Search results

1

Symbols of harm, literacies of hope

100%

Fox R.

Human Affairs

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2012

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vol. 22

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issue 2

256-262

EN

The author argues that our best hope for addressing world problems (from climate change to violence, to poverty) is to teach critical thinking through the study of language and all symbol systems. This means removing disciplinary boundaries so that we can focus more effectively on solving common problems. Human survival also depends upon our critical analysis of electronic media and our wise uses of technology. Critical thinking via all symbol systems is more likely to generate humane actions. Therefore, education-not governments or armies or institutions or private corporations-is our best hope.

2

The representation of legitimacy in Sassanian coins (Kavad I and Zamasp eras)

100%

Rahbar I., Tavoosi M., Afhami R.

Sprawy Narodowościowe

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2015

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issue 47

EN

The representation of legitimacy in Sassanian coins (Kavad I and Zamasp eras)In each era, social, cultural and political aspects, and their changes have a prominent role on the creation of the Governmental artworks that tries to act as a public media to show their power and legitimacy trends. This study wishes to survey the symbols of Sassanian coins and the role of this visual media from the power and legitimacy point of view during Kavad I (r. 488-531 AD) and Zamasp (r. 496-499 AD) eras, as a challenging period of the Sassanid dynasty. We try to show how Sassanid kings used artworks, especially coins, because of their spreads to transfer their legitimacy messages, thus they used it as the most principal media to show the power and its changes to publics. The result shows the changes during the first reign of Kavad I and after his deposing by clergies due to supporting the Mazdakites doctrine, raise of Zamasp to the throne and the second reign of Kavad I that they used various icons and symbols rooted in Zoroastrian beliefs to show their power and legitimacy according to condition changes. The emphasis of Kavad I on astrologic signs as the symbol of charisma and, in contrast, the representation of Zamasp, the successor of Kavad I after deposing, in the form of receiving diadem as a sign of his superiority and power, and the reuse of traditional symbols of legitimacy by Kavad I in the combination of diadem as the representation of his legitimacy after his second reign are some documents of visual changes of this challenging period. Wizerunkowa legitymizacja władzy na monetach Sasanidów (za Kavada i za I Zamaspa)W każdej epoce zmienne czynniki społeczne, kulturowe i polityczne mają istotne znaczenie dla tworzenia dzieł sztuki, które w sferze publicznej mają się stać nośnikiem legitymizowania przez sprawujących rządy ich władzy politycznej. Celem niniejszego studium jest zbadanie symboli przedstawionych na monetach bitych przez władców z dynastii Sasanidów i ich roli jako medium wizualnego w legitymizowaniu władzy w trudnym dla Sasanidów okresie za panowania Kawada I (488-531) i Zamaspa (496-499). Chcemy pokazać, w jaki sposób obaj królowie sasanidzcy w przekazie społecznym wykorzystywali dzieła sztuki, przede wszystkim monety, jako podstawowe medium dla ugruntowania legitymizowanych zmian na tronie. W rezultacie podjętych badań ustalono, że wobec zmiany sytuacji w pierwszym okresie panowania Kawada I i po jego obaleniu przez kapłanów z powodu wspierania przez króla nauk Mazdaka, po osadzeniu na tronie Zamaspa i w czasie drugiego panowania Kawada I wykorzystywane były różne wizerunki i symbole, zakorzenione w zaratusztranizmie, po to by umocnić władców i legitymizować ich władzę, adekwatnie do zachodzących zmian. Podkreślenie przez Kawada I roli znaków astrologicznych jako symbolu charyzmy, z drugiej zaś strony przedstawienie wizerunku Zamaspa – następcy usuniętego z tronu Kawada – jako tego, który otrzymuje diadem na znak jego zwierzchności i władzy, jak też ponowne wykorzystanie przez Kawada I tradycyjnych symboli legitymizacji w powiązaniu z diademem wyobrażającym go jako prawowitego władcę w drugim okresie jego panowania – to niektóre ze świadectw dokumentujących przemiany wizerunkowe w okresie trudnych wyzwań.

3

Słowiańskie powinowactwa kulturowe w kontekście symboli i magicznych przedmiotów utrwalonych w ukraińskich i kaszubskich pieśniach ludowych

100%

Bracki A.

Acta Polono-Ruthenica

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2008

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vol. Tom 1 Nr XIII

29-41

EN

The present text-work is an attempt to draw and describe the parallel between Ukrainian and Kashubian folk-songs on the level of vocabulary and expressions that names symbols and magical objects, their convergence and differences in meaning and the specificity of their use in the relevant folklore. The comparative analysis of the most common symbols and magical objects was made on the material enclosed in two cross-sectional collections of Ukrainian and Kashubian folk-songs. Isolated in that way words and expressions isolated were then confronted in a form of the dictionary entries which took under consideration the cycle of songs the text referred to, the context in which it was used and an additional interpretation of its meaning. In the present text-work the aforementioned material was furthermore described in regard to the source texts and its analyzed elements, it’s specifics and the methods of their isolation, The material was also characterized from the point of its similarities and differences in use and in meaning. The article has an additional bibliography, which contains the list of the folk-songs analyzed in the aim choosing the representative sources of folk-songs’ texts.

4

Dyplomacja symboli w stosunkach między Polską a Niemcami na przełomie XX i XXI wieku

100%

Kącka K.

Historia i Polityka

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2014

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issue 11(18)

75-91

EN

End of the 1980s and early 1990s brought a complete change of almost all factors influencing the position of both Germany and Poland in the international arena. The two countries – for the first time in history – faced the challenge of regulating their neighborly relations based on democratic values and principles of international law. This situation was an opportunity to create the foundations of “good neighborliness and friendly cooperation”, but at the same time once again brought about the need to confront the past – especially the events dating back about 50 years. As it turned out, the two countries not only have not always been in agreement in the mutual perceptions of their place in the new political reality, but disagreed also in the interpretation of common history. In addition, they differ in their views on the shape of mutual relations and prospects for their development. The formal regulation of Polish-German relations in the form of agreements and treaties were confronted with different real-life practice – mainly because of the lack of political will on both sides, coupled with the weakness in terms of implementation of the above documents, and were not enough to solve a number of contentious issues. Also the constant presence in the discussion of current issues and disputes of the historical legacy and resulting burdens did not facilitate conducting a meaningful, to-the-matter dialogue. The article shows the place and role of the past history in contemporary Polish-German relations, how it is used in the political and social discourse, and how it affects the thinking and outlook of the two nations today.

5

Średniowieczne chrzcielnice kamienne w kościołach na terenie Żuław Wiślanych: inwentaryzacja, funkcje, symbolika

100%

Piasek D.

Studia z Dziejów Średniowiecza

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2023

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issue 26

136-162

EN

Stone baptismal fonts, today often serving as stoups, are the best preserved elements of the medieval appointments of many historic churches in Żuławy Wiślane. Originally, they were probably placed near the entrance to the church, which symbolized the beginning of the Christian’s path to salvation, a transition from the profanum to the sacrum, and inclusion within the community of the faithful. For security reasons, baptismal fonts were surrounded by decorative grilles and closed with special covers, of which metal pins in the edge of the bowl have often survived to this day. Despite the simple, functional design and material (granite) that is difficult to work, many of them have simple decorative elements, the symbolism of which refers in particular to the meaning of the numbers 6, 8, and 12, and, less often, to apocalyptic motifs in the form of the 12 gates of the heavenly Jerusalem.

6

Symbole religijne i metafory mądrościowe Laozi

89%

Korczak A.

Przegląd Religioznawczy

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2019

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issue 3/273

EN

There are both religious symbols and wisdom metaphors in Dao De Jing by Laozi. They suggest that the ultimate reality is above the human intellect. The most important metaphor is Dao – “Way”. The metaphor of “the mother” of the world plays a very important role. This metaphor suggests that wisdom consists in penetrating the source of all being. The metaphor of the “Heaven Gates”, which indicates the transition from common sense to the supernatural. The metaphor of “the child” suggests that wisdom is not about accumulating knowledge, but on spiritual integration. The metaphor of yin, or metaphysical femininity, plays a very important role.

7

Gender, symbols and traditional peacemaking among the Nanka-Igbo of south-eastern Nigeria

88%

Ukpokolo C.

Human Affairs

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2011

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vol. 21

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issue 2

163-183

EN

The class condition of women in contemporary Igbo society in particular and Africa in general, which is characterized by her peripherialization in the scheme of state building and knowledge production, has led to the need for the re-examination of her representation in specific cultural contexts in Africa prior to the major historical events (partition and colonization) in the continent. There is no doubt that the partition and colonization of Africa led to a pragmatic shift in local paradigms, and the significance placed on the agencies of cultural transmission. This need to re-examine women s representation in cultures and societies in Africa has become imperative in order to make, where possible, a factual representation of women s place in specific cultural realities. This realization gives impetus for this paper. This article re-examines the perception that women have nothing to do with two key peace symbols-oji (kolanut) and ofo (staff of authority and justice)-in Igbo culture as has been presented in the literature on Igbo culture. Using a case study typology, the study uses Nanka in Anambra State, south-eastern Nigeria as the study area. It identifies the place of the Earth goddess in oji and ofo ritual performances and concludes that, as a key participant in these rituals, gender is mainstreamed in the usages of oji and ofo.

8

Literary contexts of Józef Hołard’s works

88%

Giełdoń-Paszek A.

Świat i Słowo

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2020

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vol. 35(2)

263-279

EN

The aim of the article is to demonstrate the relationship between the work of Józef Hołard and literature that inspired his work. A valuable document explaining this issue is found in the unpublished text of the artist entitled Credo, written in connection with the conduct of proceedings at the university. Associated with Bielsko-Biała, Professor Józef Hołard died in January 2015, but his painting, drawing and design works have not been sufficiently explored. They contain many symbolic elements derived from the esoteric and occult sciences. However, they are used and understood very freely by the artist, who gives priority to artistic creation. For many years he drew inspiration from literature dealing with similar subjects, especially Foucault’s Pendulum by Umberto Eco. The series of drawings and paintings According to Umberto Eco is best known in Hołard’s oeuvre.

9

Wizje Apokalipsy w muzyce XX wieku (Olivier Messiaen, George Crumb, Bernadetta Matuszczak, Aleksander Lasoń)

88%

Ziarnowska Z.

Kwartalnik Młodych Muzykologów UJ

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2022

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issue 2(53)

59-72

EN

This article aims to various interpretations of The Apocalypse of St. John in 20th century music. Because of its comprehensive use of symbols and mystery, The Apocalypse was often an inspiration for painters, poets, and composers. Particularly, worth analysing are symbols and visions used in selected compositions, such as The Quartet for the End of Time by Olivier Messiaen, Black Angels by George Crumb, Apokalipsis and Septem Tubae by Bernadetta Matuszczak, Symphony ‘1999’ by Aleksander Lasoń. Seven trumpets, seven horns, God’s anger, angels, destruction, God’s omnipotence, the victory of good over evil, and hope-those are the most common symbols used in these compositions. Transcendental and mysterious meaning is reflected by composers in various ways (from timbre and instrumentation, rhythmic diminution and tempo that shows eternity, to quotations and characters from The Apocalypse). Music written by different authors gives us a broad perspective on how the topic of Apocalypse was adapted in music.

10

Year Five Pupils’ Number Sense and Algebraic Thinking: the Mediating Role of Symbol and Pattern Sense

88%

Somasundram P., Akmar S. N., Eu L. K.

The New Educational Review

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2019

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vol. 55

100-111

EN

This study mainly focused on the relationship between number sense and algebraic thinking. Previous studies have provided evidence that number sense plays an important role in developing algebraic thinking. The role of symbol and pattern sense are yet to discover in relation to number sense and algebraic thinking. The purpose of this study was to identify the mediating effects of symbol sense and pattern sense in year five pupils’ relationship between number sense and algebraic thinking. To do so, two mathematics tests were carried out among 720 year five pupils in the district of Malacca, Malaysia. The collected data were analysed using a partial least squares-structural equation modeling approach. The data collected were analysed using SPSS 22.0 and SmartPLS 3.0. Results demonstrated that symbol sense and pattern sense are good mediators between year five pupils’ number sense and algebraic thinking. This result of the study supports the past studies related to the role of number sense, symbol and pattern sense in developing algebraic thinking. The presented study provides suggestions as intervention to increase students’ making sense ability in numbers, symbols and patterns to develop algebraic thinking.

11

Symbol of the Cross in Popular Culture: an Analysis of the Use and Transformation of the Symbol in Machina Magazine

88%

Kołodziejska M.

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2013

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vol. 182

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issue 2

209-222

EN

The article focuses on the use and transformation of religious symbols in popular culture. The Polish pop culture magazine, Machina, was chosen as a case study. Popular culture, based strongly on visual communication, has fluid canons and is of an (auto)ironic nature. Symbols from different domains are transformed within this culture so that they fit its rules of communication. Religious symbols have been used extensively in Machina in a conventional, humorous and deriding manner. According to the results of the analysis, the use of religious symbols in popular culture is inevitably connected to the overlapping of religious communication and pop cultural communication, which creates a particular ambivalence of the meaning of the symbol. One should ask if resulting adaptations of religious symbols by popular culture might be considered to be a process of desacralisation. On the basis of the above-mentioned case study, one cannot give an unequivocal answer. Although pop cultural communication may lead to simplification and the deconstruction of symbols, one cannot claim it is de-symbolised as such. Desymbolisation and desacralisation are ongoing processes, but they are parallel to the process of creation and transformation of symbols as well. The research may be an inspiration for further analysis of the way religious symbols function within the realm of popular culture.

12

“Arch Macedonia”, from Pseudo Classicism to Monument of Culture, from Political Ritualization to Civil Demystification

87%

Ристески Љ. С.

Poznańskie Studia Slawistyczne

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2017

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issue 13

PL

In this paper, we are considering the social aspects of the object “Porta Macedonia” as a part of the project “Skopje 2014”, its political and cultural meanings, its symbolic aspects and its reflection on identity policies in contemporary Macedonia. We read buildings and monuments of “Skopje 2014” project as texts, interpret them as symbols recognizing as signs of multilayered ideas and interpretations of the nation under strong political patronage. The text shows how a monument in a very short period creates multiple layers of symbolism which, depending on social contexts, can be read in different ways.

13

Dance Parties and the Symbolic Construction of Communities in the Era of Late Socialism in Czechoslovakia

75%

Polouček O.

Národopisná revue (Journal of Ethnology)

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2019

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vol. 29

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issue 5

18 - 28

EN

Dance parties constitute a field that concisely reflected the processes of modernization and urbanization of the Czech countryside in the 1970s and 1980s. Dance parties can also be perceived as places that have maintained their stable position in the hierarchy of values and ideas accepted by local inhabitants, which are, among other things, associated with the viability of their own community. This was possible due to the symbolic function of dance parties – phenomena with symbolic significance are endowed with high adaptability to changes. The stable significance of dance parties for a community can be exemplified by discussions conducted in the fields of space, generations, and power. These discussions understand dance parties as a subject based on which ideas about the ability of a community to function are communicated. The symbolic function of dance parties is the reason their existence is not called into question. This paper is based on doctoral field research, which was carried out in two different locations – in a small rural town facing more intensive processes of modernization and in two rural municipalities (everything though is set in a wider regional context).

14

Dominancia a marginalizácia historickej pamäti v Uhorsku : (na príklade pomníkovej kultúry Slovákov)

75%

Kurhajcová A.

Český časopis historický (The Czech Historical Review)

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2018

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vol. 116

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issue 3

764-786

EN

This study documents how the dominance of the historical memory of one national group is reflected in the public domain, while at the same time the memory of another national group is marginalised. This phenomenon is demonstrated using the example of secular monuments created by Slovaks in Hungary in the second half of the 19th century and at the beginning of the 20th century. It documents not merely the symbolic meaning of the monument in Hungarian, namely Hungarian-Slovak relationships, but also the form of memorials reflected in the Slovak national discourse before the outbreak of the Great War.

15

Orthodoxy – the symbolic language of the drama July by Ivan Vyrypaev

75%

Karlikowska-Pąsiek M. M.

Journal of Education Culture and Society

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2019

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vol. 10

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issue 2

233-238

EN

Aim. The aim of the paper is to interpret and analyse Orthodox symbols through the prism of the Orthodox theology. Methods. The senses of the Orthodox symbolism as proposed by the artist are not always compliant with Orthodox doctrine. Therefore, in order to fully understand the sense of Ivan Vyrypaev’s drama, it is necessary to first decode the Orthodox symbols that make up the language of the work discussed. For this reason, the major Orthodox symbols occurring in July will be listed at the very beginning of the paper. Then, they will be discussed in the context of the Orthodox theology as well as the artist’s own words. This task will contribute to the decoding of the language of I. Vyrypaev’s work. Results. According to I. Vyrypaev, the cruelty of a patient of the Smolensk madhouse is an inverted hierarchy of values which at the same time serves as his path of inquiry. On the other hand, the superficial attitudes, such as good, culture, humanitarianism, liberal values or democracy are obstacles (demons) which he has to overcome in order to find himself and God. The Orthodox symbols in July are allegories by means of which the author wants to show the main hero’s path to the truth. Furthermore, a justification for this way of thinking is one of the mottos that I. Vyrypaev included in July. Conclusions. In the drama July, I. Vyrypaev utilised the following sacral symbols: the theological significance of the Church in the Orthodox faith, the idea of communality, the concept of Orthodox humility as well as the idea of deification and martyrdom. The threads of the Orthodox symbolism used by I. Vyrypaev are superficial and should not be interpreted literally. The author consciously inverts the hierarchy of the Orthodox symbols in his work in order to show the bewilderment and corruption of the modern society. In the drama July I. Vyrypaev is more focused on being inspired by the Orthodox culture than on closely reflecting its senses. The symbolism of the altar and the ideas of martyrdom as applied in July are similar to the Christian symbols in the Roman Catholic approach.

16

Roots Of Mathematics

75%

Duda R.

Organon

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2017

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vol. 49

5-27

EN

To understand the origin of mathematics it seems reasonable to turn our attention to its deep anthropological roots and thus to consider the role of the central nervous system; the evolution of the faculties of thinking, speaking, and understanding symbols; the emergence of mythology, magic and rites; and early geometrical and arithmetical conceptions and their initial development. The article offers a survey of our knowledge on these roots, based upon archaeology, ethnology, psychology, linguistics, cognitive sciences, and it underlines the enormous amount of work done in elaborating primary mathematical ideas in prehistoric times.

17

The Artificial Enclave: Redefining Culture

75%

Gedi N., Elam Y.

Eidos. A Journal for Philosophy of Culture

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2020

|

vol. 4

|

issue 1

70-87

EN

This article offers a new definition of culture which hinges on what we consider to be its most distinctive feature, namely its artificiality. Our definition enables us to resolve some of the main issues and controversies involved in the concept of culture and its course of development. We argue that the large human brain played a revolutionary role in inverting the course of natural adaptation of the human species. This dramatic turnabout allowed humans to set their own conditions of existence in their created environment; and one which unlike nature they were able to shape and dominate. We demonstrate the crucial part of language not merely in communication but in forming a web of meaningful symbols which gave rise to the human spiritual or metaphysical world. We depict human society as an unparalleled elaborate web of relationships which gave hominids an advantage over other species from the very beginning.

18

Branding specificities of the Armenian “Velvet Revolution”

75%

Asriyan E., Melkonyan N.

Przegląd Wschodnioeuropejski

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2019

|

vol. 1

217-227

EN

The so-called modern-day “colored revolutions” implemented in varous parts of the globe have their specificities. The development of social communication and its changes in quality have in fact influenced the implementation of “colored revolutions”, as well as its technologies. In the process of branding the Armenian velvet revolution, several important tasks were set: to make actions of disobedience and protests recognizable as revolutionary actions, to present the velvet revolution as a continuation and result of protest actions that were taking place in the country over the past ten years, and the last task concerned the need to unite different social segments around a common idea. The success and desire of a velvet revolution as a brand was conditioned by the following: considering the psychological peculiarities of perception of a person, presenting the revolution as the only opportunity for addressing the political problems in the country and pointing out succeeded key messages, conformity with the target audience’s desires, social needs, expectations, and ideas about future; effective and balanced communication mechanisms with the target audience.

19

Music as a Tool of the Politics of Memory

75%

Massaka I.

Athenaeum. Polskie Studia Politologiczne

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2011

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vol. 29

88-103

PL

Polityka pamięci jako operacja socjotechniczna polega na oddziaływaniu na pamięć zbiorową w taki sposób, by określone treści związane z historią i wizerunkiem zbiorowości zostały w niej ugruntowane, przedefiniowane lub usunięte. W ramach polityki tego rodzaju rozpowszechniana jest taka wiedza i schematy interpretacyjne, które zgodne są z wierzeniami lub/i zespołem idei odnoszących się do państwa, narodu i władzy państwowej. Polityka pamięci ma na celu integrację społeczności wokół naczelnych przyjętych w państwie wartości, a także wzmocnienie legitymacji władzy, a tym samym uzyskania jak największego poparcia społecznego dla istniejącego porządku politycznego. Wśród narzędzi polityki pamięci rozróżniono dźwiękowe, werbalne i wizualne. Za pośrednictwem dźwięku, słowa (pisanego, mówionego i naddanego muzyce) konstruowane są symbole, szeroko stosowane w politykach pamięci. Symbole, jak i mity są typowym tworzywem rytuałów, które w politykach pamięci odgrywają rolę kluczową celując w emocje zbiorowe. W ramach zabiegów socjotechnicznych przekształcają się w akty tożsamościowe i oznaczniki trwałości struktury społecznej. Rytuały służą integracji i mobilizacji zbiorowości w nich uczestniczącej jak również demonstracji władzy i ferowanego przez nią porządku społecznego i politycznego. Wśród wszystkich narzędzi polityki pamięci wyróżniono muzykę jako fenomen o wartości silnie emotywnej, nastrojotwórczej, o wysokim stopniu abstrakcyjności. Ta ostatnia cecha nadaje jej zdolność oznaczania (symbolizowania) dowolnie wybranych treści. Naturalne właściwości, bogactwo stylistyczno-gatunkowe i sposób oddziaływania muzyki połączony z wiedzą i doświadczeniem systemów sterujących czyni z niej wysoce efektywne narzędzie polityki pamięci.

EN

The politics of memory is a sociotechnical operation of altering collective memory through the redefinition or removal of issues relating to history and to the image of social components, existing within it, or through the consolidation of such issues as its new, vital parts. This type of politics involves the promotion of those sets of information and interpretations of facts which suit the vision of the state shared by the nation and the ruling elite. The goal of the politics of memory is the integration of the society around the values commonly considered supreme in a given country. The additional goal is the strengthening of the legitimization of power and a subsequent gain of as much acceptance of the existing political order as possible. The tools used in the politics of memory can be categorized into three groups: aural, verbal and visual tools. Sounds and words (written, spoken and sung) constitute symbols which are commonly used in the politics of memory. Symbols, as well as myths, serve as the basis for rituals which, in the politics of memory, serve as key tools aimed at shaping the collective emotions. As a result of sociotechnical operations, symbols become both signifiers of identification and markers of integrity of the social structure. Rituals integrate and mobilize the community, but also serve as means of demonstrating the ruling elite’s power and the enforced social and political order. Music has been emphasized as particularly influential on the general mood of different societies, as this particular tool of the politics of memory has a strong emotional impact on its recipients. In addition, music is highly abstract, which allows it to signify (symbolize) any given content. Th e natural qualities and influence of music, as well as the variety of its styles and genres, combined with the knowledge and experience of the ruling elite, makes it a highly effective tool of the politics of memory.

20

On the Potential of Norbert Elias’s Approach in the Social Memory Research in Central and Eastern Europe

75%

Bucholc M.

|

2013

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vol. 183

|

issue 3

317-334

EN

Norbert Elias never presented his views regarding collective memory in a systematic manner. However, his approach may be reconstructed on the basis of such works as The Civilizing Process, Time: An Essay and The Symbol Theory. The most important tenet of Elias is that human memory can only be explained by the symbol theory. Human ability to use socially created symbols in communication is applied in activities in which symbols are used (speaking, thinking, knowing and remembering), which makes memory a part of general process of symbolic communication. Memory research needs to account for the interactive and communicational origins of both individual and collective remembering. One of the crucial issues related to remembering is collective forgetting. According to Elias it operates by three main mechanisms: (1) elimination and creation of fantastic notions (fantasy being a substitute and subsidiary for experience), (2) modification of social canons of reference as a result of power struggle in social figurations, and (3) delegitimization of alternative imageries by means of marginalization or elimination of groups acting as their social vehicles. I discuss these mechanisms and the dynamics of memory they entail in the broader conceptual framework of the theory of civilizing processes referring to Central and Eastern European examples in order to demonstrate the productivity of Elias’s interdisciplinary and multidimensional analysis in social memory studies focusing this region.

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Symbols of harm, literacies of hope

The representation of legitimacy in Sassanian coins (Kavad I and Zamasp eras)