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Stern, Steve J. "Paradigms of Conquest: History, Historiography, and Politics." Journal of Latin American Studies 24, S1 (1992): 1–34. http://dx.doi.org/10.1017/s0022216x00023750.
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The Quandary of 1492The year 1492 evokes a powerful symbolism.1The symbolism is most charged, of course, among peoples whose historical memory connects them directly to the forces unleashed in 1492. For indigenous Americans, Latin Americans, minorities of Latino or Hispanic descent, and Spaniards and Portuguese, the sense of connection is strong. The year 1492 symbolises a momentous turn in historical destiny: for Amerindians, the ruinous switch from independent to colonised history; for Iberians, the launching of a formative historical chapter of imperial fame and controversy; for Latin Americans and the Latino diaspora, the painful birth of distinctive cultures out of power-laden encounters among Iberian Europeans, indigenous Americans, Africans, and the diverse offspring who both maintained and blurred the main racial categories.But the symbolism extends beyond the Americas, and beyond the descendants of those most directly affected. The arrival of Columbus in America symbolises a historical reconfiguration of world magnitude. The fusion of native American and European histories into one history marked the beginning of the end of isolated stagings of human drama. Continental and subcontinental parameters of human action and struggle, accomplishment and failure, would expand into a world stage of power and witness. The expansion of scale revolutionised cultural and ecological geography. After 1492, the ethnography of the humanoid other proved an even more central fact of life, and the migrations of microbes, plants and animals, and cultural inventions would transform the history of disease, food consumption, land use, and production techniques.2In addition, the year 1492 symbolises the beginnings of the unique world ascendance of European civilisation.
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Corrigan, John Michael. "The American Art of Memory." Religion and the Arts 25, no. 1-2 (2021): 70–98. http://dx.doi.org/10.1163/15685292-02501003.
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Abstract This article provides a genealogy of the architectural figuration of human cognition from the ancient world to Renaissance Europe and, finally, to the American Renaissance where it came to possess a striking cultural and literary potency. The first section pursues the two-fold task of elucidating this archetypal trope for consciousness, both its ancient moorings and its eventual transmission into Europe. The second section shows that three of the most prominent writers of the American Renaissance—Ralph Waldo Emerson, Henry David Thoreau, and Nathaniel Hawthorne—engaged this mystically inspired architectonic symbolism, employing far older techno-cultural suppositions about interior space. I thereby offer an account of the intellectual and spiritual heritage upon which Romantic writers in the United States drew to articulate cognitive interiority. These Romantics did more than value creativity in contradistinction to Enlightenment rationalism; they were acknowledging themselves as recipients of the ancient belief in cosmogenesis as self-transformation.
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Keyser, James D., and David S. Whitley. "Sympathetic Magic in Western North American Rock Art." American Antiquity 71, no. 1 (2006): 3–26. http://dx.doi.org/10.2307/40035319.
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Much rock art worldwide was traditionally interpreted in terms of “hunting magic,” in part based on the related concept of “sympathetic magic” In the last forty years, these interpretations were disproven in many regions and now are largely ignored as potential explanations for the origin and function of the art. In certain cases this may be premature. Examination of the ethnographic and archaeological evidence from western North America supports the origin of some art in sympathetic magic (often related to sorcery) in both California and the Plains and provides a case for hunting magic as one of a series of ritual reasons for making rock art in the Columbia Plateau. Both case studies emphasize the potential diversity in origin, function, and symbolism of shamanistic rock art.
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Panova, Olga Yu. "Passing Through Forests of Revolutionary Symbols: Soviet Reception of Kenneth Burke’s Speech at the 1935 American Writers’ Congress." Literature of the Americas, no. 9 (2020): 133–50. http://dx.doi.org/10.22455/2541-7894-2020-9-133-150.
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Kenneth Burke’s performance at the First American Writers’ Congress in 1935 has been already considered by American scholars; for this reason the paper aims to complement the existing research with some facts and details that have to do with the Soviet reception of Kenneth Burke’s speech “Revolutionary Symbolism in America” presented on April 27 1935 (the second day of the Congress). The paper is based on the archival material stored in the Russian State Archive of Literature and Art (RGALI) – a manuscript of the American Writers’ Congress proceedings, translated into Russian, edited and fully prepared for the press that nevertheless remained unpublished. The volume was based on the American record of the Congress edited by Henry Hart (International Publishers, 1935), but two papers were removed – Moissaye J. Olgin’s report about the Soviet Writers’ Congress and Kenneth Burke’s speech. The preface to the Russian edition written by the editor Sergei Dinamov throws light on the reasons for excluding Burke’s paper. In his introduction Dinamov dwelt at some length on Burke’s text and criticized his “errors”. Dinamov’s criticism makes it clear that the main problem was the fact that the American “fellow traveler” used the concepts “people” (narod) and “national spirit” (narodnost’) which at the moment were on the agenda in the USSR due to the Popular Front policy. Kenneth Burke’s speech “Revolutionary Symbolism in America” at the First American Writers’ Congress, translated into Russian by Tatiana A. Pirusskaia, is published herewith as an addendum to the essay.
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Wahlman, Maude Southwell. "African Symbolism in Afro-American Quilts." African Arts 20, no. 1 (1986): 68. http://dx.doi.org/10.2307/3336568.
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Whitley, David S. "Shamanism and Rock Art in Far Western North America." Cambridge Archaeological Journal 2, no. 1 (1992): 89–113. http://dx.doi.org/10.1017/s0959774300000494.
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Ethnographic data on the production of rock art in far western North America - the historic hunter-gatherer cultures of California and the Great Basin - are reviewed and analyzed to identify widespread patterns in the origin and, in certain cases, symbolism of the late prehistoric/historical parietal art of this region. These data, collected in the first few decades of this century by a variety of ethnographers, suggest only two origins for the art: production by shamans; and production by initiates in ritual cults. In both instances, the artists were apparently depicting the culturally-conditioned visions or hallucinations they experienced during altered states of consciousness. The symbolism of two sites, Tulare-19 and Ventura-195, is considered in more detail to demonstrate how beliefs about the supernatural world, and the shaman's relationship to this realm, were graphically portrayed.
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Daily, Rebecca Susan. "59.0 Healing Arts: Cultural Symbolism in Children's Art in Chinese, Islamic, Middle Eastern, Native American, and African American Cultures." Journal of the American Academy of Child & Adolescent Psychiatry 56, no. 10 (2017): S85—S86. http://dx.doi.org/10.1016/j.jaac.2017.07.336.
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Hubbard, Scott. "An Implicit Theology of Mad Men." Religion and the Arts 24, no. 4 (2020): 415–30. http://dx.doi.org/10.1163/15685292-02404004.
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Abstract One of the most striking sites of secular-religious encounter in narrative fiction of the decade has been the baptismal imagery of the television serial drama Mad Men. Set in an era which may be said to be the high-water mark of the secularization of American culture, Mad Men’s encoding of meaning in symbolic representation in effect re-sacralizes the secular world into which those symbols are transplanted. The symbolism’s divergences from Christian doctrine and ritual that give Mad Men its distinct theological significance. This paper will explore the literary implications of Paul Ricoeur’s theory of religious symbolism. This paper conducts several close readings of key moments in the show’s use of baptismal symbolism, and offers thoughts about how Mad Men’s constellation of originally religious symbols to convey narrative significance empowers the show to perform a religious function for its audience.
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Mušović, Azra. "The bee symbolism in Sylvia Plath's poetics: Between rational and inspiration." Zbornik radova Filozofskog fakulteta u Pristini 51, no. 2 (2021): 19–36. http://dx.doi.org/10.5937/zrffp51-32367.
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Contemporary American poetess of confessional orientation, Sylvia Plath, was often in her career torn between the rational role-models and creative inspiration. This tension is most evident in Plath's metaphors, in which her desire for control and understanding is confronted to the limitations of language to signify the unspoken. The paper aims at presenting symbolic (psychological, religious) semantics of bees in the author's literary oeuvre. The bees are an appropriate, uncrystallized medium; like language, they resist comparison through their transformative power. The bee becomes a personal emblem of the poetess; it represents the culmination and reconciliation of the classical and rational influences in her poetics. The cyclical nature of the bee poems follows the pattern of symbolic death and rebirth-signifying a regeneration-the spring of a new life. Although the spring will inevitably lead one more time to winter and death, the bee as a medium has a liberating quality for the poetess, signifying vitality and authenticity that remain the ultimate values of her art.
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Kazyutchits, Maksim F. "Specifics of Imaginative Approach in the US Documentary of 1960-2000s." Journal of Flm Arts and Film Studies 8, no. 3 (2016): 95–105. http://dx.doi.org/10.17816/vgik8395-105.
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The subject of this article is a survey of artistic techniques of the American documentary filmmaker F. Waisman. The object is the US documentary of the 1960-2000s. The author attempts to distinguish the specifics of the Waismans imaginative approach, exploring the directors work as a developed part of so-called observation method characteristic of the films by American documentary filmmakers R. Drew and R. Leacock (the founders of the direct cinema). The author shows that minimalism of expressive means, the frequent use of camera travellings, raw-like cutting in the movies Titicut Follies (1967), Hospital (1970), Near death (1989) greatly complicate the understanding of the Waismans concept. Ambiguity of imagery in these pictures inevitably leads to a richness of connotations and surplus symbolism. High school (1968) clearly demonstrates a deep fracture of the American society in the late 60's, fully reflected in the school system. Wiseman explores the nature of executive and judicial power of the US in Law and order (1969) and The juvenile court" (1973). He tries to show the crisis of classical art within mass culture in the films National gallery (2014) and Crazy Horse (2011). Waismans approach allows to avoid the commonplace discourse (and the decline in the artistic level of the film) in coverage of such phenomena as the executive and the judicial power, education, arts and entertainment industry. The director was able to combine the complex and polysemantic visual design with the unique composition of the stuff (through cutting and camera work). All this helped him to unite the imaginative merits of a documentary film with narrative symbolism and traditions of poetic cinema.
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Wallis, Neill J. "The Materiality of Signs: Enchainment and Animacy in Woodland Southeastern North American Pottery." American Antiquity 78, no. 2 (2013): 207–26. http://dx.doi.org/10.7183/0002-7316.78.2.207.
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AbstractArchaeological examinations of symbolic meaning often have been hampered by the Saussurean concept of signs as coded messages of preexisting meanings. The arbitrary and imprecise manner by which meaning is represented in material culture according to Saussure tends to stymie archaeological investigations of symbolism. As an alternative, archaeologists recently have drawn on Peirce’s semiotic to investigate how materiality is bound to the creation of meanings through the process of signification. This study examines how the symbolism expressed in pottery of the Middle Woodland period southeastern United States, Swift Creek Complicated Stamped and Weeden Island effigy vessels, might be better explained as icons and indexes that were enlisted to have particular social effects. Examining the semiotic potentials of these objects helps explain their apparent uses and the significance of alternative representations of the same subjects.
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McNeil, Lynda. "Recurrence of Bear Restoration Symbolism: Minusinsk Basin Evenki and Basin-Plateau Ute." Journal of Cognition and Culture 8, no. 1-2 (2008): 71–98. http://dx.doi.org/10.1163/156770908x289215.
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AbstractBy combining ethnographic and evolutionary psychological approaches, this paper compares adaptive strategies of two groups of hunter-gatherers colonizing marginal environments, one in Southern Siberia (Minusinsk Basin) and the other in North America (Great Basin and Colorado Plateau). The biological and cultural survival of Southern Siberian (Evenki) and Basin-Plateau (Numic) hunter-gatherers depended upon developing a complex of social and symbolic strategies, including ritual, oral narratives and rock art. These symbolic representations, which emerged in response to reproductive and somatic demands, appear to have been preserved and transmitted inter-generationally, and to have recurred cross-culturally above chance.
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Prentice, Guy. "An Analysis of the Symbolism Expressed by the Birger Figurine." American Antiquity 51, no. 2 (1986): 239–66. http://dx.doi.org/10.2307/279939.
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During the field season of 1979 a bauxite statuette known as the Birger figurine was uncovered at the BBB Motor site, a Middle Mississippian ceremonial site on the outskirts of Cahokia. A comparison of the figurine's compositional elements with characteristics ascribed to fertility goddesses in the myths of several historic eastern North American tribes suggests that the Birger figurine's symbolism shares many of the concepts associated with various historic fertility deities, and that it represents a Mississippian version of the Earth-Mother.
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Portis-Winner, Irene. "Facing emergences: Past traces and new directions in American anthropology (Why American anthropology needs semiotics of culture)." Sign Systems Studies 37, no. 1/2 (2009): 114–68. http://dx.doi.org/10.12697/sss.2009.37.1-2.06.
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This article considers what happened to American anthropology, which was initiated by the scientist Franz Boas, who commanded all fields of anthropology, physical, biological, and cultural. Boas was a brave field worker who explored Eskimo land, and inspired two famous students, Ruth Benedict and Margaret Mead, to cross borders in new kinds of studies. After this florescence, there was a general return to linear descriptive positivism, superficial comparisons of quantitative cultural traits, and false evolutionary schemes, which did not introduce us to the personalities and inner worlds of the tribal peoples studied. The 1953 study by the philosopher David Bidney was a revelation. Bidney enunciated and clarified all my doubts about the paths of anthropology and his work became to some extent a model for a narration of the story of American anthropology. In many ways he envisaged a semiotics of culture formulated by Lotman. I try to illustrate the fallacies listed by Bidney and how they have been partially overcome in some later anthropological studies which have focused on symbolism, artistry, and subjective qualities of the people studied. I then try to give an overview of the school started by Lotman that spans all human behavior, that demonstrates the complexity of meaning and communication, in vast areas of knowledge, from art, literature, science, and philosophy, that abjured strict relativism and closed systems and has become an inspiration for those who want anthropology to encompass the self and the other, and Bahtin’s double meaning. This paper was inspired by Bidney as a call to explore widely all possible worlds, not to abandon science and reality but to explore deeper inner interrelations and how the aesthetic may be indeed be paramount in the complexities of communication.
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Kang, Soo Y. "Flowers Disguised." Religion and the Arts 23, no. 1-2 (2019): 100–123. http://dx.doi.org/10.1163/15685292-02301005.
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Abstract Since the late twentieth century, Latina artists have used Catholic images, such as depictions of altars and the Virgin of Guadalupe, to speak both for themselves and for women’s issues at large. Maria Tomasula seems far from that norm, since she focuses on tightly constructed, dramatic still life, painted in the traditional European illusionistic manner. She reveals, however, Catholic influences and feminist messages in her flower paintings. This article aims to unveil the woman’s voice in the works of still life by Tomasula, as communicated through embedded Catholic symbolism and references. It will examine how her works evoke the home altar tradition as well as images of saints in martyrdom to speak for the Mexican American woman. This article also applies the concept of the abject, as espoused by Kristeva to denote a woman’s realm, to Tomasula’s art. Tomasula’s still lifes thus ultimately delineate a woman’s space and her discrete experience.
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ELLIS, THOMAS. "“Howdy Partner!” Space Brotherhood, Detente and the Symbolism of the 1975 Apollo–Soyuz Test Project." Journal of American Studies 53, no. 3 (2018): 744–69. http://dx.doi.org/10.1017/s0021875817001955.
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In 1975 American and Soviet spacecraft docked together in orbit as part of the Apollo–Soyuz Test Project (ASTP), the world's first international crewed space mission. Focussing on the project's political symbolism, this article argues that the ASTP was an attempt by the Nixon and Ford administrations to advertise US–Soviet detente by harnessing the optimistic imagery of “space brotherhood,” an instinctive kinship supposedly shared by American astronauts and Soviet cosmonauts. This was ultimately unsuccessful, as detente's critics appropriated the mission for their own symbolic use to attack US–Soviet detente as a fantastical escape from earthly problems.
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Suarez, Ananda Cohen. "From the Jordan River to Lake Titicaca: Paintings of the Baptism of Christ in Colonial Andean Churches." Americas 72, no. 1 (2015): 103–40. http://dx.doi.org/10.1017/tam.2014.3.
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The arts of the colonial Andes bear witness to a complex and contested story of evangelization that involved a variety of actors, including priests, artists, indigenous congregations, and confraternities. Sculptures of saints, sumptuousretablos(altarpieces), canvas paintings with elaborate gilded frames, and mural cycles devoted to a variety of biblical themes were employed in the religious instruction of indigenous communities, and as catalysts for sensorial modes of communication. The visual arts provided a tangible analogue to sermons and printed catechisms, offering parishioners a lens through which to envision the sacred. Adapted from European iconographic models and infused with local references and symbolism, religious art throughout the colonial Americas introduced new visual vocabularies to indigenous congregations, who quickly became conversant in these images of conversion.
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Berliner, Jonathan. "Written in the Birch Bark: The Linguistic-Material Worldmaking of Simon Pokagon." PMLA/Publications of the Modern Language Association of America 125, no. 1 (2010): 73–91. http://dx.doi.org/10.1632/pmla.2010.125.1.73.
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Simon Pokagon's writings exemplify a complex process of linguistic‐material worldmaking. His birch‐bark booklets bring together multiple cultural traditions, including nineteenth‐century tourist art, traditional Algonquian writing, and a long history of writing on bark that dates to the early history of writing itself. Neither purely things nor purely texts, these documents interweave nature and culture in such a way that Pokagon can be said to be engaging in a process of naturalization whereby the cultural is presented as a feature of nature. To promote his reformist agenda, Pokagon capitalizes on a rich cache of naturalist symbolism that was of particularly high cultural value in Victorian America. What is perhaps most notable about Pokagon's use of naturalization is that he makes this linguistic trope into a materialist discourse. (JB)
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Deuser, Hermann. "Schöpfung und Schöpfungsethik." Zeitschrift für Evangelische Ethik 33, no. 1 (1989): 176–85. http://dx.doi.org/10.14315/zee-1989-0127.
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Abstract American philosophy of religion (seit., of pragmatism and process) makes possible a theological cosmology which allows us to conceive a foundation for the reality ofthe symbolism ofGod and creation, the processual integration of subject-object perspectives, the connections between nature and spirit, and those between faith and action. This raises the possibility of amending the deficit in the German theological tradition as regards theology of creation, that is, as the presupposition for a necessary ethics of creation. Constitutive factors in this connection are the christological elements of the love of God which are made concrete via faith, thought, and act in a metaphysically and evolutionistically understood world-process.
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Connor, John T. "Fanfrolico and After: The Lindsay Aesthetic in the Cultural Cold War." Modernist Cultures 15, no. 3 (2020): 276–94. http://dx.doi.org/10.3366/mod.2020.0297.
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This article follows Jack Lindsay (1900–1990) in his transformation from an Australian anti-modernist to a British-based Communist and cultural Cold Warrior. Lindsay was the driving force behind a cluster of initiatives in 1920s Sydney and London to propagate the art and ideas of his father, the painter Norman Lindsay. These included the deluxe limited edition Fanfrolico Press and the little magazines Vision and The London Aphrodite. The article reconstructs the terms of Lindsay's anti-modernist polemics and the paradoxically modernist forms they took, but it also attends to his change of heart. In the two decades after the Second World War, Lindsay found himself defending modernism against both its Cold War co-optation as the in-house aesthetic of the capitalist ‘Free World’ and its reflex denigration within Soviet and international Communist aesthetics. Against the elevation of modernism in the Anglo-American academy and its cultural-diplomatic deployment by agencies of the state, against the uncritical celebration of realism and its Soviet-sphere derivatives, Lindsay proposed a subaltern tradition of experimental art characterised by its utopian symbolism and national-popular inflection. For Lindsay, this tradition reached back to Elizabethan times, but it included modernism as one of its moments. From the vantage of the Cold War, Lindsay now identified the Fanfrolico project as itself an ‘Australian modernism,’ elements of which might yet fuse to form a more perfect socialist realism.
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Plog, Stephen. "Exploring the Ubiquitous through the Unusual: Color Symbolism in Pueblo Black-on-White Pottery." American Antiquity 68, no. 4 (2003): 665–95. http://dx.doi.org/10.2307/3557067.
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One of the common design characteristics on black-on-white pottery from the eleventh and twelfth centuries in the northern American Southwest is the use of thin, parallel lines (hachure) to fill the interior of bands, triangles, or other forms. This essay explores a proposal offered by Jerry Brody that hachure was a symbol for the color blue-green. Brody's proposal is examined by exploring colors and color patterns used to decorate nonceramic material from the Chaco Canyon region of northwestern New Mexico. His proposal is supported and the implications of this conclusion for Chaco Canyon and for future studies of this nature are discussed.
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Sidney, Mara S. "Images of Race, Class, and Markets: Rethinking the Origin of U.S. Fair Housing Policy." Journal of Policy History 13, no. 2 (2001): 181–214. http://dx.doi.org/10.1353/jph.2001.0006.
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As the first national law to address racial discrimination in housing, the 1968 Fair Housing Act was truly a landmark piece of legislation. It prohibited homeowners, real-estate agents, lenders, and other housing professionals from engaging in a range of practices they had commonly used to keep neighborhoods racially segregated, such as refusing to sell or rent to a person because of his or her race, lying about the availability of a dwelling, or blockbusting (inducing white owners to sell by telling them that blacks were moving into the neighborhood). The last of the 1960s-era civil rights laws, the Fair Housing Act tackled the arena long felt to be the most sensitive to whites. Intense controversy, demonstrations, and violence over fair housing issues had occurred in many cities and states since at least the 1940s. Although John F. Kennedy promised during his presidential campaign to end housing discrimination “with the stroke of a pen,” once elected, he waited two years to sign a limited executive order. In 1966, a fair housing bill supported by President Johnson failed in Congress. Unlike other civil rights bills, the issue of housing evoked opposition not just from the South but also from the North. Opponents claimed that it challenged basic American values such as “a man's home is his castle”; to supporters, the symbolism of homeownership as “the American Dream” only underscored the importance of ensuring that housing was available to all Americans, regardless of race.
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KUBIE, OENONE. "Reading Lewis Hine's Photography of Child Street Labour, 1906–1918." Journal of American Studies 50, no. 4 (2016): 873–97. http://dx.doi.org/10.1017/s002187581600058x.
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Lewis Hine's child-labour photographs are among the best-known social-documentary photographs ever taken, yet historians have neglected his photography of children working on the streets of America's cities. This paper explores the disputed symbolism of Hine's street-labour photographs. Far from simply depicting another appalling form of child labour, Hine's child street labourers, and the newsboys he photographed in particular, represented a range of ideas from masculinity and entrepreneurial spirit to the dangers of the new urban life and the apparent ignorance of immigrant parents. The symbolic newsboy was often far removed from the reality of child street labour, but he became an important figure in discourse surrounding the nature of childhood and the organization of public space in the United States of the early twentieth century. In exploring these subjects, this article takes on a neglected part of American history, yet an important one. Studying child street labourers reveals much about children, their choices, and the urban environment in the United States during the Progressive Era.
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Marcos, Carlos L. "CSH Program o el American way of life. Iconos domésticos californianos de los 50." VLC arquitectura. Research Journal 8, no. 1 (2021): 61. http://dx.doi.org/10.4995/vlc.2021.14762.
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<p class="Cuerpo">After World War II a new order emerged amongst the ruins, the devastation and the Allied triumph. The United States, more than any other country, emerged as a new world power with an optimism founded on victory as much as on its untouched territory and on its economy boosted by the military industrial complex. Architecture in the 50s could not avoid being part of the American dream. Would it be possible to find an architectural image to embody such an aspiration? In other words, would it be possible to conceive an architectural iconography tuned with technology, progress, freedom, individualism, and the familiar image for domestic architecture capable of assuming the symbolism and the characteristic optimism of the American way of life? That was the goal pursued by John Entenza, editor of the influential Arts &amp; Architecture journal, and advocate of the Case Study House Program. The glazed box could assume much of the imagery associated with a new way of life for various reasons. Indeed, it served as an iconography for the domestic architecture of the period inspired in industrialisation or in the hybridisation of steel and the balloon-frame constructive system as a pretext diversely reinterpreted in the Case Study Houses later to become icons of a Californian modern domesticity.<em></em></p>
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Nelson, Ben A. "Complexity, Hierarchy, and Scale: A Controlled Comparison between Chaco Canyon, New Mexico, and La Quemada, Zacatecas." American Antiquity 60, no. 4 (1995): 597–618. http://dx.doi.org/10.2307/282045.
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Archaeologists have held a lengthy debate around the question of complex sociopolitical organización in the prehistoric American Southwest. Recent theory, though, urges scholars to “unpack” the properties of complexity. In this paper a southwestern regional center is compared with one on the northern Mesoamerican periphery in terms of properties generally associated with sociopolitical complexity: population size, labor investment in monumental construction, extent of road systems, mortuary practices, and symbolism of integrative facilities. Contrary to the conception of Mesoamerican societies as larger and more politically centralized, Chaco Canyon appears to have been organized at a larger scale than La Quemada. Yet it is argued that La Quemada was more hierarchically structured. Correctly evaluating complexity in both nature and degree is not only theoretically significant, but has implications for particular models of long-distance interaction between such large centers.
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Jones, Michael Owen. "Food Choice, Symbolism, and Identity: Bread and Butter Issues for Folkloristics and Nutrition Studies (American Folklore Society Presidential Address, October 2005)." Journal of American Folklore 120, no. 476 (2007): 129–77. http://dx.doi.org/10.1353/jaf.2007.0037.
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Kolisnyk, Oleksandra, and Solomiia Ohanesian. "ICONIC AND SYMBOLIC ASPECT IN TRADEMARKS OF THE LATE 19th AND EARLY 20th CENTURIES." CULTURE AND ARTS IN THE MODERN WORLD, no. 22 (June 30, 2021): 212–22. http://dx.doi.org/10.31866/2410-1915.22.2021.235916.
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The purpose of the study is to identify the possibilities of visual symbolism in the creation of a company image using a logo in the late 19th and early 20th centuries. Research Methodology. The historical, historical-comparative, analytical methods were used to conduct the research; art history methods — formal, figurative-stylistic, semantic analysis — were used to identify the figurative and symbolic language of the company’s logos late 19th – early 20th centuries. Conclusions. Based on the analysis of the works of foreign and national scientists of the 20th century, the symbol and mark are characterised as means of expressing the phenomenon essence, and the existing classifications of symbols are considered. The logos used in the late 19th – early 20th centuries in the world practice and on the Ukraine territory are analysed. The example of the Prudential Financial insurance company (the USA) shows that the use of a symbolic element remained unchanged in the process of its changes during 1860–1996. On the example of the trademarks of Ukrainian enterprises — the Ernst Mehlhose Agricultural Machinery Plant (1874–1923), the F. V. Alsop in Kharkiv enterprise, Luhansk Textile Mill (1904–2001), Kyiv Contract Fair (1797–1930) — the methods of visual identification are considered, the artistic means are determined; the comparative analysis is carried out. It is established that the image of the rock in the structure of the American company logo is a symbol of strength and security and appeals to its main characteristics. It is determined that in the means of visual identification of Ukrainian enterprises of the late 19th – early 20th centuries, there is a tendency to express clearly the company specialisation through realistic images of architectural buildings that belonged to them or produced products, as well as ordinary names with moderate artistic design.
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Shishka, E. A. "MONGOLS "IMAGINARY HERALDIC" IN FRENCH MEDIEVAL MINIATURES." History: facts and symbols, no. 3 (September 14, 2021): 119–29. http://dx.doi.org/10.24888/2410-4205-2021-28-3-119-129.
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The study of images is the path leading to an understanding of the value system of medieval man. If in the study of Christian ideas about the Mongols, historical and literary works were given some attention, then iconographic documents were often used only as illustrations to the text and were considered as something secondary. One of the poorly studied topics is the study of «imaginary heraldry», which was given to the Mongols by French miniaturists of the XIV-XV centuries. The research is based on the approach of the American art critic, M. A. Camillus, which involves the study not of what was «really», but of what was brought into the situation described by medieval scribes. The model of our analysis of the content of miniatures is based on the methodology of the German researcher Erwin Panofsky, according to which the analysis of miniatures takes place in three stages: 1) pre-iconographic description; 2) iconographic analysis; 3) iconological interpretation. Our research is based on French manuscripts containing images of the Mongols with various heraldic symbols, written evidence, numismatic and cartographic sources. During the work, it was noted that the Mongolian heraldry is presented in the format of shields and banners. Each element has its own color – red, orange, blue, yellow. The following heraldic signs were identified: a dragon, a six-pointed star, a crescent, a two-pronged tamga, a «king's head», lilies, a «star of David», various geometric shapes of figures, etc. It was also determined that the image of heraldic symbols on the miniatures carries a certain symbolism – social and ethnic. With the help of «imaginary heraldry», Christian miniaturists defined the place of the Mongols in the social stratigraphy or emphasized ethnicity.
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Skrentny, John D. "ARE AMERICA'S CIVIL RIGHTS LAWS STILL RELEVANT?" Du Bois Review: Social Science Research on Race 4, no. 1 (2007): 119–40. http://dx.doi.org/10.1017/s1742058x07070075.
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AbstractThe federal government created America's historic 1964 Civil Rights Act during a period of low immigration. The primary goal was to create equal opportunities for African Americans by ending Jim Crow discrimination in the South. Focusing on the issue of employment discrimination, and specifically employer preferences for immigrants, this article shows how the current period of high immigration from Latin America and Asia has created new challenges and dilemmas for Title VII, the employment discrimination title of the Civil Rights Act. Specifically, sociological evidence indicates that U.S. businesses are engaging in race-conscious employment focused on the perceived value of racial skills (special abilities of certain racial groups at particular jobs) and racial symbolism (organizational benefits from displaying certain races on the work force). Businesses hire Asians and Latinos, and especially immigrant Asians and Latinos, because of the perceived racial skills of these groups at low-status jobs that require strong work ethics and obedient attitudes. Corporate employers seeking skilled workers do not necessarily prefer immigrants. Instead, they seek minorities for the symbolic value of their diversity, for their general racial skills at bringing new ideas to the workplace, and for their racial marketing skills for growing non-White markets. I assess these developments from a legal perspective, showing that a combination of a lack of litigation and some key court decisions have prevented Title VII from regulating racial skills and racial symbolism and/or from offering protection for immigrants themselves.
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Davies, Colin. "Lessons at the roadside." Architectural Research Quarterly 8, no. 1 (2004): 27–37. http://dx.doi.org/10.1017/s1359135504000053.
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Architects should learn to communicate more through their architecture. The commercial vernacular architecture of the American ‘strip’ – motels, gas stations, fast food outlets – communicates loud and clear. In comparison, high architecture, particularly the high architecture of Modernism, is sullen and silent. This, roughly, is the thesis of Learning from Las Vegas by Robert Venturi, Denise Scott Brown and Stephen Izenour (1972 and 1977), one of the key texts of the Post-Modernist movement in architectural theory of the early 1970s. Venturi et al thought architects could learn a lot about symbolism and communication from the sort of non-judgmental study of roadside architecture that their students had undertaken at Yale. In the second half of the book the idea was developed into a theory and encapsulated into a universal building concept, ‘the decorated shed’, which has since become a cliché of architectural criticism. The decorated shed was designed to overthrow the most cherished beliefs and rituals of Modernism. Expression through form was to be replaced by the ‘persuasive heraldry’ of the totem and the billboard; articulation of detail was to be replaced by old-fashioned applied ornament; and the ‘heroic and original’ was to be replaced by the ‘ugly and ordinary’. But the emphasis was on the decoration rather than the shed. Learning from Las Vegas did not have much to say about the way that the sheds of the commercial strip were constructed, other than describing them vaguely as ‘system built’, or about the implications that the technology of their construction might have for architectural practice.
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Goscilo, Helena. "Stacking National Identity." Experiment 25, no. 1 (2019): 227–43. http://dx.doi.org/10.1163/2211730x-12341340.
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Abstract The matreshka designed by Sergei Maliutin and turned by Vasilii Zvezdochkin has fulfilled a precisely defined function from its inception in the late 1890s until today. Conceived as a material embodiment of national identity amid Abramtsevo’s revival of endemic Russian traditions, the stacking doll symbolized robust national fecundity. Produced and sold in the workshop Detskoe vospitanie [Children’s Upbringing] established by the Mamontov family, it promoted Russianness in a range of stacked dolls garbed in the ethnic dress of the country’s various regions. During the Soviet era the matreshka became standardized and promoted as the quintessential emblem of a vital Russia, above all to foreigners. The demise of the Soviet Union witnessed the spectacular rise of the author’s matreshka, one indelibly stamped with the creative imagination of its individual creator under new economic and cultural conditions. Political figures, American sports heroes, British rock groups, TV characters, and Hollywood stars all appeared as increasingly decorative stacked dolls. In short, the fate and the appearance of the matreshka accurately reflect Russia’s ideological biases and shifts. If early twentieth-century exploration of diverse national images yielded to a monochromatic defensiveness materialized as the unyielding, stoic child-bearer of Cold War Sovietism, then the post-Soviet matreshka conveys the chameleon-like, cosmetic veneers adopted and discarded by the consumerist society of the 1990s and subsequent decades. My article analyzes the vagaries of the matreshka’s legacy under Soviet and post-Soviet rule, during which the stacked doll has never lost its status as a unique symbol of national identity, though the terms of that symbolism have evolved.
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KOMARYTSIA, Anna. "ARTISTIC TRANSCRIPTION OF THE EDGAR ALLAN POE'S IMAGERY IN ANTUN GUSTAV MATOŠ'S AND MYKHAILO YATSKIV'S PROSE." Problems of slavonic studies, no. 68 (2019): 181–89. http://dx.doi.org/10.30970/sls.2019.68.3079.
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Background: On the one hand, the literary works of A.G. Matoš were studied by Croatian scholars in the context of the philosophy and poetics of modernism. The authors of fundamental studies about A.G. Matoš are Dubravko Jelčić, Dubravka Oraić Tolić, Mladen Dorkin, Zlatko Posavac, Miljenko Majetić and Nada Iveljić. On the other hand, Ukrainian researchers Mykola Ilnytskyi, Solomiya Pavlychko, Oksana Melnyk, and Polish researcher Agnieszka Matusiak analyzed and studied M. Yatskiv's creative style in the context of the aesthetic canons of the modernism. The novelty of this article is in addressing the influence of E. Poe on the literary texts of the Ukrainian and Croatian modernists using the comparative approach. Purpose: This is the first attempt to analyze the influence of E. Poe on A. G. Matoš and M. Yatskiv. This article treats the actual and yet not studied question of a multilayer impact (composition, imagery set) of the American writer on the Croatian and Ukrainian modernist writers. Results: Romanticism writer Edgar Poe undoubtedly influenced Mykhailo Yatskiv and Antun Gustav Matoš, especially with his essay “The Philosophy of Composition”. In this essay the author demonstrates the principle of constructing the plot with the logic and the hidden mechanisms of imagery construction. But in the biography of the American writer we can find facts that poems such as “Nevermore”, “Ligeia” and others weren`t the result of logic, but they were yearning for his wife who passed away being very young. The author of this study found a numerous allusions on the essay “The Philosophy of Composition” by E. Poe, his images of a horror crow and a cat, as well as the images of dead beloved beautyis in many literary works of A.G. Matoš and M. Yatskiv. Croatian and Ukrainian symbolists also used E. Poe`s technique of the total effect. Mystery element is generalized in the literary texts of three authors in the images of the sphinx, which has several meanings. The most common meaning is the abstract definition of something mysterious that needs to be answered. Similarities between Matoš's and Yatskiv's imagery with American writer E. Poe prove, that Ukrainian and Croatian writers were inspired by the world art achievements, creatively transforming ideas that were contemporary both to the romanticism and modernism. Key words: Edgar Allan Poe, Antun Gustav Matoš, Mykhailo Yatskiv, modernism, romanticism, “The Philosophy of Composition”, art scenography.
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Dubey, Kumud. "PLANT SYMBOLISM IN PAINTING." International Journal of Research -GRANTHAALAYAH 7, no. 11 (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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Blatchford, Ian. "Symbolism and discovery: eclipses in art." Philosophical Transactions of the Royal Society A: Mathematical, Physical and Engineering Sciences 374, no. 2077 (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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Swenson, Edward. "Emotion reified. Lessons from the archaeology of ritual." Archaeological Dialogues 17, no. 2 (2010): 176–83. http://dx.doi.org/10.1017/s1380203810000243.
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Harris and Sørensen's critique of the archaeological inattention to emotion and their recognition of the material mediation of affect bring to the fore perennial epistemological problems defining the broader archaeological enterprise. The immediate citation of the long-discredited Hawkesian ladder of inference challenges the assumption that past emotional states are unrecoverable from archaeological contexts, just as an earlier generation of archaeologists rejected processual theory that meaning, conceptual schemas and symbolism fell beyond the pale of scientific inference. Of course, Hawkes was not a materialist in the strict sense of the term, and he recognized that value systems transcended the epiphenomenal and played a vital role in structuring social practice and shaping historical process. It was his contention, however, that conceptual and symbolic schemes and their role in social reproduction were simply too complex to be read satisfactorily from material remains (Hawkes 1954; see Fogelin 2008, 129–30). He wrote that ‘there is nothing in North American ecology . . . to compel either Iroquois institutions . . . or the constitution of the United States’ (Hawkes 1954, 163). To be sure, Hawkes probably would not have denied that moved to move is intrinsic to the human condition and that affective dispositions were a force in individual experiences and the collective fortunes and self-representations of past communities. At the same time, he probably gave little consideration to the dialectical interdependence of the material world and emotion, a relationship that has captured the imagination of recent scholars. Hawkes would no doubt have scoffed at the notion that emotion as ontological problem, cultural construct or variable of social interaction is amenable to archaeological interpretation.
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Cederlöf, Gustav. "The Revolutionary City: Socialist Urbanisation and Nuclear Modernity in Cienfuegos, Cuba." Journal of Latin American Studies 52, no. 1 (2019): 53–76. http://dx.doi.org/10.1017/s0022216x19000920.
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AbstractDuring the Cold War, Havana symbolised the struggle for national liberation in Latin America. Yet in few other places on the island of Cuba did the Revolution's visions of development materialise as they did in the southern city of Cienfuegos. This article examines why two half-finished nuclear reactors and a decaying ‘nuclear city’ still remain in Cienfuegos. Through a comprehensive spatial and infrastructural transformation of Cuba, the revolutionary government sought to remedy the evils of dependency and unequal exchange. Cienfuegos, and its shifting place in the Cold War political economy, demonstrates how a radical critique of urbanisation merged with the spatiality of centralised energy infrastructure in the pursuit of ultimately-failed nuclear modernity. The history of Cienfuegos draws the academic gaze away from Latin America's major cities to broaden the ‘geographies of theory’ in urban, energy and Latin American studies.
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Mnich, Ludmila. "THE GOSPEL TRADITION OF NUMBER SYMBOLISM IN TWENTIETH-CENTURY RUSSIAN POETRY." Проблемы исторической поэтики 19, no. 1 (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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AKDENİZ, Defne. "OYSTER SYMBOLISM IN THE ART OF PAINTING." International Journal of Social Humanities Sciences Research (JSHSR) 4, no. 10 (2017): 339–54. http://dx.doi.org/10.26450/jshsr.64.
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Barris, Michael C. "Color and Meaning: Art, Science, and Symbolism." Optometry and Vision Science 77, no. 1 (2000): 10. http://dx.doi.org/10.1097/00006324-200001000-00007.
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Simon, R. M. "The symbolism of style: art as therapy." Child Language Teaching and Therapy 8, no. 2 (1992): 224–25. http://dx.doi.org/10.1177/026565909200800216.
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Willard, Christopher. "Color and meaning: Art, science, and symbolism." Color Research & Application 25, no. 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, no. 4 (1993): 347–48. http://dx.doi.org/10.1016/0197-4556(93)90069-e.
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El Weshahy, Mofida, and Radwa Omar. "Snake's symbolism in Coptic and Islamic Art." Journal of Association of Arab Universities for Tourism and Hospitality 19, no. 3 (2020): 291–316. http://dx.doi.org/10.21608/jaauth.2021.64221.1141.
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Wardle, Barbra L. "Native American Symbolism in the Classroom." Art Education 43, no. 5 (1990): 12. http://dx.doi.org/10.2307/3193243.
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Blake, Kevin. "Lighthouse Symbolism in the American Landscape." Focus on Geography 50, no. 1 (2007): 9–15. http://dx.doi.org/10.1111/j.1949-8535.2007.tb00184.x.
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Jurak, Mirko. "William Shakespeare and Slovene dramatists (III): (1930-2010)." Acta Neophilologica 44, no. 1-2 (2011): 3–34. http://dx.doi.org/10.4312/an.44.1-2.3-34.
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In the final part of my study I shall present Shakespeare's influence on Slovene dramatists from the 1930s to the present time. In this period an almost unbelievable growth in Slovene cultural activities took place. This is also reflected in a very large number of new Slovene playwrights who have written in this time, in their international orientation in dramatic art as well as in the constantly growing number of permanent (and ad hoc) theatre companies. Communication regarding new theatrical tendencies not only in Europe but also in the United States of America and % during the past decades % also in its global dimension has become much easiers than in previous periods and this resulted also in the application of new dramatic visions in playwriting and in theatrical productions in Slovenia. These new movements include new techniques in writing, such as symbolism, futurism, expressionism, constructivism, surrealism, political drama, the theatre of the absurd and postmodernism, which have become apparent both in new literary techniques and in new forms of production. In this period Classical drama still preserved an important role in major Slovene theatres. Plays written by Greek playwrights, as well as plays written by Shakespeare, Molière, Schiller etc. still constitute a very relevant part of the repertoire in Slovene theatres. Besides, Slovene theatres have also performed many plays written by modern playwrights, as for example by Oscar Wilde, L. N. Tolstoy, I. S. Turgenev, Henrik Ibsen, August Strindberg, G. Hauptmann, G. Büchner, G. B. Shaw, A. P. Chekhov, John Galsworthy, Luigi Pirandello, Eugene O'Neill and many other contemporary playwrights. In the period after the Second World War the influence of American dramatists has been constantly growing. This variety also resulted in the fact that direct influence of Shakespeare and his plays upon Slovene dramatists became less frequent and less noticeable than it had been before. Plays written by Slovene dramatists are rarely inspired by whole scenes or passages from Shakespeare's plays, although there are also some exceptions from this rule. It is rather surprising how quickly Slovene theatres produced works written by important foreign dramatists already in the period following the First World War not to mention how quickly plays written by the best European and American playwrights have appeared on Slovene stages during the past fifty years. The connection between Shakespeare's plays and plays written by Slovene playwrights became more subtle, more sophisticated, they are often based on implied symbolic references, which have become a starting point for a new interpretation of the world, particularly if compared with the Renaissance humanistic values. The sheer number of plays written by Slovene dramatists in this period makes it difficult to ascertain that all influences from Shakespeare's plays have been noticed, although it is hoped that all major borrowings and allusion are included. Slovene dramatists and theatre directors have provided numerous adaptations of Shakespeare's plays, which sometimes present a new version of an old motif so that it may hardly be linked with Shakespeare. Slovene artists, playwrights and 4 also theatre directors, have %rewritten%, %reset% the original text and given it a new meaning and/or a new form, and in a combination of motifs and structure they have thus created a %new play%, even stand-up comedies in which the actor depends on a scenario based on Shakespeare's play(s) but every performance represents a new improvisation. Such productions are naturally closer to the commedia dell'arte type of play than to a play written by Shakespeare. I briefly mention such experimental productions in the introductory part of my study. The central part of my research deals with authors in whose works traces of Shakespeare's influence are clearly noticeable. These playwrights are: Matej Bor, Jože Javoršek, Ivan Mrak, Dominik Smole, Mirko Zupančič, Gregor Strniša, Veno Taufer, Dušan Jovanović, Vinko Möderndorfer and Evald Flisar.
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Meisel, Martin. "Seeing It Feelingly: Victorian Symbolism and Narrative Art." Huntington Library Quarterly 49, no. 1 (1986): 67–92. http://dx.doi.org/10.2307/3817192.
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Zlatkova, Lуuba. "RHYTHM AND SYMBOLISM IN THE FOLK MUSIC ART." Education and Technologies Journal 10, no. 2 (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, no. 20 (October 15, 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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Balter, M. "ORIGINS: On the Origin of Art and Symbolism." Science 323, no. 5915 (2009): 709–11. http://dx.doi.org/10.1126/science.323.5915.709.
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