Journal articles on the topic 'Symbolism (Cross-cultural)'
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Stamatopoulou, Despina, Gerald C. Cupchik, Toshihiko Amemiya, Michelle Hilscher, and Tomoko Miyahara. "A Background Layer in Aesthetic Experience: Cross-cultural Affective Symbolism." Japanese Psychological Research 58, no. 3 (April 13, 2016): 233–47. http://dx.doi.org/10.1111/jpr.12114.
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Goodwyn, Erik. "Archetypes: The Contribution of Individual Psychology to Cross-cultural Symbolism." Journal of Jungian Scholarly Studies 15, no. 1 (March 23, 2020): 5–19. http://dx.doi.org/10.29173/jjs123s.
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When a patient reports a dream or undirected fantasy in psychotherapy, classical Jungian technique includes, among other things, comparing this material to that of cross-cultural symbolism (CCS). The validity of this aspect of the method hinges on what we think the origin of CCS is. If we believe that the lion’s share of such content comes from specific universal tendencies of the individual psyche, then it is reasonable to look to CCS as a source of clinical interpretive information. If not, however, the method loses credibility. An examination of this comparison reveals that some discussions about archetypes have been plagued by a false dichotomy of biology vs. emergence. Addressing this problem helps to organize various theories about archetypes that compare CCS into a more productive dialogue.
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Jian, Yufan, Zhimin Zhou, and Nan Zhou. "Brand cultural symbolism, brand authenticity, and consumer well-being: the moderating role of cultural involvement." Journal of Product & Brand Management 28, no. 4 (July 15, 2019): 529–39. http://dx.doi.org/10.1108/jpbm-08-2018-1981.
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Purpose This paper aims to improve knowledge regarding the complicated relationship among brand cultural symbolism, consumer cultural involvement, brand authenticity and consumer well-being. Although some literature has mentioned the relationship between the above concepts, these relationships have not been confirmed by empirical studies. Design/methodology/approach Based on the self-determination theory and the authenticity theory, a causal model of brand cultural symbolism, consumers’ enduring cultural involvement, brand authenticity and consumer well-being is developed. The structural equation model and multiple regressions are used to test the hypothesis. The primary data are based on an online survey conducted in China (N = 533). A total of six brands from the USA, France and China were selected as study samples. Findings The data reveal that brand cultural symbolism has a positive relationship with brand authenticity and consumer well-being; brand authenticity partially mediates the relationship between brand cultural symbolism and consumer well-being; and find a weakening effect of consumers’ enduring cultural involvement on the relationship between brand cultural symbolism and brand authenticity. Research limitations/implications The weakening effect of consumers’ enduring cultural involvement on the relationship between brand cultural symbols and brand authenticity should be further verified through experiments and the model should be tested in different cultural backgrounds from a cross-cultural perspective. Practical implications The present study offers novel insights for brand managers by highlighting brand authenticity as the fundamental principle that explains the effect of cultural symbolism of brands, consumers’ enduring cultural involvement, as well as eudaimonic and hedonic well-being. Originality/value The findings suggest that cultural significance of a brand is closely related to brand authenticity and consumer well-being; however, on consumers with a highly enduring cultural involvement, the effect of brand culture symbolism and brand authenticity is weakened. This is an interesting finding because in this case, consumers may measure brand authenticity more based on the brand actual behavior (e.g. brand non-commercial tendency and brand social responsibility) rather than the symbolic image.
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Ratka, Relic. "Esoteric Symbolism of the ‘Tree of Life’: A Cross-cultural Perspective." Journal of Human Values 23, no. 2 (April 10, 2017): 73–80. http://dx.doi.org/10.1177/0971685816689730.
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The article reviews about esoteric symbolism of the tree of life in shamanic cultures and oriental traditions including classical Hindu and Buddhist systems, together with various esoteric and indigenous traditions. The very idea of the tree of life, in indigenous cultures, which is often called the ‘world tree’ or ‘shamanic tree’, is connected with human illumination process in the form of mystical or ecstatic experience gained through the process of the self-realization. These various forms of mystico-religious experiences could be found in many religious traditions, considered to be cross-cultural phenomena. The author made an attempt to make a classification of chakras and energetic structure of the human body according to cross-cultural analysis of various cultures.
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Arthur, James. "Learning under the cross: legal challenges to ‘cultural–religious symbolism’ in public schools." Education and the Law 20, no. 4 (December 2008): 337–49. http://dx.doi.org/10.1080/09539964.2010.486917.
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Atsbeha, Negga Tesfaye, and Nadezhda Yaroslavovna Shkandriy. "The cross as a symbol cultural identity of Ethiopia." Vestnik of Saint Petersburg State University of Culture, no. 3 (52) (2022): 12–17. http://dx.doi.org/10.30725/2619-0303-2022-3-12-17.
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The article deals with the semantics and symbolism of the cross in the culture of Ethiopia. It is shown that the special forms and various functions of the cross are associated with the canonical ideas of the ancient Eastern Ethiopian church and its influence on the social and private life of the Ethiopian society. The typology of the main forms of the cross is traced, the development of ornamental decoration in the context of religious and everyday life, including in the bodily practices of tattooing, in the decoration of traditional textiles. The cross is interpreted as a sign of cultural and regional identity. Commission of church crosses is seen as a manifestation of personal piety. The most significant are religious ceremonial crosses associated with worship, as well as hand crosses for personal blessing, which are common not only in the church, but also in family life. Thus, the cross is one of the most important signs of ethnic selfidentification in modern Ethiopian culture.
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O'Boyle, Michael W., David A. Miller, and Fahim Rahmani. "Sound-meaning relationships in speakers of Urdu and English: Evidence for a cross-cultural phonetic symbolism." Journal of Psycholinguistic Research 16, no. 3 (May 1987): 273–88. http://dx.doi.org/10.1007/bf01067547.
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Palka, Joel W. "Left/Right Symbolism and the Body in Ancient Maya Iconography and Culture." Latin American Antiquity 13, no. 4 (December 2002): 419–43. http://dx.doi.org/10.2307/972224.
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Throughout Maya history the left and right sides of the human body, left/right spatial orientation, and handedness have had important cultural and symbolic meanings. This essay examines left/right symbolism in relation to the body, which is generally overlooked in studies of archaeological societies and material culture, and discusses how it relates to ancient Maya ideology and behavior. New information from Classic Maya iconography, plus corroborative information from Maya ethnography and cross-cultural investigations, support the proposition that left/right symbolic differences and hierarchies were present in ancient Maya society. For the Classic Maya, as with contemporary Maya peoples, the right hand or side of the body often signified “pure, powerful, or superordinate,” and the left frequently symbolized “weaker, lame, or subordinate” in particular cultural contexts. Hence, in Classic Maya imagery, kings face to their right and use their right hands, while subordinates are oriented to their left and frequently use their left hands. Following comparative anthropological analyses, consideration of handedness and human body symmetry help explain the left/right dichotomy and the apparent primacy of the right in Classic Maya spatial reference, social order, and worldview. The findings of this study have important implications for the examination of left/right symbolism in material culture, images of the body, and ideology in other societies.
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McNeil, Lynda. "Recurrence of Bear Restoration Symbolism: Minusinsk Basin Evenki and Basin-Plateau Ute." Journal of Cognition and Culture 8, no. 1-2 (2008): 71–98. http://dx.doi.org/10.1163/156770908x289215.
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AbstractBy combining ethnographic and evolutionary psychological approaches, this paper compares adaptive strategies of two groups of hunter-gatherers colonizing marginal environments, one in Southern Siberia (Minusinsk Basin) and the other in North America (Great Basin and Colorado Plateau). The biological and cultural survival of Southern Siberian (Evenki) and Basin-Plateau (Numic) hunter-gatherers depended upon developing a complex of social and symbolic strategies, including ritual, oral narratives and rock art. These symbolic representations, which emerged in response to reproductive and somatic demands, appear to have been preserved and transmitted inter-generationally, and to have recurred cross-culturally above chance.
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Erben Johansson, Niklas, Andrey Anikin, Gerd Carling, and Arthur Holmer. "The typology of sound symbolism: Defining macro-concepts via their semantic and phonetic features." Linguistic Typology 24, no. 2 (August 27, 2020): 253–310. http://dx.doi.org/10.1515/lingty-2020-2034.
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AbstractSound symbolism emerged as a prevalent component in the origin and development of language. However, as previous studies have either been lacking in scope or in phonetic granularity, the present study investigates the phonetic and semantic features involved from a bottom-up perspective. By analyzing the phonemes of 344 near-universal concepts in 245 language families, we establish 125 sound-meaning associations. The results also show that between 19 and 40 of the items of the Swadesh-100 list are sound symbolic, which calls into question the list’s ability to determine genetic relationships. In addition, by combining co-occurring semantic and phonetic features between the sound symbolic concepts, 20 macro-concepts can be identified, e. g. basic descriptors, deictic distinctions and kinship attributes. Furthermore, all identified macro-concepts can be grounded in four types of sound symbolism: (a) unimodal imitation (onomatopoeia); (b) cross-modal imitation (vocal gestures); (c) diagrammatic mappings based on relation (relative); or (d) situational mappings (circumstantial). These findings show that sound symbolism is rooted in the human perception of the body and its interaction with the surrounding world, and could therefore have originated as a bootstrapping mechanism, which can help us understand the bio-cultural origins of human language, the mental lexicon and language diversity.
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Nehmé, Léa, Reine Barbar, Yelena Maric, and Muriel Jacquot. "Influence of odor function and color symbolism in odor–color associations: A French–Lebanese–Taiwanese cross-cultural study." Food Quality and Preference 49 (April 2016): 33–41. http://dx.doi.org/10.1016/j.foodqual.2015.11.002.
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Lee, Peter K. H. "The Symbolic Significance of the Missionary." Missiology: An International Review 18, no. 3 (July 1990): 337–45. http://dx.doi.org/10.1177/009182969001800308.
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In crossing a cultural boundary a missionary comes from one background with a network of symbolism to another place with a different system of symbols. That can be either a confusing mishmash, or it can be a creative activity bringing new meanings. If the missionary learns a new language, that is an act which has symbolic significance. When the missionary communicates according to the demand of the gospel, a new vision of things is opened up. The new vision gathers up the loose threads of world events from the perspective of the ultimate. The true missionary, indeed, has an ultimate commitment, while he or she works through the symbolic matrices of cross-cultural interactions.
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Creangă, Maria-Teodora. "The Translatability of Poetry: Phonaesthesia, Sound Iconicity, Orchestration, and Aesthetic Function. A Case Study of Poe’s The Raven." American, British and Canadian Studies 38, no. 1 (June 1, 2022): 163–78. http://dx.doi.org/10.2478/abcsj-2022-0009.
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Abstract When asked whether all texts are translatable, Roman Jakobson answered: “yes, to a certain extent” (qtd. in Hatim and Munday 16). Poetry in particular is notoriously difficult to translate due to its complexity and intricacies of form and meaning, on the one hand, and its cultural features, on the other. Over the years, poetry translation has been the key topic in many studies and articles that pinpoint concrete issues that may assist the translator during the three main stages of the translation process: source text analysis, linguistic transfer, and target text assessment. The present article tackles the issue of the translatability of Edgar Allan Poe’s The Raven into Romanian in terms of sound symbolism and orchestration with reference to Emil Gulian’s and Dan Botta’s translations. It also investigates the extent to which a particular case of sound symbolism known in the literature as phonaesthesia is a cross linguistic phenomenon and the ways in which it may become a tool in the translation process, given the complexity of the phonological structure of the poem.
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Rosati, Paolo Eugenio. "The Goddess Kāmākhyā: Religio-political Implications in the Tribalisation Process." History and Sociology of South Asia 11, no. 2 (June 8, 2017): 137–55. http://dx.doi.org/10.1177/2230807517703014.
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This article examines the cross-cultural influence that worked on the absorption process of the goddess Kāmākhyā (Assam) within the Brahmanic pantheon, through a correlation of textual and historical-religious pieces of evidence. 2 2 This article is an enlarged and revised version of a paper that I presented on 18 September 2015 during the sixth Coffee Break Conference (17–19 September) held at the Italian Institute of Oriental Studies of ‘Sapienza’ University of Rome. In Assam, the cross-cultural interaction, between local tribes and Indo-Aryan speakers, began around 200 BCE–100 CE—when the Vedic culture had already changed from its earlier theological pattern. Therefore, after had been influenced by a long cross-cultural negotiation, the early medieval north-eastern purāṇas transformed the dakṣayajña myth, legitimising the temple of Kāmākhyā on Nīlācala as the greatest śākta pīṭha (seat of power), where the yoni (vulva) of Sat ī was preserved. In this way, the Purāṇas reconnected Nīlācala–Kāmākhyā not only to the sexual symbolism, but also to an ancient cremation ground and its death imaginary–a fact that the systematisation of the yoginī cult (ninth–eleventh century) into the Yoginī Kaula school corroborated. In this cross-cultural context, the early medieval Assamese dynasties emerged tied to the danger of liminal powers—linked to both the heterodox śākta-tantra sects and tribal traditions that were harnessed by the kings through the exoteric and esoteric rituals practised at Kāmākhyā.
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Dornan, Jennifer L. "Beyond Belief: Religious Experience, Ritual, and Cultural Neuro-phenomenology in the Interpretation of Past Religious Systems." Cambridge Archaeological Journal 14, no. 1 (April 2004): 25–36. http://dx.doi.org/10.1017/s0959774304000022.
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While there is growing agreement within anthropology and archaeology that notions of ‘experience’ can contribute to our interpretations of the past, this article suggests that there is a need to incorporate insight gathered from the fields of cultural phenomenology and cultural neuro-phenomenology into general anthropological understandings of cross-cultural religious experience. Specifically, this article explores the insight offered by cultural neuro-phenomenology into the relationships between religious symbolism, ritual, power, religious belief, and individual religious experience. In assessing the role that belief, as instantiated through ritually-induced religious experience, plays in the maintenance or alteration of state-level religious systems, this article will outline the ways in which this insight may both help us better to understand past religious experience as well as to interpret the maintenance and alteration of past religious systems. To demonstrate the potential of this approach, this article will conclude with a brief discussion of the fall of the Classic Maya state religious system.
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Summers, Dennis. "The Crying Post Project: A Multi-Part, Multi-Media Artwork to Memorialize Global Sites of Pain." Leonardo 36, no. 5 (October 2003): 381–88. http://dx.doi.org/10.1162/002409403771048182.
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The author describes The Crying Post Project, an artwork consisting primarily of wood staffs with solar-powered “cry generators” placed at different sites throughout the globe, at locations of environmental and/or social damage. Its two other components include an interactive 3D web site, which has been created as an alternative, data-rich venue for the project, and a series of digitally created photographic prints designed to capture the artist's emotional response to the sites. The artist also discusses how this artwork has been inspired by his research on the cross-cultural symbolism of trees, the indigenous Australian worldview, mapping theory and the relationship between language extinction and environmental destruction.
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Tao, Wang. "Shang ritual animals: colour and meaning (part 2)." Bulletin of the School of Oriental and African Studies 70, no. 3 (October 2007): 539–67. http://dx.doi.org/10.1017/s0041977x07001036.
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AbstractFollowing on from Part 1 of this article (BSOAS 70/2, 305–372), Part 2 continues to examine the use of colour in different diviner groups, but focuses on the groups belonging to the non-kings' school. It also includes the newly discovered inscriptions from the eastern section of Huayuanzhuang in Yinxu. The exercise of colour preference in the non-kings' school is similar to that seen in the kings' school, but reveals an even broader interest. By looking at the context in which each colour was used, we can detect the process of a colour system working in Shang rituals. The final section of the paper provides a cross-cultural comparison of Shang colour symbolism which had a profound influence on the late wuxing theory.
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Gural, Svetlana, Alexandra Kim-Maloney, and Galina Petrova. "Siberian-American cognitive and cultural interface through eco-ethnic lexicon." Pragmatics and its Interfaces as related to the Expression of Intention 26, no. 1 (December 31, 2019): 39–60. http://dx.doi.org/10.1075/pc.19007.kim.
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Abstract The focus of this paper is a possible Siberian link with the Na-Dene Languages, based on cognitive lexical semantics. Dene-Yeniseian is a proposed language family consisting of the Yeniseian languages of Central Siberia and the Na-Dene languages of North-Western North America (Campbell 2011; Trombetti 1923; Vajda 2010, 2011, 2018). The paper connects semantic universals, Ket and Dene folklore, and also comparative historical linguistic research. In analyzing a group of cognates, the paper’s aim is to discuss the cultural, cognitive and pragmatic reasons that enabled these cognates to survive for several thousand years. Our main point is that factors such as the relative importance of linguistic signs in a language community, lingual conservatism of semantic universals and the distinctiveness of its referents, probable frequency with which these words were used, and their cultural symbolism in relatively similar environments significantly contributed to their survival in ethnic groups belonging to the proposed language family. Our cross-disciplinary study helps us identify the essential place of eco-ethnic material in interpreting cross-continental similarities and emphasizes the integrative role of culture. It will be argued that the eco-ethnic lexicon reflected by the Dene-Yeniseian cognates reveals several thousand years of diachronic cognitive processes.
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Kim, Chan-Soo, Byoung-Ki Choi, and Yeon-Ok Seo. "Shape and Symbolism of Earrings excavated in Gaya’s ancient-tombs." Society for Jeju Studies 58 (August 31, 2022): 129–62. http://dx.doi.org/10.47520/jjs.2022.58.129.
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The hanging earrings, recently excavated from the Gaya’s ancient-tombs, were designated as treasures as they were recognized for their value as important historical materials that showed outstanding metalworking skills at the time. These earrings exhibit the characteristics of Thin Solid Earrings, and in the decoration of the bottom of the main ring, a specific fruit shape and heart-shaped decoration were identified in common.
This decoration was defined as a Cape Jasmine-type, and was interpreted as a repetitive sculpture representing the era.
This study discussed the origins of ornamental decorations defined as the Cape Jasmine-type (Sanchija-type) by considering the shape of the ornament, whether or not the Cape Jasmine (Gardenia jasminoides J. Ellis; Korean name Sanchija) was native to southern Korea, historical records, and the degree and importance of use in daily life.
The authors reported that the Gaya earrings excavated from Gaya’s ancient-tombs recently have an obovate shape, a sharp trigonous shape with a triangular cross section, a spur shape at the tip of a triangular shape, a heart-shaped ornament, nationally cultivated domestication, an important food source, and firewood. In the characteristics of various historical and cultural records including Jacheongbijeon, and the symbolism of vitality and fertility, it was decide as Buckwheat-type rather than Cape Jesmine-type.
This is a historical document that shows the importance of buckwheat, which was highly useful and closely related to the survival of the time, as well as the decorative function of earrings. Furthermore, it was inferred that the group that stably managed and maintained it played a role as the ruling class of the state.
This type of the earring in Gaya influenced the decorative culture of neighboring countries such as Baekje, Silla, and Japan, and a common form is appearing. Therefore, it is expected that the correct regulation of the Gaya excavations, which has become the center of this type, can provide important meaning to the historical and cultural interpretation of the countries and regions of the relevant sphere of influence.
In the future, for a clear interpretation of the shape and symbolism of the golden earrings excavated from the Gaya’s ancient tombs, the development process of royal power including the governance of Gaya, the history of agricultural development, comparison with related relics of Silla and Baekje, and comparative review of linguistic data Research is needed.
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Velikova, Natalia, Steve Charters, Joanna Fountain, Caroline Ritchie, Nicola Fish, and Tim Dodd. "Status or fun? A cross-cultural examination of young consumers’ responses to images of champagne and sparkling wine." British Food Journal 118, no. 8 (August 1, 2016): 1960–75. http://dx.doi.org/10.1108/bfj-12-2015-0497.
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Purpose – The purpose of this paper is to test Luna and Gupta’s (2001) investigative framework on the interaction of cultural values and consumer behaviour by conducting a cross-cultural comparison of young wine consumers’ interpretation of images of champagne and sparkling wine. The research examined consumer responses to the images through the prism of the relationship between symbolism, ritual and myth, as well as other related values. Design/methodology/approach – In a series of focus groups with consumers from four anglophone countries (the USA, New Zealand, Australia and the UK), six images of champagne and sparkling wine were used as stimuli to encourage affective and cognitive perspectives on the topic. Findings – Overall, the UK market showed distinct differences from the other markets, due very much to its cultural context. The UK consumers valued traditional advertising; focused mainly on the product itself; and did not associate champagne with fun. Respondents from the New World focused on the general impression of the image and on enjoyment and fun associated with consumption of champagne and sparkling wine. Practical implications – The most crucial implication of this research is the cultural variation in consumer perceptions of champagne and sparkling wine and the impact that it has upon marketing strategies on how to market this product category to younger consumers in different markets. Originality/value – This research contributes to the study of cultural values and consumption behaviour, as well as image effectiveness in forming perceptions of the product category.
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Russell, Bradley W. "FORTRESS MAYAPAN: DEFENSIVE FEATURES AND SECONDARY FUNCTIONS OF A POSTCLASSIC MAYA FORTIFICATION." Ancient Mesoamerica 24, no. 2 (2013): 275–94. http://dx.doi.org/10.1017/s0956536113000217.
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AbstractOne of the most distinctive features of the Postclassic capital of Mayapan is the immense wall that encloses large portions of the site's settlement zone. This 9.1 km-long feature is the largest example of a walled enclosure known in Mesoamerica. Based on ethnohistoric references, it seems that the construction was well known to Postclassic and Colonial period residents of the Northern lowlands. The most common assertion regarding the enclosures is that the wall had primarily defensive functions. Unfortunately, little solid archaeological evidence or cross-cultural comparison has been offered to support this interpretation. In this paper, I correlate the form of the gates with cross-culturally derived and unambiguously defensive features, finding that the design of the gates strongly suggests that they are indeed defensive. Possible secondary functions of the wall are also explored, such as the control of people and goods entering the city, as ritual barrier, the control of internal populations and its symbolism.
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Lee, Man Yee Karen. "Universal Human Dignity: Some Reflections in the Asian Context." Asian Journal of Comparative Law 3 (2008): 1–33. http://dx.doi.org/10.1017/s2194607800000211.
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AbstractThe idea of “human dignity” is accorded a prominent status in domestic constitutions and international human rights law. Its symbolism as a universal ground of human rights sits awkwardly with the absence of a precise definition. The concept has evolved over history and has been interpreted in various ways by people holding different worldviews. The elusive nature of human dignity creates challenges when it is evaluated across cultures. Despite its common association with the concept of liberal democracy, the idea of human worthiness is not necessarily absent in Asian societies, many of which function under alternative political systems.A cross-cultural perspective requires putting aside ethnocentrism and exploring the convergence of views from different belief systems. Examples from Confucianism and Islam may provide insights on how human dignity is understood and realized in various Asian contexts.
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Pischedda, Pier Simone. "Translating English Sound Symbolism in Italian Comics: A Corpus-Based Linguistic Analysis across Six Decades (1932–1992)." Arts 9, no. 4 (October 26, 2020): 108. http://dx.doi.org/10.3390/arts9040108.
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Linking interdisciplinarity and multimodality in translation studies, this paper will analyse the diachronic translation of English ideophones in Italian Disney comics. This is achieved thanks to the compiling of a bi-directional corpus of sound symbolic entries spanning six decades (1932–1992)—a corpus that was created following extensive archival work in various Italian and American libraries between 2014 and 2016. The central aim is to showcase practical examples coming from published comic scripts and to highlight patterns of translation in each of the five different time windows which were chosen according to specific historical, linguistic and cultural vicissitudes taking place in the Italian nation. Overall, the intention is to shed light on an under-developed area of studies that focuses on the cross-linguistical transposition of ideophonic forms in comic books and to pinpoint how greater factors might influence the treatment of such deceptively miniscule elements in the comic books’ pages.
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Ким, Александра Аркадьевна, Юлия Юрьевна Шаповалова, and Виталий Евгеньевич Минеев-Ли. "LINGUOCULTURAL FEATURES OF THE SYMBOLISM OF SOME COLOR DESIGNATIONS AMONG THE BRITISH AND SLAVS." Tomsk state pedagogical university bulletin, no. 3(221) (May 16, 2022): 34–45. http://dx.doi.org/10.23951/1609-624x-2022-3-34-45.
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Введение. Статья посвящена анализу и сравнению некоторых символических коннотаций британских и славянских базовых цветовых терминов.Цель статьи – обсудить культурные и лингвистические общности и особенности некоторых цветовых терминов и разработать образовательный ресурс для таких дисциплин, как «Английский язык», «Русский язык для преподавания иностранным студентам», «Этнолингвистика» и «Лингвокультурология».Материал и методы. В статье рассматриваются коннотативные значения британских и славянских фразеологических единств с компонентом цвета. В рамках исследования применяется междисциплинарный подход, который помогает установить важное место цветовых терминов в интерпретации лингвистической картины мира и подчеркнуть интегративную роль культуры. Мы консолидируемся с идеями Л. Блумфильда и Д. Лайонза относительно коннотативного значения в лингвистической семантике.Результаты и обсуждение. Коннотативные значения цветовых терминов становятся культурными символами и служат знаками некоторых абстрактных концептов. Поскольку восприятие цвета относится к сенсорной сфере, слова, обозначающие цвет, легко трансформируются в характеристики эмоций, достоинств характера, поведения и внешности. Интерпретация цветовых терминов в их коннотативных значениях позволяет проникнуть в национальную ментальность. Коннотативные значения являются проявлениями индивидуализированных ситуаций, основанных часто на национальных культурных ценностях и на нормах социальной жизни. В рассмотренных примерах наблюдается, как правило, сужение основного (цветового) значения.Заключение. В ходе сопоставительного исследования коннотативных значений базовых цветовых терминов были сделаны следующие выводы:1) цвет может вызвать определенные эмоции, которые отражаются в языке в форме фразеологических единств с компонентом цвета;2) различия в семантической структуре цветовых коннотаций в анализируемых языках объясняются национальными и культурными особенностями;3) обращение к этимологии цветовых терминов и к историческим фактам позволяет порой установить зависимость цветового символа от практики;4) цветовые термины занимают определенную нишу в языковой картине мира. Основными (универсальными) источниками происхождения цветовых терминов являются естественные природные объекты характерного цвета. Introduction. The focus of this paper is the observation and comparison of several symbolic connotations of British and Slavic basic color terms. Aim and objectives. The paper’s aim is to discuss cultural and linguistic commonalities and peculiarities of a few color terms and prepare educational resource for different disciplines, such as English, Russian as a foreign language, ethnolinguistic and linguacultural studies. Material and methods. This paper observes British and Slavic idioms with the component ‘color’ in its connotative meaning. A cross-disciplinary approach helps identify the essential place of color terms in interpreting linguistic picture of the world and emphasizes the integrative role of culture. We consolidate with ideas of L. Bloomfield and J. Lyons concerning connotative meaning in linguistic semantics. Results and discussion. Connotative meanings of color terms often become cultural symbols and serve as signs of some abstract concepts. Since color perceptions relate to the sensory sphere, they are easily transferred to the characteristics of emotions, dignity of character, behavior, appearance. Interpretation of color terms in their connotative meanings will provide insight into the national mentality. Connotative meanings reflect individualized situations based on national cultural values and norms of social life. In provided examples the basic meaning of a color term is becomingusually narrower. Conclusion. The comparative analysis of connotations of five color terms leads to following conclusions: 1) color is able to evoke certain emotions traced in languages in the form of idioms containing a color component; 2) differences in the semantic structure of color connotations in English and Russian are due to national and cultural peculiarities; 3) etymology of color terms and historical facts sometimes make it possible to establish the dependence of a symbol on practice; 4) the main (perhaps the most universal) source of color terms are natural objects with a characteristic color.
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Freidel, David A., Marilyn A. Masson, and Michelle Rich. "Imagining a Complex Maya Political Economy: Counting Tokens and Currencies in Image, Text and the Archaeological Record." Cambridge Archaeological Journal 27, no. 1 (October 21, 2016): 29–54. http://dx.doi.org/10.1017/s0959774316000500.
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Exploring the long-term use of accounting practices and currencies by literate and numerate authorities contributes new information regarding the complexity of the political economy of ancient Maya society. Two forms of indirect, yet compelling, lines of evidence for accounting practices and currencies are presented in this article. First, we identify potential accounting devices (counting sticks and tokens) found in the tombs of royal scribes and nobles, based on the contextual associations and depicted uses of similar objects in Maya art such as polychrome vases and murals. Second, we argue that the long-term use and significant standardization of specific shell objects suggests their role as all-purpose monies, in addition to their complementary status as counting devices or numerical symbols. This paper addresses the intricate relationships between symbolism, value and multiple modes of exchange that have long been of interest to cross-cultural studies in anthropology.
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Winkelman, Michael. "Shamanism and Cognitive Evolution (with comments)." Cambridge Archaeological Journal 12, no. 1 (April 2002): 71–101. http://dx.doi.org/10.1017/s0959774302000045.
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Shamanic referents in Upper Palaeolithic cave art indicate its pivotal role in the Middle–Upper Palaeolithic transition. Etic models of shamanism derived from cross-cultural research help articulate the shamanic paradigm in cave art and explicate the role of shamanism in this transition. Shamanism is found cross-culturally in hunter-gatherer societies, constituting an ecological and psychosociobiological adaptation that reflects the ritual and cosmology of early modern humans. Shamanism played a role in cognitive and social evolution through production of analogical thought processes, visual symbolism and group-bonding rituals. Universals of shamanism are derived from innate modules, particularly the hominid ‘mimetic controller’ and music and dance. These induced altered states of consciousness, which produce physiological, cognitive, personal and social integration through integrative brain-processing. Shamanic altered states of consciousness have the cross-modal integration characteristic of the emergent features of Palaeolithic thought and facilitated adaptations to the ecological and social changes of the Upper Palaeolithic. Cross-modular integration of innate modules for inferring mental states (mind), and social relations (self/others), and understanding the natural world (classificatory schemas) produced the fundamental forms of trope (metaphor) that underlay analogical representation. These integrations also explain animism (mental and social modules applied to natural domains); totemism (natural module applied to social domain); and guardian spirit relations (natural module applied to self and mental domains).
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Al‐Qarawee, Harith Hasan. "Sectarian Identities, Narratives and Political Conflict in Baghdad." Levantine Review 4, no. 2 (January 5, 2016): 177. http://dx.doi.org/10.6017/lev.v4i2.9160.
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This article addresses some of the effects of political transformations and conflicts on the identity of the Iraqi capital, Baghdad. It illustrates the gradual “Islamization” of space by Saddam Hussein’s regime, which reflected a sectarian bias as it denied Shi’a religious identity the level of visibility given to Sunni religious identity. After the fall of the regime, there was an upsurge in Shi’a symbolism and rituals in Baghdad, which further de-secularized and sectarianized the public space. The article also addresses some of the cultural consequences for the sectarian segregation in Baghdad, especially by looking into the mosques and worship places, their sectarian distribution and the contesting claims regarding some of them. The rise of sub-national cultures and the competition between Shi’as and Sunnis have further fragmented Baghdad’s identity and downgraded the cross-sectarian representations. This has been mirrored in the conflict of narratives about the city which is discussed in the last part of this article.
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Su, Yongqian. "An Exploration of the Queen Mother of the West from the Perspective of Comparative Mythology." Journal of Chinese Humanities 3, no. 1 (February 8, 2017): 72–90. http://dx.doi.org/10.1163/23521341-12340044.
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Constant interactions among cultures make it possible to conduct cross-cultural studies on the myth of the Queen Mother of the West 西王母. Since the original manuscript of the Classic of Mountains and Seas [Shanhaijing 山海經] served as the expository writing of the now lost Map of Mountains and Seas [Shanhaitu 山海圖], there is reason to believe that it contains information on early depictions of the goddess. By revealing the symbolism at work in those descriptions and by consulting a wide range of ethnographic data, it becomes possible to reconstruct her primeval form. The Queen Mother of the West, once regarded as the Chinese version of the prehistoric Great Mother, was seen as the goddess embodying both death and regeneration. However, after the rise of the patriarchal system, the original Queen Mother of the West slowly fell into obscurity and was ultimately relegated to the subordinate status of a spouse for the Jade Emperor [yuhuang 玉皇].
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Kadurina, A. O. "SYMBOLISM OF ROSES IN LANDSCAPE ART OF DIFFERENT HISTORICAL ERAS." Problems of theory and history of architecture of Ukraine, no. 20 (May 12, 2020): 148–57. http://dx.doi.org/10.31650/2519-4208-2020-20-148-157.
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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.
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Ravalli, Luiza. "Cradles of Life." Contingent Horizons: The York University Student Journal of Anthropology 6, no. 1 (June 29, 2022): 33–40. http://dx.doi.org/10.25071/2292-6739.110.
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Medical technologies have intervened on the critical post-natal time and space by augmenting and/or optimizing conditions intended to increase survival. As contested, contextual, and transformative spaces, incubators fulfill particular biological needs while also becoming sites where political realities, human emotion, ritual and symbolism converge upon vulnerability. I explore sociopolitical contexts of vulnerability and protection in global and cross-cultural context, while drawing on prior scholarship in anthropology of motherhood, material culture, as well as feminist and reproductive anthropology. Events in popular culture like the Danish Octo Project and Purple Butterfly Initiative provide insight into lived experience and everyday interactions with incubators and the neonatal intensive care environment. In response to popular assumptions of technological advancements in clinical medicine as apolitical apexes of innovation, we must complicate their technical utility with profoundly human experiences toward and around them. In doing so, we situate and implicate technology in political and discursive narratives and reflect on these objects as more than sums of their parts. This essay contributes to broader discussions about the materiality of medical technologies and their environments, and illuminates new possibilities to examine corollaries of grief, hope, maternalism, memory, and the resilience of human psyches and physiologies.
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Sapryka, Viktor A., Andrey N. Vavilov, Alexander V. Pastyuk, and Vasily A. Sapryka. "Frontier identity of population in the border regions of Eastern Slavic states." Vestnik slavianskikh kul’tur [Bulletin of Slavic Cultures] 63 (2022): 114–25. http://dx.doi.org/10.37816/2073-9567-2022-63-114-125.
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The paper is to study the frontier identities of population of the border regions of the Eastern Slavic states. The key theoretical and methodological approaches are the concept of “frontier”, the theory of intercultural communication and the theory of liminality. The purpose of the paper is a scientific and theoretical understanding of the identity of the frontier, which is being formed in the space of the border regions of the East Slavic states. The author emphasizes that against the background of the frontier, which causes active cross-border transcultural communication, there are noticeable variations in ethnocultural manifestations. An analysis of the geopolitical preferences of the population made it possible to conclude that the fronts were dynamic. Basing on the analysis of results of domestic and foreign studies, the paper consistently examines peculiarities of the belonging of the frontier of Ukraine, the Republic of Belarus and Russia. The results of the author's sociological research illustrate the similarity with an alternative set of the population of the border regions of Russia and Ukraine. This allowed for concluding about the main trends in the transformation of the civilizational frontier on the surface of the Eastern Slavic states — namely that the social civilizational front is not actually a “foothold” for achieving high results and rapprochement of the Eastern Slavic states, but the frequency is likely to correspond to the standard of disunity once accepted in the socio-cultural space. As the paper points out despite the transformation of civilizational fronts traditional socio-cultural space of the border regions is the main one for the assembly of the unities of the Eastern Slavic states. The author also specifies the necessity of developing a common symbolism, formulating design and defining socio-cultural codes to support the cultural community.
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Alvi, Amatulhafeez, Ravichandran Vengadasamy, and Melissa Shamini Periasamy. "Mystical Symbols of Divine Love in the Poetry of Omar Tarin and William Blake: A Comparative Cognitive Analysis7." Arab World English Journal For Translation and Literary Studies 6, no. 4 (October 24, 2022): 48–65. http://dx.doi.org/10.24093/awejtls/vol6no4.4.
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This study is a comparative cognitive analysis of the identical symbols of Divine Love in the poetry of the oriental Pakistani poet Omer Tarin and the occidental English poet William Blake. It adopts the Mental Spaces theory in Cognitive Poetics and the theory of Perennialism in Comparative Mysticism as the main theoretical frameworks. The study aims at demonstrating the mental operation of meaning construction of these symbols and help deliver meaningful mystical perceptions of the human soul’s ineffable experience in its union with the Divine. Exploring mystical symbols via these theories will offer an accurate interpretation of the meaning of the abstract concepts based on the concrete ones and stipulate deeper insight into the commonality of the ambiguous feelings of the soul in Divine Love. Answering the question of the existence of identical symbols with mystical connotations, the study focusses on the symbols of Pipe, Woman, and Bird and reveals that despite the religious and cultural disparities between Omer Tarin and William Blake, there is a keen affinity between them as related to their unitary poetic-mystical consciousness of the soul’s experience in its search for the Divine, for which both poets have ingeniously utilized identical symbolism not only as a tool for artistic ornamentation but as a tool for cognitive orientation. The study endorses further research on mystical language and poetry from comparative and cognitive perspectives to corroborate the tenets of cognitive theories in comparative literary studies through cross-cultural research.
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Zeleke, Wondim Tiruneh. "The Socio-Cultural History, the Economic and Political Development of the Minority Society: The Case of Benishangul Gumuz (1991-2018)." American International Journal of Social Science Research 5, no. 2 (March 16, 2020): 8–18. http://dx.doi.org/10.46281/aijssr.v5i2.514.
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The study focuses on the Socio-Cultural History and the Econo- Political Development of the Minority Society: The Case of Benishangul Gumuz(1991-2018).The Gumuz of Matakal are renowned for their traditional socio-cultural history, economic and political developments since their arrival to Matakal. They have developed wonderful conflict management strategies and institutions that play important role in harmonizing their relations with the neighboring “ethnic” group, such as the Shinasha, Amhara, Agaw and Oromo. The conflicts differ in their causes, nature, intensity, frequency; yet the peculiarities are often glossed over and depicted as typical inter-ethnic conflicts between the highlanders or “settlers” on one side and the “indigenous “people on the other. Nonetheless, this approach not only risks a presupposition of ethnic groups as cohesive and binding entities but fails to explore the role of Gumuz initiation rituals, rite of passage, discourses of violence and other major socio-cultural events in inspiring and articulating them. So far, there exists no single comprehensive study, in its own right, that tries to map out the nexus between Gumuz perceptions, symbolism, representation and discourses of violence and outbreak of intermittent conflict in the region in time and space (1991-2018). The related literature will be systematically reviewed and relevant information gathered. Furthermore, in-depth interviews will be conducted, with elders from the highlanders, particularly from Amhara, Agaw, Shinasha, Oromo ethnic groups and the Gumuz. The data collected through these methods will be carefully examined, cross-checked, interpreted and analyzed to determine whether there will be any correlation or connection between the Gumuz, discourses of violence and outbreak of conflicts in the study area.
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Golovata, N. "Our Lady’s miracle-working icons and the semiotics of the world tree." Ukrainian Religious Studies, no. 87 (March 26, 2019): 55–79. http://dx.doi.org/10.32420/2019.87.1317.
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The article is devoted to study of the modes of inheritance of cultural symbols. In particular, it is a research of perception in Christianity of preceding cultures’ archetypes. The study provides the analysis of semantic links between the symbols of the World Tree, the Vivifying Cross and the meaning of the Blessed Virgin image. The article shows how the pre-Christian symbols of the World Tree and the cross itself were merged and transformed in Christian theology, liturgy and iconography in the image of Golgotha Cross. The cross acquires the features of a Cosmic Tree, which combines the lower and the upper worlds – the heaven and the earth, life and death. The symbol of the tree is often substituted by the image of a woman appearing in this case as a symbol of life and fertility and evokes the associations with the genealogical tree. Therefore, the connection between the World Tree and the Blessed Virgin is proved to be natural.
On the basis of the historical sources the author analyzes the legends and evidences of the revelations and discoveries of the Blessed Mary’s icons on the trees of a certain kinds. The study explicates the symbolic meaning of those trees spread in a global world, in Slavic and Ukrainian cultural traditions. In particular, the research encloses the semantics of the following kinds of trees: fir tree, linden, pear tree, oak, willow, blackthorn. Every kind of those trees has a special symbolic meaning. The novelty of the research is that it for the first time proves the semantic connection of sacred meaning of miracle icons and of the certain kinds of trees. The study defines the limited range of those trees and, on the other hand, the kinds of other trees believed to be vile and thus never appeared in the legends about the discoveries of miracle icons.
As a conclusion, the research proves the existence of the autochtonal tradition of correlation of the semantics of miracle icons of Our Lady with the certain kinds of trees in the result of synthesis of the ancient symbolism and Christianity. In every case, the symbolic meanings of trees had archaic origin and connection with the ancient cosmogonical concepts. Depending on the particular semantic nuance emphasized in the World Tree, the priority of a certain kind of tree determined. On the whole, the study demonstrates the importance of the symbols in forming of cultural identity and for understanding of interrelations of cultures at the deep semantic level.
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Bhattacharya, Abira. "Motherhood in the Realm of Eastern Indian and Himalayan Art: An Iconographic Study of Visual Forms of Prajñāpāramitā from the National Museum, Delhi." Izvestia of the Ural federal university. Series 2. Humanities and Arts 23, no. 4 (2021): 9–22. http://dx.doi.org/10.15826/izv2.2021.23.4.063.
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This paper aims to outline and explore the development of iconographic forms and metaphysical grounding of one of the most venerable and distinguished Buddhist female deities, Prajсāpāramitā. The Buddhist female pantheon gained a paramount pre-eminence with the idolization of Prajñāpāramitā, establishing the significance of female figure and, especially, mother symbolism during the early medieval period under the liberal patronage of the Pala dynasty of Eastern India. The religious imageries and practices of this deity gradually disseminated to the adjoining Himalayan kingdoms of Nepal and Tibet through pedagogic and religious linkages, and became an integral part of their society. To understand the factors of cross-cultural assimilation through the study of representational forms and its metaphysical grounding, the paper explores and shows the metaphorical meaning of ‘prajсā’ propounded in the Prajñāpāramitā discourse, and its representation in cultic icons of the goddess Prajñāpāramitā and the manuscript. This thematic narrative opens up new avenues of interpretations on gender-subjectivity in Buddhist cosmology and pantheistic belief system which are touched upon in this paper. The idea of pronouncement and expansion of female-oriented texts and icons is highlighted through a study of select devotional icons of this deity, Prajсāpāramitā, from the collection of the National Museum, Delhi.
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Khomais, Sama, Naseima Al-Khalidi, and Duha Alotaibi. "Dramatic Play In Relation To Self- Regulation In Preschool Age." Contemporary Issues in Education Research (CIER) 12, no. 4 (October 1, 2019): 103–12. http://dx.doi.org/10.19030/cier.v12i4.10323.
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This study aims to investigate the relationship between dramatic play and self-regulation in preschool age. The descriptive correlational methodology is utilized using three tools: dramatic play questionnaire, self-regulation scale (Head, Toes, Knees, and Shoulders), and children’s interviews. The sample of the study consists of 60 children aged 4-6 years. Quantitative analysis is done using the Pearson Correlation Coefficient, factor analysis, and multiple regression analysis. The interviews with children are qualitatively analyzed calculating frequency, and percentage of coded data. The findings reveal a significant positive correlation between dramatic play and self-regulation. Besides, it is found that self-regulation could be predicted through the dimension of interactions with others during dramatic play. The study also proves a defect in the quality of dramatic play in terms of social interaction, symbolism, and themes and roles practiced by children. In the light of these results, the researchers suggest that mothers and teachers’ awareness of the importance of quality dramatic play should be enhanced, to enable them to allow and plan for quality play. Also, allowing flexibility in preschool programs could support teachers’ efforts in enhancing play engagement and development. Finally, this study has facilitated further research in the Arabian region, since it highlighted a valid, cross-cultural tool for measuring self-regulation in the Arabic language.
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Khokholova, Irena, Natalia Danilova, Alyona Tomaska, and Kyunney Pestereva. "Memorial narratives and symbolic images as a resource for the development of Northern urban space." SHS Web of Conferences 112 (2021): 00043. http://dx.doi.org/10.1051/shsconf/202111200043.
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The article is devoted to the identification of symbolic markers and perception of the cognitive model of the space of the northern cities of the Republic of Sakha (Yakutia). The definition of “northern cities” is constructed based on the results of a study to identify various aspects of identity (national, territorial, ethnocultural) and is used by the authors when defining all cities of Yakutia. The main tools for constructing and regulating the cognitive map of a city are city monuments associated with historical memory and acting as components of state policy and a nation-building tool. The main research methods were historical and cognitive analysis and the method of questionnaire survey. The novelty of the article is a cross-cultural study of the perception of urban monuments as symbolic markers of urban space. The authors observe a difference in the perception of the symbolism of urban space between generational groups. It is concluded that each city, depending on its geographical and economic location, local characteristics, and national identity, has its own specific set of symbolic markers in the cognitive map of the city. The findings will contribute to the systematic study of the value attitudes of residents of modern Russian cities. Multilevel models of symbolic images associated with both national and territorial identities are being built.
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Dai, Chuang. "Philosophical-aesthetic reflection in China in the century: Wang Guowei and Zong Baihua." Философская мысль, no. 12 (December 2020): 15–29. http://dx.doi.org/10.25136/2409-8728.2020.12.34614.
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This article is dedicated to examination of the philosophical-aesthetic reflection in China in the XX century, and the impact of European aesthetics upon the development and transformation of the traditional Chinese aesthetics. The article employs the method of historical and cultural with elements of structural analysis of aesthetic text of the modern Chinese philosophers. In the XX century, a number of Chinese thinkers made attempts of reforming the traditional Chinese aesthetics, complementing it with the viewpoint of European philosophy. The article examines the paramount aesthetic thoughts of the modern Chinese philosophers Wang Guowei and Zong Baihua, and determines the impact of European philosophy upon them. The scientific novelty of this study lies in assessing the impact of the concepts of European aesthetics upon self-reflection and development of Chinese aesthetics in the context of cross-cultural problematic. It is demonstrated that Chinese modern aesthetics in many ways retains its connection with the tradition, which determines its specificity and imparts peculiar semantic symbolism. The conclusion is made that in the XX century, Chinese philosophers sought to complement the existing traditional Chinese reflection on art, which is based mostly on the ideas of Taoism and Buddhism, with what can be referred to as the Western viewpoint, associated with a scientific approach and scientific interpretation. Another vector in the area of humanistic understanding of the phenomenon of art was related to the attempts of interpretation of the European aesthetic thought from through the prism of Chinese traditional philosophy. The philosopher Wang Guowei tried to incorporate the European aesthetics into the scientific problematic of China. The philosopher Zong Baihua wanted to synthesize the Chinese and European aesthetic theories, and create what he believed is the modern Chinese aesthetics.
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Wiradnyana, Ketut. "Toguan dan Batu Siungkap Ungkapon, Paradigma Objek Arkeologis Bagi Masyarakat Batak Toba di ipang." Berkala Arkeologi Sangkhakala 17, no. 1 (January 5, 2018): 1. http://dx.doi.org/10.24832/bas.v17i1.90.
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AbstractThe paradigm of archaeological objects in Tipang called Toguan and Siungkap ungkapon stones should be revealed in order to interpret the meaning they contain. Those objects have been dead monument due to the loss of cultural elements that make it difficult for the local people to understand. Emic and ethical sorting, supported by the qualitative method with the inductive reasoning, is done to discover what the local people and various sources or cross-cultural concepts understand of their philosophy. The comparative study on the archaeological objects meanings results in the interpretation of Toguan and Siungkap ungkapon stones as a single entity of symbolism or medium to various rites to reach the ancestors. On the other hand, their separate entity interpretations will suggest Toguan as a part of a farming rite area and Siungkap ungkapon stone as a part of a suggested farming procession.AbstrakPengungkapan atas paradigma objek arkeologis di Tipang yang disebut Toguan dan Batu Siungkap ungkapon dalam kaitannya dengan pemahaman makna yang dikandungnya. Makna objek tersebut kurang jelas dipahami masyarakat pendukungnya akibat perubahan unsur budaya sehingga menjadikan sifatnya died monument. Untuk memahami kedua objek dimaksud maka dilakukan pemilahan menurut tataran emik dan etik, sehingga akan dipahami konsep menurut pengertian masyarakat lokal dan juga konsep-konsep dalam berbagai sumber/lintas budaya. Untuk itu maka metode yang digunakan adalah kualitatif dengan alur penalaran induktif. Perbandingan makna objek pada masyarakat dengan data etik tersebut maka akan didapatkan pemahaman bahwa, jika Toguan dan Batu Siungkap ungkapon itu dimaknai sebagai satu kesatuan objek, yaitu sebagai areal berbagai ritus sehingga Batu Siungkap ungkapon itu bermakna sebagai simbol atau media penghubung nenek moyang. Sedangkan jika kedua objek arkeologis dimaknai masing-masing sebagai kesatuan yang berbeda maka Toguan itu merupakan areal ritus pertanian dan Batu Siungkap ungkapon sebagai bagian dari saran prosesi ritus pertanian.
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Portis-Winner, Irene. "Facing emergences: Past traces and new directions in American anthropology (Why American anthropology needs semiotics of culture)." Sign Systems Studies 37, no. 1/2 (December 15, 2009): 114–68. http://dx.doi.org/10.12697/sss.2009.37.1-2.06.
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This article considers what happened to American anthropology, which was initiated by the scientist Franz Boas, who commanded all fields of anthropology, physical, biological, and cultural. Boas was a brave field worker who explored Eskimo land, and inspired two famous students, Ruth Benedict and Margaret Mead, to cross borders in new kinds of studies. After this florescence, there was a general return to linear descriptive positivism, superficial comparisons of quantitative cultural traits, and false evolutionary schemes, which did not introduce us to the personalities and inner worlds of the tribal peoples studied. The 1953 study by the philosopher David Bidney was a revelation. Bidney enunciated and clarified all my doubts about the paths of anthropology and his work became to some extent a model for a narration of the story of American anthropology. In many ways he envisaged a semiotics of culture formulated by Lotman. I try to illustrate the fallacies listed by Bidney and how they have been partially overcome in some later anthropological studies which have focused on symbolism, artistry, and subjective qualities of the people studied. I then try to give an overview of the school started by Lotman that spans all human behavior, that demonstrates the complexity of meaning and communication, in vast areas of knowledge, from art, literature, science, and philosophy, that abjured strict relativism and closed systems and has become an inspiration for those who want anthropology to encompass the self and the other, and Bahtin’s double meaning. This paper was inspired by Bidney as a call to explore widely all possible worlds, not to abandon science and reality but to explore deeper inner interrelations and how the aesthetic may be indeed be paramount in the complexities of communication.
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Ахренова, Н. А. "Non-verbal Presentation of the Concept COVID-19 in the Internet." Иностранные языки в высшей школе, no. 1(56) (April 13, 2021): 5–14. http://dx.doi.org/10.37724/rsu.2021.56.1.001.
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В статье рассматривается невербальная сторона презентации глобального научно-обыденного концепта COVID-19. Описываются основания, которые позволяют исследователю выделять невербальную/визуальную сторону концепта как одну из ведущих, наряду с вербальной, для интерпретации концепта. Автор уделяет особое внимание вопросам семантики иконического компонента в репрезентации концепта в современном Интернете. Рассмотрены особенности построения креолизованного текста демотиваторов, агитационных плакатов, карикатур, иллюстраций. В статье уделяется особое внимание таким ключевым для интерпретации визуального образа аспектам, как символика цвета, описание экстралингвистической ситуации, выделение ключевых символов, выделение и трактовка знаков-манекенов и знаков-символов, кросс-культурное сравнение образов, тенденций и практик в изучаемой сфере. In the article the non-verbal presentation of the global scholastically common concept COVID-19 is described. The assumptions on which the non-verbal/visual side of the concept are distinguished, as one of the leading characteristics alongside with the verbal one in the interpretation of the studies concept. The author devotes special attention to the visual semantics of the representation of the concept COVID-19. The peculiarities of the structure of the creolized text of the demotivators, propaganda posters, caricatures, illustrations. Special attention is given to such key aspects of the interpretation of the visual image as color symbolism, description of the social situation. Some important symbols of the pandemic epoch are singled out. Such signs as “dummy signs” and “symbol signs” are described and interpreted in the article. The cross-cultural comparison of the images, tendencies and practices is given.
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Moiseiuk, Iuliia. "The functions of heraldic symbols in the English fiction." 22, no. 22 (August 2, 2021): 42–58. http://dx.doi.org/10.26565/2218-2926-2021-22-03.
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The article considers the main functions performed by heraldic symbols due to their verbalization in blazons as descriptions of coats of arms by a specific set of language constructs. Heraldic symbols as the quintessence of culture are analyzed in the communicative-functional aspect. There are some special characteristics of heraldic symbolic units, namely, their multifunctional orientation, the possibility of multiple interpretations, the presence of a nomination mechanism, and others. The mediative and mnemonic functions of symbols, taken from the works of Lotman, are manifested in the heraldic symbols of fiction as one of the mechanisms of cultural memory, therefore, the symbol is a mediator of the semiosis spheres. The list of functions is supplemented by the consideration of the social dimension, because heraldic symbols are potentiated in the society, therefore, the essence of the identification-integrative and adaptive-regulatory functions of heraldic symbolism is revealed. The concepts of multimodal imagery and synesthesia effect, which are embodied in the interaction of verbal and nonverbal symbols, are involved in the analysis of the blazons on the material of English fiction. The theme of symbols functioning is supplemented by the classification of the main functions and subfunctions proposed by the author. The focus of the study is also the identification function, resulting in an emphasis on the role of a special heraldic language in the expression of the personality. Taking into account the types of coats of arms, the article considers the coding function in the punning and allusive coats of arms, as well as in the heraldic lexemes borrowed from other languages. The cross-cutting idea of the article is revealed through the interpretation of heraldic symbols in their functioning in the works of English fiction and poetry and summarized in the definition of the symbol not only as a linguistic unit, but also as a semiotic phenomenon of culture.
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Matlin, Mikhail G. "DEATH IN THE LANDSCAPE: A SPATIAL ASPECT OF THE MODERN TRADITION OF MARKING PLACES OF DEATH ON HIGHWAYS (A CASE STUDY OF THE RUSSIAN FEDERAL HIGHWAYS A 151, R 178, R 241)." Географический вестник = Geographical bulletin, no. 4(59) (2021): 59–72. http://dx.doi.org/10.17072/2079-7877-2021-4-59-72.
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An important aspect of the study of cultural space is the analysis of ways and forms of commemoration and memorialization of road accident victims. The placement of traditional cemetery monuments in it, installed at the place of people’s death, transfers the symbolism of death from strictly defined places of cemeteries into public space and turns it into sceneries of death or landscapes of death. It is no coincidence that many of the motorists and professional drivers who use such highways say that it is like driving in a cemetery. This article is the first in Russia to analyze this modern phenomenon based on the material obtained from a survey of part of three federal highways (A 151, R 241, R 178). It is shown that in Russia roadside monuments are not limited to the Christian cross, and their locations are much more diverse than in Europe and North America. In general, there are two trends – to place roadside monuments as close to the highway as possible (on the roadside, slope, behind the bump or on it) and in or near the green zone (in the forest or forest plantation) and a transitional one – to place them in the roadside lane. In the first case, the choice of the location is conditioned by the desire to approach the place of death of a loved one as close as possible, the second case demonstrates the desire to protect the memorial sign, to place it in accordance with the tradition of cemetery, primarily rural cemetery, where trees on the graves played an important role. Our analysis shows that different types of roadside monuments have different effects on the formation of the cultural landscape along the highways. Memorials are the most striking examples of ‘cemetery culture’, they mostly reformat the roadside space into landscapes or sceneries of death. In turn, gazebos, flowerpots with live or artificial flowers that do not have traditional plaques and photographs of the dead, i.e. do not reproduce the cemetery tradition, do this to the minimum extent. Crosses, steles and obelisks as the most typical cemetery structures occupy, to a certain extent, an intermediate position between memorials and flowerpots and gazebos.
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Adlutskyi, H. "Semantic space of “Well-Tempered Clavier” of J. S. Bach as a basis of the performing concept." Culture of Ukraine, no. 74 (December 20, 2021): 35–40. http://dx.doi.org/10.31516/2410-5325.074.06.
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The relevance of the article is due to the issue of formation in a modern multicultural space of the new image of the executor — the carrier of new senses and cultural memory, as well as need for creative comprehension of the world treasury of musical art in the artistic realities of modernity and research on the specifics of its modern performing versions.
The purpose of the article is to outline the determinants and the specifics of the semantic space of “Well-Tempered Clavier” of J. S. Bach as conceptual basis of the performing concept.
The methodology of the article is based on the principles of a comparative approach, which enables the use of research tools for cultural studies and musicology, in particular historical, historical-contextual, genre, hermeneutical and semiological methods and approaches.
The results. The article outlines the following factors of conceptual polyphony of “Well-Tempered Clavier” as accumulation and artist experience of reflection and protecting the world in symbolic forms, the significance of the synthesis of arts and the unity of emotion, image and symbol on the parameters of baroque aesthetics, the connection of “Well-Tempered Clavier” with the creativity of the artist, resonance of symbolic forms with axiological structures of historical and cultural epochs. The article substantiates the significance in pluralistic symbolic field of the works: semantics of tonality and tempo, which acts as a construction of performing chronotope; sacred melos with perceptually fixed semantics, means of embodiment of which is citing, representation as complementary unity, allusion-variable reproduction; numeric symbolism; rhetorical figures, sound treatment — visualization of the musical process; fixed in the context of European art semantics — in particular “mirror in the mirror” (on micro — and macro levels of the of the music text organization); the genre “ambivalence”, which determines the superposition of different variants of “genre’s memory” and enables the creation of an artistic-reflective arch between the era of Baroque and postmodernism, designated be the leveling of the genre.
The scientific topicality of the article is due to the clarification and systematization of representations regarding the specifics of the semantic field of “Well-Tempered Clavier” of J. S. Bach and the positioning of conceptual polyphony of the work as the basis of performing concepts and text.
The practical significance of article is determined by a direct possibility of applying research results in the performing practice.
Conclusion. Performance of “Well-Tempered Clavier” of J. S. Bach on the basis of the interiorization of symbolic forms is a guarantee of its performing “reading” as an embodiment of the process of being human in a cross-cultural dialogue, deploying self-reflection in the space of a representation of postmodernism paradigm as a multidimensional cultural message, in which the axiological experience of humanity is concentrated and the eternal problems of its spiritual being are actualized.
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Gage, John. "What Meaning had Colour in Early Societies?" Cambridge Archaeological Journal 9, no. 1 (April 1999): 109–26. http://dx.doi.org/10.1017/s0959774300015237.
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Colour is one of the most prominent features of human experience, but has often been ignored or overlooked in archaeological research. All practising archaeologists are aware of the colour of the materials which they handle — be they stone artefacts, painted pots, prehistoric monuments (frontispiece) or historical buildings. Yet all too frequently these items are robbed of their colour when they are published as black and white photos, abstract plans or reductionist line drawings. Equally discouraging is the fact that original colours are frequently missing or faded, removed by the passage of centuries. We know, for example, that the famous marble Cycladic figurines were originally brightly painted, but few traces of colouring survive. Yet such traces are enough to alert us to the radical transformation which colour could bring to old and faded remains.In this Viewpoint feature we have invited a range of specialists to consider the meaning of colour in early societies. The intention has been to focus on those societies where evidence of colour is not so readily apparent. Egyptian art and Palaeolithic caves have their place in this debate, but we are also interested in the selection of stones of particular colours for tools or structures, and for the use of colour in textiles; areas in which almost all early societies must have been engaged.The meaning of colour may be approached at a variety of levels. In literate societies, or those with a rich and detailed iconographic tradition, it may be possible to explore the particular significance of different colours in myths or rituals. Such understanding is more difficult in the case of prehistoric societies, yet even here we can gain some insight into colour symbolism by careful consideration of context, or by cautious appeal to common human experience. Context may suggest that red ochre in burials equates with blood, common experience that yellow is associated with the sun, and blue with the sky or the sea. The value accorded to particular colours can also be indicated by the workmanship and finish which objects received, and the distances that materials travelled: polished jadeite from the Alps to Scotland, or lapis lazuli from Afghanistan to Mesopotamia.As the following articles demonstrate, all societies are concerned about colour, and such concern can be traced back to at least the Upper Palaeolithic, if not before. To what extent particular colours, such as red or black, have cross-cultural significance, is an altogether more difficult question. Colour awareness and colour sensitivity must however be an integral part of any archaeological analysis concerned with the development and nature of human cognition.
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Stryjek, Tomasz. "Wobec II wojny światowej i Wojny Ojczyźnianej. Kwestia zbrodni masowych z lat 1941–1945 w polityce pamięci w Chorwacji od 1991 r." Rocznik Polsko-Niemiecki, no. 24/2 (April 29, 2016): 161–213. http://dx.doi.org/10.35757/rpn.2016.24.16.
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Croatia is the only modern country in Europe that gained independence (Independent State of Croatia, Nezavisna Država Hrvatska, NDH) during World War II thanks to the cooperation of the Axis. It is now struggling with the burden of responsibility for the mass crimes committed against Serbian, Jewish, Roma and Croatian political opponents on its own initiative rather than the Third Reich’s. On the other hand, the Croats were heavily repressed by the Yugoslav Army in 1945 (the remnants of the NDH forces were killed near Bleiburg during the so-called ‘way of the cross’). The Croats were also persecuted for their independence and cultural activities in the period between 1945 and 1991 (e.g. the Croatian Spring of 1971).Since 1991, the political scene of Croatia has been dominated by two parties: the right-wing Croatian Democratic Union (HDZ), which refers to the whole tradition of the independence movement with the exception of the Ustaše and NDH, and the left-wing League of Communists of Croatia (SKH), the successor of the Communist Party of Croatia. The parties fight for the memory of activities conducted by the anti-communists and communists between 1941 and 1991. They also fight to include the patriotic war’ of 1991–1995 to their symbolism and win the favour of veterans.The article examines the politics of memory pursued by the Croatian authorities in relation to the events of 1941–1991 and the main participants in the political scene in the period between 1991 and 2016. It takes account of the arguments of historians and intellectuals associated with the left and right side of the political scene. It examines the impact of international circumstances, such as Croatia’s pursuit of membership of NATO and the EU, inducing the state’s authorities to prosecute and condemn the perpetrators of crimes committed on its citizens in the years 1941–1945 and those responsible for the ethnic cleansing of 1991–1995. The author also points to the impact of individual orientations in the politics of memory on the process of Croatia’s transformation from totalitarianism to democracy and the related modernization changes.
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Bradford, Clare. "Cross-Generational Negotiations: Asian Australian Picture Books." Papers: Explorations into Children's Literature 17, no. 2 (December 1, 2007): 36–42. http://dx.doi.org/10.21153/pecl2007vol17no2art1193.
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The picture books which focus on the everyday experiences of children growing up in a multicultural society, where cultural diversity is very often symbolised by objects or artifacts whose production and meanings involve cross-cultural negotiations are discussed. The books discussed are Old Magic, Grandpa and Ah Gong, Grandpa's Mask, What a Mess, and Fang Fang.
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Walden, Lauren. "Transmediality in Symbolist and Surrealist Photo-Literature." Open Cultural Studies 1, no. 1 (November 27, 2017): 214–31. http://dx.doi.org/10.1515/culture-2017-0020.
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Abstract The fin de siècle period throughout Europe undoubtedly cultivated the “interdisciplinary principle of la fraternité des arts” (Genova 158). Literature, poetry, visual art and music superseded former hierarchical structures favouring the painterly. Correspondence between intellectuals would cross-fertilise between disparate realms through publishing in interdisciplinary cultural journals that were distributed internationally across cosmopolitan cityscapes. The ability for the photograph to be mechanically reproduced, postulated by Walter Benjamin in 1936, allowed for one of the first transmedial aesthetics, to become known as photo-literature. Previously, reproduction had been confined to the textual realm. Bruges La Morte by Georges Rodenbach was the first ever work of photo-literature to commingle these respective art forms, sixty-five years after the invention of photography in 1827. Rodenbach’s novella was first published in 1892 at the height of the symbolist movement which spanned literature, painting, photography and more. Its pseudo-progeny, Andre Breton’s surrealist text Nadja was published in 1928 depicting the author’s meandering through the Parisian cityscape. In these works, text and image engender a sense of cosmopolitanism through the function of transposition.
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López-Baralt, Luce. "St. John's Nocturnal Beloved Could Have Been Named “Layla”." Medieval Encounters 12, no. 3 (2006): 436–61. http://dx.doi.org/10.1163/157006706779166093.
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AbstractSt. John of the Cross silences the names of his feminine poetic alter egos. In this essay, I propose a symbolic name for the nocturnal lover of Noche oscura del alma: Layla. In Arabic layl means “night,” and this is the name of the woman Qays loved to the point of madness, according to the famous pre-Islamic legend. Forced to part from his beloved, Qays goes to the desert and writes desperate love verses to her until he feels so spiritually transformed in Layla that he is Layla herself. As “Majnūn Layla,” or “Layla's fool,” the Lover no longer needs the Beloved's physical presence. Sufi mystics like Rūmī read this legend in terms of the mystical union, transforming Layla into the symbol of the dark night of the soul. St. John of the Cross is much indebted to Islamic mystical symbolism, and he closely follows the Islamic symbolism of the dark night in his poem.
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Palmer, Anthony. "Music as an Archetype in the 'Collective Unconscious'." Dialogue and Universalism 7, no. 3 (1997): 187–200. http://dx.doi.org/10.5840/du199773/419.
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The making of music has been sufficiently deep and widespread diachronically and geographically to suggest a genetic imperative. C.G. Jung's 'Collective Unconscious' and the accompanying archetypes suggest that music is a psychic necessity because it is part of the brain structure. Therefore, the present view of aesthetics may need drastic revision, particularly on views of music as pleasure, ideas of disinterest, differences between so-called high and low art, cultural identity, cultural conditioning, and art-for-art's sake.All cultures, past and present, show evidence of music making. Music qua music has been a part of human expression for at least some forty-thousand years (Chailley 1964; viii) and it could well be speculated that the making of music (the voluntary effort to use tonal-temporal patterns in consistent form that are meant to express meaning) accompanied the arrival of the first human beings. As Curt Sachs states, "However far back we tracemankind, we fail to see the springing-up of music. Even the most primitive tribes are musically beyond the first attempts" (Sachs 1943; 20).Why do humans continuahy create music and include it as an integral part of culture? What is music's driving force? Why do cultures endow music with extraordinary powers? Why do human beings, individuahy and as societies, exercise preferences for specific works and genres of music? In probing these questions, I chose one aspect of Jungian psychology, that of the Collective Unconscious with its accompanying archetypes, as the basis upon which to speculate a world aesthetics of music. Once we dispense with the mechanistic and designer idea of human origins (Omstein 1991; Ch. 2), we have only the investigations of the human psyche to mine for data that could explain the myriad forms of artistic activity found the world over. An examination of human beings, I believe, must lead one ultimately to the study of human behavior and motivations, in short, to the psychology of human ethos (see, e.g., Campbell 1949 & 1976). This study wih take the following course: first, a discussion of consciousness and the Collective Unconscious, plus a discussion of archetypes; then, a description of musical archetypal substance; and finally, what I beheve is implied to form a world aesthetics of music.By comparison to Jung, Freud gives us little in the way of understanding artistic substance because for him, all artistic subject matter stems purely from the personal experiences of the artist. In comparing Freud and Jung, Stephen Larsen states that "Where Freud was deterministic, Jung was teleological; where Freud was historical, Jung was mythological" (Larsen 1992; 19). Jung drew on a much wider cross-cultural experiential and intellectual base than Freud (Philipson 1963; Part II, Sect. 1). His interests in so-cahed primitive peoples led him to Tunis, the Saharan Desert, sub-Saharan Africa, and New Mexico in the United States to visit the Pueblo Indians; visits to India and Ceylon and studies of Chinese culture all contributed to his vast knowledge of human experience. Jung constructed the cohective unconscious as a major part of the psyche with the deepest sense of tradition and myth from around the world. He was criticized because of his interests in alchemy, astrology, divination, telepathy and clairvoyance, yoga, spiritualism, mediums and seances, fortunetelling, flying saucers, religious symbolism, visions, and dreams. But he approached these subjects as a scientist, investigating the human psyche and what these subjects revealed about mental process, particularly what might be learned about the collective unconsciousness (Hall and Nordby 1973; 25 & Cohen 1975; Ch. 4). Jung's ideation, in my view, is sufficiently comprehensive to support the probe of a world aesthetics of music.