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Autore: Grafiati

Pubblicato: 25 luglio 2024

Ultima modifica: 31 luglio 2024

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1

Górska, Magdalena Kinga. "Status teoretyczny emblematu w polskiej dekoracji". Terminus 23, n. 3 (2021): 227–58. http://dx.doi.org/10.4467/20843844te.21.010.13847.

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The Theoretical Status of the Emblem in Polish Decorative Art This paper argues that the theoretical status of the emblem in decorative art has methodological significance in emblem studies and art history, comparable to its status in the so-called book’s editorial frame. This claim is justified in the historical and theoretical tradition of defining emblems in the sources. The departure point for the author’s considerations comes from the findings of applied emblematics, and its foundation is provided by the theoretical sources describing symbolic genres (scil. emblema, symbolum, hierogliphicum) published in Poland from the 16th to the 18th century, including books of poetics, rhetoric, dictionaries and compendia. The first part of the article presents an overview of research on decorative emblems in Poland, together with factors responsible for the scarcity of such studies, including the lack of symbolic typology of the decorations, and the division into literary and non-literary studies, motivated by the philological roots of emblem studies. It is noted that the emblemata in the so-called book’s editorial frame and those in decorations should be studied separately, as the latter are of ornamental nature, and require a distinct order of perception, explication, and the recipient’s role. Besides, it is pointed out that the anachronism of the 16th-century formulae of emblema raises problems for the genological classification of Polish decorations, and so does the inter-genre, compendiumtype pattern of symbolism dominant in the 18th century. The second part of the article discusses the definition of the emblema, focusing on its details relevant for the artistic practice and present-day genre classification, such as technique, composition, the content of the image, which is confronted with Polish historical materials. The analysis carried out in the paper supports the claim that providing a genelogical definition of a work of art sheds light on its artistic rendition and aesthetic value. It also enhances the perspective on emblem studies, the workshop of an emblem artist and the reception of the emblem. Additionally, it enables the verification of synthetic accounts and research practice, offering a profound reflection on the chronology and previous conceptions of the emblem. Finally, it helps to formulate postulates, which can be useful for the met

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Shuang, Wang, e Ren Shuai. "Colour symbolism in the art of Thangka". OOO "Zhurnal "Voprosy Istorii" 2023, n. 12-1 (1 dicembre 2023): 208–19. http://dx.doi.org/10.31166/voprosyistorii202312statyi06.

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The article examines the origin of symbolism and the cult of colour on the example of colour symbolism in the art of Thangka; it analyses two cultural and logical approaches to colour symbolism comprehension: using inductive method (generalization of natural attributes of colour) and deductive method (further transformation of colour symbolism into a social phenomenon and extension of colour semantic field). Two main symbolic systems generated by colour symbolism in Tibetan culture in the deductive process of its transformation into a social phenomenon - the “system of objectification” and the “system of humanization and deification”, their implementation in the Thangka paintings and the features of serving the needs of religion are investigated in this article.

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OSTASHCHUK, Ivan, Keyan LIANG, Svitlana KHRYPKO, Daria CHEMBERZHI, Olena LOBANCHUK, Olena NYKYTCHENKO, Iryna SPUDKA e Volodymyr CHOP. "Floral Symbolism in Ukrainian Temple Art". WISDOM 28, n. 4 (25 dicembre 2023): 70–78. http://dx.doi.org/10.24234/wisdom.v28i4.1042.

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The origins of the formation of plant symbolism in Christian temple art have been investigated, particularly on the example of the texts of the Holy Bible. The primary connotations of the garden’s symbolism in Christian sacral art are analyzed as an expression of the idea of a lost paradise, contemplation of the images of which is possible in the space of temples. Plant symbolism is revealed in the holistic art systems of the Sophia of Kyiv and St. Cyril’s Church in Kyiv. The fundamental values of plant symbolism in St. Sophia’s Cathedral and St. Cyril’s Church are highlighted by the idea of the continuity of Christian semiotics with the Old Testament Judaism and the combination of local pre-Christian traditions.

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Dubey, Kumud. "PLANT SYMBOLISM IN PAINTING". International Journal of Research -GRANTHAALAYAH 7, n. 11 (30 novembre 2019): 92–94. http://dx.doi.org/10.29121/granthaalayah.v7.i11.2019.3707.

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The great flower artists have been those who have found beauty in truth, who have understood plants scientifically and who have yet seen and described them with eye and hand of the artist. Plants, flowers and other foliage symbolize emotions, ideas and actions. Each plant has its own meaning. Painting art and plant illustration is beneficial for modern society because nature inspiring art and art preserving nature.

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LYTVYNENKO, Аlla. "Symbolism in art: icon and portrait". Humanities science current issues, n. 50 (2022): 115–20. http://dx.doi.org/10.24919/2308-4863/50-17.

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Blatchford, Ian. "Symbolism and discovery: eclipses in art". Philosophical Transactions of the Royal Society A: Mathematical, Physical and Engineering Sciences 374, n. 2077 (28 settembre 2016): 20150211. http://dx.doi.org/10.1098/rsta.2015.0211.

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There is a fascinating tradition of depicting solar eclipses in Western art, although these representations have changed over time. Eclipses have often been an important feature of Christian iconography, but valued as much for their biblical significance as for the splendour of the physical event. However, as Western culture passed through the Renaissance and Enlightenment the depictions of eclipses came to reflect new astronomical knowledge and a thirst for rational learning well beyond the confines of the church and other elites. Artists also played a surprisingly important role in helping scientists in the nineteenth century understand and record the full phenomena of an eclipse, even as the advent of photography also came to solve a number of scientific puzzles. In the most recent century, artists have responded to eclipses with symbolism, abstraction and playfulness. This article is part of the themed issue ‘Atmospheric effects of solar eclipses stimulated by the 2015 UK eclipse’.

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Peck, William H. "ANIMAL Symbolism in Ancient Egyptian Art". Sculpture Review 52, n. 2 (giugno 2003): 8–15. http://dx.doi.org/10.1002/j.2632-3494.2003.tb00085.x.

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Mnich, Ludmila. "THE GOSPEL TRADITION OF NUMBER SYMBOLISM IN TWENTIETH-CENTURY RUSSIAN POETRY". Проблемы исторической поэтики 19, n. 1 (febbraio 2021): 328–62. http://dx.doi.org/10.15393/j9.art.2021.9142.

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The article discusses the issues of studying and interpreting number symbolism in a literary work and characteristics of gospel number symbolism in the Christian context. In 20th-century Russian literature, the Christian tradition had a decisive impact on shaping the meaning of number symbolism. An important feature of the Christian symbolism of numbers is the correlation of number symbolism with two spheres, which can be designated as “positive” (sacral) and “negative” (sinful). The author proposes a methodology for interpreting number symbolism, which comprises three stages: 1) a description of the numbers in a literary text, 2) the correlation of these numbers with the tradition of number symbolism, 3) the interpretation of the meaning of number symbolism, which is an integral part of literary work. The article also distinguishes between two concepts — that of the number image and of the image of number, and substantiates the differences in interpretation of such images. Theoretical notions are supported by the interpretation of number symbolism in the poems of Boris Pasternak, Zinaida Gippius and Alexander Blok, where it is presented explicitly. Other images, motifs and concepts presented in the literary works augmented and added complexity to the tradition of gospel number symbolism in the poems of these authors.

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Markantonatou, Stella, e Voula Giouli. "State-of-the-art on monolingual lexicography for Greece (EL)". Slovenščina 2.0: empirical, applied and interdisciplinary research 7, n. 1 (13 novembre 2019): 78–97. http://dx.doi.org/10.4312/slo2.0.2019.1.78-97.

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The authors report on a recent survey on monolingual dictionaries available on the Greek market. General dictionaries outnumber spelling and educational ones and enjoy a prestigious status. Only one general dictionary is digitally born and only two are available through the web, but several are available as CDs. Most of the prestigious dictionaries have received public funding but not all. Lexicography is well considered in Greece where printed dictionaries seem to still have the lead.

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LADCHYN, Yaroslav. "ARTISTIC FEATURES OF SYMBOLISM IN JAPANESE VISUAL ART DURING THE EDO PERIOD". ART Space 1, n. 4 (2024): 183–207. http://dx.doi.org/10.28925/2519-4135.2024.410.

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This article is dedicated to exploring the artistic characteristics of symbolism in Japanese visual art during the Edo period (1603-1868). Through an analysis of this era, the author investigates the utilization of natural symbols, particularly flowers and birds, in the works of artists. Additionally, the article examines the influence of seasonal symbolism and its impact on artistic practice. Special attention is placed on the use of colors and their significance in conveying emotions and atmosphere. Furthermore, depictions of mythological creatures such as dragons and fairies are studied, along with their role in expressing spiritual concepts. The study also delves into the utilization of geometric forms and their symbolic meanings within the context of cosmic and philosophical aspects. The author further analyzes the incorporation of everyday objects and their contribution to creating allegorical imagery. The primary objective of this article is to uncover the significance of symbolism in Japanese visual art during the Edo period and to reveal its influence on the cultural, philosophical, and aesthetic context of that time. The article examines the utilization of natural symbols, seasonal, and color symbolism as means of metaphorically conveying profound concepts. It highlights the impact of mythological creatures on artworks of that era and the use of geometric forms to convey cosmic and spiritual dimensions. The role of object symbolism in generating additional meanings in art is also explored. The central aim of the article is to comprehensively comprehend the significance of symbolism in Japanese art during the Edo period and its effect on the cultural and artistic milieu of the time. The research is focused on investigating the role of symbolism in Japanese art during the Edo period and its impact on the cultural and artistic context of that period. Additionally, the article examines object symbolism and its role in shaping dual meanings and additional layers of significance in artworks. The study is aimed at unveiling the essence of symbolism in Japanese visual art during the Edo period and deepening the understanding of the impact of these artistic techniques on the cultural context of the time.

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Stoian, S. P. "THE SYMBOLISM OF THE VISUAL IMAGE IN THE PHILOSOPHICAL CONCEPTIONS OF E. CASSIRER AND C. LANGER: THE CULTURAL CONTEXT". UKRAINIAN CULTURAL STUDIES, n. 1 (2017): 52–55. http://dx.doi.org/10.17721/ucs.2017.1.11.

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It’s mentioned that the European atmosphere of increased interest in the problems of symbol and symbolism in the cultural space, giving rise in the second half of the XIX century to the registration of symbolism in art direction also contributes to a number of philosophical studies to the rethinking of the functioning of the cultural sphere, as well asthe whole of human existence from the standpoint of symbolism.A powerful concept that gives us an understanding of the global symbolic basis of culture is the theory of E. Cassirer, which he outlines in his work "The Philosophy of symbolic forms", expanding these issues infurther series of works collected under the title "An Essay on Man". Cassirer’s views are one of the main methodological foundations in our research, because the human culture has deeply symbolic character and consists of various symbolic forms, among which art takes a special place. Culture is not something predetermined; it is created by a person who is gradually separated from the natural world precisely because of its ability for continuous production of symbols. Along with the myth Cassirer distinguished such symbolic forms as language, art, science, through which the essential components of the symbolic reality of man are also produced. In work "Philosophy of Symbolic Forms", the art is mentioned in the context of consideration of the specificity of these symbolic realms and researcher focuses on myth, language and the problem of scientific knowledge. The philosopher indicates the communicative function of art, which becomes extremely important in the twentieth century in the context of the active involvement of the viewer in the process of co-creation. One of the main characteristics of symbolism about art that it distinguishes the concept from the previous Cassirer's symbolic concepts, particularly medieval, in his opinion, that art is really symbolic, but the symbolism of art should be understood not in transcendental but immanent sense. S. Langer in "Philosophy in a new key: A Study in the Symbolism of Reason, Rite, and Art", continuing the Cassirer's line on the recognition of the symbolic nature of human existence and the view of man as the "symbolic animal", along with an analysis of the symbolism oflanguage, which it defines as discursive, consider the symbolism of visual forms, which he calls presentations, or rediscussion, referring to him the sphere of art. Analyzed concepts demonstrate strong scientific interest to the question of symbolism in human culture, and emphasize the relevance of treatment to this issue.

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Davydova, Olga Sergeevna. "Symbolism in the Russian visual art in the era of Art Nouveau: analytical overview in the light of latest research". Философия и культура, n. 12 (dicembre 2021): 10–24. http://dx.doi.org/10.7256/2454-0757.2021.12.37180.

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The subject of this article is the works of the Russian artists of the late XIX – early XX centuries in the context of problematic of symbolism and Art Nouveau, as well as the scientific foundation that has developed as yet in studying this topic. Research methodology is based on the conceptual synthesis of classical art history approaches towards the analysis of artistic material with the theoretical interdisciplinary methods of humanities, such as iconology and hermeneutics, as well as the contextual-associative method developed by the author. The goal of this article consists in determination of the peculiarities of symbolism in Russia due to the transformation of the attitude towards the spiritual problematic of art of the turn of the XIX – XX centuries, which is relevant for the modern art history. The author is firs in the Russian art history to conduct a comprehensive analytical overview of the development stages of symbolism in the Russian visual art based on the years-long work with the archival materials, scientific publications (that cover over a century), and works of the Art Nouveau authors stored in the museum funds, many of which after 1917  appeared to be on the periphery of attention of art historians due to ideological reasons. The revealed individual characteristics of symbolism as a holistic artistic phenomenon, created on the level of modern humanistic knowledge, determine the novelty of this work and can valuable in further study of symbolism and Art Nouveau. Broadening of representations on the Russian art of the late XIX – early XX centuries, allow returning the heritage of the symbolist artists into the context of art, which is of undeniable importance from the perspective of restoration of natural logic of the development of the history of art in Russia, making this publication valuable in various fields of study of art and culture.

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Kallas, Jelena, Margit Langemets, Kristina Koppel e Maria Tuulik. "State-of-the-art on monolingual lexicography for Estonia". Slovenščina 2.0: empirical, applied and interdisciplinary research 7, n. 1 (18 aprile 2019): 25–38. http://dx.doi.org/10.4312/slo2.0.2019.1.25-38.

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The paper describes the state of the art of monolingual lexicography in Estonia. Firstly, we describe the current situation in Estonia and the main public functions performed by the Institute of the Estonian Language. Secondly, we provide an overview of the primary types of monolingual academic dictionaries (dictionaries of Standard Estonian and explanatory dictionaries) published in Estonia since the 20th century. Monolingual learner’s lexicography has emerged as a new field in the 2010s, focusing on basic vocabulary and collocations. Thirdly, we give a short overview of accessibility policy and availability of language resources for Estonian. Finally, we envisage the future work in the field of lexicography in the Institute. Within the framework of the new dictionary writing system Ekilex the Institute is moving away from presenting separate interfaces for different dictionaries towards a unified data model in order to provide the data in the aggregated form.

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El Weshahy, Mofida, e Radwa Omar. "Snake's symbolism in Coptic and Islamic Art". Journal of Association of Arab Universities for Tourism and Hospitality 19, n. 3 (1 dicembre 2020): 291–316. http://dx.doi.org/10.21608/jaauth.2021.64221.1141.

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AKDENİZ, Defne. "OYSTER SYMBOLISM IN THE ART OF PAINTING". International Journal of Social Humanities Sciences Research (JSHSR) 4, n. 10 (1 gennaio 2017): 339–54. http://dx.doi.org/10.26450/jshsr.64.

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Simon, R. M. "The symbolism of style: art as therapy". Child Language Teaching and Therapy 8, n. 2 (giugno 1992): 224–25. http://dx.doi.org/10.1177/026565909200800216.

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Barris, Michael C. "Color and Meaning: Art, Science, and Symbolism". Optometry and Vision Science 77, n. 1 (gennaio 2000): 10. http://dx.doi.org/10.1097/00006324-200001000-00007.

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Willard, Christopher. "Color and meaning: Art, science, and symbolism". Color Research & Application 25, n. 5 (2000): 382–84. http://dx.doi.org/10.1002/1520-6378(200010)25:5<382::aid-col12>3.0.co;2-s.

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Arnheim, rudolf. "The symbolism of style: Art as therapy". Arts in Psychotherapy 20, n. 4 (gennaio 1993): 347–48. http://dx.doi.org/10.1016/0197-4556(93)90069-e.

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Khanal, Sandhya. "Symbolism of Sacred Art in Water Conduits". Nepalese Culture 17, n. 1 (7 maggio 2024): 33–46. http://dx.doi.org/10.3126/nc.v17i1.64397.

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Nepal is a country with abundance of traditional art, architecture and culture. Almost every monument comprises faith, belief, devotion and sacredness which are initiated to be expressed through symbolic representation. Historicity of water conduit of Kathmandu valley can be traced back to early Cristian Era. They were installed to fulfill basic need of water. Flowing water is compared to goddess Ganga. Thus, every water conduit is equated to goddess Ganga with depiction of a crocodile, her vehicle. Cent percent water conduits of the valley consists of sculptural art associated to Hindu or Buddhist deities and a few with architectural monuments. It also comprises sculptural art of several creatures as; serpent, fish, frog, chameleon, mongoose. These deities, monuments and creatures are found to be a symbolic expression of theme associated with religious belief and faith. In this context, finding out the theme of an art expressed in a water conduit, chief feature of sacred sculptural art of water conduits and symbolic representation of sculptural art of water conduits of Kathmandu valley have been focused as an objective of this research. This qualitative research is based upon historical fact. Thus, the facts are collected from historical monuments through survey, interview, collection of photographs and are analyzed in a descriptive way. Related literary sources have been consulted as a secondary source. From several references, it is to be considered that water conduits of the valley have been basically set up for social and religious utility with installation of several deities according to their faith. Art of each conduit as well as image portrays specific features belong to related historical age. Besides this, each sculptural art depicted on the conduit conveys symbolism of goddess Ganga and several pilgrimages composed within a precise pious abode.

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Tsareva, Nadezhda A. "The Idea of Russian Symbolism about the Synthesis of Cultural Forms in the Context of Postmodern Culture". ICONI, n. 1 (2021): 126–36. http://dx.doi.org/10.33779/2658-4824.2021.1.126-136.

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The relevance of the topic is due to the attention to trends in the development of culture. The synthesis of cultural forms is one of the important factors in the dynamics of culture. The teaching of Russian symbolism about the synthesis of cultures was analyzed in the scientifi c literature of the entire twentieth century. The novelty of the research is to compare the idea of art synthesis in the early twentieth and twenty-fi rst centuries. Two aspects of the idea of synthesis are considered: 1) the relevance of the idea of art synthesis in the postmodern era; 2) music and the visual series as organizing centers of art synthesis in the era of information technology. The purpose of this article is to examine the teaching of Russian symbolism about the integration of various forms of art and the features of synthesis in the postmodern era. The idea of integrating cultural forms was one of the key elements in Russian symbolism at the beginning of the twentieth century and was interpreted as a real prospect for the development of culture. In a broad sense, synthesis in symbolism meant the integrity of life, the integration of all spheres of human activity, the “organic connection” of cultures of the past and present. The synthesis can be realized on the basis of the art of symbolism, which can create a new culture. The synthesis of arts was understood as the beginning of the formation of a new culture. The core of the synthesis of arts, the symbolists saw music. Postmodern art is characterized by synthetism. Computer and information technologies create new forms of synthetic media art. The video series becomes the center of integration construction of postmodern audiovisual culture forms. The symbolist idea of the synthesis of arts as the beginning of cultural change in the postmodern era remains a utopian project. But the creation of new art forms in postmodern culture i s based on integration. New technologies are becoming a factor that determines the specifi cs of the synthesis of arts and infl uences the dynamics of culture. Both in Russian symbolism and in modern art, the goal of art synthesis is to present an integral image of the world, to form a system of worldview attitudes.

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Hartmann, Reinhard, e Sidney I. Landau. "Dictionaries: The Art and Craft of Lexicography". Modern Language Review 97, n. 1 (gennaio 2002): 255. http://dx.doi.org/10.2307/3735704.

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Lindquist, Hans, e Sidney I. Landau. "Dictionaries: The Art and Craft of Lexicography". Language 61, n. 3 (settembre 1985): 709. http://dx.doi.org/10.2307/414404.

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Ryabchenko, V. D. "The Evolution of Symbolist Ideas in the Zolotoe Runo Magazine". Concept: philosophy, religion, culture 4, n. 3 (28 settembre 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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Stoian, S. P. "EUROPEAN CODES OF CONTEMPORARY UKRAINIAN SYMBOLISM". UKRAINIAN CULTURAL STUDIES, n. 1 (6) (2020): 94–98. http://dx.doi.org/10.17721/ucs.2020.1(6).18.

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The article analyzes the specifics of contemporary Ukrainian symbolism in visual art in the context of a relationship with the European tradition. By drawing parallels between contemporary works by Ukrainian authors and symbolic images created in different historical periods of European culture from ancient times to nowadays, their deep kinship in their motives and meanings is demonstrated. This indicates that modern Ukrainian symbolism, on the one hand, is organically included in the European tradition, and on the other hand, contains unique, authentic features inherent in Ukrainian culture. Numerous works by contemporary Ukrainian authors, close to the idea of creating images, far from the principles of realism, images. It always hides multilayered, undiscovered meanings, testifies to the significant relevance of symbolism in contemporary art. At this stage of development, it demonstrates a crisis of form and radical conceptuality, in contrast to which artists are beginning to develop an interest in deeper, meaningful and multi-vector artistic images. It is noted that human is immersed in the world of symbols from birth, and it is this ability to symbolize even in primitive times begins to distinguish it from the animal world, because only human consciousness can create a symbolic space of culture. Art is also born in the bosom of symbolism because even the first rock paintings contain symbolic and mythological meanings. After all, man can see in the image of a tree, not just a plant that is a source of food or shelter, but a symbol of the universe, which combines three levels of the universe: underground, earthly and celestial. Symbolism is a much broader phenomenon than just an artistic direction, because the desire to generate symbolic images in art was present in all periods of human development, retreating to the periphery in times of powerful rationalization of culture and returning to the forefront of appealing to transcendent, irrational, unconscious of our existence. Only by conducting a thorough analysis of this phenomenon from the birth of art in primitive times, going through all stages of development of European culture, we can fully understand the origins, specifics and relationship of modern Ukrainian symbolism with European tradition, as well as its authenticity and originality. It distinguishes the phenomenon from all that has already been created in the space of visual art.

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Appleton, Jay. "Nature as Honorary Art". Environmental Values 7, n. 3 (agosto 1998): 255–66. http://dx.doi.org/10.1177/096327199800700301.

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This paper addresses the apparent difficulty experienced by philosophers in applying the methodology of art criticism to the aesthetics of nature and uses the idea of ‘narrative’ to explore it. A short poem is chosen which recounts the ‘narrative’ of a simple natural process – the passage of day into night – and this is followed by a simplified critique illustrating how the poem invites questions relating to style, technique, subject, etc., leading to the query whether the art form (poem) can be dispensed with and the subject (nature) be left to tell its own story, using the ‘language’ of symbolism. The interface between art and science is reviewed particularly in the light of the ideas of John Dewey and what has happened since. The ‘symbolism of environmental opportunity’ is proposed as the key to crossing the arts/science boundary, and the question is raised whether the distinctiveness of nature is of paramount importance in this context. Various grounds for scepticism are examined, e.g. the danger of drawing inferences about human interaction with nature from the behaviour of other species.

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Trap-Jensen, Lars. "State-of-the-art on monolingual lexicography for Denmark (Danish)". Slovenščina 2.0: empirical, applied and interdisciplinary research 7, n. 1 (18 aprile 2019): 1–12. http://dx.doi.org/10.4312/slo2.0.2019.1.1-12.

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This minireview provides an overview of the lexicographic situation in Denmark, introducing the most important dictionary works. The major historical dictionaries are mentioned but the main focus is on contemporary lexicography and the companies and institutions currently active in the field. In particular, it is noted whether dictionaries are digitally available and if they are subject to regular updating.

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Štrkalj Despot, Kristina, Lana Hudeček, Tomislav Stojanov e Nikola Ljubešić. "State-of-the-art on monolingual lexicography for Croatia (Croatian)". Slovenščina 2.0: empirical, applied and interdisciplinary research 7, n. 1 (18 aprile 2019): 65–77. http://dx.doi.org/10.4312/slo2.0.2019.1.65-77.

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In this minireview, the state of the art of the Croatian monolingual lexicography is presented. A brief overview and classification of all existing lexicographic resources is provided in the firts part of the minireview, followed by somewhat more detailed insight into the existing Croatian monolingual dictionaries and monolingual lexicographic projects, orthography dictionaries, and dictionary writing systems used.

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Guan, Haiying, e Yuhua Li. "On Andrei Bely’s poetic philosophy and art of fiction". Chinese Semiotic Studies 19, n. 2 (1 maggio 2023): 217–31. http://dx.doi.org/10.1515/css-2023-2002.

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Abstract As a unique literary theory, Andrei Bely’s symbolism is a religious world view, and his “symbols” are deeply rooted in the symbolist’s cognition of world structure. This distinct world view exerts a special effect on Bely’s exploration of the poetic mechanism of symbolism. In the practice of completing the creation of symbolic image, the construction of symbolic text, and the achievement of artistic function, word, rhythm, and color are among the most important and necessary conditions to help Bely produce a polyphonic aesthetic effect.

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Bragina, Natalia, e Vladislav Stepanov. "PHILOSOPHICAL INTERPRETATION OF SYMBOLISM OF ČIURLIONIS’ PAINTINGS". SOCIETY. INTEGRATION. EDUCATION. Proceedings of the International Scientific Conference 4 (25 maggio 2018): 360–71. http://dx.doi.org/10.17770/sie2018vol1.3196.

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The art of M.-K. Čiurlionis is unique and at the same time emblematic of the culture of the art nouveau period. A deep connection of his art to Lithuanian folklore was combined with his fascination with European philosophical trends of the turn of the 19th - 20th centuries. The aim of this article is to identify the cross-cutting themes (leitmotifs) in the artist’s works and, with the help of this, to reveal the philosophical basis of his works. The methods of research are the study and analysis of both individual Čiurlionis’ paintings and his artistic production in general, as well as the analysis of the literature devoted to his works. As the result, two groups of leitmotifs were identified in the Čiurlionis’ paintings: a) figurative themes; and b) non-figurative themes (up to complete abstraction). Analysis of the meanings of these themes and of their influence on the content of the paintings shows that concrete figurative images (themes of kings, bird, hand, and castle) are associated with Lithuanian folklore. Semi-abstract and abstract images (chaos, glance, gesture, and beauty) reveal the connection between the art of Čiurlionis and European philosophy, from Plato's ideas to Nietzscheism and mystic-visionary movements of the early 20th century. Revealing the philosophical basis of his paintings makes it possible to simultaneously review the artist’s entire work in the context of culture of art nouveau, understand this culture more deeply, and thus get a better understanding of some important phenomena of our time.

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Khachatryan, Armine. "Sound Symbolism and Onomatopoeia". Armenian Folia Anglistika 11, n. 1 (13) (15 aprile 2015): 58–64. http://dx.doi.org/10.46991/afa/2015.11.1.058.

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Abstract (sommario):

The function, realization and the role of sound-symbolic phenomenon can vary in some languages. The study of sound symbolism and onomatopoeia in Armenian, Russian and English showed that highly expressive forms of language occur not only in daily conversation, advertising, newspapers and magazines, but also in creative literature: children’s poems, stories and great works of art. As a powerful stylistic device they realize an impact upon the reader or listener and evoke certain emotional expressively evaluative reactions. The comparative analysis of this phenomenon demonstrates that the word is heard differently in different cultures.

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Zlatkova, Lуuba. "RHYTHM AND SYMBOLISM IN THE FOLK MUSIC ART". Education and Technologies Journal 10, n. 2 (1 agosto 2019): 244–50. http://dx.doi.org/10.26883/2010.192.1709.

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Vojvodić Balaž, Violeta. "Monetary Symbolism: Art as a Deposit of Value". AM Journal of Art and Media Studies, n. 20 (15 ottobre 2019): 137. http://dx.doi.org/10.25038/am.v0i20.333.

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MONEY – a unit of account, a deposit of value, and a medium of exchange – formally evolved from grain, precious metal, cheap paper, to state-of-the-art digital accounting records managed by artificial intelligence. Although the economists of the 19th century believed in its neutrality, money is an ambiguous socio-economic phenomenon which serves as a political tool and a measure of value even if its own value is volatile. The stamp of authority marked the symbolization of money as a cultural artifact: the character of a ruler, a symbol, or an inscription on the coin came to be a signifier of value. Accordingly, the financial system raised artistic concerns when money began to be an abstraction, i.e., a symbolic paper which acquires legitimacy via social consensus and constructs its value on the underlying commodity or the performances of the economic system. Starting from the similarities between Artistic and Monetary simulacrum and the fact that artwork functions as a deposit of cultural and financial value, this paper will discuss the artistic use of monetary symbolism from the early examples of satirical prints in The Great Mirror of Folly (1720) triggered by the speculation with one of the first European official paper currencies, to Duchamp’s art experiments with the securities and contemporary art research practice based on financial aesthetics. Article received: April 5, 2019; Article accepted: July 6, 2019; Published online: October 15, 2019; Original scholarly paperHow to cite this article: Vojvodić Balaž, Violeta. "Monetary Symbolism: Art as a Deposit of Value." AM Journal of Art and Media Studies 20 (2019): 137-147. doi: 10.25038/am.v0i20.333

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MalborgKim. "Art Nouveau Style Symbolism in Loie Fuller's Dance". Korean Journal of Dance Studies 36, n. 36 (maggio 2012): 1–18. http://dx.doi.org/10.16877/kjds.36.36.201205.1.

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35

Petrova, Stefka, e Marian Petrov. "Phytonymic Symbolism in Bulgarian and Russian Folk Art". Cultural and Historical Heritage: Preservation, Representation, Digitalization 5, n. 2 (2019): 125–29. http://dx.doi.org/10.26615/issn.2367-8038.2019_2_013.

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The report examines the anthropologized and other semantic and connotative loads of the names of some plants (wormwood and oregano) in Bulgarian and Russian folk art. The topic is related to the comparative study of a cultural heritage of the two nations. In recent years, linguistics in the Bulgarian and Russian languages has increased research in this direction. An example of developments in both languages is the recent research by Anna Angelova. Keywords: folk art, phytonymic symbolism, linguistics, Bulgarian, Russian

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Meisel, Martin. "Seeing It Feelingly: Victorian Symbolism and Narrative Art". Huntington Library Quarterly 49, n. 1 (gennaio 1986): 67–92. http://dx.doi.org/10.2307/3817192.

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Morkoç, Selen. "ART HISTORY AND ARCHITECTURAL SYMBOLISM: A Hermeneutical Critique". Architectural Theory Review 8, n. 2 (novembre 2003): 124–33. http://dx.doi.org/10.1080/13264820309478489.

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Balter, M. "ORIGINS: On the Origin of Art and Symbolism". Science 323, n. 5915 (6 febbraio 2009): 709–11. http://dx.doi.org/10.1126/science.323.5915.709.

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Wyckoff, Don G. "Images on shell: Spiro symbolism and ceremonial art". Reviews in Anthropology 12, n. 4 (settembre 1985): 329–37. http://dx.doi.org/10.1080/00988157.1985.9977748.

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ÖZRİLİ, Yaşar. "THE CROSS IN BYZANTINE ART: ICONOGRAPHY SYMBOLISM AND MEANING". KutBilim Sosyal Bilimler ve Sanat Dergisi 3, n. 2 (28 dicembre 2023): 116–30. http://dx.doi.org/10.58642/kutbilim.1384706.

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Byzantine art is an artistic tradition that developed during the Middle Ages when the Eastern Roman Empire was dominant. The cross is a very important symbol in Byzantine art and has a deep meaning in terms of both iconography and symbolism. This study aims to analyse the iconographic and symbolic expressive power of the cross in Byzantine art. Iconographic representations of the cross in Byzantine art characterise the crucifixion of Jesus Christ and his suffering. In iconography, there are various forms, depictions of the cross. These include various types such as the Latin cross, the Greek cross, the cross of Christ's crucifixion. Each type of cross carries different meanings and also symbolises different scriptures and figures. It also characterises concepts such as martyrdom, sacrifice, resistance and victory. The cross was used in icon, frescoes, mosaics and other works of art. For example, in Jesus iconography, the cross can be seen in Jesus' hand or on his throne. This article, which is structured with the method of literature review and document analysis, aims to illuminate the iconographic and symbolic meanings of the cross in Byzantine art. The cross is one of the sacred symbols of the Christian faith in Byzantine art.

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Battistella, Edwin L. "Dictionaries: The Art and Craft of Lexicography (review)". Language 79, n. 2 (2003): 443. http://dx.doi.org/10.1353/lan.2003.0107.

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Sîrbu, Adrian. "“Style” or “yphos” in Psaltic Art?" Artes. Journal of Musicology 24, n. 1 (1 aprile 2021): 321–28. http://dx.doi.org/10.2478/ajm-2021-0019.

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Abstract (sommario):

Abstract The term style is used in the philosophy of culture, in aesthetics, art theory and art criticism, in literary languages, in the plastic and monumental arts, in the way of life and behavior of people to characterize cultures, eras, creative individuals or works, so as we learn from philosophy dictionaries. If in Greek there is this duality of the terms style and yphos, the Romanian language uses only the former, while yphos appears to be used with completely different meanings, over time. Unlike the meanings in Greek, in the current dictionaries of the Romanian language the word yphos has a more pejorative meaning, suffering over time semantic changes. However, it seems that the old meaning of the term yphos reveals much deeper and richer valences than the term style and helps us to understand in a better way the conditions of an authentic musical-spiritual interpretation, in the “right spirit”.

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Nguyen, Vu H., Hien T. Nguyen, Hieu N. Duong e Vaclav Snasel. "n-Gram-Based Text Compression". Computational Intelligence and Neuroscience 2016 (2016): 1–11. http://dx.doi.org/10.1155/2016/9483646.

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Abstract (sommario):

We propose an efficient method for compressing Vietnamese text usingn-gram dictionaries. It has a significant compression ratio in comparison with those of state-of-the-art methods on the same dataset. Given a text, first, the proposed method splits it inton-grams and then encodes them based onn-gram dictionaries. In the encoding phase, we use a sliding window with a size that ranges from bigram to five grams to obtain the best encoding stream. Eachn-gram is encoded by two to four bytes accordingly based on its correspondingn-gram dictionary. We collected 2.5 GB text corpus from some Vietnamese news agencies to buildn-gram dictionaries from unigram to five grams and achieve dictionaries with a size of 12 GB in total. In order to evaluate our method, we collected a testing set of 10 different text files with different sizes. The experimental results indicate that our method achieves compression ratio around 90% and outperforms state-of-the-art methods.

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Panok, T. "H. Skovoroda in the Works of Ukrainian Artists". New Collegium 4, n. 109 (14 novembre 2022): 14–22. http://dx.doi.org/10.30837/nc.2022.4.14.

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This paper analyzes the creative heritage of H. Skovoroda, his literary pronouncements on the role of art in the cultural heritage of the reference period. Along with dialectics of philosophical thought of H. Skovoroda, an important principle of his work, namely symbolism, which was inherent not only in Baroque emblematic poetry, but also in the visual art in general at the time, is revealed. Philosophical reflections and symbols of H. Skovoroda were understandable and highly sought not only in the Baroque period, but also throughout the time. It is thus with good reason that philosophical and ethical views of H. Skovoroda influenced the artistic conceptions of many Ukrainian artists, first and foremost those belonging to M. Boichuk, H. Narbuta, V. Krychevskyi, O. Bogomazov, K. Malevich and others. This paper expands the concept of emblematics, symbolism of the Baroque and its quotation in the modern Ukrainian art. It has been brought out that the image symbolism of H. Skovoroda in their creativity expressed the idea of Ukrainian Sacrum, sophistication and cordocentrism. The philosophy of Ukrainian art, based on the idea of Sacrum, as well as on the sacral signatures of the national fine arts, developed its own understanding of both art and artistic concepts that reflected the revolutionary “mythmaking” and transformed the stable Ukrainian archetype into new artistic images. Skovoroda’s teachings have always attracted artists by their uniqueness, the significance of opinions, the depth of spiritual understanding of both the world and man, while his mystical symbolism is still quoted in the works of Ukrainian artists. Skovoroda’s figure is embedded in the historical process of understanding both the man and the world around, and his views can be projected not only onto the past, but likewise onto the present. In Ukrainian fine art and iconography, the philosopher’s dream of the harmony of human existence, the greatness of his spirit and self-knowledge is still maintained. The expressed allegorical nature of Skovoroda’s philosophical meditations is reflected in the symbolism of both the past and contemporary works of art. The illustration of a conceptual idea in terms of images-symbols is kind of “l'instant épié”, which aims at the most adequate expression of the artist’s point of view, when reality is transformed by flair, and everything that the artist’s brush touches rises above everyday life and becomes poetic.

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Zingano Kuhn, Tanara. "State-of-the-art on monolingual lexicography for Brazil (Brazilian Portuguese)". Slovenščina 2.0: empirical, applied and interdisciplinary research 7, n. 1 (13 novembre 2019): 98–112. http://dx.doi.org/10.4312/slo2.0.2019.1.98-112.

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Abstract (sommario):

This paper is a minireview of the current status of monolingual lexicography in Brazil. Firstly, a brief contextualization of the origins of Brazilian Portuguese dictionary-making is provided. Then, an account of contemporary monolingual dictionaries is given and a more detailed overview on print, digital, spelling, and school dictionaries is presented. Next, research into dictionary use is reviewed. Finally, the perception among the Brazilians with regards to corpora and use of crowdsourcing in lexicography is discussed.

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Bagno, Vsevolod E., e Tatiana V. Misnikevich. "Rivals in Symbolism". Literary Fact, n. 19 (2021): 253–67. http://dx.doi.org/10.22455/2541-8297-2021-19-253-267.

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The article examines the reception of Western European modernism in Russia in the late 19 th — early 20th centuries, with the emphasis on the phenomenon of the “crooked mirror” of a different nation perception, which not only endows the work of a foreign author with new functions, but sometimes also gives it a new scale (as with Byron, Zola, some of whose novels were published in Russian translation earlier than in the original in France, the Parnassian poet Jose Maria de Heredia, who received real fame in Russia, in contrast to the very short recognition in his homeland). The subject of the analysis is the texts that are maximally indicative and convincing for the stated topic, above all the translations from Paul Verlaine by Fyodor Sologub, who, along with Bryusov, opened the French poet to the Russian reader, and his original poems, created in the course of and largely as a result of work on translations. The systematization of observations on specific texts makes it possible to conclude that Russian Symbolists, adhering to sometimes opposite views on art, relying on the authority of Baudelaire and Verlaine who are perceived in France more as predecessors of Symbolism than its representatives, walked alongside them, never meeting along the way, but recognizing the “other” as “equal”.

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Ahmed bin Modheif Al Sufyani, Ahmed bin Modheif Al Sufyani. "Benefits and Standards for Identifying the Terminologies of Alqamoos Almuheet". journal of King Abdulaziz University Arts And Humanities 29, n. 7 (1 gennaio 2021): 83–119. http://dx.doi.org/10.4197/art.29-7.4.

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Abstract (sommario):

Dictionaries are among the most important resource books that our ancient and modern scholars have been keen on. They have taken great care of their methodologies, arrangements, and characteristics. Among the dictionaries that assumed the foremost place in the Arab Heritage, Taj Al-Lugha (Language Crown), Sihah Al- Arabia

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Bulas, Ryszarda Maria. "Tkanina z Mashanu (Chiny, V–III w. p.n.e.) a celtycki system ornamentalny". Art of the Orient 1, n. 1 (2012): 57–72. http://dx.doi.org/10.15804/aoto201203.

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In a short article the author presents the hypothesis that certain aspects of Celtic Art has Chinese origin. She compares the decoration of textiles found in 1982 in Mashan, province of Hubei in China with the Celtic system of ornamentation, known from books illumination, sculptures of Celtic crosses and metal products. Among the motifs known to Celtic art she indicates: skulls, tête coupe, pelts, spirals and triskeles. The author also indicates the similarities in the field of color symbolism, animal symbolism (crane), the special role of women and femininity, and Nature (on the basis of philosophy and poetry) in both cultures.

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Davydova, Olga Sergeevna. "Sculptural rhymes of Art Nouveau: on the visual poetics of symbolism". Философия и культура, n. 2 (febbraio 2022): 1–12. http://dx.doi.org/10.7256/2454-0757.2022.2.37229.

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Abstract (sommario):

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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Lu, Jingqi, e Hyung-Gi Kim. "Symbolism and Metaphors of Art-focusing on Video Works". TECHART: Journal of Arts and Imaging Science 5, n. 2 (31 maggio 2018): 17–20. http://dx.doi.org/10.15323/techart.2018.05.5.2.17.

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