Journal articles: 'Symbolism'

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Kielak, Olga. "Symbolika leszczyny w polskiej kulturze ludowej. Fragment definicji kognitywnej." Adeptus, no. 3 (April 4, 2014): 96–109. http://dx.doi.org/10.11649/a.2014.007.

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The symbolism of hazel in Polish folk culture. A fragment of cognitive definitionThe article discusses the symbolism of the hazel plant which constitute a segment (one facet) of the cognitive definition of a hazel bush. The symbolism of the hazel is a category which terminate and gather in together other facets constituting the entry ‘Hezel’ in the Lublin ethnolinguistics dictionary (Słownik stereotypów i symboli ludowych, red. J. Bartmiński, S. Niebrzegowska-Bartmińska): i.e. the plants’ provenance, image, time and place of flourishing; its magical, apotropaical, therapeutical, ritual and practical use etc. The symbol is thus – next to the stereotype – the second key concept in this dictionary. The author shows the different symbolic meanings attributed to hazel in Polish folk culture – the symbolism of the space tree, the symbolism of sacredness, a symbol of life, duration, recovery and growth; symbol of power and health, the symbolism of fertility and abundance, and a symbol of girl. Symbolika leszczyny w polskiej kulturze ludowej. Fragment definicji kognitywnejW artykule omówiona została symbolika leszczyny stanowiąca wycinek (jedną fasetę) definicji kognitywnej leszczynowego krzewu. Symbolika leszczyny jest kategorią, która wieńczy hasło, bazując na pozostałych fasetach - dotyczących m. in. pochodzenia, wyglądu, czasu i miejsca kwitnienia, zastosowania apotropeicznego, magicznego, leczniczego, obrzędowego i praktycznego - spina je wspólną klamrą. Symbol jest bowiem, obok stereotypu, drugim kluczowym pojęciem w lubelskim słowniku etnolingwistycznym (Słownik stereotypów i symboli ludowych, red. J. Bartmiński, S. Niebrzegowska-Bartmińska). Autorka prezentuje różne sensy symboliczne przypisywane w polskiej kulturze ludowej leszczynie – symbolikę drzewa kosmicznego; symbolikę świętości; symbol życia, trwania, regeneracji i wzrastania; symbol mocy i zdrowia, symbolikę płodności i obfitości oraz symbol dziewczyny.

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Van Rensburg, F. I. J. "Van Wyk Louw Simbolis?" Literator 11, no. 1 (May 6, 1990): 35–55. http://dx.doi.org/10.4102/lit.v11i1.792.

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In this article the question is posed whether one is justified in associating N.P. van Wyk Louw’s work with Symbolism as seen in terms of its being a historical art movement. At first sight some of the main characteristics of his work seem incompatible with the overall spirit of Symbolism. A close look is taken at these characteristics. They are weighed against typical characteristics of Symbolism. A number of common traits are discovered. Following this, a study of Van Wyk Louw’s utterances in his prose works is undertaken to establish the extent of his knowledge of the works of Symbolists and of Symbolism as such, The unfolding history of his contact with their work and with Symbolism is traced. Some revealing relations are uncovered. Having established a number of definite Symbolist traits in his work, his poetical oeuvre is projected against the set of fundamental characteristics of Symbolism as a phenomenon identified by S. Dresden in his book Symbolisme (1980). Seen at against this background, the range of symbolist features in his work shows up clearly. The conclusion reached is that Van Wyk Louw so thoroughly absorbed those characteristics of Symbolism that corresponded with his own creative personality that they have blended almost imperceptibly with the rest of his oeuvre, thereby creating the impression that they are fully native to his work.

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Nasgaard, Roald, Robert L. Delevoy, Barbara Bray, and Robert Goldwater. "Symbolists and Symbolism." Art Journal 45, no. 2 (1985): 155. http://dx.doi.org/10.2307/776793.

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Lombard, M., and H. Viljoen. "Die verdonkerende spieël: Simbolistiese trekke in Wilma Stockenstrom se eerste drie bundels." Literator 14, no. 3 (May 3, 1993): 21–36. http://dx.doi.org/10.4102/lit.v14i3.709.

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This article is an attempt to relate the first three of Wilma Stockenstrom's collections of poetry to international Symbolism. First we discuss possible links between her work and Symbolism. The mam emphasis then falls on Stockenstrom’s method of Symbolism, the possible symbolist tone of her work and prominent symbolist motifs in her work. Finally we consider some manifestations of the symbolist oilier world in these collections. The conclusion arrived at is that Stockenstrom's earlier work shows many of the main characteristics of Symbolism so that her work can be regarded as a continuation of the symbolist tradition. This tradition undergoes three important transformations in her work: the European world of symbolist poetry is replaced by an archeologically rich but mute African world, modern science and technology replaces the medieval system of reference of Symbolism, and sound and musicality p la y a much smaller part in Stockenstrom's poetry. Stockenstrom's cynical, ironic tone, the use of opaque kafkaesque symbols, her emphasis on tentative visions, her distrust of language and her tendency to relativize frames of reference in the endings of her poems, show that Stockenstrom's poetry has already crossed the boundary to Modernism.

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Jimmi and Juniato Sidauruk. "SYMBOLISM DISCUSSION OF THE ANGELS AND DEMONS MOVIE." Wiralodra English Journal 4, no. 2 (October 3, 2020): 1–14. http://dx.doi.org/10.31943/wej.v4i2.92.

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This research focuses on symbolism which is appeared in Angels and Demos movie. There are various symbolisms shown through this Angels and Demons movie. Most of the symbolism has different meaning to be analyzed. The discussion covers on symbolism specifically on types and meaning on it. This research uses qualitative-description research which is accomplished by the writer by getting the data needed through this movie, having the library and internet research with the relevant sources, collects the data to be analyzed also describing meaning by explaining the result of the research. The conclusion of the research is finding five types of symbolism whereas only three symbolisms are suitable for this research, discover the meaning of every single symbolism found.

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Sulaiman, Masagus. "An Analysis of Symbolism in the Five Selected Love Poems of Nicholas Gordon." ALSUNA: JOURNAL OF ARABIC AND ENGLISH LANGUAGE 2, no. 1 (May 28, 2019): 1–15. http://dx.doi.org/10.31538/alsuna.v2i1.246.

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This research is aimed at figuring out the dominant symbolisms and the meanings in the five selected love poems of Nicholas Gordon. The descriptive-qualitative method was applied in this research. To analyze the data, the researcher used qualitative data analysis. The results showed that there were twenty five conventional symbolisms and nineteen natural symbolisms in the five selected love poems of Nicholas Gordon. In other words, four conventional symbolisms and four natural symbolisms in the first selected love poem, four conventional symbolisms and eight natural symbolisms in the second selected love poem, ten conventional symbolisms and one natural symbolism in the third selected love poem, four conventional symbolisms and three natural symbolisms in the fourth selected love poem, and three conventional symbolisms and three natural symbolisms in the fifth selected love poem. In conclusion, conventional symbolism was more dominant than natural symbolism, and most of the meanings of the poems related to feelings of happiness and sadness in line with love relationship.

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Al-Chalabi, Omar Fawwaz. "Aesthetic Positions of Symbolism in the Works of Iraqi Artists 1970–1990." Izvestia Ural Federal University Journal Series 1. Issues in Education, Science and Culture 28, no. 3 (2022): 166–77. http://dx.doi.org/10.15826/izv1.2022.28.3.056.

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The article is devoted to the study of the aesthetics of symbolism in the works of contemporary Iraqi artists of the 1970s–1990s. The purpose of the study is to analyze the content of symbols in the works of Iraqi symbolist artists in the context of historical and cultural events of the country. The author uses descriptive, analytical, comparative historical methods of scientific research. A brief history of Iraqi symbolism is given. The analysis of the works of Iraqi symbolist artists such as M. Ahmad, V. Sheit, R. Dabdub, D. Azzawi, Sh. H. Al Said is carried out, which allows to clarify the symbolism of Iraqi painting of the 1970s–1990s.

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Oboladze, Tatia. "Georgian Symbolism: Context and Influence." International Journal of Applied Linguistics and English Literature 7, no. 2 (March 1, 2018): 110. http://dx.doi.org/10.7575/aiac.ijalel.v.7n.1p.110.

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In the 1910s in the Georgian literary area the first Symbolist group TsisperiQantsebi (The Blue Horns) comes into being, with a clearly defined purpose and aesthetic position, which implied renewing the Georgian literature and including it into the Western context. Desiring to expand the thought area and to modernize Georgian literature, Georgian Symbolists rested on the philosophical and worldview principles of French Symbolism. Georgian Symbolism appears as an original invariant generated from the French Symbolist aesthetics, which is unequivocally national.

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Oboladze, Tatia. "Wine, Opium, and Hashish in Georgian and European Symbolism." Ars & Humanitas 16, no. 1 (December 22, 2022): 219–30. http://dx.doi.org/10.4312/ars.16.1.219-230.

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The subject of the article “Wine, Opium, Hashish in Georgian and European Symbolism” is the identification of the cultural links between Georgian and European (primarily French and, German) symbolism. Our goal is to determine the role and place of Georgian symbolism in the world literature context and study the cultural-aesthetic ties that have influenced the art of the Georgian symbolist group, the process of forming their aesthetic taste and worldview. In this article, we focus on the genesis of the symbolist theory of the myth, its specific nature and the motivation for the creation of a new mythology. In addition, we consider the theme of wine, opium and hashish in Georgian and European cultural areas, and analyse the conceptual sense and function of this new mythology.

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Ryabchenko, V. D. "The Evolution of Symbolist Ideas in the Zolotoe Runo Magazine." Concept: philosophy, religion, culture 4, no. 3 (September 28, 2020): 158–67. http://dx.doi.org/10.24833/2541-8831-2020-3-15-158-167.

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The article treats the role art magazine Zolotoe runo played in history of symbolist’s theoretical ideas. By 1906, symbolism as a philosophical and aesthetic movement enters a crisis stage (and, then, a renaissance) — the pioneering movement has become utterly formal, tendentious, and has even acquired public recognition, which contradicts the modernist spirit. Zolotoe runo turns into a platform for the adversaries of outdated, decadent or individual symbolism, changing the symbolist nature and landscape. V. F. Khodasevich suggests that not only hasn’t symbolism been yet studied, but it also doesn`t seem to have been even read. This phenomenon and its notion deserve proper research. The scientific community’s interest in this movement is growing, as the importance of symbolism comes to light, and it becomes more evident that it was not only a milestone in history, but it also predetermined many trends in the development of culture and art up to the present day. Apart from that, the extreme heterogeneity within the symbolist movement and its paradoxical and unexpected metamorphoses are rarely understood. Nonetheless, through the analysis of such magazines as Zolotoe runo, and by drawing upon the research of cultural scientists, art historians and literary critics, we can clarify the features of symbolism, contradictory and holistic at the same time.

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Riabchenko-Shats, Valeriia Dmitrievna. ""Vesy" magazine as an indicator of the maturity of Russian Symbolism." Культура и искусство, no. 4 (April 2023): 10–21. http://dx.doi.org/10.7256/2454-0625.2023.4.40395.

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“Vesy” magazine has become an extremely important milestone on the path of self–knowledge of Russian symbolism - its pages have captured the final design of the main principles and methods of this literary and cultural movement. However, the cultural discourse on the pages of the magazine, despite popular belief, was not homogeneous and static. Having marked the strengthening of symbolism as an important phenomenon in art and public life, “Vesy” magazine at the same time became a platform for discussions about the crisis of symbolism that was brewing at the beginning of the XX century, reflecting completely different stages of the development of this trend. The subject of this research is the journalistic materials published on the pages of “Vesy”, the object of the work was the evolution of the ideas of symbolism reflected in selected materials. With the help of discourse analysis, it became possible to study the most important stages of the development of symbolist discourse, which is the purpose of this work. The analysis of the journalistic materials of the magazine showed that “Vesy” failed to remain within its original ideological and aesthetic positions: contrary to traditional ideas, symbolism sought to live its own time, and during the period of social upheaval, its ideas were certainly developed. The results obtained can contribute to the theoretical knowledge about the symbolist journalism, “Vesy” magazine, as well as the evolution of the ideas of symbolism.

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Burlacu, Alexandru. "Luminița Bușcaneanu: o viziune postmodernă asupra poeziei simboliste românești." Limba, literatura, folclor, no. 2, 2021 (December 2021): 67–73. http://dx.doi.org/10.52505/llf.2021.2.06.

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The volume „Romanian Symbolist Poetry”, whose introductory study, selection of texts and bibliography were signed by Luminița Bușcaneanu, includes, in fact, 2 books: the monographic study on Romanian poetic symbolism and the anthology of poetic texts that subsumes a documented selection, performed competently and meant to demonstrate that the 40 authors „present a set of harmonious counterpoint ‚voices’ in general polyphony, which is the universal symbolism.”In the author’s opinion, the Romanian symbolism, in relation to the French one, is “in a different antithesis to the romanticism, arguing with the literary tradition of inspiration, in principle, folkloric – but, nevertheless, without ‚insurrections, without the publicity of the separation or the abuse of tradition’ – and trying to adapt the funds of French symbolism to the parameters of another type of artistic sensibility, the Romanian symbolism makes a brave leap to synchronize with the literatures of the world.”

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Borozan, Igor. "Simbolistički opus Mihe Marinkovića i njegova recepcija u srpskoj sredini." Ars Adriatica 9 (February 28, 2020): 133–50. http://dx.doi.org/10.15291/ars.2928.

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The paper analyses the symbolist works in the under-researched opus of painter Miho Marinković. Trained at the Munich Academy of Fine Arts, he is primarily known as a painter of intricate themes that can be categorized as late 19th-century symbolism. In 1904, he settled in Belgrade and became an active participant in the cultural scene of the Serbian capital. In 1911, Marinković’s paintings were exhibited in the Pavilion of the Kingdom of Serbia at the International Exhibition in Rome. His symbolist oeuvre covers the standard themes of symbolist painting, such as Medusa, Lucifer, or The Sinner, which speaks both of the artist’s personality and of the eclectic turn of the century. Symbolism in Marinković’s work reflects his training in Munich, which in the late 19th and early 20th centuries was the European centre of somnambular themes and artistic experiments. In this paper, his oeuvre has been considered in the context of general symbolist structures, with particular references to the Munich symbolism. Some reviews of Marinković’s symbolist paintings have been pointed out, which testify to the history of the reception of his work in the Kingdom of Serbia in the early 20th century. The positive reception of Marinković’s paintings in the Serbian setting is evident from the fact that as many as thirty-five of his works have been included in the holdings of the National Museum in Belgrade.

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Vanover, Ty. "Sex, Sign, Subversion: Symbolist Art and Male Homosexuality in 19th-Century Europe." Arts 13, no. 3 (June 5, 2024): 103. http://dx.doi.org/10.3390/arts13030103.

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There is something queer about Symbolism. Art historians have long acknowledged the links between Symbolist aesthetics and contemporaneous ideas about human sexuality, and even a cursory examination of artworks by male Symbolist artists working across the continent reveals an eyebrow-raising number of muscled nudes, lithe ephebes, and intimate male couplings. The sensual male body could register the artist’s erotic desire, even as he put it forth as an idealized emblem of transcendental truth. But perhaps Symbolism’s queerness extended beyond subject matter. Scholars have argued that Symbolism was in part defined by a subversive approach to visual semiotics: a severing—we might say a queering—of the ties binding a sign to its established cultural meaning. Similarly, male homosexual subcultures were sustained by endowing established signs and pictures with a uniquely queer significance. This paper seeks to tease out the relationship between Symbolist aesthetics and male homosexuality in terms of a shared sensibility towards pictorial interpretation. Taking as a case study the work of the Swedish Symbolist artist Eugène Jansson, I argue that Symbolism held appeal for homosexual artists precisely because queer subcultures were primed to read subversive meaning into normative pictures. Offering a new reading of Symbolism’s sexual valences, I contextualize the movement’s attendant artworks within the broader cultural landscape of homosexual signs and symbols and articulate the parallels between Symbolist approaches to the image and queer modes of seeing in the late nineteenth century.

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Zou, Jiahao. "Porównanie symboliki wierzby i lilii w chińskiej i polskiej kulturze na tle teorii językowego obrazu świata." Gdańskie Studia Azji Wschodniej, no. 23 (August 31, 2023): 84–103. http://dx.doi.org/10.4467/23538724gs.23.005.18151.

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The article introduces the symbolism of the willow and the lily, which have played an important role in the lives of Chinese and Poles over many years. The research issue of this article is the question: What are the differences and similarities in terms of willow and lily symbolism in Chinese and Polish culture? The article is based on an analysis of literature. It aims to indicate the symbolism of the willow and the lily and to find the roots of their differences and similarities in Chinese and Polish cultures. The first part of the article is devoted to the theory of a linguistic worldview, which is the theoretical basis of the research. The second part of the article focuses on the most important and widespread symbolisms of the willow. The third part presents the most important connotations of the lily in both cultures. I It turns out that there are many similar symbolisms of the willow in Chinese and Polish culture, such as homesickness and vitality, etc. Nevertheless, the willow is an attribute of the noble hermit in Chinese culture, while in Polish culture it symbolizes susceptibility because of its pliancy. There are also many analogies in the associations of the lily in Polish and Chinese cultures, such as purity and holiness. Contrary to appearances, in the two civilizations the differences in lily symbolism are not readily apparent.

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Van der Elst, J. "Simbolisme: ’n poging tot deflniering." Literator 11, no. 1 (May 6, 1990): 1–12. http://dx.doi.org/10.4102/lit.v11i1.790.

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In this article an attempt is made to establish a framework within which one can define or describe Symbolism as a literary phenomenon. As is the case with most literary movements one cannot reach a final definition or conclusion on Symbolism because it has many manifestations in different countries with different literary artists - so many men, so many minds. It is, however, possible to identify some common trends in the works of many symbolist poets and prose-writers. These trends are outlined in this article. The following also serves as an introduction to a special issue of Literator on Symbolism and its occurrence in the literary works of D.J. Opperman, Totius, N.P. van Wyk Louw and other Afrikaans literary artists. This special issue forms part of a comprehensive investigation into the incidence of Symbolism in the Afrikaans literary tradition undertaken by the Departement Afrikaans-Nederlands of the PU for CHE under the supervision of prof. D.H. Steenberg and with financial assistance of the Human Sciences Research Council.

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Yeong, Yin Mei, Khairul Aidil Azlin Abd Rahman, Nor Atiah Ismail, and Nangkula Utaberta. "The Symbolism and Survivability of Royal Identity (RI) for the Upper Section of the Taoist Temple Built in the 19th Century in the Klang Valley, Malaysia." Journal of Design and Built Environment 23, no. 3 (December 26, 2023): 83–97. http://dx.doi.org/10.22452/jdbe.vol23no3.5.

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Taoist temples are considered a nation-specific religious and exceptional cultural landmark regionally. The design principle of the lower, middle, and upper sections of the physical building profoundly symbolised royal identity (RI). Scholars discovered that despite Chinese lineage positively recognising the importance of this symbolism, they were clueless about it, notably the configuration of the upper section. The objective of this paper is primarily to identify the design symbolism of the Taoist temple and assess the survivability of the RI for the upper section: 1) roof form; 2) ornamentation and 3) roof colour. Qualitative research was administered by conducting an observational study amongst the ten selected Taoist temples constructed in the 19th century in the Klang Valley. The results revealed that most of the design symbolisms inherited from the Southern region of Mainland China and RI were lessened. Interestingly, the samples synthesised the orthodox RI with indigenous local Malay vernacular architecture, the ventilated roof. The finding not only potentially intensifies the Chinese community by providing insightful knowledge, but it also eases the practical-knowledge gap amongst design practitioners and revitalises the tourism industry in the culture, arts, and heritage domains.

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Shih, Stephanie S., Jordan Ackerman, Noah Hermalin, Sharon Inkelas, and Darya Kavitskaya. "Pokémonikers: A study of sound symbolism and Pokémon names." Proceedings of the Linguistic Society of America 3, no. 1 (March 3, 2018): 42. http://dx.doi.org/10.3765/plsa.v3i1.4335.

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Sound symbolism flouts the core assumption of the arbitrariness of the sign in human language. The cross-linguistic prevalence of sound symbolism raises key questions about the universality versus language-specificity of sound symbolic correspondences. One challenge to studying cross-linguistic sound symbolic patterns is the difficulty of holding constant real-world referents across cultures. In this study, we address the challenge of cross-linguistic comparison by utilising a rich, cross-linguistic dataset drawn from the Pokémon game franchise. Within this controlled universe, we compare the sound symbolisms of Japanese and English Pokémon names (pokemonikers). Our results show a tendency in both languages to encode the same attributes with sound symbolism, but also reveal key differences rooted in language-specific structural and lexical constraints.

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Pack, R. "Symbolism in French literature." Literator 11, no. 1 (May 6, 1990): 67–76. http://dx.doi.org/10.4102/lit.v11i1.794.

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To talk of Symbolism in French literature may be ambiguous, as two different categories of writers have been grouped under this generic term: the symbolists stricto sensu, such as Moréas or Viélé-Griffin, who were mostly minor poets, and some great figures of French literature. The aim of this article is to show that, although Symbolism as an organized movement did not produce any important contribution, the nineteenth century witnessed indeed the emergence of a new trend, common to several poets who were inclined to do away with the heritage of the classical school. These poets - of whom Baudelaire, Verlaine, Rimbaud and Mallarmé are the most renowned, although they did not really associate with the symbolist school, created individualistic poetry of the foremost rank.

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Minnullin, Oleg R. "THE LEGACY OF SYMBOLISM: ON EVOLUTION OF ITS RECEPTION BY ACMEISTS." Practices & Interpretations: A Journal of Philology, Teaching and Cultural Studies 7, no. 4 (December 22, 2022): 161–78. http://dx.doi.org/10.18522/2415-8852-2022-4-161-178.

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The article analyzes a number of poems by Acmeists, representative for the philosophical and aesthetic foundations and poetics of this movement in the Russian poetry of the Silver Age. The research attention is focused on reception dynamics, in particular, the legacy of symbolism, by the poets of the acmeistic direction. Acmeism in the study is interpreted, first of all, as post-symbolism: philosophical-aesthetic and purely artistic achievements of the older poetic movement of Symbolists became a foundation for their own artistic achievements. The Acmeists’ break up with the Symbolists was never absolute. The declared opposition to Symbolism left great opportunities for attraction and reliance on previous practicies and their direct use in the process of cultural and artistic transmission. Creative strategies of Symbolism have always continued to exist within the frame of the Acmeists’ activity, and since the 1920s sometimes they even determined the nature of their art. The article analyzes in detail the selected poems by A. Akhmatova, N. Gumilev, G. Ivanov, and G. Adamovich. In the article it is established that among the “younger” acmeists (G. Ivanov and G. Adamovich), compared with the older ‘Guild poets’ (N. Gumilev and A. Akhmatova), the attraction to the creative principles approved by the Symbolist poets is increasing. Representatives of the younger acmeist group can be defined as “those who overcame Acmeism” (in analogy with the well-known title of the article by V.M. Zhirmunsky “Those who overcame Symbolism”). The essence of this overcoming consists in removing the fundamental opposition of aesthetic attitudes and poetics of two movements: the symbolist impulse to the transcendent, supported by the corresponding poetic language, and the acmeistic requirement for the tangibility, convexity, material and bodily “heaviness” of the artistic image.

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Rahayu, Kristina Indah Setyo. "A Comparison on Hyponymy and Cultural Symbolism of Six Color Words between Chinese Language and Bahasa Indonesia." Lingua Cultura 8, no. 2 (November 28, 2014): 61. http://dx.doi.org/10.21512/lc.v8i2.444.

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Color words originate from natural world. In general different languages have similar patterns of color hypernymy. Nevertheless, when it comes to color hyponymy, it is not the case. Specific color hyponyms have emerged because different countries have different cultures. Besides, color words are also rich in cultural symbolism. In other words, same colors in different countries have different cultural symbolisms. This paper analyzed six color words (red, white, yellow, blue, green, and black) between Chinese language and bahasa Indonesia to find similarities and differences both in hyponymy and in culture symbolism.

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Loughlin, Sister Noel. "SYMBOLISM." Perspectives in Psychiatric Care 21, no. 1 (January 16, 2009): 9–17. http://dx.doi.org/10.1111/j.1744-6163.1983.tb00165.x.

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Pasichnik, Oleksandr, and Eugene Piletsky. "RELIGIOUS SYMBOLISM IN CINEMA: "BARBIE"." Bulletin of Taras Shevchenko National University of Kyiv. Philosophy, no. 9 (2023): 36–39. http://dx.doi.org/10.17721/2523-4064.2023/9-6/15.

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B a c k g r o u n d . Genre-wise the article is a form of publication of analytical conclusions resulting from researching religious symbolism within the movie. The material for interpretation was derived from mass media, in particular cinematography. The article describes religious symbolism within the movie "Barbie" (2023). It is made apparent that the wide array of religious symbols in modern cinema requires a new approach. M e t h o d s . Issues with defining religious symbolism in cinema have inspired a search of appropriate methods and research methodology. The article utilizes analytical approach based on religious symbolism found in the artistic source material – in this case a movie. R e s u l t s . With that considered the goal of the scientific research was to track down instances of religious symbolism in "Barbie" movie; such was confirmed to be abundant within otherwise mundane work. Barbieland symbolises paradise withiin the movie's fictional universe: it's a perfect place with no diseases or suffering, populated by perfect people ignorant of sorrow, problems, and worries. Naturally, the exile from paradise is a theme that is also predent. C o n c l u s i o n s . Brief research concludes that the "Barbie" movie features disguised religious symbolism – a common trope for many works within modern cinema.

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Im, Yeeyon. "“A SERIOUSNESS THAT FAILS”: RECONSIDERING SYMBOLISM IN OSCAR WILDE'SSALOMÉ." Victorian Literature and Culture 45, no. 1 (February 13, 2017): 163–75. http://dx.doi.org/10.1017/s1060150316000486.

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Writing as recently as 2011, Michael Bennett asks ifSaloméis an anomaly in the oeuvre of Oscar Wilde (viii). Read against his witty societal comedies of manners, it certainly appears to be one.Saloméhas been regarded as a fine example of symbolist drama in the history of British theatre, and few critics would dispute its “seriousness” as such. Its growing significance in recent discourses of gender and sexuality also adds seriousness to the play. Although Feminist and gender critics show little qualms about dubbing the play as symbolist, the final tableau of a young girl kissing the mouth of the severed head seems to me at odds with symbolism, whether Salomé is seen as an archetypal femme fatale, a queer man in disguise, or a New Woman as critics argue. Symbolism in Wilde'sSaloméis widely different from other specimens of the genre such as Yeats'sThe Countess Cathleen, for instance, which directly deals with a spiritual issue of the salvation of soul.Saloméalso lacks the fatalistic sense of doom that dominates Maeterlinck'sPrincess Maleine, with which it is often compared. Wilde's wayward heroine is not a victim of the invisible forces in the same way Maeterlinck's characters are. Wilde's Salomé is “monstrous,” as Herod says: she seems to commit “a crime against some unknown God” (Complete Works604). How can we reconcile her cruel passion of carnal desire with the supposed spirituality of the symbolist tradition? Also problematic in a symbolist reading of the play is the presence of the comic and the parodic, as pointed out by many critics. Is Wilde'sSaloméan authentic symbolist drama?

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Greenberg, Meg. "Synesthesia and Literary Symbolism." Forum Italicum: A Journal of Italian Studies 43, no. 2 (September 2009): 362–84. http://dx.doi.org/10.1177/001458580904300203.

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‘Synesthesia and Literary Symbolism’ broadens the well-established relationship between synesthesia and French Symbolist poetry to include Marinetti's experimentation with sensory blurring. Synesthesia was a recognized medical condition that came to public awareness by the end of the nineteenth-century both because of work made available to the public as well as there being a general sense associated with modernity of nervousness. The Symbolist poets beginning with Baudelaire applied the scientific concept of synesthesia as a metaphor to describe the modern condition. The feeling of the interconnectedness of the body and the city was picked up on most notably by Jules Romains, the founder of Unanimism and by Gustave Kahn and Gian Pietro Lucini, who helped to breathe new life into poetry by freeing verse of its traditional meter. Marinetti followed the example of his predecessors with the invention of the parole in libertà, which allowed for the representation of sensory overload.

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Bošnjak, Matija. "Elements of Dramatic Symbolism in the Poetics of Miodrag Žalica." Društvene i humanističke studije (Online) 6, no. 3(16) (July 27, 2021): 43–58. http://dx.doi.org/10.51558/2490-3647.2021.6.3.43.

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In the literary and theatrical critique of his time (second half of the 20th century), Miodrag Žalica was recognized as a representative of symbolist poetics in Bosnian-Herzegovinian drama. The features of Žalica’s dramatic symbolism have, however, rarely been observed through analyzing the technique of his dramatic works in concreto. The Piece Mirišu li jorgovani u Njujorku, written in 1988, certainly represents the culmination of Žalica’s poetics, and is, in that sense, suitable for an analysis of the symbolic network as a specific trademark of his authorship with regards to the poetics of symbolism in European modern drama at the turn of the 19th to 20th century.

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Vorova, T. P., N. V. Pidmogylna, and O. I. Romanova. "Short Excursus into the History of the Russian Symbolism Origin." International Letters of Social and Humanistic Sciences 63 (November 2015): 151–217. http://dx.doi.org/10.18052/www.scipress.com/ilshs.63.151.

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Being well-known nowadays as the Silver Age of Russian literature, Russian symbolism is an extraordinary phenomenon of spiritual life at the end of the 19th – beginning of the 20thcenturies. This essay aims to study the appearance and development of Russian symbolism as a result of revaluation of cultural wealth in philosophy / art and stimulation of the appropriate rise of the certain aesthetic systems which were embodied in the literary works of that period. The current study introduces a new approach to the origin of this trend and represents the new tendencies in Russian symbolist novels which were beyond the artistic movements of that epoch. The sources of symbolist literature are traced in the principles of esoteric theory and its basic postulates. The results of the investigation and received conclusions are confirmed with the direct textual references from the novels of the writer who proves to be a forerunner of literature with bright mystical orientation.

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Сергеев and Oleg Sergeev. "Specific Features of Symbolist Metaphor Communicative Function." Modern Communication Studies 2, no. 6 (December 15, 2013): 53–56. http://dx.doi.org/10.12737/1897.

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An overview related to opuses of Feodor Sologub, a symbolist writer, who is very popular in Russia as well as over the world, is made in this paper. The paper’s main task is a study of Christmas story specificity. Two histories of two personages as parallel narrative structures are considered. A close-up view of fable features related to Sologub´s prose are shown. In this story reflections about Christmas miracle are combined with analysis related to sincere and spiritual orders of central personages. The methodological connection between symbolism and classicism is established in this paper. This feature of Russian symbolism is noted for the first time in literary criticism. In the center of paper author’s attention is an originality of a symbolist meta- phor which is considered not only as tracks but also as a communication element between heroes of the story.

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Davydova, Olga Sergeevna. "Sculptural rhymes of Art Nouveau: on the visual poetics of symbolism." Философия и культура, no. 2 (February 2022): 1–12. http://dx.doi.org/10.7256/2454-0757.2022.2.37229.

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This article is first within the Russian and Western art history to examine the concept of visual poetics as a separate subject of research. Based on the analysis of iconographic and theoretical searches of the masters of symbolism, which found reflection within the boundaries of expressive means of visual art, the author comes concludes on the poetic principles of symbolist artists as the fundamental sources of the formation of the style of Art Nouveau – a new sculptural language of the XIX – early XX centuries. Detail characteristic of the philosophical-aesthetic content that underlies optical forms of the visual symbolist image, in its scientific origins leans on the capabilities of the art comparative-formal analysis, as well as iconological method adapted to the period under review. The innovative conceptual approach towards studying the art of symbolism lies in the fact that poetry as the concept is depicted beyond the literary sphere, as a specific type of artistic worldview that influenced the development of the visual language of art in the era of Art Nouveau. At the same time, visual poetics is compared to the complex system of internal images, which shape in with the works of the master throughout the entire path of his self-expression, and are directly related to profoundness of the poetic principle of the soul, lyrical and metaphorical intuition of the artist. This approach allows us broadening the representation on the aesthetic benchmarks of the symbolist artists, as well as designating the new methodological coordinates in the field of studying the art of symbolism in both national and international contexts.

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Vadillo, Ana Parejo. "Symbolism at war: Charles Ricketts and the politics of the stage." Journal of European Studies 51, no. 3-4 (November 2021): 318–36. http://dx.doi.org/10.1177/00472441211033397.

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This article considers the effect of World War I on Charles Ricketts’ work for the stage as an avant-garde set and costume designer. It looks at his cosmopolitan designs in the context of European symbolism. The first part of the essay focuses on Ricketts’ symbolist manifesto ‘The art of stage decoration’ (1913). The essay then examines his designs for three Shakespeare plays that toured Le Havre in 1918 to entertain the troops. I argue that, in the aftermath of the war, Rickett’s symbolism became the lens through which he assessed the complex political landscape of the 1920s, and suggest that his stance against realism politicized his practice and explains his interest in Mussolini’s fascism.

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Shinohara, Kazuko, and Shigeto Kawahara. "A Cross-linguistic Study of Sound Symbolism: The Images of Size." Annual Meeting of the Berkeley Linguistics Society 36, no. 1 (August 24, 2010): 396. http://dx.doi.org/10.3765/bls.v36i1.3926.

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In lieu of an abstract, here is a brief excerpt:Although the sound-meaning relationship is often arbitrary (Saussure 1916), cases exist in which some sounds correspond to certain meanings. Such association between sounds and meanings is known as sound symbolism, and there has been a longstanding interest in the existence and the nature of sound symbolism. This paper reports an experiment on size-related sound symbolism, which shows that certain sound symbolisms hold robustly across languages. In particular, we investigate how the images of size (small or large) are affected by three phonetic factors: the height of vowels, the backness of vowels, and voicing in obstruents. Our rating experiment of four languages—Chinese, English, Japanese, and Korean—shows that these three factors contribute to the images of size, with only a few exceptions. To explain the results, we offer phonetic grounding of these size-related sound symbolic patterns. We further raise the possibility that these phonetically grounded sound symbolic patterns are ‘embodied’ in the sense of Johnson (1987) and Lakoff and Johnson (1980, 1999).

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Lima, Wesley dos Santos. "MONUMENTOS POLÍTICOS OU A POLÍTICA DOS MONUMENTOS? OS SIMBOLISMOS NA PRAÇA DOS GIRASSÓIS EM PALMAS, TO." Revista da Casa da Geografia de Sobral (RCGS) 22, no. 1 (April 25, 2020): 68–77. http://dx.doi.org/10.35701/rcgs.v22n1.482.

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O artigo em questão objetiva analisar os monumentos como instrumentos políticos dotado de simbolismos na Praça dos Girassóis em Palmas–TO, considerando que os monumentos construídos ao redor da Praça dos Girassóis dispõem de sentidos e significados, simbolismo e representações, e que também são indiferentes para a construção dos espaços de afetividade e de memória dos cidadãos que residem na capital do Tocantins. Palavras-chave: Monumentos, política, simbolismo. ABSTRACT The following paper aims to examine the monuments as political instruments filled with symbolism on “Praça dos Girassóis”, in Palmas, TO, given that the monuments built around the Girassóis’ square have senses and meanings, symbolism and representation, and also are indifferent for the construction of the spaces of affection and memory of citizens living in the capital of Tocantins. Keywords: Monuments, politic, symbolism. RESUMEN El artículo actual tiene por finalidad analizar los monumentos como instrumentos políticos dotados de simbolismos en la “Plaza de los Girasoles”, en Palmas–TO, considerando que los monumentos construidos alrededor de la Plaza de los Girasoles tienen sentidos y significados, simbolismo y representaciones, y también que son indiferentes para la construcción de los espacios de afectividad y de memoria de los ciudadanos que habitan en la capital de Tocantins. Palabras clave: Monumentos. Política. Simbolismos. RÉSUMÉ L'article en question vise à analyser les monuments en tant qu'instruments politiques dotés de symbolisme sur la Praça dos Girassóis (Place des Turnesols) à Palmas - TO, étant donné que les monuments construits autour de la place ont des sens et des significations, du symbolisme et des représentations, et qu'ils sont également indifférents à la construction d'espaces d'affection et de mémoire des citoyens qui résident dans la capitale du Tocantins. Mots-clés: monuments, politique, symbolisme.

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Chowdhary, Usha. "Clothing Symbolism." International Journal of Interdisciplinary Social Sciences: Annual Review 3, no. 4 (2008): 59–68. http://dx.doi.org/10.18848/1833-1882/cgp/v03i04/52583.

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Kilduff, Martin, Louis R. Pondy, Peter J. Frost, Gareth Morgan, and Thomas C. Dandridge. "Organizational Symbolism." Administrative Science Quarterly 31, no. 1 (March 1986): 159. http://dx.doi.org/10.2307/2392782.

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Fiol, C. Marlene, and Barry A. Turner. "Organizational Symbolism." Administrative Science Quarterly 36, no. 3 (September 1991): 504. http://dx.doi.org/10.2307/2393213.

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Young, Marnin. "Symbolism Reformed." Art History 41, no. 4 (September 2018): 776–79. http://dx.doi.org/10.1111/1467-8365.12395.

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Spencer, D. J. "Stick Symbolism." Journal of the Royal Society of Medicine 90, no. 10 (October 1997): 590. http://dx.doi.org/10.1177/014107689709001035.

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Kemp, Martin. "Scientific symbolism." Nature 458, no. 7237 (March 2009): 412. http://dx.doi.org/10.1038/458412a.

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Branan, Nicole. "Neandertal Symbolism." Scientific American Mind 21, no. 2 (May 2010): 7. http://dx.doi.org/10.1038/scientificamericanmind0510-7c.

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Glick, Leonard B. "Emetic Symbolism." Science News 141, no. 9 (February 29, 1992): 131. http://dx.doi.org/10.2307/3976190.

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Cusato, Eliana Teresa. "Beyond Symbolism." Journal of International Criminal Justice 15, no. 3 (July 1, 2017): 491–507. http://dx.doi.org/10.1093/jicj/mqx026.

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Boag, T. R. "Perverse symbolism." Physics Education 24, no. 4 (July 1, 1989): 187–88. http://dx.doi.org/10.1088/0031-9120/24/4/102.

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Spurgin, C. B. "Perverse symbolism?" Physics Education 25, no. 3 (May 1, 1990): 140. http://dx.doi.org/10.1088/0031-9120/25/3/104.

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Caspari, Elizabeth. "Color symbolism." Arts in Psychotherapy 12, no. 3 (December 1985): 206–8. http://dx.doi.org/10.1016/0197-4556(85)90022-x.

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Ledgard, Jimena. "Policing symbolism." Index on Censorship 52, no. 3 (September 2023): 37–39. http://dx.doi.org/10.1177/03064220231201284.

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Musinova, N. E. "V.Ya. Bryusov in the Quest for new Artistic Forms." Izvestiya of Saratov University. Philology. Journalism 10, no. 3 (2010): 57–63. http://dx.doi.org/10.18500/1817-7115-2010-10-3-57-63.

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In the article the symbolism as a whole is considered as the logical development of world culture evolution and alongside with that as a unique trend of the new world outlook and its externalization into new artistic forms. In the crisis epoch at the turn of the XIX-XX centuries both the western symbolists and the Russian ones got into the epicenter of the spiritual double standard struggle. The fate and creative work of the famous Russian symbolist V. Ya. Bryusov is a vivid confirmation of this. «Borrowing» the main principles of the western symbolism aesthetics V. Ya. Bryusov managed to introduce the national identity into it, designating the ways of artistic innovations in Russian culture in the XX century.

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Meindl, James R. "Spinning on Symbolism: The Liberating Potential of Symbolism." Journal of Management 11, no. 2 (July 1985): 99–100. http://dx.doi.org/10.1177/014920638501100213.

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Payette, Jessica. "Post-WagnerianKlangempfindungen: The Premieres of Maeterlinck Operas in Vienna." Nineteenth-Century Music Review 12, no. 2 (September 10, 2015): 285–317. http://dx.doi.org/10.1017/s1479409815000336.

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The Viennese premieres of Dukas’sAriane et Barbe-bleueand Debussy’sPelléas et Mélisandein 1908 and 1911 occurred over a decade after Maeterlinck’s literary style and Fernand Khnopff’s paintings were praised by Secessionist critics, including Hermann Bahr and Ludwig Hevesi. In Vienna, fin-de-siècle discourse treats impressionism and symbolism as aesthetic outgrowths of Ernst Mach’s notion of ‘antimetaphysical’ modes of existence. This article explores the broader Viennese reception of symbolism and its influence on music criticism, which predominantly contends that Debussy and Dukas divert from Wagnerian techniques by cultivatingKlangempfindungen(acoustical sensations) and anti-thematic symphonic approaches to generate musical equivalents to the poetic and painterly incitation of psychophysical stimuli. Julius Korngold and other prominent music critics, some of whom were Debussy’s and Dukas’s exact contemporaries, describe how symbolist compositional syntax emerges as a musical terrain that produces a stark contrast between the suspension of latency and frenetic episodes. Symbolist composers accentuate this contrast to increase sensitivity to a literary device at the core of Maeterlinck’s art: the protagonists’ fixation on environmental conditions and changes, descriptive imagery that apprises audiences of their emotional state.

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Rostinsky, Joseph N., Aage A. Hansen-Löve, and Aage A. Hansen-Love. "Der russische Symbolismus: System und Entfaltung der poetischen Motive. I. Band: Diabolischer Symbolismus [Russian Symbolism. System and Development of Poetic Motifs. Diabolic Symbolism]." Asian Folklore Studies 51, no. 1 (1992): 164. http://dx.doi.org/10.2307/1178444.

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Stern, Steve J. "Paradigms of Conquest: History, Historiography, and Politics." Journal of Latin American Studies 24, S1 (March 1992): 1–34. http://dx.doi.org/10.1017/s0022216x00023750.

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The Quandary of 1492The year 1492 evokes a powerful symbolism.1The symbolism is most charged, of course, among peoples whose historical memory connects them directly to the forces unleashed in 1492. For indigenous Americans, Latin Americans, minorities of Latino or Hispanic descent, and Spaniards and Portuguese, the sense of connection is strong. The year 1492 symbolises a momentous turn in historical destiny: for Amerindians, the ruinous switch from independent to colonised history; for Iberians, the launching of a formative historical chapter of imperial fame and controversy; for Latin Americans and the Latino diaspora, the painful birth of distinctive cultures out of power-laden encounters among Iberian Europeans, indigenous Americans, Africans, and the diverse offspring who both maintained and blurred the main racial categories.But the symbolism extends beyond the Americas, and beyond the descendants of those most directly affected. The arrival of Columbus in America symbolises a historical reconfiguration of world magnitude. The fusion of native American and European histories into one history marked the beginning of the end of isolated stagings of human drama. Continental and subcontinental parameters of human action and struggle, accomplishment and failure, would expand into a world stage of power and witness. The expansion of scale revolutionised cultural and ecological geography. After 1492, the ethnography of the humanoid other proved an even more central fact of life, and the migrations of microbes, plants and animals, and cultural inventions would transform the history of disease, food consumption, land use, and production techniques.2In addition, the year 1492 symbolises the beginnings of the unique world ascendance of European civilisation.

Journal articles on the topic 'Symbolism'

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