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Journal articles on the topic 'American Symbolism in art'

Author: Grafiati

Published: 4 June 2021

Last updated: 11 February 2022

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1

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 Ameri

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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

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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

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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

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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-condit

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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 Ri

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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

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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 (19

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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 so

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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

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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

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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 re

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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

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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 thr

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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 capitaliz

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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 ele

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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 hear

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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

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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 la

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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 symb

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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, progres

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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

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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

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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 w

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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

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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 sym

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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 m

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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 addressin

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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 s

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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 w

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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

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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

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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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42

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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Abstract:

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

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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 v

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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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