Готові списки джерел за темами / Symbolism

Добірка наукової літератури з теми "Symbolism"

Автор: Grafiati
Опубліковано: 4 червня 2021
Оновлено: 15 червня 2024

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Зміст

  1. Статті в журналах
  2. Дисертації
  3. Книги
  4. Частини книг
  5. Тези доповідей конференцій
  6. Звіти організацій

Статті в журналах з теми "Symbolism":

1

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

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The symbolism of hazel in Polish folk culture. A fragment of cognitive definitionThe article discusses the symbolism of the hazel plant which constitute a segment (one facet) of the cognitive definition of a hazel bush. The symbolism of the hazel is a category which terminate and gather in together other facets constituting the entry ‘Hezel’ in the Lublin ethnolinguistics dictionary (Słownik stereotypów i symboli ludowych, red. J. Bartmiński, S. Niebrzegowska-Bartmińska): i.e. the plants’ provenance, image, time and place of flourishing; its magical, apotropaical, therapeutical, ritual and practical use etc. The symbol is thus – next to the stereotype – the second key concept in this dictionary. The author shows the different symbolic meanings attributed to hazel in Polish folk culture – the symbolism of the space tree, the symbolism of sacredness, a symbol of life, duration, recovery and growth; symbol of power and health, the symbolism of fertility and abundance, and a symbol of girl. Symbolika leszczyny w polskiej kulturze ludowej. Fragment definicji kognitywnejW artykule omówiona została symbolika leszczyny stanowiąca wycinek (jedną fasetę) definicji kognitywnej leszczynowego krzewu. Symbolika leszczyny jest kategorią, która wieńczy hasło, bazując na pozostałych fasetach - dotyczących m. in. pochodzenia, wyglądu, czasu i miejsca kwitnienia, zastosowania apotropeicznego, magicznego, leczniczego, obrzędowego i praktycznego - spina je wspólną klamrą. Symbol jest bowiem, obok stereotypu, drugim kluczowym pojęciem w lubelskim słowniku etnolingwistycznym (Słownik stereotypów i symboli ludowych, red. J. Bartmiński, S. Niebrzegowska-Bartmińska). Autorka prezentuje różne sensy symboliczne przypisywane w polskiej kulturze ludowej leszczynie – symbolikę drzewa kosmicznego; symbolikę świętości; symbol życia, trwania, regeneracji i wzrastania; symbol mocy i zdrowia, symbolikę płodności i obfitości oraz symbol dziewczyny.
2

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

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In this article the question is posed whether one is justified in associating N.P. van Wyk Louw’s work with Symbolism as seen in terms of its being a historical art movement. At first sight some of the main characteristics of his work seem incompatible with the overall spirit of Symbolism. A close look is taken at these characteristics. They are weighed against typical characteristics of Symbolism. A number of common traits are discovered. Following this, a study of Van Wyk Louw’s utterances in his prose works is undertaken to establish the extent of his knowledge of the works of Symbolists and of Symbolism as such, The unfolding history of his contact with their work and with Symbolism is traced. Some revealing relations are uncovered. Having established a number of definite Symbolist traits in his work, his poetical oeuvre is projected against the set of fundamental characteristics of Symbolism as a phenomenon identified by S. Dresden in his book Symbolisme (1980). Seen at against this background, the range of symbolist features in his work shows up clearly. The conclusion reached is that Van Wyk Louw so thoroughly absorbed those characteristics of Symbolism that corresponded with his own creative personality that they have blended almost imperceptibly with the rest of his oeuvre, thereby creating the impression that they are fully native to his work.
3

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

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4

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

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This article is an attempt to relate the first three of Wilma Stockenstrom's collections of poetry to international Symbolism. First we discuss possible links between her work and Symbolism. The mam emphasis then falls on Stockenstrom’s method of Symbolism, the possible symbolist tone of her work and prominent symbolist motifs in her work. Finally we consider some manifestations of the symbolist oilier world in these collections. The conclusion arrived at is that Stockenstrom's earlier work shows many of the main characteristics of Symbolism so that her work can be regarded as a continuation of the symbolist tradition. This tradition undergoes three important transformations in her work: the European world of symbolist poetry is replaced by an archeologically rich but mute African world, modern science and technology replaces the medieval system of reference of Symbolism, and sound and musicality p la y a much smaller part in Stockenstrom's poetry. Stockenstrom's cynical, ironic tone, the use of opaque kafkaesque symbols, her emphasis on tentative visions, her distrust of language and her tendency to relativize frames of reference in the endings of her poems, show that Stockenstrom's poetry has already crossed the boundary to Modernism.
5

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

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This research focuses on symbolism which is appeared in Angels and Demos movie. There are various symbolisms shown through this Angels and Demons movie. Most of the symbolism has different meaning to be analyzed. The discussion covers on symbolism specifically on types and meaning on it. This research uses qualitative-description research which is accomplished by the writer by getting the data needed through this movie, having the library and internet research with the relevant sources, collects the data to be analyzed also describing meaning by explaining the result of the research. The conclusion of the research is finding five types of symbolism whereas only three symbolisms are suitable for this research, discover the meaning of every single symbolism found.
6

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

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This research is aimed at figuring out the dominant symbolisms and the meanings in the five selected love poems of Nicholas Gordon. The descriptive-qualitative method was applied in this research. To analyze the data, the researcher used qualitative data analysis. The results showed that there were twenty five conventional symbolisms and nineteen natural symbolisms in the five selected love poems of Nicholas Gordon. In other words, four conventional symbolisms and four natural symbolisms in the first selected love poem, four conventional symbolisms and eight natural symbolisms in the second selected love poem, ten conventional symbolisms and one natural symbolism in the third selected love poem, four conventional symbolisms and three natural symbolisms in the fourth selected love poem, and three conventional symbolisms and three natural symbolisms in the fifth selected love poem. In conclusion, conventional symbolism was more dominant than natural symbolism, and most of the meanings of the poems related to feelings of happiness and sadness in line with love relationship.
7

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

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The article is devoted to the study of the aesthetics of symbolism in the works of contemporary Iraqi artists of the 1970s–1990s. The purpose of the study is to analyze the content of symbols in the works of Iraqi symbolist artists in the context of historical and cultural events of the country. The author uses descriptive, analytical, comparative historical methods of scientific research. A brief history of Iraqi symbolism is given. The analysis of the works of Iraqi symbolist artists such as M. Ahmad, V. Sheit, R. Dabdub, D. Azzawi, Sh. H. Al Said is carried out, which allows to clarify the symbolism of Iraqi painting of the 1970s–1990s.
8

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

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In the 1910s in the Georgian literary area the first Symbolist group TsisperiQantsebi (The Blue Horns) comes into being, with a clearly defined purpose and aesthetic position, which implied renewing the Georgian literature and including it into the Western context. Desiring to expand the thought area and to modernize Georgian literature, Georgian Symbolists rested on the philosophical and worldview principles of French Symbolism. Georgian Symbolism appears as an original invariant generated from the French Symbolist aesthetics, which is unequivocally national.
9

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.
10

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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Статті в журналах Дисертації Книги

Дисертації з теми "Symbolism":

1

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

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

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

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

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

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


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

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

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4

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

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

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

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

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

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

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

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

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

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

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

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

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

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Книги з теми "Symbolism":

1

Baker, Jeffrey. John Keats and symbolism. Brighton, Sussex: Harvester Press, 1986.

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2

Dillistone, F. W. The power of symbols. London: SCM Press, 1986.

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3

Goldwater, Robert John. Symbolism. Boulder, Colo: Westview Press, 1998.

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4

Rapetti, Rodolphe. Symbolism. Paris: Flammarion, 2005.

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BrodskaiŁa, N. V. Symbolism. Rochester, Kent: Grange, 2007.

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Goldwater, Robert. Symbolism. Boulder, Colo: Westview Press, 1998.

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Brodskai︠a︡, N. V. Symbolism. New York: Parkstone International, 2007.

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Turner, Victor Witter. Blazing the trail: Way marks in the exploration of symbols. Tucson: University of Arizona Press, 1992.

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Neville, Robert C. The truth of broken symbols. Albany: State University of New York Press, 1996.

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Guénon, René. Symbolism of the cross =: Le symbolisme de la croix. 3rd ed. Ghent, NY: Sophia Perennis et Universalis, 1996.

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Частини книг з теми "Symbolism":

1

Smadja, Éric. "Symbols, symbolism and symbolisation." In On Symbolism and Symbolisation, 60–98. 1 Edition. | New York: Routledge, NY 2019.: Routledge, 2018. http://dx.doi.org/10.4324/9781351124843-5.

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Pinion, F. B. "Symbolism." In Hardy the Writer, 237–49. London: Palgrave Macmillan UK, 1990. http://dx.doi.org/10.1057/9780230389458_15.

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Mercado, Gustavo. "symbolism." In The Filmmaker's Eye: The Language of the Lens, 80–81. London; New York: Routledge, 2019.: Routledge, 2019. http://dx.doi.org/10.4324/9780429446894-18.

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Archer, W. G. "Symbolism." In The Blue Grove, 95. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003104230-16.

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Lau, Raymond W. K. "Symbolism." In Encyclopedia of Tourism, 924. Cham: Springer International Publishing, 2016. http://dx.doi.org/10.1007/978-3-319-01384-8_490.

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"SYMBOLISM AND SYMBOLS." In Prophet for a Dark Age, 273–324. Liverpool University Press, 2008. http://dx.doi.org/10.2307/j.ctv3029qn3.20.

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Castiglia, Christopher. "Symbolism." In Practices of Hope. NYU Press, 2017. http://dx.doi.org/10.18574/nyu/9781479818273.003.0005.

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The chapter examines the use of symbolism by three critics: Charles Feidelson, Marius Bewley, and Richard Poirier. For all three, the critique carried out by symbolism, refusing the division of the real and the unreal, content and style, allowing the latter to suffuse the former, becomes a visionary hopefulness. The imaginative eccentricities of literary form, mirroring the symbolic practices of urban homosexual subcultures, are what bring people to literature not just as an escape from everyday life but as speculations about a world differently configured. Faced with Cold War homophobia, these critics turned to issues of secrecy, suffering, and fellowship, making symbolism into a form of queer world making. When symbols open up a reflective space in the closed surface of reason or convention, they reveal an aspiration that is also a speculative disposition, suggesting a not-yetness that gestures beyond the is-ness of painful realities. Symbols are at once familiar, quotidian, transgressive, and even erotic. They are a hopeful phenomenon, expressing a conviction that objects (and people) have a mystical something that gives them more than predictable significance, endowing them with a sense that the physical and the metaphysical exist in a dynamic simultaneity. This is what, for these critics, makes symbolism queer.
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Esitti, Bekir, and Buket Buluk. "Organizational Symbolism." In Organizational Behavior Challenges in the Tourism Industry, 188–206. IGI Global, 2020. http://dx.doi.org/10.4018/978-1-7998-1474-0.ch011.

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This chapter discusses the issue of organizational symbolism, which is frequently encountered in business life, and its meaning in the tourism industry. Symbols are the most apparent and observable aspects of organizational life; simultaneously, symbolic elements are the most subtle and comprehensive. Due to the nature of the hospitality sector, the workflow takes place instantaneously. Therefore, employees, managers, and tourists search for some of the generally accepted symbols used in the organisation during this rapid workflow. If symbols are removed from this relationship, communication suffers and as a result harms the overall functioning of the organization. This chapter proposes that it is important to look at the origins of the organizational symbolism and to comprehend the role of symbols in the tourism industry. In this sense, this chapter should be seen primarily as an effort to review and systematize the overall understanding of organizational symbols in the tourism industry.
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Wynn, Thomas, Karenleigh A. Overmann, and Frederick L. Coolidge. "On the Problem of the Interpretation of Symbols and Symbolism in Archaeology." In The Oxford Handbook of Cognitive Archaeology, C1P1—C1S7. Oxford University Press, 2023. http://dx.doi.org/10.1093/oxfordhb/9780192895950.013.1.

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Abstract This chapter discusses the use of the terms symbols, symbolism, and symboling in the archaeological literature. The lack of definition and any grounding in cognitive theory makes identifying prehistoric symbols and symboling more art than science. A multiplicity of claims from the literature highlight the tendency to claim almost any form from any period of prehistory as symbolic. After the problem is defined, an alternative approach is proposed. The alternative suggests grounding symbols and symboling in contemporary cognitive theory; this would permit the construct to be operationalized as qualities potentially discernable in prehistoric material forms. A multi-level construct is also proposed, one that is not only capable of differentiating symbolic cognition as exhibited by the human species today from the presumably non-symbolic cognition of contemporary non-human primates but which is also able to differentiate both from the emergent symboling capacities of ancestral hominins.
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Goldwater, Robert. "Introduction." In Symbolism, 1–72. Routledge, 2018. http://dx.doi.org/10.4324/9780429497018-1.

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Тези доповідей конференцій з теми "Symbolism":

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MUȘAT, Liliana. "The manifestation of the symbolism in Romania." In Învățământul superior: tradiţii, valori, perspective. "Ion Creanga" State Pedagogical University, 2023. http://dx.doi.org/10.46727/c.29-30-09-2023.p288-296.

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The Symbolist literary movement emerged in Romania in the late 19th and early 20th centuries, heavily influenced by French Symbolism and the works of poets like Baudelaire and Rimbaud. Romanian Symbolism was characterized by a focus on subjective experience, mysticism, and the use of symbols and metaphors to convey deeper meanings. Prominent Romanian Symbolist poets and writers included George Bacovia, Ion Minulescu, and Alexandru Macedonski.
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Dong, Hanzhang. "Analyzing the symbolic significance of Angelopoulos’ films from the perspective of semiotics." In Intelligent Human Systems Integration (IHSI 2024) Integrating People and Intelligent Systems. AHFE International, 2024. http://dx.doi.org/10.54941/ahfe1004522.

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Symbolic communication is an interdisciplinary field that investigates the meaning and function of symbols in the communication process. Within the framework of symbolic communication studies, symbols are seen as tools individuals employ to convey meanings and values. As a crucial cultural artifact and visual medium, film combines various symbolic elements—including imagery, sound, and plot—to create a distinctive and intricate symbolic system, thus conveying specific meanings through symbol construction. In the films of Angelopoulos, the allure of “symbolic symbolism” is reflected through flowing long shots, captivating mise-en-scène, the manipulation of time, layered spaces with poetic overlays, a blank film reel, the emergence of a giant sculpture hand from the sea, thundering trains, alienating narrative structures, obscure metaphorical symbols, and unique poetic aesthetics. These key elements encompass the crux of deciphering Angelopoulos’ films. The analysis of symbolic symbolism in Angelopoulos’ films can be approached from different perspectives.Firstly, one can utilize the basic model of symbolic communication as a framework for research. This model encompasses six elements that constitute any communicative event. These consist the elements of the speaker and listener, who are the primary participants in symbolic communication. The element of information represents the content conveyed through symbols. Code elements give form to information. In the process of communication, not only the information itself is needed, but also contact elements are needed. Contact media can take various forms. Additionally, both speaker and listener must share a context within which the transmitted information can be comprehended. In the context of Angelopoulos’ films, the films themselves function as the “speaker,” while the audience assumes the role of the “listener”. Furthermore, the specific film products and services constitute the information being communicated, embodying the purpose and communication needs. Contact pertains to the media and settings employed in film communication, while codes encompass the symbolic forms of film, such as words, sounds, images, and colors. Symbolic communication in film is additionally influenced by cultural, social, and historical backgrounds, which may cause symbols to assume differing meanings and interpretations within contexts and for distinct cultural audiences. Secondly, Bakhtin’s theory of symbols suggests that symbolic cognition involves a process of decoding, which comprises four cognitive stages: symbol perception, conceptual cognition, contextual cognition, and dynamic dialogue. By analyzing the narrative structure employed in Angelopoulos’ films, one can construct a word cloud of pertinent cognition through semi-structured interviews and literature research. This approach yields a discussion of the specific visual, tactile, auditory, gustatory, and other symbolic symbolism techniques utilized within the functional spectrum of each narrative stage.In conclusion, the creation of symbolic meaning in Angelopoulos’ films, when viewed through the lens of symbolic communication, represents a multifaceted and diverse process. It encompasses the polysemy, combination, and organization of symbolic elements, alongside the influence of cultural, social, and historical backgrounds. An in-depth exploration of the construction of symbolic meaning in films enables a profound comprehension of the symbolic symbolism employed by Angelopoulos and the consequential impact and significance on the audience.
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"Symbolism in Winesburg, Ohio." In 2017 3rd International Conference on Economy, Management and Education Technology. Francis Academic Press, 2017. http://dx.doi.org/10.25236/icemet.2017.010.

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Syam, Tasrif. "Symbolism Of Javanese Culture." In 2nd International Conference on Social and Political Development (ICOSOP 2017). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/icosop-17.2018.69.

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Musaeva, A. "SYMBOLISM IN THE POETRY BY S. SOKOLKIN AND A. ABDURASHIDOVA." In VIII International Conference “Russian Literature of the 20th-21st Centuries as a Whole Process (Issues of Theoretical and Methodological Research)”. LCC MAKS Press, 2023. http://dx.doi.org/10.29003/m3714.rus_lit_20-21/155-157.

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Symbols play an important role in the lyrics of poets of the late 20th - early 21st centuries. The article is devoted to their identification and study in the works of modern Russian poets: Sergey Sokolkin and Aminat Abdurashidova. The achievements of science, historical processes have had a strong influence on the development of modern poetry. Religious, scientific, folklore symbolism is actively used by these poets to create images in poems.
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Marushiakova, Elena, and Vesselin Popov. "Images and Symbols of the Gypsies (Roma) in the Early USSR." In GLOCAL Conference on Asian Linguistic Anthropology 2022. The GLOCAL Unit, SOAS University of London, 2023. http://dx.doi.org/10.47298/cala2022.6-2.

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The October Revolution and the subsequent creation of the USSR, located on a vast area in Eurasia, was a spectacular historical attempt to create a ‘new society,’ characterised by radical changes in all social and cultural spheres, as well as the creation of new, Soviet symbolisms. This general historical context reflected on all spheres of life, including the state policy towards the Gypsies (labelled today as Roma), which was particularly active in the 1920s and 1930s. The name ‘Gypsies,’ which was used at that time, is more appropriate in our case, because in this general category, in addition to Roma (living scattered throughout the USSR), several other communities either did not identify as Roma or were not Roma by origin (Dom and Lom in the South Caucasus region, and the Lyuli or Jugi in Central Asia), but all shared Indian origin. Soviet policy towards the Gypsies had various dimensions, including codification of the Romani language, creation of Gypsy national literature and of a Gypsy national theater, Gypsy schools, Gypsy collective farms, and artisan’s artels. Along with this, new public images and symbolisms related to the Gypsies were created, and were presented in various forms in the USSR itself and broadcast to the West for propaganda. The new Soviet Gypsy symbolisms, were, using Stalin’s popular formulation of Soviet literature as an analogy, ‘national in form and socialist in content.’ Based on this formulation, the two main directions in which these images and symbols were developed and popularised were determined – firstly, based on the ancient social and cultural traditions of the Gypsies, and, secondly, in the presentation of the new, socialist dimensions which were occurring in their lives. In the synopsis, we will analyse examples of public images and symbols, distributed through various channels – photographs in the press (Gypsy and mainstream), the layout and illustrations of books, posters, stage plays, movies, etc. – covering both indicated directions. At the same time, we reveal how this new symbolism affected the Gypsy community and Soviet society as a whole, as well as a wider dimension, outside the USSR, including that of the present-day. Part of this symbolism (of the first type) is presently used, in a modified form, in digital spaces, mostly by various Roma organisations worldwide creating a new virtual world of Pan-Roma unity.
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Mankovskaya, N. "POST-RECEPTIVE HERMENEUTICAL METHOD IN THE AESTHETICS OF FRENCH SYMBOLISM." In Aesthetics and Hermeneutics. LCC MAKS Press, 2022. http://dx.doi.org/10.29003/m2540.978-5-317-06726-7/32-35.

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The report discusses the features of the post-receptive hermeneutical method in the philosophy of art of P. Claudel,representing the Catholic line in the aesthetics of French symbolism,and J. Péladan,critic of official Catholicism,interpreting art in the mystical and esoteric way. The author reveals the symbolic essence of Claudel's reflections on Dutch, Spanish and French painting and contemporary art. The author reveals the character of J. Péladan's interpretation of Dante's “Divine Comedy”,which he read as an esoteric,rather than a love story,mystical revelation.
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Kawahara, Shigeto. "Teaching phonetics through sound symbolism." In ISAPh 2018 International Symposium on Applied Phonetics. ISCA: ISCA, 2018. http://dx.doi.org/10.21437/isaph.2018-4.

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"SYMBOLISM IN TED HUGHES’ POETRY." In 2nd National Conference on Translation, Language & Literature. ELK Asia Pacific Journals, 2015. http://dx.doi.org/10.16962/elkapj/si.nctll-2015.17.

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Wilensky, Hiroko. "Disaster symbolism and social media." In the 2012 ACM annual conference extended abstracts. New York, New York, USA: ACM Press, 2012. http://dx.doi.org/10.1145/2212776.2212853.

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Звіти організацій з теми "Symbolism":

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Melnyk, Yuriy. KRPOCH Symbolism. KRPOCH, 2005. http://dx.doi.org/10.26697/symbolism.

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Jaknanihan, Arrizal. Symbolism over substance in US–Indonesia partnership. East Asia Forum, January 2024. http://dx.doi.org/10.59425/eabc.1706652000.

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Krause, Timothy. Sound Effects: Age, Gender, and Sound Symbolism in American English. Portland State University Library, January 2000. http://dx.doi.org/10.15760/etd.2301.

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Sayer, Catherine, and Martin Doherty. The classic model room task: A symbol that doesn’t measure symbolism. Peeref, June 2023. http://dx.doi.org/10.54985/peeref.2306p4947936.

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Gnegy, Hannah R., and Deborah A. Christel. Enclothed Cognition: Professional Clothing Symbolism among Plus-Size Women Ages 18 to 24. Ames: Iowa State University, Digital Repository, November 2016. http://dx.doi.org/10.31274/itaa_proceedings-180814-1391.

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Tawfiq, Wijdan, and Sara Marcketti. The Meaning and Symbolism of Traditional Bridal Costumes in the Western Region of Saudi Arabia. Ames: Iowa State University, Digital Repository, November 2016. http://dx.doi.org/10.31274/itaa_proceedings-180814-434.

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Hou, Amy Ye, Belinda T. Orzada, and Kelly Cobb. From Auspicious to Suspicious Evaluating the Intention and Use of Imperial Chinese Symbolism in Contemporary Fashion. Ames: Iowa State University, Digital Repository, 2017. http://dx.doi.org/10.31274/itaa_proceedings-180814-1781.

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Blaxter, Tamsin, and Tara Garnett. Primed for power: a short cultural history of protein. TABLE, November 2022. http://dx.doi.org/10.56661/ba271ef5.

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Protein has a singularly prominent place in discussions about food. It symbolises fitness, strength and masculinity, motherhood and care. It is the preferred macronutrient of affluence and education, the mark of a conscientious diet in wealthy countries and of wealth and success elsewhere. Through its association with livestock it stands for pastoral beauty and tradition. It is the high-tech food of science fiction, and in discussions of changing agricultural systems it is the pivotal nutrient around which good and bad futures revolve. There is no denying that we need protein and that engaging with how we produce and consume it is a crucial part of our response to the environmental crises. But discussions of these issues are affected by their cultural context—shaped by the power of protein. Given this, we argue that it is vital to map that cultural power and understand its origins. This paper explores the history of nutritional science and international development in the Global North with a focus on describing how protein gained its cultural meanings. Starting in the first half of the 19th century and running until the mid-1970s, it covers two previous periods when protein rose to singular prominence in food discourse: in the nutritional science of the late-19th century, and in international development in the post-war era. Many parallels emerge, both between these two eras and in comparison with the present day. We hope that this will help to illuminate where and why the symbolism and story of protein outpace the science—and so feed more nuanced dialogue about the future of food.
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Yilmaz, Ihsan, and Kainat Shakil. Gender Populism: Civilizational Populist Construction of Gender Identities as Existential Cultural Threats. European Center for Populism Studies (ECPS), May 2023. http://dx.doi.org/10.55271/pp0023.

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In the Islamist version of civilizational populism, the emotional backlash against the rise of secularism, multiculturalism, progressive ideas, and ‘wokeness,’ has been skillfully employed. While for the populists, populist far right and civilizational populists in the West, usually the Muslims are the civilizational other, we argue in this article, in the Islamist civilizational populism, the list of civilizational enemies of the Muslim way of life also includes feminists and LGBTQ+ rights advocates.Gender populism is a relatively new concept that refers to the use of gender symbolism, language, policy measures, and contestation of gender issues by populist actors. It involves the manipulation of gender roles, stereotypes, and traditional values to appeal to the masses and create divisions between “the people” and “the others.” This paper looks at the case study of gender populism in Turkey, where the Justice and Development Party (AKP) has been in power for over two decades. The AKP has used gender populism to redefine Turkish identity, promote conservative Islamism, and marginalize women and the LGBTQ+ community. The paper also discusses how gender populism has been used by the AKP to marginalize political opponents.
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Cathey, W. T., and Rodney A. Schmidt. Optical Symbolic Computing. Fort Belvoir, VA: Defense Technical Information Center, April 1988. http://dx.doi.org/10.21236/ada195690.

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