyllensten's Literary Work”, in Sarah Death, Helena Forsås-Scott, editors, A century of Swedish narrative: essays in honour of Karin Petherick‎^[5], →ISBN, →LCCN, page 213:

  But now he finds himself in a situation where his work is taken care of by sheer devoted iconoplasts, people who read his work under preconditions that he has formulated himself. Among papers and dissertations that deal with his work — and they are beginning to get many — there is, as a matter of fact, only one iconoclast, an essay by Sven-Eric Liedman written in 1977.

• 2006, Victor Avigdor Hurowitz, “What goes in is what comes out: materials for creating cult statues”, in Gary M. Beckman, Theodore J. Lewis, editors, Text, Artifact, and Image: Revealing Ancient Israelite Religion‎^[6], Providence: Brown Judaic Studies, page 22:

  For Mesopotamian iconoplasts, the materials which go into the idols are already of divine nature. They belong to the gods or embody a god, so that when the idol is produced it does not become a god ex nihilo.

• 2008 July 22, Scott Westerfeld, The Risen Empire (Succession Series)‎^[7], Macmillan, →ISBN, →LCCN, →OCLC, pages 45–46:

  The Tungai mummified themselves with a host of data; they were frantic diarists, superb iconoplasts who left personality models, high-resolution scans, and hourly recordings of themselves in the hope that one day someone would awake them from death, somehow.

• 2015, Prudence Brand, Emily Pfeiffer: Poet, Feminist, Iconoclast, Country Setting, →ISBN, page 9:

  To describe Emily Pfeiffer both as a maker and breaker of images seems paradoxical, yet in some ways she was just that — an iconoplast and an iconoclast.