Symbolism

Middle paleolithic symbolism: A review of current evidence and interpretations

by Oldstoneage OSA

Scientific Archaeology and the Origins of Symbolism: a reply to Bednarik

by Oldstoneage OSA

Evers-Nordin2012-Cyberjaya-WP-2012-05-20

by Hans-Dieter Evers

Misyurov D.A. Dialectical formulas based on the binary notation as the development formulas // Credo New. 2012. №2

by Dmitry Misyurov

The article suggests dialectical formulas based on the binary notation as the development formulas: formula with... more The article suggests dialectical formulas based on the binary notation as the development formulas: formula with dominant and the non-dominant elements; universal formula; formula with symbolic weight of elements; tautological formula. For example, it suggests an opportunity to use the dialectical formulas for modeling and artificial intelligence creation, etc.

Symbols and Images: Water, Wind, Moon

by Dario Abram

Walt Whitman: Homoeroticism in Leaves of Grass

by Dario Abram

Paul Gauguin’s two Tahitian manifest paintings: Mana'o tupapa'u and Where do we come from? What are we? Where are we going?

by Srdjan Tunic

In Serbian (Dva tahićanska manifesta Pola Gogena: Mana'o tupapa'u i Odakle dolazimo? Ko smo? Gde idemo?).

Key words: Paul Gauguin, Tahiti, symbolism, egzoticism, colonialism, orientalism, primitivism, feminism, gender studies

Summary:

Gauguin’s attitudes towards Tahiti and its indigenious population, colonialism and women – all the... more Summary:

Gauguin’s attitudes towards Tahiti and its indigenious population, colonialism and women – all the elements that are encoded in his work – were often contradictory and ambiguous. From his representation of Tahiti, one could encounter symbolistic utopias, personal vision and artistic project, contact with indigenious history and beliefs, the becoming of „noble savage“, sexual freedom and a lifequest for carefree life. Paintings Mana'o tupapa'u (The spirit watches over her, 1892) and Where do we come from? What are we? Where are we going? (1897-98) could both be understood as manifests of his art inspired by and produced on Tahiti, relevant for the questions raised above. Also, a deeper insight was achieved by using postcolonial and gender theories, as well as analysis of egzoticism and primitivism in the modernist art.

In The Shadow of Heroic Suicides

by Miguel A. Cruz Díaz

An extended version of a previous paper, this is a revised treatment to my as yet undefended Master's dissertation from the University of Puerto Rico.

The written word draws emotive power from symbolic language, and is the principal agent to propaganda. The use of... more The written word draws emotive power from symbolic language, and is the principal agent to propaganda. The use of symbolism in propaganda on Puerto Rico during the Second World War sought to construct popular support in a colonial society impregnated with a high level of religious piety and strictly defined moral and gender roles. This was achieved by exploiting the mechanisms of fear and otherness, manipulating existing social constructs of religiosity, morality and domesticity in order to ensure a consenting public opinion. The control of the flow of information, and the language that codifies such information, facilitates the manipulation of perception, and therefore, reality itself. Propaganda is, therefore, the mechanism that seeks to (re)imagine the rhetoric of reality.
 

Su Dracula di Bram Stoker di F.F. Coppola ( ovvero Dracula, Gesù e la Sincerità)

by Ruggero Barberi

Su Michele arcangelo e la viverna

by Ruggero Barberi

Symbols of Power in Rituals of Violence: The Personality Cult and Iconoclasm on the Soviet Empire’s Periphery (East Germany, 1945–61)

by Alexey Tikhomirov

published in: Kritika: Explorations in Russian and Eurasian History, Volume 13, Number 1, Winter 2012, pp. 47-88.

What symbols

by Dmitry Misyurov

This article contains 12 questions about the symbols. What are your thoughts in response? This article contains 12 questions about the symbols. What are your thoughts in response?

Tradition Without End

by Francisco Vaz da Silva

In A Companion to Folklore, ed. Regina F. Bendix and Galit Hasan-Rokem, pp. 40–54. Chichester, UK: Wiley-Blackwell, 2012.

This discussion follows the etymological clue, and envisions tradition as a dynamic process of transmission. This... more This discussion follows the etymological clue, and envisions tradition as a dynamic process of transmission. This entails laying out three major ideas. First, the popular view of tradition as a static, past state of things is arguably a fable. Second, when examining the dynamics of traditional processes it is advisable to consider the matter of symbolic equivalences. Third, traditions are arguably shaped by the interplay between individually-generated variations and community-enacted selection mechanisms. Overall, this essay examines some things narrative scholars have to say on tradition, and it submits that tradition pervades some of the things scholars have to say.

El árbol en el pensamiento tradicional islámico (fundamentos del 'Tafsîr' de Ibn al-Baytâr)

by Salvador Peña

Published in 'Ibn al-Baytâr al-Mâlaqî y la ciencia árabe', edited by Expiración García, Universidad de Málaga, 2008, pp. 175-195.

The Quranic symbol of fish on Hammudid coins (al-Hadir and the holy geography of the Straits of Gibraltar)

by Salvador Peña

Co-authored with Miguel Vega. Published in 'Al-Andalus-Magreb: estudios árabes e islámicos' (Universidad de Cádiz) 13 (2006), pp. 269-284.

Some coins struck by the first Hammûdid Caliph of Malaga bear images of fish. The connection between such symbols and... more Some coins struck by the first Hammûdid Caliph of Malaga bear images of fish. The connection between such symbols and Islamic ideas on spiritual leadership are shown. The icon of
fish is explained because of the relevance of the Straits of Gibraltar in the holy Islamic map. On the other hand it may be considered as an allusion to a certain mysterious Servant of God, as well as a reminder of the Shî‘i conception of imamate.

Who is The Warrior on Western Islamic copper coins (A Quranic key for an unidentified icon)

by Salvador Peña

Co-authored with Miguel Vega. Published in 'Arabica: Journal of Arabic and Islamic Studies' 55 (2008), pp. 113-121.

Bodily Attributes and Semantic Expressions: Knees in rock art and Indo-European symbolism.

by Åsa Fredell

Co-authored with García Quintela, Marco. In Fredell, Åsa, Kristiansen, Kristian & Criado Boado, Felipe (eds.) (2010a). Representations and communications: creating an archaeological matrix of late prehistoric rock art. Oxford, UK: Oxbow Books: 75-92.

In this article we consider the problems relating to the interpretation of rock engravings, from finding more or less... more In this article we consider the problems relating to the interpretation of rock engravings, from finding more or less deceptive evidence to the difficulty of making sense of many figures. We propose a dual form of investigation to surpass those difficulties; on the one hand an ordered systematic treatment of the corpus of images that we are trying to explore, on the other hand the consideration of the linguistic and mythological Indo-European registry (valid for populations speaking this family of languages). These approaches are, theoretically, independent, and would be possible to develop independently. Nevertheless, we propose to study whether their joint use reveals their double utility and complementariness. Our study aims to show how the rock art images represent the ambiguity of warriors, between the expression of force and violence (death) to their capacity of fertile reproduction (life).

Self-Flagellation as Sanctification in the Roman Catholic Church’s Prelature of the Holy Cross and Opus Dei

by Andrew Nicholas Cirillo

Defining religious ritual as something that harbors faith more deeply through the practice of a dramatic, yet... more Defining religious ritual as something that harbors faith more deeply through the practice of a dramatic, yet spiritual act of gravity, we can see that corporal mortification is one way this can be done. The society of Opus Dei’s rituals of corporal mortification, and most specifically the one dealing with self-flagellation, is what I will put into the most careful consideration within this paper. In addition to the attention that the movie The Da Vinci Code has placed on Opus Dei, the overall action of corporal mortification can be seen by present society as appalling and outrageous. However, using the viewpoints and objectivities of such ritual explication as symbolism, performance theory and rite of passage, I argue that the ritual process of self-flagellation, specifically for the organization of Opus Dei, is one that fosters an ideal way to live, and one which fulfills the overall goal of life here on earth: sanctifying yourself and others to be closer to God.

Keywords: ritual, Opus Dei, corporal mortification, self-flagellation, symbolism, performance theory, rite of passage, sanctification

"Opera en abyme: The Prodigious Ritual of Korngold's Die tote Stadt," Cambridge Opera Journal 22:2 (2011), 115-46.

by William Cheng

Neue Erkenntnisse zur Ikonografle der Geoglyphen von Nazca

by Christiane Clados

http://www.famsi.org/research/nasca/index.html

http://research.famsi.org/nazca/nazca_list.php?_allSearch=&clnum=&hold_search=&edit.x=33&edit.y=15