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Journal articles on the topic 'Symbolisme de la rose'

Author: Grafiati

Published: 25 May 2024

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1

Immel, Irmgard S., and Beatrice Susanne Bullock-Kimball. "The European Heritage of Rose Symbolism and Rose Metaphors in View of Rilke's Epitaph Rose." German Studies Review 12, no. 1 (February 1989): 192. http://dx.doi.org/10.2307/1430327.

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2

Kadurina, A. O. "SYMBOLISM OF ROSES IN LANDSCAPE ART OF DIFFERENT HISTORICAL ERAS." Problems of theory and history of architecture of Ukraine, no. 20 (May 12, 2020): 148–57. http://dx.doi.org/10.31650/2519-4208-2020-20-148-157.

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Background.Rosa, as the "Queen of Flowers" has always occupied a special place in the garden. The emergence of rose gardens is rooted in antiquity. Rose is a kind of “tuning fork” of eras. We can see how the symbolism of the flower was transformed, depending on the philosophy and cultural values of society. And this contributed to the various functions and aesthetic delivery of roses in gardens and parks of different eras. Despite the large number of works on roses, today there are no studies that can combine philosophy, cultural aspects of the era, the history of gardens and parks with symbols of the plant world (in particular roses) with the identification of a number of features and patterns.Objectives.The purpose of the article is to study the symbolism of rosesin landscape gardening art of different eras.Methods.The historical method helps to trace the stages of the transformation of the symbolism of roses in different historical periods. The inductive method allows you to move from the analysis of the symbolism of roses in each era to generalization, the identification of patterns, the connection of the cultural life of society with the participation of roses in it. Graph-analytical method reveals the features of creating various types of gardens with roses, taking into account trends in styles and time.Results.In the gardens of Ancient Greece, the theme of refined aesthetics, reflections on life and death dominated. It is no accident that in ancient times it was an attribute of the goddesses of love. In antiquity, she was a favorite flower of the goddess of beauty and love of Aphrodite (Venus). In connection with the legend of the goddess, there was a custom to draw or hang a white rose in the meeting rooms, as a reminder of the non-disclosure of the said information. It was also believed that roses weaken the effect of wine and therefore garlands of roses decorated feasts, festivities in honor of the god of winemaking Dionysus (Bacchus). The rose was called the gift of the gods. Wreaths of roses were decorated: statues of the gods during religious ceremonies, the bride during weddings. The custom of decorating the floor with rose petals, twisting columns of curly roses in the halls came to the ancient palace life from Ancient Egypt, from Queen Cleopatra, highlighted this flower more than others. In ancient Rome, rose gardens turned into huge plantations. Flowers from them were intended to decorate palace halls during feasts. In Rome, a religious theme was overshadowed by luxurious imperial greatness. It is interesting that in Rome, which constantly spreads its borders, a rose from a "female" flower turned into a "male" one. The soldiers, setting out on a campaign, put on pink wreaths instead of helmets, symbolizing morality and courage, and returning with victory, knocked out the image of a rose on shields. From roses weaved wreaths and garlands, received rose oil, incense and medicine. The banquet emperors needed so many roses, which were also delivered by ships from Egypt. Ironically, it is generally accepted that Nero's passion for roses contributed to the decline of Rome. After the fall of the Roman Empire, rose plantations were abandoned because Christianity first associated this flower with the licentiousness of Roman customs. In the Early Middle Ages, the main theme is the Christian religion and roses are located mainly in the monastery gardens, symbolizing divine love and mercy. Despite the huge number of civil wars, when the crops and gardens of neighbors were violently destroyed, the only place of peace and harmony remained the monastery gardens. They grew medicinal plants and flowers for religious ceremonies. During this period, the rose becomes an attribute of the Virgin Mary, Jesus Christ and various saints, symbolizing the church as a whole. More deeply, the symbolism of the rose was revealed in Catholic life, when the rosary and a special prayer behind them were called the "rose garden". Now the rose has become the personification of mercy, forgiveness, martyrdom and divine love. In the late Middle Ages, in the era of chivalry, roses became part of the "cult of the beautiful lady." Rose becomes a symbol of love of a nobleman to the wife of his heart. Courtesy was of a socially symbolic nature, described in the novel of the Rose. The lady, like a rose, symbolized mystery, magnificent beauty and temptation. Thus, in the Late Middle Ages, the secular principle manifests itself on a par with the religious vision of the world. And in the Renaissance, the religious and secular component are in balance. The theme of secular pleasures and entertainments was transferred further to the Renaissance gardens. In secular gardens at palaces, villas and castles, it symbolized love, beauty, grace and perfection. In this case, various secret societies appear that choose a rose as an emblem, as a symbol of eternity and mystery. And if the cross in the emblem of the Rosicrucians symbolized Christianity, then the rose symbolized a mystical secret hidden from prying eyes. In modern times, secular life comes to the fore, and with it new ways of communication, for example, in the language of flowers, in particular roses. In the XVII–XVIII centuries. gardening art is becoming secular; sesame, the language of flowers, comes from Europe to the East. White rose symbolized a sigh, pink –an oath of love, tea –a courtship, and bright red –admiration for beauty and passionate love [2]. In aristocratic circles, the creation of lush rose gardens is in fashion. Roses are actively planted in urban and suburban gardens. In modern times, rose gardens carry the idea of aesthetic relaxation and enjoyment. Many new varieties were obtained in the 19th century, during the period of numerous botanical breeding experiments. At this time, gardening ceased to be the property of the elite of society and became publicly available. In the XX–XXI centuries. rosaries, as before, are popular. Many of them are located on the territory of ancient villas, palaces and other structures, continuing the tradition.

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3

Rychkov, A. L. "Alexander Blok between Vl. Solovyev and E.V. Anichkov: A. Blok’s drama “The Rose and the Cross” and the legacy of Western esotericism." Solov’evskie issledovaniya, no. 1 (March 31, 2021): 95–111. http://dx.doi.org/10.17588/2076-9210.2021.1.095-111.

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In the third article of the series publications on the topic “A. Blok and Vl. Solovyov”, the author considers the representation of the heritage of Western esoterism in Blok’s drama “The Rose and the Cross” on the example of the poet's appeal to the themes of Joachimism and Catharism, including the neo-mythological connection of the Cathars with the legend of the Holy Grail. The author analyzes the influence of V.V. Solovyov's historiosophy and E.V. Anichkov's aesthetics on the symbolism of the drama from the perspective of rethinking these themes. It is shown that the drama of Blok is deeply intertwined with the neo-mythological concepts of the "French school" of Western esotericism, which were widely discussed in the circle of Russian symbolists, for example, in connection with the work of Sar Peladan. The conclusion is made about the influence on the symbolism of the drama of the works of V. Solovyov and the beliefs of E. V. Anichkov associated with medieval mysticism. An extensive bibliography is provided.

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4

Wadley, Lyn. "What is Cultural Modernity? A General View and a South African Perspective from Rose Cottage Cave." Cambridge Archaeological Journal 11, no. 2 (October 2001): 201–21. http://dx.doi.org/10.1017/s0959774301000117.

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Storage of symbolic information outside the human brain is accepted here as the first undisputed evidence for cultural modernity. In the hunter-gatherer context of the Stone Age this storage could include artwork, rapidly changing artefact styles and organized spatial layout of campsites. Modern human behaviour in this context is distinguished by a symbolic use of space and material culture to define social relationships, including significant groupings based on attributes such as kinship, gender, age or skill. Symbolism maintains, negotiates, legitimizes and transmits such relationships. It is argued here that artefacts are not inherently imbued with symbolism and that modern human culture cannot be automatically inferred from inventories of archaeologically recovered material culture. Evidence for the out-of-brain storage of symbolism in southern African sites first appears in the final phase of the Middle Stone Age at about 40,000 years ago.

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5

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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6

Dumas, Véronique. "Le peintre symboliste Alphonse Osbert et les Salons de la Rose+Croix." Revue de l'art N° 140, no. 2 (February 1, 2003): 41–60. http://dx.doi.org/10.3917/rda.140.0041.

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7

Bychkov, Victor. "Metaphysics of a landscape in symbolism." Культура и искусство, no. 4 (April 2020): 53–70. http://dx.doi.org/10.7256/2454-0625.2020.4.31966.

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This research is dedicated to examination of a specific role of landscape in symbolism. Based on comprehensive analysis of the works of symbolists and artists of their circle – Segantini, Böcklin, Gauguin, Nesterov, Čiurlionis, the author attempts to determine the characteristic features of using the images of nature in the overall system of pictorial artistic-aesthetic expression. Special attention is paid to the problem of inscription of human figures into landscape, as in doing so many symbolists and artists of their circle were bringing the landscape to life, forming a special creative space. Landscape of symbolists is viewed as a peculiar animated space that carries a mediating role between the visually palpable images and indescribable pleroma of metaphysical being. Such approach to symbolism is considered innovative. In the course of this research, it is demonstrated that special artistic space as a carrier of symbolic meanings or a spirit of symbolism in painting emerges in each painters a set of artistic means of expression characteristic only to their works. At the same time, some symbolists view the unreachable in external forms of visible nature by focusing attention of the opposition of earth and sky, life and death, human and divine beginning, reality and its mythological grounds. Some symbolists create the world of practically abstract and musically accented color forms and graphic solutions. While others paint landscape imbued with tranquility, tenderness and picturesque hymns of the Creator. In general, symbolic landscape leans towards a fairly vivid philosophical aspect.

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8

Ridzuan, Irina. "Discovering Dèduit: An examination of the garden setting in the Roman de la Rose." Arbutus Review 7, no. 1 (August 8, 2016): 38. http://dx.doi.org/10.18357/tar71201615686.

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<p class="p1">Roman de la Rose is a French poem which chronicles the journey of a young man within a secluded garden setting (the Garden of Dèduit). The poem was initially written by Guillaume de Lorris in c.1230 and later completed by Jean de Meun in c.1270. However, the authors’ differing literary styles have resulted in debates surrounding the poem’s meaning. In this study, I address the central interpretative problem by focusing on the illustrated garden setting of Dèduit and its relation to the literary content. Ultimately, I attempt to answer the following questions: How did the medieval audience perceive the garden symbolism? Did the images make a difference in the medieval reader’s understanding of the garden? What are the possible ways in which the medieval reader could interpret this garden symbolism?</p><div> </div><p class="p1"><strong> </strong></p>

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9

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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10

Harasztos, Ágnes. "The Image of the East-Central European in Rose Tremain’s The Road Home." Acta Universitatis Sapientiae, Philologica 7, no. 1 (December 1, 2015): 83–94. http://dx.doi.org/10.1515/ausp-2015-0038.

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Abstract In Rose Tremain’s The Road Home, the culture clash of the British and the East-Central European is portrayed through a complex symbolism centred on images of food, consumption and waste. This literary representation may shed light on British literary auto-images, as well as hetero-images of the Eastern European immigrant. The novel’s presentation of this culture shock is defined by the cultural historical and economic circumstances of the parties. Food and material provide the symbolic sphere where the relationship between Britain and East-Central Europe is characterized in terms of capitalist worldview as opposed to a post-communist existence. William Shakespeare’s Hamlet is the most important intertext for Tremain’s novel. Hamlet is obsessed with the vulnerability of material in light of the spiritual value attached to it in the form of human soul. Stephen Greenblatt’s ideas on food, waste and the Christian belief in divine existence residing in material objects - ideas that originate in early modern times - shed light on the motif of material and food in The Road Home. Seen through the symbolism of food and the idea of differing values being attached to matter, the narrative identity of Lev, the protagonist of Tremain’s work, experiences drastic change due to his encounter with the capitalist, British ‘other’.

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11

Koet, Bart J. "Woody Allen’s Broadway Danny Rose: Dialoguing with Jewish Tradition." Religions 12, no. 9 (September 14, 2021): 763. http://dx.doi.org/10.3390/rel12090763.

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It is the thesis of this article that a secular form of the biblical Exodus pattern is used by Woody Allen in his Broadway Danny Rose. In the history of the Bible, and its interpretation, the Exodus pattern is again and again used as a model for inspiration: from oppression to deliverance. It was an important source of both argument and symbolism during the American Revolution. It was used by the Boer nationalists fighting the British Empire and it comes to life in the hand of liberations theology in South America. The use of this pattern and its use during the seder meal is to be taken loosely here: Exodus is not a theory, but a story, a “Big Story” that became part of the cultural consciousness of the West and quite a few other parts of the world. Although the Exodus story is in the first place an account of deliverance or liberation in a religious context and framework, in Broadway Danny Rose it is used as a moral device about how to survive in the modern wilderness.

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12

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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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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Peres, Stephanie, Eric Giraud-Heraud, Anne-Sophie Masure, and Sophie Tempere. "Rose Wine Market: Anything but Colour?" Foods 9, no. 12 (December 11, 2020): 1850. http://dx.doi.org/10.3390/foods9121850.

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In many countries, the consumption of still wine is in strong decline. The market for rose wine, however, stands in stark contrast to this trend, seeing worldwide growth of almost 30% over the last 15 years. For most observers/experts, product colour plays an important role in this paradigm shift. For this reason, companies’ marketing efforts often focus on this purely visual characteristic. There is, however, no certainty that other emerging consumer demands, related to environmental concerns or how “natural” a wine is (organic wines, natural wines, etc.), do not also play a role in the enthusiasm seen in new wine consumers. This article proposes an assessment of expectations related to colour and the decisions made by rose wine consumers, using two complementary experiments carried out in France. The first experiment is based on an online survey studying only consumers’ colour preferences. We will show that, contrary to popular belief, there is no consensus on this criterion, although regional trends can be identified. Typically, the “salmon” shade, which is generally the leader on the global market—and characteristic of Provence wines—does not win unanimous support across all regions. In contrast, an “apricot” shade seems to be preferred by consumers in the Bordeaux region. The second experiment confirms this result within the framework of an experimental market revealing consumers’ willingness to pay (WTP). This market also offers consumers the opportunity to taste wines and provides information on organic certification and “naturalness” (symbolised by the absence of added sulphites). We will then demonstrate how the latter criteria, although often popular, play only a small role—compared with colour—in consumer decisions. We will conclude this article with observations on the atypical nature of the rose wine market and on possible avenues for further research related to the emotional role colour plays in wine tasting and its possible specificity in the world of food and drink products.

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15

Beck, Philippe. "Symbolisme fini ou symbolisme négatif." Cahiers de Fontenay 73, no. 1 (1994): 163–219. http://dx.doi.org/10.3406/cafon.1994.1641.

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16

Rychkov, A. L. "A. Blok’s Marginalia on the Albigensian Crusade as an Indication of the Historical Sources of “Notes” in the Drama “The Rose and the Cross”." Solov’evskie issledovaniya, no. 2 (June 30, 2021): 114–34. http://dx.doi.org/10.17588/2076-9210.2021.2.114-134.

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This article considers the problem of the historical sources reflected in Blok’s drama “The Rose and the Cross”. It demonstrates that Blok’s marginalia in the books of his library serve as an indication of the unknown literary and historical sources of the “Notes” on the Albigensian crusade in the drama “The Rose and the Cross”, and can also be used in interpreting the symbolism of this drama. The marginal notes on the history of the Albigensian crusade that Blok made while working on the play are drawn on as a scholarly source for the first time. In the Appendice to the article facsimiles of Blok’s notes on the Albigensian crusade are published for the first time, accompanied by commentaries and a concordance.

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Romanov, D. D. Romanov. "Reception of Vl.S. Solovyov’s philosophical conceptions in A. Beliy’s epistolar heritage." Solov’evskie issledovaniya, no. 3 (September 30, 2022): 6–18. http://dx.doi.org/10.17588/2076-9210.2022.3.006-018.

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The article presents results of research of Vl.S. Solovyov’s sophiological and theurgic concepts reception in the epistolary heritage of A. Beliy – first of all, the early period of philosopher and symbolist poet until 1905. It is argued, that of all the Young Symbolists, it was Beliy who was the closest to understanding Solovyov's sophiology and creating his own integral system of theurgic symbolism on its basis. It is substantiated, that the starting point in the construction of this system is the direction to synthesis of eschatology, World Soul doctrine and theurgic role of the life-creator artist. The purpose of this research is to trace the origin of Beliy's doctrine of symbolism as a worldview, a self-conscious soul and a collective personality, presented in detail much later, but rooted in the original reading of Solovyov. An appeal to the correspondence between Beliy and A.A. Blok, E.K. Metner, N.I. Petrovskaya, A.S. Petrovskiy and others, is justified by the fact that it is in these letters that the general ideological contours of his concepts are outlined. Later, they turned out to be eclectically complicated in many ways, which makes it difficult for modern researchers to fully understand them, but the epistolary material is a kind of compass in the confused area of Beliy's metaphysics. The epistolary material analysis provides the method of understanding Beliy's metaphysics, taken into account, that later his system concepts turned out to be complicated by the thinker himself, which makes it difficult for modern researchers to understand them holistically.

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Egorova, L. V. "Svetlov, I., Lukicheva, K. and Arias-Vikhil, M., eds. (2023). Paris around the 1900s. Joséphin Péladan’s Society of ‘Rose + Croix.’ St. Petersburg: Aleteya. (In Russ.)." Voprosy literatury, no. 2 (March 15, 2024): 174–77. http://dx.doi.org/10.31425/0042-8795-2024-2-174-177.

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The review discusses a collection of articles produced by a team of scholars under the supervision of professor Igor Svetlov. The book focuses on alternative experiments in late 1800s — early 1900s French art, which, although they failed to grow into independent movements, succeeded in producing several interesting concepts. The study is especially concerned with the Paris-based salon of ‘Rose + Croix’ and its founder Josephin Peladan — a writer, philosopher, occultist, and an able organizer. The book considers his artistic interests and views on the connection between art and religion, the role of symbolism in artistic thought, and the relationship between the modernity of his day and the previous epochs, including the esoteric and magical traditions. The collection covers a broad variety of subjects, such as the fantastic and the demonic in Paris, the mystical components in landscape paintings of the late 1800s, illustrations in the era of decadent art, intellectualism and intuition of the regulars of Peladan’s salons, esotericism and symbolism as a bridge into otherness, the existential and the universal in 1900s’ Parisian architecture, M. Voloshin’s turn-of-the-century spiritual and aesthetic experiments, the Parisian ‘imprint’ in Kandinsky’s early works, and Paris photographed at nighttime.

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Dobravec, Jurij. "Triglavska roža in Zlatorog med simboliko in stvarnostjoTriglav Rose and Zlatorog in Their Symbolism and Reality." Studia mythologica Slavica 21 (October 25, 2018): 129. http://dx.doi.org/10.3986/sms.v21i0.7070.

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Kostromitsky, R. I. "THE SYMBOLISM OF THE LABYRINTH IN THE NOVEL “THE NAME OF THE ROSE” BY UMBERTO ECO." "Scientific notes of V. I. Vernadsky Taurida National University", Series: "Philology. Journalism" 2, no. 1 (2024): 108–13. http://dx.doi.org/10.32782/2710-4656/2024.1.2/18.

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21

Biron, Michel. "Le symbolisme soft." Voix et Images 28, no. 2 (2003): 167. http://dx.doi.org/10.7202/006604ar.

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22

Catellani, Andrea. "Symbolisme et rhétorique." Protée 36, no. 1 (September 15, 2008): 39–51. http://dx.doi.org/10.7202/018804ar.

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L’article tente de définir, à partir du modèle théorique sémiotique, certains aspects de la symbolique humaniste incarnée dans la littérature jésuite illustrée du xviie siècle. Un premier moment est la présentation de quelques contributions sémiotiques liées à l’exploration du champ sémantique du mot « symbole », en distinguant en particulier les contributions de Saussure, Hjelmslev et Todorov, et en retravaillant le couple conceptuel de « mode symbolique » et « mode allégorique » de signification secondaire, proposé par Eco. Deuxièmement, on observe la prévalence du mode allégorique dans cette partie de l’épistémè renaissante et baroque appelée « symbolique humaniste », en vérifiant aussi l’existence constante, au cours de l’histoire, de la tension entre le deux « modes ». Enfin, l’analyse textuelle de quelques images symboliques provenant de deux ouvrages jésuites du xviie siècle permet de retrouver cette tension dans un corpus textuel spécifique.

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23

Olds, Marshall C. "Le Symbolisme (review)." Nineteenth Century French Studies 34, no. 1 (2005): 168–69. http://dx.doi.org/10.1353/ncf.2005.0064.

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24

Nehr, Jean-Charles. "Symbolâtrie et symbolisme." La chaîne d'union N° 88, no. 2 (April 1, 2019): 53–59. http://dx.doi.org/10.3917/cdu.088.0053.

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Kartasheva, Anna Olegovna, Lyubov' Gennad'evna Kikhnei, and Olga Ivanovna Osipova. "Towards the Communicative Strategies of Russian Modernism: the Poetic Correspondence of V. Bryusov and A. Bely." Litera, no. 7 (July 2023): 204–19. http://dx.doi.org/10.25136/2409-8698.2023.7.43618.

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The object of this article is the poetic correspondence of Valery Bryusov and Andrei Bely in the 1900s. The analysis allowed us to draw a number of conclusions about the communicative strategies of Russian modernism. Firstly, in the structure of the correspondence, the dominant genre setting for dialogue with the addressee is identified, which allows identifying these poems as messages. This, on the one hand, makes it possible to fit the messages of Bryusov and Bely into the all-symbolist poetological and communicative context of the early twentieth century, when this genre was a kind of mainstream. On the other hand, the analysis of genre dominants allows us to identify their genre renewal associated with the formation of an original metastructural cycle resembling a "novel in letters", the heroes of which are Bryusov and Bely, simultaneously combining the roles of author and addressee. Secondly, in the titles of the poems under consideration ("Balder Loki", "Balder II", "Ancient Enemy", "Magician"), mythological codes are revealed, genetic links are established with Christian apocrypha and Scandinavian legends, in which the author's "I" and "you" of the addressee are associated with images of light and dark forces rooted in religious and pagan traditions. Thirdly, with the help of the biographical method, the parallels of the lyrical plots of the poems with the life and creative relationships of the poets are established. As a result, the poetic correspondence of the masters of symbolism is interpreted as a philosophical duel implicitly realizing dramatic situations of personal and "workshop" relationships, with a clear separation of aesthetic and ethical roles, these roles structure the plot of an epistolary "novel", the vicissitudes of which are reduced to binary oppositions of "light" and "darkness", heavenly and earthly, divine and demonic principles. However, at the same time, this exchange of messages appears as a dialogue about the poet's role in symbolist discourse, a dialogue reflecting different vectors of creative aspirations of symbolists and, consequently, the ambivalent tendencies of the current towards both consolidation and separation.

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Shaw, Donald. "Inverted Christian Imagery and Symbolism in Modern Spanish American Fiction." Romance Studies 6, no. 1 (June 1988): 71–82. http://dx.doi.org/10.1179/ros.1988.6.1.71.

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Yablonska, Olga. "У пошуках гармонії: Vals mèlancolque в контексті малої прози О. Кобилянської кінця ХІХ ст." Studia Ucrainica Varsoviensia 5, no. 5 (May 8, 2017): 0. http://dx.doi.org/10.5604/01.3001.0009.9100.

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This paper analizes O. Kobylanska’s story “Vals mèlancolque” as the epicenter of the writers’ refl ections on the category of harmony and happiness. The relationship of O. Kobylanska’s spiritual quest in «Diary» and short prose of the late nineteenth century is observed (“Nature”, “Rose”, “Ignorant”, “Vals mèlancolque”, “Humility”, etc.). The author’s vision of the substantial role of art and words in the story “Vals mèlancolque” is highligted. This paper also investigates the symbolist nature of a text. The writer emphasizes the understanding of the actual idea of women’s emancipation. The paper shows that female characters embody the author’s conscious distinction of such categories as “love” (Martha), “cold art” (Anna) and a harmonious combination of “pieces” and “love” (Sofi a). It is concluded that in the work of Kobylanska the text is a landmark, being both a kind of life and artistic credo.

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Davis, Hunter. "Symbolism Over Substance: The Role of Adversarial Cross-Examination in Campus Sexual Assault Adjudications and the Legality of the Proposed Rulemaking on Title IX." Michigan Journal of Gender & Law, no. 27.1 (2020): 213. http://dx.doi.org/10.36641/mjgl.27.1.symbolism.

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Traditionally, it has been understood that campus sexual assault adjudications need not take on the formalities of the justice system. Since the consequences faced in campus adjudications are considerably less than punishments faced in the justice system, less process is owed under the Due Process Clause. However, in September 2018, the Sixth Circuit reconceived what constitutes due process in campus sexual assault adjudications in the case of Doe v. Baum. The court found that in cases involving conflicting narratives at public universities, the accused or his agent must have the ability to cross-examine his accuser in the presence of a neutral factfinder. On November 29, 2018, the Department of Education took Baum several steps further in a proposed rulemaking on Title IX, mandating cross-examination in all campus sexual assault cases at both public and private universities. In this Comment, I argue that the proposed rulemaking on Title IX goes too far, misinterpreting the case law and the dictates of due process, while neglecting empirical evidence and foreseen adverse consequences. I argue that the proposed rulemaking misinterprets case law—most notably the recent Baum decision— by failing to appreciate important limits to the scope of compulsory cross-examination. I also unpack the vast negative implications of the proposed rulemaking, including drops in reporting rates and considerable institutional costs. As a result of these legal shortcomings and practical implications, I argue that the proposed rulemaking fails to pass the Mathews balancing test. As universities, the federal government, and courts determine how best to adjudicate campus sexual assault allegations, all efforts must be taken to minimize trauma to the victim, safeguard the rights of the accused, and protect the financial viability of educational institutions.

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Randriamanantena, Mino. "Inconscient, langage et symbolisme chez Henri Bois. II. Symbolisme et phénoménisme." Études théologiques et religieuses Tome 96, no. 3 (August 25, 2021): 367–81. http://dx.doi.org/10.3917/etr.963.0367.

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Fraisse, Luc. "Du symbolisme architectural au symbolisme littéraire: Proust à l'école d'Émile Mâle." Studia Romanica Posnaniensia 38, no. 1 (January 1, 2011): 81–101. http://dx.doi.org/10.2478/v10123-011-0007-9.

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Fraisse, Luc. "Du symbolisme architectural au symbolisme littéraire : Proust à l’école d’Emile Mâle." Studia Romanica Posnaniensia 38, no. 1 (January 1, 2011): 81. http://dx.doi.org/10.14746/strop.2011.381.007.

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McDonald, J. "Influences of Egyptian Lotus Symbolism and Ritualistic Practices on Sacral Tree Worship in the Fertile Crescent from 1500 BCE to 200 CE." Religions 9, no. 9 (August 27, 2018): 256. http://dx.doi.org/10.3390/rel9090256.

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Many conventional features of world tree motifs in the ancient Near East—including stalked palmettes, aureoles of water lily palmettes connected by pliant stems, floral rosettes, winged disks and bud-and-blossom motifs—trace largely from Egyptian practices in lotus symbolism around 2500 BCE, more than a millennium before they appear, migrate and dominate plant symbolism across the Fertile Crescent from 1500 BCE to 200 CE. Several of these motifs were associated singularly or collectively with the Egyptian sema-taui and ankh signs to symbolize the eternal recurrence and everlasting lives of Nilotic lotus deities and deceased pharaohs. The widespread use of lotus imagery in iconographic records on both sides of the Red Sea indicates strong currents of cultural diffusion between Nilotic and Mesopotamian civilizations, as does the use of lotus flowers in religious rituals and the practice of kingship, evidence for which is supported by iconographic, cuneiform and biblical records. This perspective provides new insights into sacral tree symbolism and its role in mythic legacies of Egypt and the Middle East before and during the advent of Christianity. Closer scholarly scrutiny is still needed to fully comprehend the underlying meaning of immortalizing plants in the mythic traditions of Egypt, the Levant and Mesopotamia.

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BRADFORD, HELEN. "TSWANA CHRISTIANS The Realm of the Word: Language, Gender and Christianity in a Southern African Kingdom. By PAUL LANDAU. London: James Currey, 1995. Pp. xxix + 249. £35 (ISBN 0-85255-670-5); £14.95 paperback (ISBN 0-85255-620-9)." Journal of African History 38, no. 1 (March 1997): 123–77. http://dx.doi.org/10.1017/s0021853796306907.

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‘Writing history’, claims Paul Landau in a revealing comment in his epilogue, ‘is an attempt to pin and mount lives on the page of a book, like butterflies or rose petals’ (p. 219). The generalization is sweeping, but the tropes aptly symbolize the type of history written in this book. This is a subtle, nuanced account of the intertwining of Christianity and politics in central Botswana from the 1850s to the 1940s. It is deeply informed by Foucauldian notions of power. Landau, moreover, is troubled by the implications of exercising power, through the very act of ‘pinning’ down lives.

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Jung, Jang-Jin. "Le symbolisme du nom." Etudes de la Culture Francaise et de Arts en France 19, no. ll (February 2007): 339–66. http://dx.doi.org/10.21651/cfaf.2007.19..339.

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35

Gell, Alfred. "Parfum, symbolisme et enchantement." Terrain, no. 47 (September 1, 2006): 19–34. http://dx.doi.org/10.4000/terrain.4229.

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Chazal, Gérard. "Symbolisme minimal & combinatoire." Les cahiers de médiologie 9, no. 1 (2000): 141. http://dx.doi.org/10.3917/cdm.009.0141.

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Méjean, Christian. "Symbolisme et franc-maçonnerie." Humanisme N° 282, no. 3 (September 1, 2008): 117. http://dx.doi.org/10.3917/huma.282.0117.

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Costa, Iacopo. "Du symbolisme des liquides." Revue des sciences philosophiques et théologiques 100, no. 4 (2016): 537. http://dx.doi.org/10.3917/rspt.1004.0537.

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Abensour, Gérard. "Meyerhold et le symbolisme." Cahiers du monde russe 45, no. 45/3-4 (July 1, 2004): 591–606. http://dx.doi.org/10.4000/monderusse.2677.

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Abensour, GÉrard. "Meyerhold et le symbolisme." Cahiers du monde russe 45, no. 45/3-4 (July 1, 2004): 591–606. http://dx.doi.org/10.4000/monderusse.8705.

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Raynaud, Jean. "Le symbolisme des couleurs." Interfaces 10, no. 1 (1996): 195–98. http://dx.doi.org/10.3406/inter.1996.1077.

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Roubet, Colette. "Patelle : Subsistance et symbolisme." Encyclopédie berbère, no. 37 (January 1, 2015): 6169–79. http://dx.doi.org/10.4000/encyclopedieberbere.3490.

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Cardwell, Richard A. "Symbolist Dream and Difference: Henri De Régnier's 'Allégorie'." Romance Studies 10, no. 1 (June 1992): 7–19. http://dx.doi.org/10.1179/ros.1992.10.1.7.

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Chertenko, Ekaterina A. "Ontological ekphrasis Elena Shvarts’ poem “Memory of the Fresco of Fra Beato Angelico ‘Baptism’ at the Sight of the Head of John the Baptist in Rome”." Tyumen State University Herald. Humanities Research. Humanitates 10, no. 1 (April 26, 2024): 84–99. http://dx.doi.org/10.21684/2411-197x-2024-10-1-84-99.

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Scientific interest in the problem of ekphrasis and the peculiarities of ekphrastic description has increased over the past decades. The article analyzes the ekphrastic poetics of E. Shvarts’ poem “Memory of Fra Beato Angelico’s fresco ‘Baptism’ at the sight of the head of John the Baptist in Rome”. The aim of this article is to identify the intermedial correlation of the verbal level with the visual level, revealing the ontological ekphrasis in this poem. The author of the article examined how the three levels of the image in the poem correlate in their ratio: artistic text, frescoes’ visual images, and symbolism (cultural codes). Ontological ekphrasis helps the poet find new ways to reveal traditional Christian themes. Visual images of the early Renaissance fresco acquire an ontological status in the text (dove, “rose,” gray color, water, fog, coal [fire], flower, river, blood, wine, relics [the head of John the Baptist], Lapis Niger, dawn). Through symbols and cultural codes, these images reveal the metaphysics of Baptism from a historical, cultural, and modern perspective, leaving the reader with options for interpretation. In the spirit of the early Renaissance artist himself, Shvarts ontologically recodes the medieval symbolism of Baptism, immersing it into thereality, perceiving Christian history as a struggle of life and death, culminating in the eschatological hope of the Second Coming of Christ. Fra Angelico turned out to be in tune with Shvarts precisely as an artist of the early Renaissance, in the painter’s movement of medieval mysticism to Renaissance ontologism and humanism.

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Viljoen, H. "Breyten Breytenbach en die Simbolisme - ’n voorlopige verkenning." Literator 13, no. 1 (May 6, 1992): 15–28. http://dx.doi.org/10.4102/lit.v13i1.720.

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This article is an attempt to outline the difference between Breytenbach's poetic method and that of the Symbolists. Although it touches on aspects of the symbolist poetic method like the rich suggestiveness, the creation o f a meaningful alternative world (and the effort of doing this), it focuses mainly on Breytenbach’s use of metaphor to create an impossible alternative world in a poem, only to relativize and destroy it again in the end. This process is illustrated in an analysis of poem 8.1 from Lotus. This analysis also shows up five well-known cardinal traits of Breytenbach’s poetry, viz. its carnality, the universal analogy between body, cosmos and poetry and the great emphasis on journeys, discoveries and transformations by means of language. It is also claimed that the Zen-Buddhisi Void plays an analogous role in Breytenbach's poetry to the theory of correspondances in the Symbolists: it is a rich source of metaphor. Breytenbach's poetry shows a strong duality between the present world and a meaningful alternative sphere. Being in and of this alternative sphere only aggravates the poet’s isolation (a typically symbolist trait), making him literally and figuratively an exile, as exile poems like "tot siens, kaapstad" (see you again, cape town) and "Walvis in die berg" (Whale on the mountain) and, of course, his prison poetry, clearly show.

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Altshuller, Mark G. "Alexander Blok’s “The Rose and the Cross” and Charles Robert Maturin’s “Melmoth the Wanderer”." Literary Fact, no. 4 (30) (2023): 148–61. http://dx.doi.org/10.22455/2541-8297-2023-30-148-161.

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This article deals with Alexander Blok’s symbolist drama “The Rose and the Cross” (1913), the main idea of which is the tragedy of love and death. There is no doubt that this play reflected the writer’s own experiences, national literary associations connected with the fate of poets of the 19th century (for example, Vasily Zhukovsky, or Apollon Grigoryev), and Western European literary reminiscences: storylines, themes, and motifs of the Old Provençal courtly “Romance of Flamenca,” 12th-century Codex Campostellanus, “The Book of Sir Launcelot and Queen Guinevere,” etc. As is known, Blok was engaged in a thorough study of early medieval literary texts and reading special literature about this historical period to create his play. The major sources of “The Rose and the Cross” were once analyzed by Viktor Zhirmunsky, but the key idea of Blok’s drama (love and sorrow often go together, or love is impossible without suffering) is most clearly, vividly and consistently carried out in the book, which was never mentioned either in the poet’s works, or any preparatory materials for the play. It is the famous English Gothic novel by Charles Robert Maturin “Melmoth the Wanderer” (1820), where, as we assume, motifs similar to Blok’s dramatic work can be found in the nested story “Tale of the Indians,” which influenced, to some extent, his text: thus, only the knight Bertrand, like the beautiful Immalee (Isidora), whose love for Melmoth is happiness, but it is also inseparable from grief and sorrow, is destined to understand the mysterious words of the poet Gaetan and combine joy, suffering and death at the cost of his life.

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Bonnefoy, Yves, and Mary Ann Caws. "Igitur and the Photographer." PMLA/Publications of the Modern Language Association of America 114, no. 3 (May 1999): 329–45. http://dx.doi.org/10.2307/463374.

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With “Un coup de dés jamais n'abolira le hasard,” of 1897 (“Dice Thrown Never Will Annul Chance”)—a meditation on how to set up a mental dice game that would visually inscribe the fatal play of human thought shipwrecked against unbeatable chance—Stéphane Mallarmé announced modernism. As his celebrated white sonnet about a swan stuck in the glacier of the blank page (“The new, lively, and lovely today”) had established the image of writing as a near-to-death experience, his equally celebrated understatement about how the ultimate presence of the rose depends on its absence “from any bouquet” had set up symbolism as the art of suggestion. Had any French poet ever had such influence on writers to come? such resonance for readers and artists? With Mallarmé modern poetry begins.

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Polilova, Vera S. "The poetics of the carnation: The word and the image in Russian poetry from Trediakovsky to Brodsky (in the context of European tradition). Part 2." Imagologiya i komparativistika, no. 18 (2022): 7–33. http://dx.doi.org/10.17223/24099554/18/1.

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The article outlines the use of the word gvozdika [eng. ‘carnation’] ('flower of the genus Dianthus’) in the language of Russian poetry. Part Two of the article demonstrates that the Russian poetry of the 18th - early 19th centuries features carnations sporadically and only within certain lyrical contexts borrowed from Western lyrical poetry, mostly as an element of an idyllic floral catalogue or as part of the antithesis that opposes wild and noble decorative flowers. In the second quarter and mid-19th century, the flower emerges in new poetic circumstances: since the traditional connection of floral imagery to the erotic theme is renewed, the carnation begins to epitomize passionate love. The article dwells on the poetic representations of the carnation in the poetry by Vasily Trediakovsky, Mikhail Muravyov, Aleksandr Sumarokov, Yermil Kostrov, Vasily Pushkin, Semen Bobrov, Vasily Zhukovsky, Anton Delvig, Aleksey Merzlyakov, Pyotr Vyazemsky, and others. Both the antique and the decorative-garden connotations of the carnation are brought together in Pyotr Vyazemsky’s poem “K podruge” (1815), based on a playful alternation between an Epicurean-Horatian and “domestic” tones. The poet combines two planes - that of the real and the symbolic/poetic garden, and if the carnation can refer to both, then the myrtle - only to the second. The author also examines a variety of contexts where the carnation is adjacent to the rose in poetic texts. This juxtaposition is not accidental, since the flowers are united by common attributes (colour, fragrance, expressive beauty), which also suggests a motif of rivalry between the rose and the carnation in many poems. The similarity of the two flowers also explains the fact that the carnation appears in poetic contexts as a substitute for the rose. Since the second quarter - the middle of the 19th century, the carnation is associated with love and erotic motifs, typical of the rose. This symbolism in poetry is consistent with the main meaning of the carnation in the “language of flowers”, where the wild carnation is a sign of love languor, although the process of transferring the traditional meanings of the rose to the carnation is still more important. Finally, the author analyses the rhyme gvozdika: diko and shows that it, together with its variations (gvozdika/gvozdik: dikiy/dik, etc., also in the reverse order), belongs to the set of exceptionally stable rhyme pairs in the Russian poetic tradition. The author declares no conflicts of interests. The author expresses her deep gratitude to A.S. Belousova, A.A. Dobritsyn, A. Shele, N.V Pertsov, and I.A. Pilshchikov, who read the manuscript for inaccuracies and made valuable suggestions. Many thanks to M.V. Oslon for advice and assistance.

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Kandeler, R., and W. R. Ullrich. "Symbolism of plants: examples from European-Mediterranean culture presented with biology and history of art: DECEMBER: Cross-roses and rose crosses." Journal of Experimental Botany 60, no. 15 (September 14, 2009): 4217–18. http://dx.doi.org/10.1093/jxb/erp253.

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50

Koffeman, Maaike. "La naissance d’un mythe. La nouvelle revue française dans le champ littéraire de la Belle Époque." Études littéraires 40, no. 1 (September 1, 2009): 17–36. http://dx.doi.org/10.7202/037897ar.

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Résumé À l’heure du centenaire de LaNRF, Maaike Koffeman retourne aux origines de cette revue légendaire pour montrer comment elle a, dès le départ, posé les fondements de son hégémonie ultérieure. La qualité des textes publiés ne suffit pas à expliquer cette réussite : il faut également prendre en compte l’organisation matérielle de la revue et de sa maison d’édition. Les correspondances des rédacteurs montrent qu’ils ont employé toutes sortes de stratégies pour acquérir du capital symbolique et obtenir une position dominante dans le champ littéraire. Une étude systématique des textes publiés dans la revue, combinée avec une analyse sociologique de son fonctionnement, permet de mieux comprendre comment LaNRF a pu devenir « la rose des vents de la littérature française » (François Mauriac).

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