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Dissertations / Theses on the topic 'Symbolism'

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Published: 4 June 2021
Last updated: 15 June 2024

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1

Chou, Yun-Hsin. "Servicescape symbolism." Thesis, Queensland University of Technology, 2012. https://eprints.qut.edu.au/57199/1/Yun-Hsin_Chou_Thesis.pdf.

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In order to drive sustainable financial profitability, service firms make significant investments in creating service environments that consumers will prefer over the environments of their competitors. To date, servicescape research is over-focused on understanding consumers’ emotional and physiological responses to servicescape attributes, rather than taking a holistic view of how consumers cognitively interpret servicescapes. This thesis argues that consumers will cognitively ascribe symbolic meanings to servicescapes and then evaluate if those meanings are congruent with their sense of Self in order to form a preference for a servicescape. Consequently, this thesis takes a Self Theory approach to servicescape symbolism to address the following broad research question: How do ascribed symbolic meanings influence servicescape preference? Using a three-study, mixed-method approach, this thesis investigates the symbolic meanings consumers ascribe to servicescapes and empirically tests whether the joint effects of congruence between consumer Self and the symbolic meanings ascribed to servicescapes influence consumers’ servicescape preference. First, Study One identifies the symbolic meanings ascribed to salient servicescape attributes using a combination of repertory tests and laddering techniques within 19 semi-structured individual depth interviews. Study Two modifies an existing scale to create a symbolic servicescape meaning scale in order to measure the symbolic meanings ascribed to servicescapes. Finally, Study Three utilises the Self-Congruity Model to empirically examine the joint effects of consumer Self and servicescape on consumers’ preference for servicescapes. Using polynomial regression with response surface analysis, 14 joint effect models demonstrate that both Self-Servicescape incongruity and congruity influence consumers’ preference for servicescapes. Combined, the findings of three studies suggest that the symbolic meanings ascribed to servicescapes and their (in)congruities with consumers’ sense of self can be used to predict consumers’ preferences for servicescapes. These findings have several key theoretical and practical contributions to services marketing.
2

Tapper, Sandra, and Sandra Eriksson. "Biblisk symbolism : en undersökning om den bibliska symbolismen i Bröderna Lejonhjärta." Thesis, University of Gävle, Ämnesavdelningen för religionsvetenskap, 2001. http://urn.kb.se/resolve?urn=urn:nbn:se:hig:diva-4474.

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Syftet med denna examensuppsats var att fördjupa oss i de bibliska symbolerna och försöka återfinna dem i barnlitteratur. Vi bestämde oss för att utgå ifrån barnboken Bröderna Lejonhjärta, av Astrid Lindgren. Det vi ville undersöka i texten var, förutom de bibliska symbolerna, om vi kunde finna tecken på en viss struktur och vissa skrivramar. Om så var fallet, härstammade de från Bibeln? Vi har arbetat med textanalys som metod för att få fram det vi sökte, men även tagit hjälp av tidigare forskning. Genom diskussioner och analyser kom vi bland annat fram till följande:

  • Biblisk symbolism förekom
  • Skrivramarna var tydliga
  • Berättelsens struktur vilar på en trygg grund

I diskussionen har vi tagit upp betydelsen av trygghetsgestalter i barnlitteratur och hur viktiga vi tror att dessa gestalter är. Vi har också diskuterat andra former av strukturskrivande och på vilket sätt detta kan framställas i en text.


Examensarbete på Barn- och ungdomspedagogiska programmet vt 2001. Sandra Tapper har senare bytt efternamn till "Tapper Höglund" och Sandra Eriksson till "Tallberg".
3

Conceição, Luís F. P. 1952. "A consagração da água através da arquitectura-para uma arquitectura da água." Phd thesis, Instituições portuguesas -- UTL-Universidade Técnica de Lisboa -- -Faculdade de Arquitectura, 1997. http://dited.bn.pt:80/29876.

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4

Jonna, Grönlund, and Kalami Kasra. "Symbolism in Games." Thesis, Blekinge Tekniska Högskola, Sektionen för planering och mediedesign, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:bth-4815.

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This research project is about symbolism and semiotics (the science of signs) in digital-games. There’s firstly introductory information about what symbolism and semiotics are and the different aspects of them that is needed to fully understand the subject. These are things such as the two parts of a sign, signifier and signifier as well as the three modes of signs, symbolic, iconic and indexical. Then there’s information about how this is all put together in a digital game, that a game isn’t playable without some form of signs and that besides making the game playable it is used to enhance the characters, story and experience for the player. How this is used in a more practical way is mentioned further to the end with the different approaches of working with symbolism in games. There’s either being subtle or making symbolism the main focus of the game. Through all this there’s also the importance of considering your audience and if they will understand your signs that is talked about.
5

Luthman, Carolina, and Denise Vestman. "Symbolism som styrmedel." Thesis, Uppsala universitet, Företagsekonomiska institutionen, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-314799.

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Organisationer har som utmaning att hitta styrmedel som resulterar i att deras medlemmars beteende är i enlighet med deras mål och strategier. I vanliga fall undersöker man traditionella styrmedel som cybernetisk styrning och finansiell fokus. Denna studie utforskar hur organisationskulturen påverkar styrningen och mer specifikt hur organisationer använder sig av symbolism i form av riter som styrmedel för att uppnå sina strategier och mål. Trice och Beyers sex typer av riter och Dandridges et al.:s modell för symboler används som teoretisk referensram för studien. Sex personer från olika delar inom en och samma organisation intervjuades för att ge en inblick i vilka riter som fanns samt vad de används till. Resultaten visade att 1) symboler som används vid riter och ritualer ansågs vara en av de avgörande faktorerna till varför anställda tänker och agerar på ett sätt som är i linje med organisationens mål och strategier, 2) att en och samma rit kunde ha olika kategoriseringar, samt 3) att det vid vissa tillfällen kan vara önskvärt för ledare att undvika olika typer av riter, framför allt när man vill främja kreativitet och fritt tänkande.
6

Swoboda, Sylvia. "Symbolism and Art." VCU Scholars Compass, 2010. http://scholarscompass.vcu.edu/etd/2034.

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I am interested in communication through symbolism. The symbols that I incorporate in my mixed media work are simplified into essential lines and shapes. I use the Kabbalah’s Tree of Life diagram as a structure to hold my own personal symbols. These symbols are my interpretation of the phases of life. I also use prehistoric symbols such as the spiral, circle, square, triangle, and cross as a focus to emphasize the beauty of these very basic lines and shapes which we see all around our world. To emphasize the beauty of symbols I use repetition, color, and texture. Life is overwhelming and chaotic at times. Having simplicity in my visual surroundings creates a sense of tranquility and contentment. I aim to convey these feelings to the viewer while having them interpret what the symbols mean to them.
7

Mousset-Becouze, Chloé. "Du symbolisme comme chambre noire de l'imaginaire photographique." Thesis, Bordeaux 3, 2014. http://www.theses.fr/2014BOR30018/document.

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Évoquer l'existence d'un imaginaire photographique pose un problème d'ordre idéologique quant au statut de la photographie. Pour tenter de démontrer l'existence de cet imaginaire, il faut se pencher sur un mouvement qui, en son temps, réfléchit à cette notion de manière fondamentale: le mouvement symboliste. Aussi est-il nécessaire de se demander en quoi le symbolisme est fondateur de l’imaginaire photographique ? A cette époque la photographie est largement intégrée dans un système positiviste, elle est la technique scientifique d’enregistrement par excellence, ayant pour trait caractéristique la mise hors circuit de la subjectivité de l’observateur. Le symbolisme, quant à lui, est à son apogée, autour des années 1880-90. Il va opposer au principe scientifique de classification, fondé sur la séparation et la différence, une conception philosophique tournée vers la recherche d’unité. Or les symbolistes, vont se servir de l’outil photographique. D’une part, ils réinvestissent d’un imaginaire et d’un esprit critique les photographies les plus scientifiques et « objectives » de l’époque. D’autre part certains deviennent eux-mêmes photographes et vont instituer la photographie comme une véritable expérience créatrice et poétique. Ces concepts demeurent plus ou moins vifs sur le long terme. Un ensemble de symboles et de démarches ont été réinvestis par la révolution surréaliste. Ceux-ci restent présents et fondateurs de la photographie contemporaine par leur réactualisation. Cette dernière ferait véritablement appel aux potentiels de l’imaginaire photographique déjà mis en place par le Symbolisme, remettant dès lors en question la manière impérialiste de voir et concevoir le réel. Le but de cette recherche, n’est pas d’affirmer que toute photographie est symboliste mais de déterminer quelle peut être aujourd’hui l’influence du symbolisme en photographie, à travers la mise en œuvre de concepts communs. Cette recherche se fonde sur une interrogation concernant l’imaginaire photographique
To refer to the existence of a photographical imagination arises an ideological issue when bringing the status of photography into question. To try to demonstrate the existence of this imagination; consideration should be given to a movement fundamentally reflecting the notion of the symbolist movement. Therefore, would it be necessary to consider how symbolism is founder of the photographical imagination? At that time, photography widely fits into a positivist system, it is the best recording scientific technique. Hence, photography has emerged from the middle of the 19th century as a new type of objectivity whose main characteristic is the exclusion of the observer's subjectivity. As for Symbolism, it reached its peak around 80-90s. It will oppose a searching for unity philosophical conception with scientific classification principle, based on separation and difference. Despite that, Symbolists have chosen to use the photographical tool. On the one hand, they took into account the most scientific and objective photographs over that period in relation with imagination and critical acumen. On the other hand, some of them became themselves photographers and will even institute photography as a real creative and practical experience. However, these concepts remain more or less alive on the long run. A set of symbols and methods were taken into account by the surrealist revolution. Those remain present at the origin of the contemporary photography by their re-actualization. The contemporary photography would really require the photographical imagination potential that were already set up by Symbolism. Therefore, the imperialist way of feeling and imagining reality would be thrown back into question. The aim of this research is not to assert that photography is symbolist but to determine which influence of symbolism about photography may currently be through the use of common concepts. All in all, this research is based on questioning about the photographical imagination
8

Blom, Joakim, and Christoffer Elestedt. "Symbolik i reklamfilmer : En kvalitativ innehålsanalys av symbolik i reklamfilmer." Thesis, Uppsala universitet, Sociologiska institutionen, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-445305.

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This paper examines the use of symbolism when companies communicate through advertisement. This is done by using a symbolic interactionist and dramaturgical approach to the use of symbols in advertisements. The field of previous research has also been studied and taken into consideration when analyzing the advertisements. The setup of this study is a unique combination between the field of social psychology and marketing. The base perspective of Blumers symbolic interactionism and Goffmans dramaturgy is used when examining how symbolism are used by companies in advertisements. This is where the study’s uniqueness comes from. Although previous research has touched the topic, none have looked at symbolism in marketing this way. The aim of this study is to contribute with research that brings knowledge to the field of both social psychology and marketing. The analysis of the advertisements shows that all the companies use symbolism in different ways to communicate their intended message. A consistent way that symbolism is used through the different advertisements is by connecting the symbolism of everyday situations to the company or their products. Through symbolic messaging the advertisements proved to also attempt to imbue the products with a symbolic meaning. Additional ways that symbolism is used in advertising are discussed thoroughly in the paper.
9

Mullan, Anna. "Virgil and Numerical Symbolism." Scholarship @ Claremont, 2014. http://scholarship.claremont.edu/cmc_theses/811.

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In the final book of the Georgics, Virgil digresses into a nostalgic and regretful explanation of his inability to include a proper discussion of gardening because he is spatiis exclusus iniquis (147). Often deemed “the skeleton of a fifth book of the Georgics” the exact meaning and intent behind this passage is still largely contested. In this paper I will attempt to de-strange this passage by examining it philosophically and allegorically, particularly by means of numerical symbolism.
10

Li, Gregory Kenneth, and 李群雄. "Tantric symbolism in Vajrayogini imagery." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2010. http://hub.hku.hk/bib/B45166225.

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11

Rowbottom, Anne. "Royal symbolism and social integration." Thesis, University of Manchester, 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.715421.

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Курилко, Аліна Олексіївна. "Color symbolism in interior design." Thesis, Київський національний університет технологій та дизайну, 2020. https://er.knutd.edu.ua/handle/123456789/15317.

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13

Sharma, Kajali. "Symbolism in Anita Desai's novels /." Sittingsbourne (GB) : Asia publishing house, 1991. http://catalogue.bnf.fr/ark:/12148/cb374709766.

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14

Berglund, Axel-Ivar. "Zulu thought-patterns and symbolism /." Bloomington (Ind.) ; Indianapolis (Ind.) : Indiana university press, 1989. http://catalogue.bnf.fr/ark:/12148/cb37482915p.

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15

Heaton, Haidee R. "Symbolism and the actor's perspective : a grounded theory study of the actor's approach to symbolist vocal work /." free to MU campus, to others for purchase, 2004. http://wwwlib.umi.com/cr/mo/fullcit?p3137709.

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16

Jeppsson, Fredrik. "Extended meaning by symbolism in Julia Otsuka's novel When the Emperor was divine." Thesis, Högskolan Kristianstad, Sektionen för lärande och miljö, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:hkr:diva-11807.

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17

Reynolds, Bennie H. Ehrman Bart D. "Between symbolism and realism the use of symbolic and non-symbolic language in ancient Jewish apocalypses 333-63 BCE /." Chapel Hill, N.C. : University of North Carolina at Chapel Hill, 2009. http://dc.lib.unc.edu/u?/etd,2230.

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Thesis (Ph. D.)--University of North Carolina at Chapel Hill, 2009.
Title from electronic title page (viewed Jun. 26, 2009). "...in partial fulfillment of requirements for the degree of Doctor of Philosophy in the Department of Religious Studies Ancient Mediterranean Religions. " Discipline: Religious Studies; Department/School: Religious Studies.
18

Watanabe, Chikako Esther. "Aspects of animal symbolism in Mesopotamia." Thesis, University of Cambridge, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.624215.

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Espy, Amanda M. "Crisis of Symbolism in Contemporary America." Thesis, Pacifica Graduate Institute, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=1527501.

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This thesis concerns itself with the crisis of symbolism in contemporary America and the impact this has on the collective and individual American in the 21st century. The research is rooted in the perspective of Jungian philosophy and tradition, and is presented through hermeneutic methodology. This thesis explains why symbols are important in creating consciousness, viewpoints of Jungian analysts about a crisis of symbolism, the role of nothingness as a contemporary anti-symbol symbol, and the way the lack of symbolism plays out in collective American symptomology. This thesis reaches the conclusion that Americans have effectively eliminated meaningful symbols and have entered a post-deconstructionist era in order to allow space in which to create new, more meaningful symbols. The role of the contemporary depth psychologists is to remind their patients of their part in participating in symbol making as a participation in the psychological health of society as a whole.

20

Wang, Tao. "Colour symbolism in late Shang China." Thesis, SOAS, University of London, 1993. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.309360.

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Ayrey, Craig Leslie. "Debussy and the techniques of symbolism." Thesis, King's College London (University of London), 1997. https://kclpure.kcl.ac.uk/portal/en/theses/debussy-and-the-techniques-of-symbolism(c3c28864-a08a-49ae-8077-acf11312adf7).html.

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Masuda, Keiko. "A phonetic study of sound symbolism." Thesis, University of Cambridge, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.620648.

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Sangha, Amandeep K. "William Lethaby, symbolism and the occult." Thesis, University of Nottingham, 2017. http://eprints.nottingham.ac.uk/44643/.

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The thesis will reconsider the thought and design work of the architect William Richard Lethaby (1857–1931). The research will focus upon Lethaby’s affiliation with the occult, with particular reference to alchemy. The relationship between nineteenth- and twentieth-century architects and occultism has been overlooked, and in many cases intentionally neglected, by scholars and historians. Current scholarship in the field has placed a greater emphasis on twentieth-century proponents of the occult. This detailed study on Lethaby and the occult therefore forms an original contribution to existing scholarship, highlighting the parallels between the nineteenth-century architect’s work and the ideology and imagery of the occult. The thesis will demonstrate Lethaby’s familiarity with occult concepts and the extent to which these were employed by him in his work. The study will then go on to examine how Lethaby’s fascination with occult themes and magic had a consequent influence on his contemporaries and question how far this interest in the occult impacted the future generation of designers and subsequent movements. The research will recognise Lethaby’s work within the context of its time and suggest it to be a product of its era. Alongside the well-documented Industrial Revolution of the nineteenth-century there also existed a spiritual revolution. This encouraged countless individuals, particularly members of the avant-garde, to reject the traditional religious pathways and to seek answers through more experimental and mystical alternatives. The majority of Lethaby’s working life was spent in London, where there was a revival of interest in the occult that included the foundation of such societies as the Theosophical Society and the Hermetic Order of the Golden Dawn. The thesis will illustrate how Lethaby was profoundly influenced by the Zeitgeist, which was saturated with references to spiritualism, mysticism and the occult. Lethaby’s attraction towards mysticism and magic, as see in first published book, Architecture, Mysticism and Myth (1891), which was later revised and retitled Architecture, Nature and Magic (1928), was not confined to his theoretical work but also pervaded both his design and his completed work. A considerable portion of the thesis will therefore, for the first time, extensively scrutinise several of Lethaby’s drawings and architectural work to suggest how they embody his interest in the occult. The study will conclude by unearthing parallels between Lethaby’s completed works and those executed by prominent modern architects with recognised occult affiliations, such as Lauweriks, Frank Lloyd Wright and Le Corbusier, to suggest a comparable use of occult symbolism, with similar intent. The thesis will create a renewed interest in Lethaby and address the impact of occultism on the architect, his contemporaries and the wider Arts and Crafts Movement. Finally, it will put forward that subsequent twentieth-century schools or movements in architecture with spiritualist tendencies, such as the Bauhaus and the Modern Movement, were not so much revolutionary as evolutionary, advancing from a previous Arts and Crafts ideology.
24

VENOY, MELISSA DAWN. "REVALUING GENDER-BASED SYMBOLISM IN ARCHITECTURE." University of Cincinnati / OhioLINK, 2003. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1053382240.

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Taylor, Marie Teresa Balsley. "The religious symbolism of Louise Erdrich." Connect to Electronic Thesis (CONTENTdm), 2009. http://worldcat.org/oclc/457043163/viewonline.

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Dalla, Vecchia Francesco. "Key symbolism in Francesco Cavalli's arias." Diss., University of Iowa, 2011. https://ir.uiowa.edu/etd/2689.

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This study has been conceived to verify whether Francesco Cavalli (Crema, 1602--Venice, 1676), the most representative composer of seventeenth-century Venetian opera, used what is called "key symbolism." Key symbolism, or the association of one particular mood or meaning with one specific key, has been a topos in music theory literature ever since Plato and Aristotle. Many scholars maintain that early modern composers believed in the connotative power of the keys and selected them according to the "affect" they meant to convey. These assumptions are mostly based on the treatises of the time and significant examples, but key symbolism had never been investigated systematically as a poetic code. This study on key symbolism focused on the identification of patterns in the associations of the expressive content ("affect" or "affection") and the key of Cavalli's arias. Arias represent the best place to investigate this association because they form semantic and musical units. Cavalli's twenty-seven extant operas include more than 850 arias and, thus, provide a sufficient sampling for testing the consistency of these patterns in the work of the same composer. My analysis and categorization of Cavalli's arias, which resulted in the compilation of a complete thematic catalogue, was based directly on the manuscript sources of the Contarini Collection held by the Biblioteca Nazionale Marciana in Venice, and the collection of librettos owned by the same library. This study on Cavalli's key selection determined the following points: 1) the complete spectrum of the keys actually used by Cavalli, and how his tonal palette compares with the one proposed by contemporary theorists; 2) how practical factors, such as orchestration or the voice of the singer, influenced Cavalli's choice of the key; 3) the frequency with which the composer associated recurring topics in arias with particular tonalities; 4) whether Cavalli's usage is consistent with the connotations of the keys described in theoretical literature; and, finally, 5) whether the association of a topic with a key is systematic enough to be considered a poetical code. In the end it appears that Cavalli's choice of the key was certainly influenced but not determined by the content of the text. On the one hand, it is possible to identify some of the affective characteristics he attributed to keys; on the other hand, the link between the key (signifier) and the expressive content of the aria text (signified) cannot be codified as a system of meanings.
27

Nefontaine, Luc. "Symboles et symbolisme dans la franc-maçonnerie: approches historique, phénoménologique et herméneutique." Doctoral thesis, Universite Libre de Bruxelles, 1993. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/212763.

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Pujol, Nicolau Gaspar. "Traditional Cosmological Symbolism in Ancient Board Games." Doctoral thesis, Universitat Internacional de Catalunya, 2009. http://hdl.handle.net/10803/387431.

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Aquest treball d'investigació analitza una selecció dels jocs de tauler més antics coneguts, trobant-hi els elements simbòlics clau del simbolisme cosmològic tradicional. Els jocs són part del patró estructural universal (com la dança o l'art) i apareixen a totes les cultures al llarg del temps. En ells hi podem veure reflexades les creences, valors i cosmovisió dels pobles que hi jugaven. Per això els jocs de tauler antics tenen un valor simbòlic i gnoseològic (que complementa el seu ús més lúdic i pragmàtic). Aquest valor, com hem vist al llarg de la recerca, es basa en la cosmologia tradicional, què en termes generals, és compartida per les antigues tradicions sagrades d'orient i occident.
This research analizes a selection of the oldest ancient board games, finding in them common symbolic elements from traditional cosmological symbolism. Games are a universal structural pattern (as dance or art) appearing in every culture through time. In them we can see reflected the beliefs, values and cosmovision af the ancient people who played them. Therefore, ancient board games have a symbolic and gnoseologic value (complementary to their ludic and pragmatic use). This value, as seen in this research, is based on traditional cosmology, which in general terms, is shared by the ancient Western and Eastern sacred traditions.
En este trabajo de investigación se analizan una selección de los juegos de tablero más antiguos que se conocen, encontrando en ellos los elementos simbólicos clave del simbolismo cosmológico tradicional. Los juegos son parte del patron estructural universal (como la danza o el arte) y aparecen en todas las culturas. En ellos podemos ver las creencias, valores y cosmovisión de los pueblos en los que eran jugados. Por esa razón, los juegos de tablero de la antigüedad tienen un valor simbólico y gnoseológico (que complementa su uso más lúdico y pragmático). Este valor, como hemos visto a lo largo de la investigación, se basa en la cosmología tradicional, que en términos generales comparten las antiguas tradiciones sagradas de oriente y occidente
29

Chatila, Nina, and Fredrik Lindby. "Symbolism inom turism med Kina som exempel." Thesis, Södertörn University College, School of Life Sciences, 2006. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-618.

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30

Mackay-Rolfe, Linda. "The origins and symbolism of Nazi ideology." Thesis, University of Strathclyde, 1997. http://oleg.lib.strath.ac.uk:80/R/?func=dbin-jump-full&object_id=21637.

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In the following pages, Nazi ideology, its origins and symbolism, and its relationship to the thought of the Enlightenment will be studied. In this study, the main themes and elements of Nazi ideology, and the extent of their coherence, will first be considered. Then the symbolism, and the way in which this symbolism was used in the mobilisation of the German population, will be examined. In conjunction with this, Nazi propaganda techniques will be studied, to illustrate how closely propaganda, symbolism and ideology were bound together. Following this, an analysis of the historical context of Nazi ideology will be undertaken. In examining this context, the applicability of Sternhell's thesis to the growth of Nazism will be considered, and it will be argued that the crisis of liberal democracy that contributed to the birth of fascism also contributed to the development of Nazi ideology. To give some background to the intellectual climate of which Nazi ideology was a product, the work of Arthur de Gobineau, Houston Stewart Chamberlain, Heinrich von Treitschke and Arthur Moeller van den Bruck will be examined, and the similarity between much of their thought and elements of Nazi ideology noted. In order to achieve a thorough understanding of Nazi ideology's historical background, the extent of Enlightenment influence on Nazi ideology will be examined, by focusing on the thought and intellectual trends of this period. Then, by comparing aspects of Enlightenment thought with the ideology of Nazism, it will be concluded that Nazi ideology was not a direct rejection of the thought of the Enlightenment, but rather was strongly influenced by many aspects of Enlightenment thought.
31

Almutawa, Fajer. "Negotiating life themes through brand symbolism synthesis." Thesis, University of Bath, 2011. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.558847.

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32

Franchuk, Edward S. "Symbolism in the works of August Strindberg." Thesis, University of Glasgow, 1989. http://theses.gla.ac.uk/41056/.

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In many ways, Strindberg's works are among the most paradoxical in modern literature. Violently misogynistic, they nevertheless reveal a man who worships Woman, cannot live without her, loathing her as Mistress but adoring her as Mother; almost brutal in the violence of their emotions, they are at the same time gentle in the irony of their humour; totally unorthodox in their theology, they are profoundly religious; even when most naturalistic (as in Froken Julie: Miss Julie), they are highly symbolic. The leading practitioner of naturalistic drama is also the father of the theatre of the absurd. However unlike his works might appear to one another, and whatever the seeming contradictions and inconsistencies among the various ideas espoused and championed by Strindberg at different points in his career, his themes remained the same: his own life, the struggle for dominance between the sexes, psychological domination through the power of suggestion, the problem of the existence of evil and suffering in the world, and the influence of the supernatural on human life and history. And whatever his literary genre -- drama, poetry, novel, short story, satire, history, autobiography, scientific or philological treatise, political, philosophical, or religious essay -- these themes are expressed and developed through a rich and evocative symbolism drawn not only from the tribal treasury of archetypal images, but supplemented, shaped and refined by his own experience, imagination, and subconscious. An examination of his symbolism, then, will not only elucidate the works by making our interpretation of them surer, but should reveal a consistency and logical development in his writing not always apparent with other approaches. Symbolism can be seen as a kind of shorthand: a way of enriching a text which, particularly in drama, poetry, and the short story, is often more or less severely constrained in terms of length: by drawing on universal or traditional symbols, the author can suggest levels of meaning, connections, and associations which extend his work beyond the limits imposed on it. In more extended literary genres, such as the novel, on the other hand, symbolism is often used only sparingly. Over the course of his career, an author also builds up a set of personal symbols, drawn from his experience, his reading, his interests, and, ultimately, his view of the world; his work cannot be fully understood without an awareness of these symbols. This study seeks to identify Strindberg's symbols, to search out their meanings, to relate them to each other, to the works in which they occur, and to the body of work as a whole, and to suggest, wherever possible, their sources. The overwhelming tendency in Strindberg studies is to approach the works as biographical and/or psychological documents. His habits of working from living models (a practice he called vivisection), of fictionalizing his own experiences, and of meticulously documenting his life and his intellectual and spiritual development make this inevitable. This study does not ignore the author's biography (impossible in such an autobiographical writer), but seeks to place the emphasis elsewhere, on the more exclusively literary concern of meaning (as opposed to reference). Strindberg always considered himself primarily a dramatist, and indeed it is almost exclusively as such that the non-Swedish world knows him. It is, therefore, with Strindberg's plays that this study is primarily concerned. He was, however, a prolific writer, covering most genres, and much of his non-dramatic writing expands upon, explains, or provides the source for, the symbolism of the plays. With two or three minor exceptions (noted in the text), I have therefore looked at all of Strindberg's published works; those not mentioned have been omitted because they do not contribute in any significant way to an understanding of his symbolism. Preference has been given to the Swedish texts in the twenty-two volumes which have appeared so far in the ongoing "National Edition" (Samlade verk: Collected Works); for works which have not yet appeared there, I have used, in the first instance Gunnar Brandell's Skrifter (Writings, the Swedish edition which Glasgow University Library possesses), and, for works that appear in neither of those editions, John Landquist's monumental Samalade skrifter (Collected Writings). Although I have often consulted various English translations, the translations of cited passages are my own, except where noted. Biblical quotations are cited from a variety of English translations, in an attempt to stay as close as possible to the Swedish wording cited by Strindberg; when it is a question of simply providing a reference, I have preferred to cite The Jerusalem Bible. In a few instances, where no English translation could be found which corresponded satisfactorily to Strindberg's version (whether through an anomaly of the Swedish translation he used -- presumably the Karl XII Bible -- or through his own deliberate or unconscious misquotation), I have translated the citation literally. In quotations (and in their translations), underlined ellipses (...) are Strindberg's own; those not so distinguished (...) indicate an omission from the text. In a few instances, when scenes in the Swedish text are unnumbered, I have supplied numbers as an aid to locating cited passages in a translation.
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Thompson, Patrick Douglas. "Phonetic symbolism for size, shape, and motion." Thesis, University of Warwick, 2013. http://wrap.warwick.ac.uk/59848/.

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This thesis examines phonetic symbolism, the meaningful use of individual speech sounds to convey and infer size, shape, and motion. Chapter 1 presents a summary of the literature. Though there is evidence suggesting that phonetic symbolism exists and is pervasive, the literature presents several research opportunities. In nine experiments and one pre-test (total N = 357 participants), we use graded stimuli throughout, which is uncommon in the previous research. This use of non-dichotomous stimuli allows for the hypotheses that have arisen from a gestural model of language evolution and the Frequency Code to be more fully investigated. In the first set of experiments (Chapter 2), we demonstrate that phonetic marking for size is graded, i.e., it does not mark just very large and very small objects. In Chapter 3, the focus is on marking for size and shape, and their possible interactions. We show that marking for size and for shape are not as in line with each other as previous works might suggest. Marking for movement is the topic of Chapter 4, which includes moving stimuli, not just implied motion. We find that trait permanence is at play with the naming for motion tasks, with marking only occurring when naming the motion itself. Finally, a concluding chapter summarizes and further expounds on the results of the thesis, and how those results relate to the hypotheses suggested by gestural models and frequency code. The conclusion also includes a section of current and future research directions.
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Worth, Ryan Mitchell. "Romantic Symbolism Re-examined: The Ontic Fallacy." BYU ScholarsArchive, 2021. https://scholarsarchive.byu.edu/etd/9136.

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Romantic symbolism is a poorly understood concept. It was first formulated by the Romantics in a variety of contexts. Goethe develops his theory of the symbol most notably in his scientific works. Schelling's approach to the Romantic symbol is firmly rooted in his philosophical writings. Coleridge articulates a Romantic notion of symbolism across his extensive literary criticism. The foundational influence of these related theories of Romantic symbolism can be seen in the artistic, literary, and scientific productions of Romantic minded individuals all over Europe in the late eighteenth and early nineteenth century. However, the nature and scope of the Romantic symbol as originally formulated by Goethe, Schelling, and others has been obfuscated in unfortunate ways by the contemporary theoretical assumptions and narrow interpretations of recent academic scholarship. This thesis restores the original connotation of the Romantic symbol by identifying the common way in which it is misconstrued: the ontic fallacy.
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Chiu, Shih-ren. "The symbolism of the Chinese Buddhist temple." Thesis, University of Edinburgh, 1995. http://hdl.handle.net/1842/21141.

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The Chinese Buddhist temple has been frequently discussed on a secular level, that is to say, in terms of its stylistic development, the details of its aesthetic, its socio-economic context, and so on. But the temple also has a metaphysical relationship with its transcendent source which has largely been ignored by recent literature. This thesis aims therefore to unveil this metaphysical connection between the physical reality of the temple and its transcendent origin: the religious symbolism which cannot be perceived except by the tutored mind. In this symbolic schema, the Chinese Buddhist temple is regarded as a microcosm which allows the devotee to communicate with the higher level, and is the sacred place where Heaven and Earth, the sacred and profane worlds, are connected. It is the locus of the axis mundi, a vertical channel through which two complementary forces - the proliferative centrifugal and the unifying centripetal - are made manifest. As this thesis explains, at the heart of this perception of the temple are the doctrines of Progenitive Centre and Ultimate Return. In the former, the Centre is denoted as the source of the universe from which originates the whole phenomenal existence of the world, including the embodiment of space and time, and the myriads of beings; in the latter, the salvation of sentient beings is said to lie in embarkation on a spiritual journey, which ultimately culminates in a "return" to the Centre. Informed by these doctrinal formulations, the Chinese Buddhist temple is an ideal paradigm of these cosmic processes, which, in architectural terms, are embedded deep within its spatial organisation and outward form - its orientation and axiality, the form of its individual buildings, and its iconography.
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Pinto, Humberto Pessoa. "Allegory and Symbolism in the Scarlet Letter." reponame:Repositório Institucional da UFSC, 1992. https://repositorio.ufsc.br/xmlui/handle/123456789/157759.

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Dissertação (mestrado) - Universidade Federal de Santa Catarina. Centro de Comunicação e Expressão
Made available in DSpace on 2016-01-08T17:46:09Z (GMT). No. of bitstreams: 1 88275.pdf: 2798721 bytes, checksum: 9b178bc7b48636b0812ba36775d946d9 (MD5) Previous issue date: 1992
Este trabalho tem por objetivo descrever as causas subjacentes ao complexo sentido do romance the Scarlet Letter, de Hawthorne. Tenta mostrar que este sentido é produzido pela tensão não resolvida entre duas forças contraditórias - alegoria e simbolismo. A alegoria é um dispositivo retórico tradicional que reduz toda a realidade a noções claras e unilaterais. Ela tende assim, a concentrar o sentido num único enunciado.
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Jones, Jordan Wesley. "Who maketh the clouds His chariot the comparative method and the mythopoetical motif of cloud-riding in Psalm 104 and the epic of Baal /." Lynchburg, Va. : Liberty University, 2010. http://digitalcommons.liberty.edu.

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38

Anttonen, Ramona. "Animal Imagery and Religious Symbolism in Joseph Conrad's." Thesis, Växjö University, School of Humanities, 2001. http://urn.kb.se/resolve?urn=urn:nbn:se:vxu:diva-536.

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The purpose of this essay is to investigate how Joseph Conrad has used animal imagery and religious symbolism in “Heart of Darkness,” and determine if these tools are somehow linked to the theme of the story. Close reading has been applied in order to be able to go through the entire story in search of these often well-hidden tools. Considering the fact that the story in focus of the analysis is believed by some, including myself, to be a long short story rather than a short novel, this method of approach has proved to be highly useful. First a discussion about a possible theme in “Heart of Darkness” is presented, followed by a brief comment on Conrad’s personal life philosophy and view on the use of symbolic devices in literary works. In order to determine the differences between symbols and imagery, as well as theme, subject and topic, a short discussion of terminology has been included.

Much of the discussion in the analysis relies heavily upon articles and books by critics who have focused exclusively on symbolism and imagery in “Heart on Darkness” and other works by Conrad. The scholarly names worth mentioning in connection with the discussion about animal imagery are Olof Lagercrantz, John A. Palmer, and Samir Elbarbary. The critics Anthony Fothergill and Cedric Watts explore religious symbolism in general, whereas P.K. Saha and Rita A. Bergenholtz focus on particular aspects of it, such as Buddhism and Greek mythology.

The analysis section is for the most part a combination between my own personal interpretations of “Heart of Darkness” and those made by others. It is divided into two major sections, Animal Imagery and Religious Symbolism. The latter, furthermore, comprises two subgroups. The conclusion suggests that Conrad used symbolism and imagery as narratological tools in order to present us with the theme of morality in the story.

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Sommer, Caitlin Ariel. "Animacy, Symbolism, and Feathers from Mantle's Cave, Colorado." Thesis, University of Colorado at Boulder, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=1539391.

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Rediscovered in the 1930s by the Mantle family, Mantle's Cave contained excellently preserved feather bundles, a feather headdress, moccasins, a deer-scalp headdress, baskets, stone tools, and other perishable goods. From the start of excavations, Mantle's Cave appeared to display influences from both Fremont and Ancestral Puebloan peoples, leading Burgh and Scoggin to determine that the cave was used by Fremont people displaying traits heavily influenced by Basketmaker peoples. Researchers have analyzed the baskets, cordage, and feather headdress in the hopes of obtaining both radiocarbon dates and clues as to which culture group used Mantle's Cave. This thesis attempts to derive the cultural influence of the artifacts from Mantle's Cave by analyzing the feathers. This analysis includes data from comparative cave sites displaying cultural, temporal, or site-type similarities to Mantle's Cave. In addition to the archaeological data, ethnographic data concerning how Great Basin, Southwest, Great Plains, and northern Mexican peoples conceive of and use feathers will be included. Lastly, theoretical perspectives on agency, symbolism, and the transmission of cultural traditions will be used in an effort to interpret the data collected herein.

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Tipper, Paul Andrew. "Colour symbolism in the works of Gustave Flaubert." Thesis, University of Hull, 1989. http://hydra.hull.ac.uk/resources/hull:3814.

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The thesis adopts a structural and systematic approach to the study and analysis of colour terms in Flaubert's fiction.The Introduction highlights how Flaubert has come to be regarded as a problematic writer and how much existing work on his colour terms is in some way lacking in clarity. I proceed to fill this gap in Flaubert studies by elaborating a method of analysis of colour terms which clarifies how meaning is produced by the text. The method of analysis comprises eight stages which are systematically worked through as one considers eleven variables, one or several of the latter coming into play at any stage in the method and which may influence the ultimate type and degree of value-charge carried by a colour term. The method and the variables should be thought of as one ensemble or a methodology for the analysis of colour terms in prose fiction. The methodology is highly refined and is without precedent in that I examine the dual exchange of figurative charging which is always operational between a colour term and its associated referent.The thesis is divided into five chapters where each text is studied separately. The Oeuvres de Jeunesse are experimental writings and Flaubert is testing the figurative potential of colour terms. The chromatic codification is mainly traditional, though a nascent private elaboration may be discerned. Madame Bovary represents the peak of literary perfection. All the novel's colours contribute to the overall illusion/reality dichotomy which lies at the heart of the text.
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FONSECA, ANA BEATRIZ FRISCHGESEL. "THE ALCHEMICAL SYMBOLISM IN C. G. JUNGS WORK." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2003. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=4055@1.

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PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO
Este trabalho tem como objetivo analisar a forma pela qual o simbolismo alquímico é reinterpretado à luz da teoria junguiana. Para tal, passa em revista alguns dos conceitos que permitem esta aproximação, dentre eles, a noção de símbolo, o mecanismo de projeção e a técnica de amplificação. Através da sua articulação, o autor visa corroborar a hipótese do inconsciente coletivo.
This dissertation describes the way in which the alchemical symbolism is reinterpreted in the light of the Junguian theory. For this purpose, some of the concepts which allow this relation are then revised, that is, the notion of symbol, the mechanism of projection and the technique of amplification. Through their articulation, Jung intends to confirm the hypothesis of the collective unconscious.
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GUIMARAENS, DOMINGOS DE LEERS. "IMAGINATIVE PATHS: FROM SYMBOLISM TO MODERNISM AND BEYOND." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2009. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=15115@1.

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CONSELHO NACIONAL DE DESENVOLVIMENTO CIENTÍFICO E TECNOLÓGICO
Neste trabalho traço um caminho entre o simbolismo e o modernismo no Brasil. Um caminho de fusão entre estas duas escolas como contraponto ao pensamento hegemônico sobre o simbolismo, que o define como movimento marginalizado dentro do parnasianismo e sem grande repercussão na geração futura. Para fazer este caminho lanço mão de estudos sobre textos e obras críticas dos dois movimentos, além da correspondência e documentação, em grande parte inédita, entre Alphonsus de Guimaraens Filho e algumas das principais figuras do modernismo brasileiro.
In this work I create a path between symbolism and modernism in Brazil. A path of fusion between those schools on the other hand of an hegemonic opinion that symbolism was trapped inside parnasianism and did not influenced the next generation. To follow this path I use texts and critic works of those schools and also the letters and documents, most of all inedited, between Alphonsus de Guimaraens Filho and some of the major figures of Brazilian modernism.
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Fassie, Vanessa Laure. "reunion: A Journey Through History, Symbolism, and Fear." VCU Scholars Compass, 2007. http://scholarscompass.vcu.edu/etd/794.

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The contents here in examine the artistic process undertaken by Vanessa Fassie to create the mixed media work, reunion. The subjects of fear, archetypal symbolism, personal and collective histories were examined through research, archival evidence, video, sound, movement, and installation. reunion, examines not only the powers of personal and collective histories through the symbolic language of archetypes, but also how fear manifests and evolves through time. The culmination of this work was the creation of an installation within the Anderson Gallery at Virginia Commonwealth University. This Thesis was created through the use of Microsoft Word 2004.
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Kappel, Caroline J. "Labyrinthine Depictions and Tempting Colors: The Synaesthetic Dances of Loïe Fuller as Symbolist Choreography." Ohio University / OhioLINK, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1195707359.

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45

Randolph, Jena K. Stichter Janine P. "Supporting practitioners' use of pivotal response training within educational contexts." Diss., Columbia, Mo. : University of Missouri--Columbia, 2009. http://hdl.handle.net/10355/7024.

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Title from PDF of title page (University of Missouri--Columbia, viewed on Feb 26, 2010). The entire thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file; a non-technical public abstract appears in the public.pdf file. Dissertation advisor: Dr. Janine Stichter. Vita. Includes bibliographical references.
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Nengovhela, Rofhiwa Emmanuel. "The role of symbolism in Tshivenda discourse : a semantic analysis." Thesis, University of Limpopo, 2010. http://hdl.handle.net/10386/1342.

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47

Larsson, Victor. "Organisationskultur : Ett kritiskt granskande genom modernism, symbolism och postmodernism." Thesis, Linnéuniversitetet, Ekonomihögskolan, ELNU, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-18898.

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Organizational culture is subject of a great debate nowadays and there is especially three schools which affairs its nature of reality; modernism, symbolism and postmodernism. This thesis is built upon a case study about the organization Idé & KunskapsCentrum, which experience various cultural issues. Observations made during visits in the organization environment forms the ground on which discussions about different perspectives are made regarding organizational culture. The thesis describes and investigates the subject of organizational culture and its relationship to human behavior in organizations. Furthermore, I discuss and analyze organizational culture from the three different perspectives, in order to present a critical view on the subject for the reader. The thesis is based upon a case study about the organization Idé & KunskapsCentrum. A qualitative research method has been conducted with data collected especially from an ethnographic study, but also via semi-structured interviews. The theoretical data has been collected following an inductive process. I have come to the conclusion that you cannot base your view on organizational culture, solely from the view of the modernism. In order to create a sufficient understanding about the subject, one has to be aware of the other perspectives within the discourse, and use that knowledge to think and act critically regarding organizational culture.
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Alexandri, Alexandra. "Gender symbolism in Late Bronze Age Aegean glyptic art." Thesis, University of Cambridge, 1994. https://www.repository.cam.ac.uk/handle/1810/251901.

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Yardy, Brandon John, and University of Lethbridge Faculty of Arts and Science. "Sound symbolism, sonority, and swearing : an affect induction perspective." Thesis, Lethbridge, Alta. : University of Lethbridge, Dept. of Psychology, 2010, 2010. http://hdl.handle.net/10133/2556.

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The relationship between word form and word meaning has been debated since early Greek philosophy. Conventionally, the relationship is held to be arbitrary: that there is no natural connection between a word and what it represents (de Saussure 1959). In contrast, examples of sound symbolism undermine this linguistic tenet by demonstrating non-arbitrary word meanings conveyed in details of the acoustic signal of the words themselves. The Affect Induction model of animal communication offers a natural explanation for some forms of sound symbolism in language. According to the Affect Induction model, the physical properties of signals influence receiver affect and behavior in specific ways through relatively direct effects on core sensory, psychological and affective processes. To investigate the possible implications of this model for sound symbolism in human language, a set of studies was conducted on the classic “bouba-kiki” phenomenon. An analysis was subsequently undertaken to extend the results of experiments to several corpuses of real words classically associated with divergent affective themes. Results suggest that the Affect Induction model might account for some forms of sound symbolism, as instantiated in real word usage.
viii, 89 leaves : ill. ; 28 cm
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Howell, Naomi. "The tomb in twelfth-century romance : Representations, symbolism, spirituality." Thesis, University of Exeter, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.535880.

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