פרופ' יונה פינסון

"Le triumphe de Haulte folie: Emblematic and Misogynist Discourses", Emblematica. An Interdisciplinary Journal for Emblems Studies, 2007,Vol. 15, (pp.1-27).

"Devil and God, Filth and Purity in Pucelle’s Hours of Jeanne d’Evreux (ca.1325-1328)", Manuscripts in Transition. Recycling Manuscripts, Text and Image. Corpus of Illuminated Manuscripts, Vol. 15, Low Countries Series, 10, Brigtte Dekeyzer and Jan Van der Stock, eds. [A special issue; selected papers with reviewing], 2005 (pp.159-171).

"Deniers of God. Insipiens / Stultus, On Board of the Ship of Fools (1494)", Acta Historiae Artium, vol. 44, 2003, (pp. 97- 108).

"Holbein’s Insipiens — Folly and Childishness go Hand by Hand", Source. Notes in the History of Art, vol. XXII, No.3 Spring 2003, (1-7).

"Folly and Vanity in Bruegel’s Dulle Griet: Proverbial Metaphors and their Relationship to Bosch’s Imagery", Studies in Iconography, vol. 20, 1999, (pp. 185–213).

"The Interrupted Banquet in Bruegel’s Triumph of Death", The Profane Arts of the Middle Ages, vol. 6, No. 2, 1997, (pp. 303–315).

"Fall of the Angels and the Creation of Eve in Bosch’s Eden — Meaning and Iconographical Sources", Corpus of Illuminated Manuscripts from the Low Countries, Flanders in a European Manuscript Illumination Around 1400 in Flanders and Abroad. Corpus of Illuminates Manuscripts.Corpus of Illuminated Manuscripts, Vol. 8, Low Countries Series, 5,M. Smeyers and B. Cardon eds. Leuven, Peeters, 1995 (pp.693–707). [A special issue, selected papers with reviewing].

"The Water‑mill in Breughel’s Witch of Malleghen (1559) or Incurable Folly", Source. Notes in the History of Art, vol. XII, 1993 (pp. 30–33)

"La Dame et le Fou", Gazette des Beaux - Arts, vol. CXII, 1993 (pp. 1–16)

"האשה והשוטה באמנות האירופית במאות ה-16וה-17" מוזות מכללת בית ברל, 1989 (47–34)

"L’Evolution du Style Renaissant dans les Entrées des Charles Quint à Valenciennes", Gazette des Beaux- Arts, vol. CXIII, 1989 (pp. 201–213).

"Polyptyque de la Légende de Saint Sébastien et de la Peste (Avesnes‑sur‑Helpe)", Gazette des Beaux- Arts, vol. CXI, 1988 (pp. 229–238).

"Les Puys d’Amiens 1518–1525; Problèmes d’Attribution et l’Evolution de la Loi de Genre", Gazette des Beaux- Arts, vol. CIX, 1987 (pp. 47–61).

"La Nef de Folles (The Ship of Female Fools) be JehanDrouyn (Paris c. 1500)", The International Emblem: From Incunabula to the internet, (ed. Simon McKeown), Cambridge, Cambridge Scholars Publishing, 2010 , pp. 82-96.

"A Moralized Semi-Secular Triptych by Hieronymus Bosch, in The Sources of Bosch", Jheronymus Bosch Art Center, s’Hertogenbosch (ed. Jos Koldeweij and Willeke Cornelissen - van de Steeg, (solicited paper; accepted).

"Moralized Triumphal Chariots – Metamorphosis of Petrarch’s Trionfi in Northern art (ca. 1530-ca. 1560)", Cultural Exchange between the Netherlands and Italy, 1400-1530, Ingrid Alexander-Skipns (ed.), Turnhout, 2007, (pp. 203-223).

"The Femme Fatale - Eve/Venus/Luxuria", Pictoriallanguages and their MeaningsLiber Amicorum in honor Nurith Kenaan-Kedar, Christine B. Verzar and Gil Fishhof, (eds.), Tel Aviv University, 2006 (pp. 339-352).

"Witchcraft / Sorcery", Encyclopedia of Comparative Iconography. Themes Depicted in Works of Art, Chicago, London, Roberts, Fitzroy Dearborn, ed. by Helen E. Roberts, 1998, vol.2, (pp. 947–956). (Solicited essay)

"Music (an essay)", Encyclopedia of Comparative Iconography. Themes Depicted in Works of Art, Chicago, London, Roberts, Fitzroy Dearborn, ed. by Helen E. Roberts , 1998, vol. 2, (pp. 629-637).

Hieronymus Bosch: Marginal Imagery Shifted into the Center and the Notion of Upside Down. Metamorphosis of Marginal Images: From Antiquity to Present Time, Nurith Kenan-Kedar and Asher Ovadia (eds.), 2001, (pp. 203–211).