Inhaltsverzeichnis
Auswahl der wissenschaftlichen Literatur zum Thema „Symbolism of the rose“
Geben Sie eine Quelle nach APA, MLA, Chicago, Harvard und anderen Zitierweisen an
Machen Sie sich mit den Listen der aktuellen Artikel, Bücher, Dissertationen, Berichten und anderer wissenschaftlichen Quellen zum Thema "Symbolism of the rose" bekannt.
Neben jedem Werk im Literaturverzeichnis ist die Option "Zur Bibliographie hinzufügen" verfügbar. Nutzen Sie sie, wird Ihre bibliographische Angabe des gewählten Werkes nach der nötigen Zitierweise (APA, MLA, Harvard, Chicago, Vancouver usw.) automatisch gestaltet.
Sie können auch den vollen Text der wissenschaftlichen Publikation im PDF-Format herunterladen und eine Online-Annotation der Arbeit lesen, wenn die relevanten Parameter in den Metadaten verfügbar sind.
Zeitschriftenartikel zum Thema "Symbolism of the rose"
1
Kadurina, A. O. „SYMBOLISM OF ROSES IN LANDSCAPE ART OF DIFFERENT HISTORICAL ERAS“. Problems of theory and history of architecture of Ukraine, Nr. 20 (12.05.2020): 148–57. http://dx.doi.org/10.31650/2519-4208-2020-20-148-157.
Der volle Inhalt der QuelleAnnotation:
Background.Rosa, as the "Queen of Flowers" has always occupied a special place in the garden. The emergence of rose gardens is rooted in antiquity. Rose is a kind of “tuning fork” of eras. We can see how the symbolism of the flower was transformed, depending on the philosophy and cultural values of society. And this contributed to the various functions and aesthetic delivery of roses in gardens and parks of different eras. Despite the large number of works on roses, today there are no studies that can combine philosophy, cultural aspects of the era, the history of gardens and parks with symbols of the plant world (in particular roses) with the identification of a number of features and patterns.Objectives.The purpose of the article is to study the symbolism of rosesin landscape gardening art of different eras.Methods.The historical method helps to trace the stages of the transformation of the symbolism of roses in different historical periods. The inductive method allows you to move from the analysis of the symbolism of roses in each era to generalization, the identification of patterns, the connection of the cultural life of society with the participation of roses in it. Graph-analytical method reveals the features of creating various types of gardens with roses, taking into account trends in styles and time.Results.In the gardens of Ancient Greece, the theme of refined aesthetics, reflections on life and death dominated. It is no accident that in ancient times it was an attribute of the goddesses of love. In antiquity, she was a favorite flower of the goddess of beauty and love of Aphrodite (Venus). In connection with the legend of the goddess, there was a custom to draw or hang a white rose in the meeting rooms, as a reminder of the non-disclosure of the said information. It was also believed that roses weaken the effect of wine and therefore garlands of roses decorated feasts, festivities in honor of the god of winemaking Dionysus (Bacchus). The rose was called the gift of the gods. Wreaths of roses were decorated: statues of the gods during religious ceremonies, the bride during weddings. The custom of decorating the floor with rose petals, twisting columns of curly roses in the halls came to the ancient palace life from Ancient Egypt, from Queen Cleopatra, highlighted this flower more than others. In ancient Rome, rose gardens turned into huge plantations. Flowers from them were intended to decorate palace halls during feasts. In Rome, a religious theme was overshadowed by luxurious imperial greatness. It is interesting that in Rome, which constantly spreads its borders, a rose from a "female" flower turned into a "male" one. The soldiers, setting out on a campaign, put on pink wreaths instead of helmets, symbolizing morality and courage, and returning with victory, knocked out the image of a rose on shields. From roses weaved wreaths and garlands, received rose oil, incense and medicine. The banquet emperors needed so many roses, which were also delivered by ships from Egypt. Ironically, it is generally accepted that Nero's passion for roses contributed to the decline of Rome. After the fall of the Roman Empire, rose plantations were abandoned because Christianity first associated this flower with the licentiousness of Roman customs. In the Early Middle Ages, the main theme is the Christian religion and roses are located mainly in the monastery gardens, symbolizing divine love and mercy. Despite the huge number of civil wars, when the crops and gardens of neighbors were violently destroyed, the only place of peace and harmony remained the monastery gardens. They grew medicinal plants and flowers for religious ceremonies. During this period, the rose becomes an attribute of the Virgin Mary, Jesus Christ and various saints, symbolizing the church as a whole. More deeply, the symbolism of the rose was revealed in Catholic life, when the rosary and a special prayer behind them were called the "rose garden". Now the rose has become the personification of mercy, forgiveness, martyrdom and divine love. In the late Middle Ages, in the era of chivalry, roses became part of the "cult of the beautiful lady." Rose becomes a symbol of love of a nobleman to the wife of his heart. Courtesy was of a socially symbolic nature, described in the novel of the Rose. The lady, like a rose, symbolized mystery, magnificent beauty and temptation. Thus, in the Late Middle Ages, the secular principle manifests itself on a par with the religious vision of the world. And in the Renaissance, the religious and secular component are in balance. The theme of secular pleasures and entertainments was transferred further to the Renaissance gardens. In secular gardens at palaces, villas and castles, it symbolized love, beauty, grace and perfection. In this case, various secret societies appear that choose a rose as an emblem, as a symbol of eternity and mystery. And if the cross in the emblem of the Rosicrucians symbolized Christianity, then the rose symbolized a mystical secret hidden from prying eyes. In modern times, secular life comes to the fore, and with it new ways of communication, for example, in the language of flowers, in particular roses. In the XVII–XVIII centuries. gardening art is becoming secular; sesame, the language of flowers, comes from Europe to the East. White rose symbolized a sigh, pink –an oath of love, tea –a courtship, and bright red –admiration for beauty and passionate love [2]. In aristocratic circles, the creation of lush rose gardens is in fashion. Roses are actively planted in urban and suburban gardens. In modern times, rose gardens carry the idea of aesthetic relaxation and enjoyment. Many new varieties were obtained in the 19th century, during the period of numerous botanical breeding experiments. At this time, gardening ceased to be the property of the elite of society and became publicly available. In the XX–XXI centuries. rosaries, as before, are popular. Many of them are located on the territory of ancient villas, palaces and other structures, continuing the tradition.
2
Immel, Irmgard S., und Beatrice Susanne Bullock-Kimball. „The European Heritage of Rose Symbolism and Rose Metaphors in View of Rilke's Epitaph Rose“. German Studies Review 12, Nr. 1 (Februar 1989): 192. http://dx.doi.org/10.2307/1430327.
Der volle Inhalt der Quelle
3
Oboladze, Tatia. „Wine, Opium, and Hashish in Georgian and European Symbolism“. Ars & Humanitas 16, Nr. 1 (22.12.2022): 219–30. http://dx.doi.org/10.4312/ars.16.1.219-230.
Der volle Inhalt der QuelleAnnotation:
The subject of the article “Wine, Opium, Hashish in Georgian and European Symbolism” is the identification of the cultural links between Georgian and European (primarily French and, German) symbolism. Our goal is to determine the role and place of Georgian symbolism in the world literature context and study the cultural-aesthetic ties that have influenced the art of the Georgian symbolist group, the process of forming their aesthetic taste and worldview. In this article, we focus on the genesis of the symbolist theory of the myth, its specific nature and the motivation for the creation of a new mythology. In addition, we consider the theme of wine, opium and hashish in Georgian and European cultural areas, and analyse the conceptual sense and function of this new mythology.
4
Ryabchenko, V. D. „The Evolution of Symbolist Ideas in the Zolotoe Runo Magazine“. Concept: philosophy, religion, culture 4, Nr. 3 (28.09.2020): 158–67. http://dx.doi.org/10.24833/2541-8831-2020-3-15-158-167.
Der volle Inhalt der QuelleAnnotation:
The article treats the role art magazine Zolotoe runo played in history of symbolist’s theoretical ideas. By 1906, symbolism as a philosophical and aesthetic movement enters a crisis stage (and, then, a renaissance) — the pioneering movement has become utterly formal, tendentious, and has even acquired public recognition, which contradicts the modernist spirit. Zolotoe runo turns into a platform for the adversaries of outdated, decadent or individual symbolism, changing the symbolist nature and landscape. V. F. Khodasevich suggests that not only hasn’t symbolism been yet studied, but it also doesn`t seem to have been even read. This phenomenon and its notion deserve proper research. The scientific community’s interest in this movement is growing, as the importance of symbolism comes to light, and it becomes more evident that it was not only a milestone in history, but it also predetermined many trends in the development of culture and art up to the present day. Apart from that, the extreme heterogeneity within the symbolist movement and its paradoxical and unexpected metamorphoses are rarely understood. Nonetheless, through the analysis of such magazines as Zolotoe runo, and by drawing upon the research of cultural scientists, art historians and literary critics, we can clarify the features of symbolism, contradictory and holistic at the same time.
5
Wadley, Lyn. „What is Cultural Modernity? A General View and a South African Perspective from Rose Cottage Cave“. Cambridge Archaeological Journal 11, Nr. 2 (Oktober 2001): 201–21. http://dx.doi.org/10.1017/s0959774301000117.
Der volle Inhalt der QuelleAnnotation:
Storage of symbolic information outside the human brain is accepted here as the first undisputed evidence for cultural modernity. In the hunter-gatherer context of the Stone Age this storage could include artwork, rapidly changing artefact styles and organized spatial layout of campsites. Modern human behaviour in this context is distinguished by a symbolic use of space and material culture to define social relationships, including significant groupings based on attributes such as kinship, gender, age or skill. Symbolism maintains, negotiates, legitimizes and transmits such relationships. It is argued here that artefacts are not inherently imbued with symbolism and that modern human culture cannot be automatically inferred from inventories of archaeologically recovered material culture. Evidence for the out-of-brain storage of symbolism in southern African sites first appears in the final phase of the Middle Stone Age at about 40,000 years ago.
6
Borozan, Igor. „Simbolistički opus Mihe Marinkovića i njegova recepcija u srpskoj sredini“. Ars Adriatica 9 (28.02.2020): 133–50. http://dx.doi.org/10.15291/ars.2928.
Der volle Inhalt der QuelleAnnotation:
The paper analyses the symbolist works in the under-researched opus of painter Miho Marinković. Trained at the Munich Academy of Fine Arts, he is primarily known as a painter of intricate themes that can be categorized as late 19th-century symbolism. In 1904, he settled in Belgrade and became an active participant in the cultural scene of the Serbian capital. In 1911, Marinković’s paintings were exhibited in the Pavilion of the Kingdom of Serbia at the International Exhibition in Rome. His symbolist oeuvre covers the standard themes of symbolist painting, such as Medusa, Lucifer, or The Sinner, which speaks both of the artist’s personality and of the eclectic turn of the century. Symbolism in Marinković’s work reflects his training in Munich, which in the late 19th and early 20th centuries was the European centre of somnambular themes and artistic experiments. In this paper, his oeuvre has been considered in the context of general symbolist structures, with particular references to the Munich symbolism. Some reviews of Marinković’s symbolist paintings have been pointed out, which testify to the history of the reception of his work in the Kingdom of Serbia in the early 20th century. The positive reception of Marinković’s paintings in the Serbian setting is evident from the fact that as many as thirty-five of his works have been included in the holdings of the National Museum in Belgrade.
7
Zou, Jiahao. „Porównanie symboliki wierzby i lilii w chińskiej i polskiej kulturze na tle teorii językowego obrazu świata“. Gdańskie Studia Azji Wschodniej, Nr. 23 (31.08.2023): 84–103. http://dx.doi.org/10.4467/23538724gs.23.005.18151.
Der volle Inhalt der QuelleAnnotation:
The article introduces the symbolism of the willow and the lily, which have played an important role in the lives of Chinese and Poles over many years. The research issue of this article is the question: What are the differences and similarities in terms of willow and lily symbolism in Chinese and Polish culture? The article is based on an analysis of literature. It aims to indicate the symbolism of the willow and the lily and to find the roots of their differences and similarities in Chinese and Polish cultures. The first part of the article is devoted to the theory of a linguistic worldview, which is the theoretical basis of the research. The second part of the article focuses on the most important and widespread symbolisms of the willow. The third part presents the most important connotations of the lily in both cultures. I It turns out that there are many similar symbolisms of the willow in Chinese and Polish culture, such as homesickness and vitality, etc. Nevertheless, the willow is an attribute of the noble hermit in Chinese culture, while in Polish culture it symbolizes susceptibility because of its pliancy. There are also many analogies in the associations of the lily in Polish and Chinese cultures, such as purity and holiness. Contrary to appearances, in the two civilizations the differences in lily symbolism are not readily apparent.
8
Ridzuan, Irina. „Discovering Dèduit: An examination of the garden setting in the Roman de la Rose“. Arbutus Review 7, Nr. 1 (08.08.2016): 38. http://dx.doi.org/10.18357/tar71201615686.
Der volle Inhalt der QuelleAnnotation:
<p class="p1">Roman de la Rose is a French poem which chronicles the journey of a young man within a secluded garden setting (the Garden of Dèduit). The poem was initially written by Guillaume de Lorris in c.1230 and later completed by Jean de Meun in c.1270. However, the authors’ differing literary styles have resulted in debates surrounding the poem’s meaning. In this study, I address the central interpretative problem by focusing on the illustrated garden setting of Dèduit and its relation to the literary content. Ultimately, I attempt to answer the following questions: How did the medieval audience perceive the garden symbolism? Did the images make a difference in the medieval reader’s understanding of the garden? What are the possible ways in which the medieval reader could interpret this garden symbolism?</p><div> </div><p class="p1"><strong> </strong></p>
9
Harasztos, Ágnes. „The Image of the East-Central European in Rose Tremain’s The Road Home“. Acta Universitatis Sapientiae, Philologica 7, Nr. 1 (01.12.2015): 83–94. http://dx.doi.org/10.1515/ausp-2015-0038.
Der volle Inhalt der QuelleAnnotation:
Abstract In Rose Tremain’s The Road Home, the culture clash of the British and the East-Central European is portrayed through a complex symbolism centred on images of food, consumption and waste. This literary representation may shed light on British literary auto-images, as well as hetero-images of the Eastern European immigrant. The novel’s presentation of this culture shock is defined by the cultural historical and economic circumstances of the parties. Food and material provide the symbolic sphere where the relationship between Britain and East-Central Europe is characterized in terms of capitalist worldview as opposed to a post-communist existence. William Shakespeare’s Hamlet is the most important intertext for Tremain’s novel. Hamlet is obsessed with the vulnerability of material in light of the spiritual value attached to it in the form of human soul. Stephen Greenblatt’s ideas on food, waste and the Christian belief in divine existence residing in material objects - ideas that originate in early modern times - shed light on the motif of material and food in The Road Home. Seen through the symbolism of food and the idea of differing values being attached to matter, the narrative identity of Lev, the protagonist of Tremain’s work, experiences drastic change due to his encounter with the capitalist, British ‘other’.
10
Maxwell, David. „BEYOND MARITIME SYMBOLISM“. Ancient Mesoamerica 11, Nr. 1 (Januar 2000): 91–98. http://dx.doi.org/10.1017/s0956536100111095.
Der volle Inhalt der QuelleAnnotation:
Tikal caches frequently contain a wide variety of marine materials such as shells, fish bones, and stingray spines (Coe 1990; Maxwell 1996). Beyond the possible use of stingray spines as bloodletters, however, little attention has been given to the role of these objects in ritual. Numerous caches contain the remains of toxic animals, including stingrays, porcupine fish, cone shells, and potentially toxic corals and sponges. Intriguingly, these objects are found in the greatest frequencies dating to the period from a.d. 562 to 695—known as the Tikal hiatus—beginning immediately following the defeat of Tikal by Caracol and ending with the ascension of Ruler A. It is proposed toxic marine objects were employed in rituals at Tikal and these rituals were most important during the hiatus period.
Dissertationen zum Thema "Symbolism of the rose"
1
Pal, Nandinee. „The warrior and the rose : Spenser's iconography of chastity in The faerie queene“. Thesis, McGill University, 1987. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=74055.
Der volle Inhalt der Quelle
2
Nengovhela, Rofhiwa Emmanuel. „The role of symbolism in Tshivenda discourse : a semantic analysis“. Thesis, University of Limpopo, 2010. http://hdl.handle.net/10386/1342.
Der volle Inhalt der Quelle
3
Dicaire, Francine. „Symbolisme et senefiance dans le Roman de la Rose de G. de Lorris“. Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape11/PQDD_0007/MQ43852.pdf.
Der volle Inhalt der Quelle
4
Nengovhela, Rofhiwa Emmanuel. „The role of symbolism in Tsivenda discourse : a semantic analysis“. Thesis, University of Limpopo, 2010. http://hdl.handle.net/10386/2312.
Der volle Inhalt der Quelle
5
Delille, Damien. „Le troisième genre : androgynie et trouble de la masculinité dans les arts visuels en France au passage du XXe siècle“. Thesis, Paris 1, 2015. http://www.theses.fr/2015PA010584.
Der volle Inhalt der QuelleAnnotation:
Cette thèse entend analyser la figure de l’androgyne du mouvement symboliste à l’avant-garde abstraite. La relecture de la modernité au passage du XXe siècle en France permet de comprendre de quelle manière le symbolisme a exploré le trouble de la sexualité dans un contexte sociopolitique de crise de la masculinité. L’étude visuelle et anthropologique des normes sexuelles révèle une angoisse de l’entre-deux androgyne, associée aux théories psychopathologiques de l’homosexualité. Cette thèse démontre de quelle manière l’androgynie correspond à ce que nous intitulons « le troisième genre » artistique, défini par le rejet des assignations de genre et par de nouveaux modèles de représentation et d’intersubjectivité, issus de l’immersion du féminin dans le masculin. Dans la première partie, l’étude des sources néo-classiques et spirituelles de l’androgyne révèle la recherche d’un idéal politique et artistique permettant la régénération de l’unité des sexes. La deuxième partie envisage la résurgence de cet idéal dans les pratiques symbolistes fin-de-siècle, à travers différents modèles androgynes comme la figure de l’ange, celles d’Orphée et du troisième sexe primitif. Face au trouble des identités sexuelles, la réception de l’idéalisme est analysée à partir de la rhétorique de la dégénérescence associant androgynie, efféminement du masculin et homosexualité. La quatrième partie examine la poursuite de l’idéal androgyne dans les sources de l’abstraction. Le troisième genre abstrait alimente l’utopie avant-gardiste d’un art qui s’auto-génère, dépourvu de caractère sexué et créé par un artiste moderne, célibataire et androgyneThis thesis aims to analyze the figure of androgyny from the movements of Symbolism to the abstract avant-garde. This reinterpretation of modernity at the turn of the 20th century in France allows an understanding of how Symbolism explored the trouble of sexuality within a social and political context entrenched by the crisis of masculinity. The visual and anthropological study of sexual norms reveals a fear of the androgynous in-between associated with psychopathological theories of homosexuality. This thesis demonstrates how androgyny is tied to what I call the artistic “third gender,” defined by the refusal of gender assignation and new models of representation and intersubjectivity, following the feminine immersion within the masculine. In the first part, the study of the Neoclassical and spiritual sources of androgyny demonstrates the search for the political and artistic ideal, allowing for the regeneration of the unity of sex. The second part reveals the resurgence of this ideal in the fin-de-siècle Symbolist's practices through different androgynous models such as the figure of the angel, the ones of Orpheus and the primitive third sex. Toward the trouble of sexual identities, the reception of idealism is analyzed through the rhetoric of degeneration associating androgyny, masculine effeminacy and homosexuality. The last part examines the pursuit of the androgynous ideal in the sources of abstraction. The abstract third sex nourishes the avant-gardist utopia of an art that is self-perpetuating, devoid of sexual characteristic and led by a modern artist, single and androgynous
6
OLIVEIRA, LYSIANE WILLEMANN. „SOUND SYMBOLISM IN THE LETTERS EXCHANGED BETWEEN GUIMARÃES ROSA AND HIS TRANSLATORS“. PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2012. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=20712@1.
Der volle Inhalt der QuelleAnnotation:
PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIROPROGRAMA DE SUPORTE À PÓS-GRADUAÇÃO DE INSTS. DE ENSINO
Este trabalho examina a correspondência entre Guimarães Rosa e seus tradutores alemão, italiano e norte-americana, com vistas à depreensão e análise de perspectivas rosianas sobre o simbolismo sonoro. Examinam-se as reflexões sobre o tema que se podem depreender (a) das considerações gerais que Rosa faz no corpo das cartas enviadas a seus tradutores; e (b) das detalhadas instruções que ele acrescenta em anexos, para dirimir dúvidas específicas colocadas pelos tradutores. Mostra-se, pela análise das epístolas, que a criação linguística rosiana tende a abarcar de forma deliberada e até certo ponto calculada a sonoridade sugestiva, por meio de singulares onomatopeias, aliterações, assonâncias e padrões rítmicos, resultando em um simbolismo sonoro. Conferindo carga expressiva, força e plasticidade ao texto, o simbolismo sonoro é um importante aliado nas estratégias rosianas de privar o leitor da bengala dos lugares comuns (carta a Harriet de Onis) e de convidá-lo a ter com a língua uma relação que não seja unicamente lógico-reflexiva (Carta a Edoardo Bizzarri). Mostra-se ainda que, no que tange às formas como dialogam com as teorias linguísticas, as reflexões e atitudes tradutórias de Rosa, tendendo à recusa do princípio da arbitrariedade do signo, apresentam convergências parciais com discursos teóricos que sustentam o simbolismo sonoro, em especial os de Jespersen e Jakobson.
This work examines the letters exchanged between Guimarães Rosa and his German, Italian and American translators,aiming to apprehend and analyse Rosa s perspectives on sound symbolism. It examines the reflections on the theme that can be inferred from (a) the general considerations that Rosa elaborates in the body of the letters sent to his translators, and (b) the detailed instructions he adds in attachments to resolve specific questions posed by them. It is shown, by analysis of the epistles, that Rosa’s linguistic creation tends to encompass suggestive sonority in a deliberate and somewhat calculated manner, by means of singular onomatopoeias, alliterations, assonances and rhythmic patterns, resulting in a sound symbolism. Charging the texts with expressiveness, strength and plasticity, sound symbolism is an important ingredient in Rosa s strategy to deprive the reader of the walking stick of common place (letter to Harriet de Onis) and to invite him to engage in a relationship with language that might go over the strictly logical-reflexive plane (letter to Edoardo Bizzarri). The study shows, moreover, that Rosa’s reflections and attitudes as a translator can be related to linguistic theories that tend to refuse the principle of the arbitrariness of the sign, also showing partial convergences with theoretical discourses that defend sound symbolism, especially those of Jespersen and Jakobson.
7
Khanna, Shikha. „Symbolism of power : the Baroque Axis Model in Rome, Paris and Washington“. Kansas State University, 1995. http://hdl.handle.net/2097/36116.
Der volle Inhalt der Quelle
8
Latino, Piero. „La Rose initiatique. Des Fidèles d'Amour à la littérature européenne des XIXe et XXe siècles“. Electronic Thesis or Diss., Sorbonne université, 2023. http://www.theses.fr/2023SORUL150.
Der volle Inhalt der QuelleAnnotation:
La présente thèse porte sur les relations entre littérature et courants ésotériques, à travers l’étude du symbole de la rose dans la littérature européenne, plus particulièrement dans les littératures française et anglaise des XIXe et XXe siècles. Il s’agit d’une recherche caractérisée par une approche transversale et interdisciplinaire, qui fait dialoguer différents domaines d’étude, le littéraire et l’historique, ainsi que plusieurs littératures et auteurs appartenant à différentes époques. La dimension initiatique de la rose, couplée avec le topos de l’amour, est au fondement de notre travail de recherche, dont le point de départ est un ouvrage oublié du XIXe siècle : Il Mistero dell’Amor Platonico nel Medioevo de Gabriele Rossetti, père du peintre et poète préraphaélite Dante Gabriele Rossetti. Dans cet ouvrage, Gabriele Rossetti montrait pour la première fois la dimension ésotérique de l’œuvre de Dante et des Fidèles d’Amour, à savoir les poètes d’amour italiens du Moyen Âge, qui véhiculaient, à travers leurs compositions poétiques, des idées mystiques et initiatiques, ainsi que religieuses et politiques. Selon Rossetti le courant critique qu’il inaugura, cette doctrine de l’amour ésotérique était également présente chez les poètes d’amour des différents pays européens, tels que les troubadours et les trouvères français, les poètes d’amour anglais, les minnesingers allemands ou les scaldes scandinaves, et elle se transmettra au cours des siècles, jusqu’au XIXe siècle. Ce dernier aspect est au centre de notre recherche : la transmission de cette présumée connaissance ésotérique, sous forme d’amour, dans l’âge moderne. Dans son Mistero dell’Amor Platonico, Gabriele Rossetti souligne que le symbole le plus important pour comprendre la doctrine ésotérique de l’amour est la rose, et notre travail est centré sur le symbolisme de la rose. L’étude de la dimension initiatique de la rose dans la littérature comporte deux discours rattachés au concept d’initiation : un discours relatif au mysticisme et un discours sur les Ordres initiatiques. Dans le premier cas, l’initiation est liée à une dimension mystique impliquant une transformation ontologique de l’être ; dans le second cas, le symbolisme de la rose se réfère aux Ordres ésotériques et initiatiques qui, d’une manière plus ou moins directe, ont joué un rôle dans l’histoire des idées. Ces deux discours sont souvent liés entre eux, et se retrouvent dans la littérature européenne, en particulier chez Gérard de Nerval ou William Butler Yeats. La première partie de notre thèse est consacrée à Dante, aux poètes du Moyen Âge et aux auteurs de la Renaissance. Nous nous concentrons ensuite sur les auteurs des XIXe et XXe siècles, tels que Honoré de Balzac, Gérard de Nerval, Joséphin Péladan, Dante Gabriel Rossetti, Ezra Pound, William Butler Yeats ou Umberto Eco. La majorité des écrivains et des poètes qui font l’objet de notre thèse sont directement ou indirectement liés à Dante et à la poésie d’amour du Moyen Âge, aux Fidèles d’Amour, et même à Gabriele Rossetti. Notre thèse propose de repenser une littérature dans laquelle la culture et la pensée ésotériques ne jouent pas un rôle secondaire, mais fondamental. Maintes œuvres littéraires de toute époque sont imprégnées d’éléments et de motifs renvoyant à la tradition ésotérique. L’étude de la dimension ésotérique et initiatique du symbole de la rose conduit donc à explorer un horizon de recherche dans lequel la littérature est étroitement liée aux courants ésotériques, notamment les littératures française et anglaise, et plus généralement la littérature européenne des XIXe et XXe siècles. Ainsi, de la rose des Fidèles d’Amour du Moyen Âge à la Rose secrète de William Butler Yeats qui affirmait que « ni homme ni femme depuis le commencement du monde n’a jamais su ce qu’est l’amour »This thesis focuses on the relationship between literature and esoteric currents, through the study of the symbol of the rose in European literature, more specifically in French and English literature of the nineteenth and twentieth centuries. This research is based on a transversal and interdisciplinary approach, bringing together different fields of literary and historical study, as well as a variety of literatures and authors from different periods. The initiatory dimension of the rose, coupled with the topos of love, is the basis of my research, whose starting point is a forgotten work from the nineteenth century: Il Mistero dell'Amor Platonico nel Medioevo by Gabriele Rossetti, father of the Pre-Raphaelite painter and poet Dante Gabriele Rossetti. In this work, for the first time Gabriele Rossetti revealed the esoteric dimension of the work of Dante and the Fedeli d’Amore (Faithful of Love) – the Italian love poets of the Middle Ages who, through their poetic compositions, conveyed mystical and initiatory ideas, as well as religious and political ones. According to Rossetti and the critical movement he initiated, this doctrine of esoteric love was also present in the love poets in a number of European contexts, such as the French troubadours and trouvères, the English minstrels, the German Minnesänger and the Scandinavian scaldes, handed down through the centuries until the nineteenth century. This aspect is the focus of my research: transmission of this alleged esoteric knowledge, in the form of love, to later centuries. In his Mistero dell’Amor Platonico, Gabriele Rossetti pointed out that the most important symbol for understanding the esoteric doctrine of love is the rose, and this thesis is devoted to the symbolism of this flower. The study of the initiatory dimension of the rose in literature involves two themes linked to the concept of initiation: one concerns mysticism and the other, initiatory Orders. In the first case, initiation is linked to a mystical dimension involving an ontological transformation of the being, while in the second, the symbolism of the rose refers to esoteric and initiatory Orders which have more or less directly played an important part in the history of ideas. These two themes are often connected and can be found in European writers such as Gérard de Nerval and William Butler Yeats. The first part of this thesis is devoted to Dante and the poets of the Middle Ages, as well as to authors of the Renaissance. I then move on to nineteenth and twentieth century authors, such as Honoré de Balzac, Gérard de Nerval, Joséphin Péladan, Dante Gabriel Rossetti, Ezra Pound, William Butler Yeats and Umberto Eco. Most of the writers and poets featured in this thesis are directly or indirectly linked to Dante and the love poetry of the Middle Ages, to the Fedeli d’Amore, and even to Gabriele Rossetti. Thus, this research proposes a rethinking of literature – one in which esoteric culture and thought are of particular importance, as many literary works throughout history are imbued with elements and motifs referring to the esoteric tradition. The study of the esoteric and initiatory dimension of the rose symbol provides the opportunity to explore a field of research where literature is closely linked to esoteric currents, particularly in French and English literature (and more generally, in European literature) of the nineteenth and twentieth centuries: from the rose of the Fedeli d’Amore in the Middle Ages to the Secret Rose by William Butler Yeats, who affirmed that “no man or woman from the beginning of the world has ever known what love is”
9
Solomon, Anne Catherine. „Division of the earth : gender, symbolism and the archaeology of the southern San“. Master's thesis, University of Cape Town, 1989. http://hdl.handle.net/11427/21818.
Der volle Inhalt der QuelleAnnotation:
Bibliography: pages 180-207.Gender studies in various disciplines, particularly anthropology, have shown that the opposition of masculine : feminine is commonly used to structure other cultural contrasts, and that the representation of this opposition in cultural products is in turn implicated in the cultural construction of gender content. This bidirectional problematic, supplementing the more limited critique of gender 'bias' and masculinist models, is the focus of this research into archaeological materials. Rock art is the principal archaeological 'trace' analysed. Because the impetus to gender studies comes principally from the critical standpoint of feminism, analyses of gender and gendering in archaeological materials are evaluated in the context of gender issues in the present day, in terms of archaeological 'reconstructions' as legitimising the existing gender order. Theoretical influences include feminism, hermeneutics, marxism, (post)- structuralism, semiotics, and discourse theory. Aspects of language, and, particularly, the oral narratives of various San groups - the /Xam, G /wi, !Kung, Nharo, and others - are examined in order to establish the way in which masculinity and femininity are/have been conceptualised and differentiated by San peoples. This is followed by an assessment of the manner of and extent to which the masculine: feminine opposition informs narrative content and structure. The analysis of language texts permits an approach to the representation of this opposition in non-language cultural texts (such as visual art, space). Particular constructions of masculinity and femininity, and a number of gendered contrasts (pertaining to form, orientation, time, number, quality) are identified. Gender symbolism is linked to the themes of rain and fertility/ continuity, and analysed in political terms, according to the feminist materialist contention that, in non-class societies, gender opposition is potentially the impetus to social change. Gender(ing) is more fundamental to San cultural texts than has been, recognised, being present in a range of beliefs which are linked by their gender symbolism. I utilise a 'fertility hypothesis', derived from a reading of the ethnographies, in order to explain various elements of Southern African rock art, Well-preserved (thus relatively recent) paintings, principally from sites in the Drakensberg and south-western Cape, were selected. Features interpreted via this hypothesis include: images of humans, the motif of the thin red line fringed with white dots, 'elephants in boxes', therianthropic figures, and 'androgynous' figures, including the eland. The spatial organisation of the art, the significance of non-realistic perspectives, and the problem of the numerical male dominance of the art are also interpreted from this standpoint. The analysis permits critique, of the theorisation of gender and ideology in rock art studies, and of the biophysical determinism implicit in current rock art studies, in which attempts are made to explain many features of the art by reference to trance states, altered consciousness and neurophysiological constitution. Rain, rather than trance, is proposed as the central element of San ritual/religious practices. Finally, the treatment of (or failure to consider) gender(ing) in the archaeological record is situated in relatio.n to contemporary gender ideologies, in the contexts of archaeological theory and practice.
10
Brown, Patricia. „The role and symbolism of the dragon in vernacular saints' legends, 1200-1500“. Thesis, University of Birmingham, 1998. http://etheses.bham.ac.uk//id/eprint/5414/.
Der volle Inhalt der QuelleAnnotation:
This thesis looks at the role and function of the dragon in the saint's encounter with the monster in hagiographic texts, written primarily in the vernacular, between 1200 and 1500. Those connotations accrued by the dragon which are relevant to this thesis are traced from their earliest beginnings. Although by the middle ages the multi-valency of the dragon is reduced to one primary symbolic valency, that of evil and significantly, the evil of paganism, the dragon never loses completely its ancient associations and they help to colour its function within the narrative. The symbolic use of the dragon in vernacular saints' lives is generally consistent, although allowing for different didactic emphases. However, the two legends on which this thesis concentrates are those of St George from Caxton's Golden Legend and St Margaret from the Katherine Group. Each reveals tensions within the text when the dragon's role departs from the familiar hagiographic topos. Firstly, the role of the hagiographic dragon is identified by a comparison with that of the dragon in romance. Allowing for cross-fertilization, this thesis focuses on the significance of the hero's dragon-fight and the saint's dragon encounter to differentiate between the ethos of the romance and hagiographic genres respectively. Tensions are created in the hagiographic text when the romance topos of the dragon-fight is used in conjunction with the hagiographic dragon encounter, as in the legend of St George. Finally, in the legend of St Margaret, the dragon's appearance unbalances and unsettles the perspective of the narrative when its role and function are deployed in the promulgation of virginity.
Bücher zum Thema "Symbolism of the rose"
1
The European heritage of rose symbolism and rose metaphors in view of Rilke's epitaph rose. New York: P. Lang, 1987.
Den vollen Inhalt der Quelle finden
2
Rolland, Jacques. Le chevalier à la rose. Paris: Véga, 2010.
Den vollen Inhalt der Quelle finden
3
The symbolic rose. Dallas, Tex: Spring Publications, 1989.
Den vollen Inhalt der Quelle finden
4
Cowen, Painton. Rose windows. New York: Thames and Hudson, 1990.
Den vollen Inhalt der Quelle finden
5
Dark wood to white rose: Journey and transformation in Dante's Divine comedy. New York: Parabola Books, 1989.
Den vollen Inhalt der Quelle finden
6
The rose window: Splendour and symbol. London: Thames & Hudson, 2005.
Den vollen Inhalt der Quelle finden
7
Cowen, Painton. The rose window: Splendor and symbol. New York: Thames & Hudson, 2005.
Den vollen Inhalt der Quelle finden
8
Gondinet-Wallstein, Eliane. Une rose pour la création. [Paris]: Mame, 1987.
Den vollen Inhalt der Quelle finden
9
Joret, Charles. La rose dans l'antiquité et au Moyen Age: Histoire, légendes et symbolisme. Genève: Slatkine Reprints, 1989.
Den vollen Inhalt der Quelle finden
10
Joret, Charles. La rose dans l'antiquité et au Moyen âge: Histoire, légendes et symbolisme. Genève: Slatkine Reprints, 1989.
Den vollen Inhalt der Quelle findenBuchteile zum Thema "Symbolism of the rose"
1
Pinion, F. B. „Symbolism“. In Hardy the Writer, 237–49. London: Palgrave Macmillan UK, 1990. http://dx.doi.org/10.1057/9780230389458_15.
Der volle Inhalt der Quelle
2
Mercado, Gustavo. „symbolism“. In The Filmmaker's Eye: The Language of the Lens, 80–81. London; New York: Routledge, 2019.: Routledge, 2019. http://dx.doi.org/10.4324/9780429446894-18.
Der volle Inhalt der Quelle
3
Archer, W. G. „Symbolism“. In The Blue Grove, 95. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003104230-16.
Der volle Inhalt der Quelle
4
Lau, Raymond W. K. „Symbolism“. In Encyclopedia of Tourism, 924. Cham: Springer International Publishing, 2016. http://dx.doi.org/10.1007/978-3-319-01384-8_490.
Der volle Inhalt der Quelle
5
Esitti, Bekir, und Buket Buluk. „Organizational Symbolism“. In Organizational Behavior Challenges in the Tourism Industry, 188–206. IGI Global, 2020. http://dx.doi.org/10.4018/978-1-7998-1474-0.ch011.
Der volle Inhalt der QuelleAnnotation:
This chapter discusses the issue of organizational symbolism, which is frequently encountered in business life, and its meaning in the tourism industry. Symbols are the most apparent and observable aspects of organizational life; simultaneously, symbolic elements are the most subtle and comprehensive. Due to the nature of the hospitality sector, the workflow takes place instantaneously. Therefore, employees, managers, and tourists search for some of the generally accepted symbols used in the organisation during this rapid workflow. If symbols are removed from this relationship, communication suffers and as a result harms the overall functioning of the organization. This chapter proposes that it is important to look at the origins of the organizational symbolism and to comprehend the role of symbols in the tourism industry. In this sense, this chapter should be seen primarily as an effort to review and systematize the overall understanding of organizational symbols in the tourism industry.
6
„On the Future Role of Symbols in Environmental Modelling“. In Symbolism 2020, 51–68. De Gruyter, 2020. http://dx.doi.org/10.1515/9783110716962-004.
Der volle Inhalt der Quelle
7
Morton, Eugene S. „Sound symbolism and its role in non-human vertebrate communication“. In Sound Symbolism, 348–65. Cambridge University Press, 1995. http://dx.doi.org/10.1017/cbo9780511751806.023.
Der volle Inhalt der Quelle
8
Ivanova, Eugenia V. „The Role of Periodicals in the Formation of Symbolism as a Trend“. In Russian Literature and Journalism in the Pre-revolutionary Era: Forms of Interaction and Methodology of Analysis, 169–87. A.M. Gorky Institute of World Literature of the Russian Academy of Sciences, 2021. http://dx.doi.org/10.22455/978-5-9208-0661-1-169-187.
Der volle Inhalt der QuelleAnnotation:
Symbolism came into being in three independent circles, which initially did not accept each other. However, the hostility of the dominant literary forces forced the early symbolists to move closer to each other. The association of symbolists in this manner began on the pages of the almanac Severnyye Tsvety and it continued on the pages of the magazines Novyj Put’, Vesy and Zolotoye Runo. As a result, all these new creative forces attached themselves to symbolism. Magazines made symbolism the most fruitful branch of twentieth-century literature.
9
Halkias, Georgios T. „Timeless Symbolism“. In The Oxford Handbook of Tantric Studies, C19.S1—C19.N35. Oxford University Press, 2022. http://dx.doi.org/10.1093/oxfordhb/9780197549889.013.19.
Der volle Inhalt der QuelleAnnotation:
Abstract The life of Śrī Siṃha, the early contemplative patriarch of the teachings of the Great Perfection, is shrouded in mystery. Our knowledge of the life of this teacher is indebted to Tibetan hagiographical records of the Treasure and oral traditions, centuries after the latest date assigned to him in the first half of the ninth century. Śrī Siṃha occupies a seminal role in the Nyingma history of the transmission of the Great Perfection to Tibet and there are a good number of texts attributed to him in the Tengyur, Vairocana’s Collected Tantras, and the Collected Tantras of the Nyingma. With the aim of examining Śrī Siṃha’s contribution to the earliest genealogies of Dzogchen in Tibet, this study will serve as an overview of his works and life by examining traditional methods of explanation of the Great Perfection’s Symbolic Lineage of Transmission.
10
Lee, Hyo-Dong. „6 Ren and Causal Efficacy: Confucians and Whitehead on the Social Role of Symbolism“. In Rethinking Whitehead’s Symbolism, 108–23. Edinburgh University Press, 2017. http://dx.doi.org/10.1515/9781474429580-008.
Der volle Inhalt der QuelleKonferenzberichte zum Thema "Symbolism of the rose"
1
„Symbolism in A Rose for Emily“. In 2018 International Conference on Education Technology and Social Sciences. Francis Academic Press, 2018. http://dx.doi.org/10.25236/etsocs.2018.18.
Der volle Inhalt der Quelle
2
Dong, Hanzhang. „Analyzing the symbolic significance of Angelopoulos’ films from the perspective of semiotics“. In Intelligent Human Systems Integration (IHSI 2024) Integrating People and Intelligent Systems. AHFE International, 2024. http://dx.doi.org/10.54941/ahfe1004522.
Der volle Inhalt der QuelleAnnotation:
Symbolic communication is an interdisciplinary field that investigates the meaning and function of symbols in the communication process. Within the framework of symbolic communication studies, symbols are seen as tools individuals employ to convey meanings and values. As a crucial cultural artifact and visual medium, film combines various symbolic elements—including imagery, sound, and plot—to create a distinctive and intricate symbolic system, thus conveying specific meanings through symbol construction. In the films of Angelopoulos, the allure of “symbolic symbolism” is reflected through flowing long shots, captivating mise-en-scène, the manipulation of time, layered spaces with poetic overlays, a blank film reel, the emergence of a giant sculpture hand from the sea, thundering trains, alienating narrative structures, obscure metaphorical symbols, and unique poetic aesthetics. These key elements encompass the crux of deciphering Angelopoulos’ films. The analysis of symbolic symbolism in Angelopoulos’ films can be approached from different perspectives.Firstly, one can utilize the basic model of symbolic communication as a framework for research. This model encompasses six elements that constitute any communicative event. These consist the elements of the speaker and listener, who are the primary participants in symbolic communication. The element of information represents the content conveyed through symbols. Code elements give form to information. In the process of communication, not only the information itself is needed, but also contact elements are needed. Contact media can take various forms. Additionally, both speaker and listener must share a context within which the transmitted information can be comprehended. In the context of Angelopoulos’ films, the films themselves function as the “speaker,” while the audience assumes the role of the “listener”. Furthermore, the specific film products and services constitute the information being communicated, embodying the purpose and communication needs. Contact pertains to the media and settings employed in film communication, while codes encompass the symbolic forms of film, such as words, sounds, images, and colors. Symbolic communication in film is additionally influenced by cultural, social, and historical backgrounds, which may cause symbols to assume differing meanings and interpretations within contexts and for distinct cultural audiences. Secondly, Bakhtin’s theory of symbols suggests that symbolic cognition involves a process of decoding, which comprises four cognitive stages: symbol perception, conceptual cognition, contextual cognition, and dynamic dialogue. By analyzing the narrative structure employed in Angelopoulos’ films, one can construct a word cloud of pertinent cognition through semi-structured interviews and literature research. This approach yields a discussion of the specific visual, tactile, auditory, gustatory, and other symbolic symbolism techniques utilized within the functional spectrum of each narrative stage.In conclusion, the creation of symbolic meaning in Angelopoulos’ films, when viewed through the lens of symbolic communication, represents a multifaceted and diverse process. It encompasses the polysemy, combination, and organization of symbolic elements, alongside the influence of cultural, social, and historical backgrounds. An in-depth exploration of the construction of symbolic meaning in films enables a profound comprehension of the symbolic symbolism employed by Angelopoulos and the consequential impact and significance on the audience.
3
Xu, Yan. „Analysis of "A Rose for Emily" from the Perspective of the Stylistic Features of Confabulation and Symbolism“. In 2nd International Conference on Arts, Design and Contemporary Education. Paris, France: Atlantis Press, 2016. http://dx.doi.org/10.2991/icadce-16.2016.60.
Der volle Inhalt der Quelle
4
Musaeva, A. „SYMBOLISM IN THE POETRY BY S. SOKOLKIN AND A. ABDURASHIDOVA“. In VIII International Conference “Russian Literature of the 20th-21st Centuries as a Whole Process (Issues of Theoretical and Methodological Research)”. LCC MAKS Press, 2023. http://dx.doi.org/10.29003/m3714.rus_lit_20-21/155-157.
Der volle Inhalt der QuelleAnnotation:
Symbols play an important role in the lyrics of poets of the late 20th - early 21st centuries. The article is devoted to their identification and study in the works of modern Russian poets: Sergey Sokolkin and Aminat Abdurashidova. The achievements of science, historical processes have had a strong influence on the development of modern poetry. Religious, scientific, folklore symbolism is actively used by these poets to create images in poems.
5
Korn, J. „Role of symbolism in a business organisation“. In IEE Colloquium on `Systematic Methods for Improving Business Performance'. IEE, 1996. http://dx.doi.org/10.1049/ic:19960502.
Der volle Inhalt der Quelle
6
Kong, Fanting. „The Absence of the Rose The Symbolic Meaning of "Rose" in William Faulkner's A Rose for Emily“. In 2016 International Conference on Contemporary Education, Social Sciences and Humanities. Paris, France: Atlantis Press, 2016. http://dx.doi.org/10.2991/iccessh-16.2016.100.
Der volle Inhalt der Quelle
7
Jensen, Poul Ove, Jesper Henriksen, Tine Holmboe und Catherine Merlo. „Structure as Symbolism: Pylons as Tools for Cultural Expression in the Asia-Pacific Region“. In IABSE Congress, New Delhi 2023: Engineering for Sustainable Development. Zurich, Switzerland: International Association for Bridge and Structural Engineering (IABSE), 2023. http://dx.doi.org/10.2749/newdelhi.2023.1245.
Der volle Inhalt der QuelleAnnotation:
<p>In supporting both the deck and cable weight within suspension and cable-stayed bridges, the essential function of pylons provides architectural opportunity. Dissing+Weitling presents three case studies from China, the Philippines, and Australia to demonstrate how pylons can be transformed into design drivers of a bridge’s aesthetic symbolism.</p><p>Recognizing the role infrastructure can play in engaging with local and indigenous user groups, this paper examines how design choices regarding colour, negative space, lighting design, and the physicality of pylons can reinforce cultural identity. In recognizing the symbolic potential of pylons – a structural necessity – mobility architecture can provide iconic, culturally responsive, and locally meaningful infrastructure.</p>
8
Karpova, E. A. „THE ROLE OF COLOR AND ITS SYMBOLISM IN WESTERN EUROPEAN MEDIEVAL TAPESTRIES“. In ЦВЕТ В ПРОСТРАНСТВЕННЫХ ИСКУССТВАХ И ДИЗАЙНЕ. Санкт-Петербург: Федеральное государственное бюджетное образовательное учреждение высшего образования «Санкт-Петербургская государственная художественно-промышленная академия имени А.Л. Штиглица», 2022. http://dx.doi.org/10.54874/9785604868850_164.
Der volle Inhalt der Quelle
9
KANERO, JUNKO, MUTSUMI IMAI, HIROYUKI OKADA und TETSUYA MATSUDA. „THE ROLE OF STS IN MIMETIC-WORD PROCESSING: SOUND SYMBOLISM OR BIOLOGICAL MOTION?“ In Proceedings of the 9th International Conference (EVOLANG9). WORLD SCIENTIFIC, 2012. http://dx.doi.org/10.1142/9789814401500_0084.
Der volle Inhalt der Quelle
10
Xia, Yihui. „Laughter in Comic Strips in Northeast Asia“. In GLOCAL Conference on Asian Linguistic Anthropology 2022. The GLOCAL Unit, SOAS University of London, 2023. http://dx.doi.org/10.47298/cala2022.7-5.
Der volle Inhalt der QuelleAnnotation:
In the realm of comic books, laughter onomatopoeia (LO) plays a crucial role in character portrayal. The sound symbolism of LO can be used to assign distinct character roles and to suggest similarities in terms of appearance and personality traits. For instance, Kinsui (2014) posited that ‘hoho’ is typically associated with a young woman from a well-respected family. However, scholarship on the relationship between variable LO and character types is limited in the current literature, emphasizing the need for further study. This thesis addresses this research gap by examining the association between phonological features and character types. Using the Japanese comic series ‘One Piece’ as a case study, the research collected laughter phrases and utilized a laughter notation system to assign character roles. The results suggest that characters employing LO with common phonological elements possess analogous external and personality characteristics, demonstrating the impact of sound symbolism on character attributes, with voiced sounds, p sounds, and palatalization sounds having distinctive correlations with specific character traits.
Berichte der Organisationen zum Thema "Symbolism of the rose"
1
Blaxter, Tamsin, und Tara Garnett. Primed for power: a short cultural history of protein. TABLE, November 2022. http://dx.doi.org/10.56661/ba271ef5.
Der volle Inhalt der QuelleAnnotation:
Protein has a singularly prominent place in discussions about food. It symbolises fitness, strength and masculinity, motherhood and care. It is the preferred macronutrient of affluence and education, the mark of a conscientious diet in wealthy countries and of wealth and success elsewhere. Through its association with livestock it stands for pastoral beauty and tradition. It is the high-tech food of science fiction, and in discussions of changing agricultural systems it is the pivotal nutrient around which good and bad futures revolve. There is no denying that we need protein and that engaging with how we produce and consume it is a crucial part of our response to the environmental crises. But discussions of these issues are affected by their cultural context—shaped by the power of protein. Given this, we argue that it is vital to map that cultural power and understand its origins. This paper explores the history of nutritional science and international development in the Global North with a focus on describing how protein gained its cultural meanings. Starting in the first half of the 19th century and running until the mid-1970s, it covers two previous periods when protein rose to singular prominence in food discourse: in the nutritional science of the late-19th century, and in international development in the post-war era. Many parallels emerge, both between these two eras and in comparison with the present day. We hope that this will help to illuminate where and why the symbolism and story of protein outpace the science—and so feed more nuanced dialogue about the future of food.
2
Melnyk, Yuriy. KRPOCH Symbolism. KRPOCH, 2005. http://dx.doi.org/10.26697/symbolism.
Der volle Inhalt der Quelle
3
Jaknanihan, Arrizal. Symbolism over substance in US–Indonesia partnership. East Asia Forum, Januar 2024. http://dx.doi.org/10.59425/eabc.1706652000.
Der volle Inhalt der Quelle
4
Yang, Eunyoung. Jogakbo Rose. Ames: Iowa State University, Digital Repository, November 2016. http://dx.doi.org/10.31274/itaa_proceedings-180814-1640.
Der volle Inhalt der Quelle
5
Parsons, Jean L. Spiral Rose. Ames: Iowa State University, Digital Repository, Februar 2013. http://dx.doi.org/10.31274/itaa_proceedings-180814-594.
Der volle Inhalt der Quelle
6
Gignac, Stormi. Spanish Rose. Ames: Iowa State University, Digital Repository, 2013. http://dx.doi.org/10.31274/itaa_proceedings-180814-698.
Der volle Inhalt der Quelle
7
Liss, S. A. Rose diagram program. Alaska Division of Geological & Geophysical Surveys, 1991. http://dx.doi.org/10.14509/1482.
Der volle Inhalt der Quelle
8
Brown, Joan. Rose City Salon. Portland State University Library, Januar 2016. http://dx.doi.org/10.15760/honors.253.
Der volle Inhalt der Quelle
9
Steiner, Halina, und Bilwa Ashvinikumar Gulavani. Rose Run Corridor. Landscape Architecture Foundation, 2023. http://dx.doi.org/10.31353/cs1970.
Der volle Inhalt der Quelle
10
van Staal, C. R., S. Lin, L. Hall, D. Schofield, P. Valverde und M. Genkin. Geology, Rose Blanche, Newfoundland. Natural Resources Canada/ESS/Scientific and Technical Publishing Services, 1996. http://dx.doi.org/10.4095/208186.
Der volle Inhalt der Quelle