The conceptual metaphor in the iconography of art
Authorship
E.P.A.V.
Cultural Management Degree (2nd Ed.)
E.P.A.V.
Cultural Management Degree (2nd Ed.)
Defense date
09.16.2025 16:00
09.16.2025 16:00
Summary
This work arises from the idea of analyzing conceptual metaphors in iconography across different periods and artistic styles, and exploring how these metaphors reflect certain cognitive structures. Drawing on the cognitive linguistics studies of Lakoff and Johnson, supported by Charles Peirce’s semiotics and Panofsky’s methodology for the analysis of artworks, an interdisciplinary approach is proposed in order to offer an interpretation that acknowledges the cognitive, symbolic, and cultural dimensions of the image. Another key aim of this research is to examine whether visual metaphors reflect universal cognitive structures or, on the contrary, are specific cultural constructions. The main conclusion reached is that conceptual metaphor is fundamental to understanding iconography in the history of art, as it reveals the cognitive structures underlying both the creation and interpretation of images. Furthermore, it has been shown that these metaphors recur throughout various periods and artistic styles, though their presence is not always universal or explicit. The research also highlights the importance of combining disciplines to address the complexity of metaphorical phenomena in art, integrating linguistic, philosophical, and artistic perspectives for a more comprehensive interpretation.
This work arises from the idea of analyzing conceptual metaphors in iconography across different periods and artistic styles, and exploring how these metaphors reflect certain cognitive structures. Drawing on the cognitive linguistics studies of Lakoff and Johnson, supported by Charles Peirce’s semiotics and Panofsky’s methodology for the analysis of artworks, an interdisciplinary approach is proposed in order to offer an interpretation that acknowledges the cognitive, symbolic, and cultural dimensions of the image. Another key aim of this research is to examine whether visual metaphors reflect universal cognitive structures or, on the contrary, are specific cultural constructions. The main conclusion reached is that conceptual metaphor is fundamental to understanding iconography in the history of art, as it reveals the cognitive structures underlying both the creation and interpretation of images. Furthermore, it has been shown that these metaphors recur throughout various periods and artistic styles, though their presence is not always universal or explicit. The research also highlights the importance of combining disciplines to address the complexity of metaphorical phenomena in art, integrating linguistic, philosophical, and artistic perspectives for a more comprehensive interpretation.
Direction
González Pereira, Miguel (Tutorships)
González Pereira, Miguel (Tutorships)
Court
González Pereira, Miguel (Coordinator)
Veiga Rodriguez, Alejandro S (Chairman)
VARELA ZAPATA, JESUS (Secretary)
Enríquez Martínez, Iván (Member)
González Pereira, Miguel (Coordinator)
Veiga Rodriguez, Alejandro S (Chairman)
VARELA ZAPATA, JESUS (Secretary)
Enríquez Martínez, Iván (Member)
Liminality and Transition: Rites of Passage in Transmasculinities
Authorship
N.B.F.
Cultural Management Degree (2nd Ed.)
N.B.F.
Cultural Management Degree (2nd Ed.)
Defense date
09.16.2025 12:30
09.16.2025 12:30
Summary
Rites of passage are cultural manifestations that mark transitions between vital, social, or temporal states. This Final Year Project will explore this concept as applied to the experiences of trans people, with a particular focus on trans men and transmasculine identities. Drawing on Van Gennep’s (1909) conceptual framework, we will examine the processes of separation, transition, and incorporation in order to understand how transmasculine individuals conceptualise and experience their own transitions, both medical and social. The project is structured in two complementary parts. The first part, through a qualitative approach based on interviews, will collect the perspectives of three generations of trans men and transmasculine people: Ares Piñeiro López (1972), Éric Dopazo (1993), and Shiloh Shakin (2006). This intergenerational approach will enable the identification of ritual and anthropological elements that accompany these transitions, offering reflections on the challenges and meanings that shape transmasculinities in contemporary contexts. The second part, of a practical nature, will focus on the development of the podcast Um T com Nee, conceived as a direct application of the theoretical knowledge acquired. Using a method close to autoethnography, the podcast will combine documentation of the researcher’s experience of hormonal transition with the analysis of rites of passage from various cultures. Each episode will establish a dialogue between the changes brought about by hormone therapy and the ritual processes of other societies, highlighting that transition is a part of the human condition. The aim of this project is to offer an anthropological perspective on the diversity of trans experiences, contributing to the knowledge of an area that remains underexplored. In addition, it will place emphasis on the importance of personal and community rites as tools for strengthening the agency of trans people.
Rites of passage are cultural manifestations that mark transitions between vital, social, or temporal states. This Final Year Project will explore this concept as applied to the experiences of trans people, with a particular focus on trans men and transmasculine identities. Drawing on Van Gennep’s (1909) conceptual framework, we will examine the processes of separation, transition, and incorporation in order to understand how transmasculine individuals conceptualise and experience their own transitions, both medical and social. The project is structured in two complementary parts. The first part, through a qualitative approach based on interviews, will collect the perspectives of three generations of trans men and transmasculine people: Ares Piñeiro López (1972), Éric Dopazo (1993), and Shiloh Shakin (2006). This intergenerational approach will enable the identification of ritual and anthropological elements that accompany these transitions, offering reflections on the challenges and meanings that shape transmasculinities in contemporary contexts. The second part, of a practical nature, will focus on the development of the podcast Um T com Nee, conceived as a direct application of the theoretical knowledge acquired. Using a method close to autoethnography, the podcast will combine documentation of the researcher’s experience of hormonal transition with the analysis of rites of passage from various cultures. Each episode will establish a dialogue between the changes brought about by hormone therapy and the ritual processes of other societies, highlighting that transition is a part of the human condition. The aim of this project is to offer an anthropological perspective on the diversity of trans experiences, contributing to the knowledge of an area that remains underexplored. In addition, it will place emphasis on the importance of personal and community rites as tools for strengthening the agency of trans people.
Direction
OCA GONZALEZ, LUZIA (Tutorships)
OCA GONZALEZ, LUZIA (Tutorships)
Court
González Pereira, Miguel (Coordinator)
FERNANDEZ HERRERO, BEATRIZ (Chairman)
DOPICO GONZALEZ, MONTSERRAT (Secretary)
ROCHA ALVAREZ, DELMIRO (Member)
González Pereira, Miguel (Coordinator)
FERNANDEZ HERRERO, BEATRIZ (Chairman)
DOPICO GONZALEZ, MONTSERRAT (Secretary)
ROCHA ALVAREZ, DELMIRO (Member)
A Soundwalk through sixty years of the Xornadas de Folclore Galego [Galician Folklore’s Festival]
Authorship
C.G.S.
Cultural Management Degree (2nd Ed.)
C.G.S.
Cultural Management Degree (2nd Ed.)
Defense date
09.12.2025 12:30
09.12.2025 12:30
Summary
The Galician Folklore Festival was founded in 1969 as part of the Educación y Descanso programme, coinciding with the Apostle's festivities in Santiago de Compostela. Since then, it has undergone multiple transformations, adapting to changing times, audiences, and social trends, while maintaining the symbolic use of Quintana Square as its main stage and hallmark. This Final Degree Project aims to compile, research, and analyse the history of the festival and subsequently propose an intervention that will contribute to preserving the collective memory and cultural value of this event within the urban context of Santiago. Specific objectives include cataloguing Gerardo Salgado's documentary collection (the event’s promoter), locating and studying relevant image and sound archives, and critically reflecting on the evolution and future of this traditional gathering. The final proposal is a sound walk that serves as a tool for cultural dissemination and engagement, celebrating the event's 60-year history.
The Galician Folklore Festival was founded in 1969 as part of the Educación y Descanso programme, coinciding with the Apostle's festivities in Santiago de Compostela. Since then, it has undergone multiple transformations, adapting to changing times, audiences, and social trends, while maintaining the symbolic use of Quintana Square as its main stage and hallmark. This Final Degree Project aims to compile, research, and analyse the history of the festival and subsequently propose an intervention that will contribute to preserving the collective memory and cultural value of this event within the urban context of Santiago. Specific objectives include cataloguing Gerardo Salgado's documentary collection (the event’s promoter), locating and studying relevant image and sound archives, and critically reflecting on the evolution and future of this traditional gathering. The final proposal is a sound walk that serves as a tool for cultural dissemination and engagement, celebrating the event's 60-year history.
Direction
CUPEIRO LOPEZ, PATRICIA (Tutorships)
CUPEIRO LOPEZ, PATRICIA (Tutorships)
Court
González Pereira, Miguel (Coordinator)
CORTÉS LÓPEZ, MIRIAM ELENA (Chairman)
OCA GONZALEZ, LUZIA (Secretary)
González Pereira, Miguel (Member)
González Pereira, Miguel (Coordinator)
CORTÉS LÓPEZ, MIRIAM ELENA (Chairman)
OCA GONZALEZ, LUZIA (Secretary)
González Pereira, Miguel (Member)
The construction of culture from the community. The other side of the cultural industries. Challenges, opportunities, and success stories.
Authorship
M.Q.B.
Cultural Management Degree (2nd Ed.)
M.Q.B.
Cultural Management Degree (2nd Ed.)
Defense date
09.11.2025 16:00
09.11.2025 16:00
Summary
This paper proposes a journey from the conceptual to the territorial in order to reflect on cultural rights, taking the pulse of reality through grassroots culture and its connection with public policies in an institutional context shaped by cultural industries. It begins with a theoretical and legal review supported by statistical data, which helps contextualize the framework in which non hegemonic cultural agents operate, particularly in rural Galicia. The study focuses on the area of the Ulla-Tambre-Mandeo Local Action Group (GDR) and draws on the direct experience of cultural associations active in the region. Through the analysis of institutional calls for proposals and interviews, the research highlights both the potential and the barriers faced by these groups, which often sustain the cultural fabric with few resources, great dedication, and limited recognition. This work does not aim to provide definitive answers, but rather to raise questions about what it means to guarantee the right to culture through public policy, what role territory and diversity play in that equation, and what kinds of support are needed by those who produce culture from the ground up. It advocates for a perspective that acknowledges community-based, plural, and rural approaches as legitimate and essential pillars for thinking about culture as a right.
This paper proposes a journey from the conceptual to the territorial in order to reflect on cultural rights, taking the pulse of reality through grassroots culture and its connection with public policies in an institutional context shaped by cultural industries. It begins with a theoretical and legal review supported by statistical data, which helps contextualize the framework in which non hegemonic cultural agents operate, particularly in rural Galicia. The study focuses on the area of the Ulla-Tambre-Mandeo Local Action Group (GDR) and draws on the direct experience of cultural associations active in the region. Through the analysis of institutional calls for proposals and interviews, the research highlights both the potential and the barriers faced by these groups, which often sustain the cultural fabric with few resources, great dedication, and limited recognition. This work does not aim to provide definitive answers, but rather to raise questions about what it means to guarantee the right to culture through public policy, what role territory and diversity play in that equation, and what kinds of support are needed by those who produce culture from the ground up. It advocates for a perspective that acknowledges community-based, plural, and rural approaches as legitimate and essential pillars for thinking about culture as a right.
Direction
OCA GONZALEZ, LUZIA (Tutorships)
OCA GONZALEZ, LUZIA (Tutorships)
Court
González Pereira, Miguel (Coordinator)
FERNANDEZ HERRERO, BEATRIZ (Chairman)
ROCHA ALVAREZ, DELMIRO (Secretary)
Gusman Correia de Araújo Barbosa, Maria Inês (Member)
González Pereira, Miguel (Coordinator)
FERNANDEZ HERRERO, BEATRIZ (Chairman)
ROCHA ALVAREZ, DELMIRO (Secretary)
Gusman Correia de Araújo Barbosa, Maria Inês (Member)