Relevant bibliographies by topics / Animal symbols

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Animal symbols'

Author: Grafiati
Published: 4 June 2021
Last updated: 15 February 2022

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles

Select a source type:

Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Animal symbols.'

Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.

You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.

Journal articles on the topic "Animal symbols"

1

Razali, Rosmidahanim, Ruzamira Abdul Razak, Mohd Nafis Saad, Nizar Nazrin, and Ishak Ramli. "Understanding the Meaning and Symbols of Animals in Visual Artwork: A Case Study of Five Selected Works in the SI + SA 2020 Exhibition." Idealogy Journal 6, no. 2 (September 1, 2021): 78–90. http://dx.doi.org/10.24191/idealogy.v6i2.301.

Full text
Abstract:
Visual artwork is a platform to convey the meaning of the theme chosen in producing the work. However, it is difficult to understand the meaning through the symbols highlighted by the artist. Based on that situation the objective of this study is to collect information on visual artworks that apply animal symbols in the SI + SA 2020 exhibition. Five artists have been identified using animal symbols in the production of their artwork. This study is based on qualitative research approach using four types of data; namely the study of literature that explains the meaning and symbol of animals from the point of view of previous scientific writing. The second method is based on information obtained from the artist statement in the SI + SA 2020 Exhibition catalogue. The third method, the researcher interviewed (partially structured) five artists who have been selected using animal symbols in their artwork. The fourth method is to use the theory of Edmund Burke Feldman (1994) which has four stages in the theory, namely description, analysis, interpretation and evaluation. Triangulation (qualitative) studies are conducted to obtain more data and the validity of the findings obtained. The result shows an understanding of the meaning and symbol varies according to the needs of the individual or society. Some artists associate symbols in the context of personal experiences or observations of an event. Symbols can also carry meaning in the context of social sciences. In the production of their artworks, the use of symbols is a method to convey a message and an easier way to communicate. Conclusion clearly shows that the meaning of these animal symbols depends on different personal perceptions - different from the references studied. It can reveal to the general public that the use of animal symbols applied in the work can carry various meanings. Researchers suggest for future studies to conduct comprehensive research on the use of symbols in contemporary visual arts Malaysia.
APA, Harvard, Vancouver, ISO, and other styles
2

Clowes, Robert. "Semiotic symbols and the missing theory of thinking." Interaction Studies 8, no. 1 (June 13, 2007): 105–24. http://dx.doi.org/10.1075/is.8.1.07clo.

Full text
Abstract:
This paper compares the nascent theory of the ‘semiotic symbol’ in cognitive science with its computational relative. It finds that the semiotic symbol as it is understood in recent practical and theoretical work does not have the resources to explain the role of symbols in cognition. In light of this argument, an alternative model of symbol internalisation, based on Vygotsky, is put forward which goes further in showing how symbols can go from playing intersubjective communicative roles to intrasubjective cognitive ones. Such a formalisation restores the symbol’s cognitive and communicative dimensions to their proper roles.
APA, Harvard, Vancouver, ISO, and other styles
3

Sujoko, Sujoko, and Hafidz Erdinal Arrazy. "SEMIOTIKA LIRIK LAGU DALAM ALBUM LELAKU-FOURTWNTY KARYA ARI LESMANA (KAJIAN SEMIOTIKA)." Aksara: Jurnal Ilmiah Pendidikan Bahasa dan Sastra Indonesia 3, no. 1 (August 28, 2019): 87. http://dx.doi.org/10.33087/aksara.v3i1.102.

Full text
Abstract:
The purpose of this research is to describe the semiotic of Lelaku Fourtwnty’s song lyric by Ari Lesmana. This research is descriptive qualitative. The primary data is in the form of lines which consist of semiotic icon and symbol in the song lyric of Lelaku Fourtwnty. The technique used in collecting the data is by using library study which focuses on analyzing semiotic icon and symbol in the lyric. The result of the analysis which is acquired from the song lyric of Fourtwnty by Ari Lesmana are; there are 4 icons and 2 symbols in the aspect of mild irritation, there are 4 icons and 3 symbols in the aspect of nature poem; there are 4 icons and 2 symbols in the aspect of black and white; there are 3 icons and 4 symbols in the aspect of pink blurry; there are 2 icons and 2 symbols in the aspect of self-calm; there are 2 icons and 2 symbols in the aspect of I am not an animal; there are 3 icons and 3 symbols in the aspect of tacit; there are 2 icons and 2 symbols in the aspect of dimension argumentation; and there are 3 icons and 2 symbols in the aspect of dawn discussion. Keywords: Analysis, Icon and Symbol, Song Lyric
APA, Harvard, Vancouver, ISO, and other styles
4

Sobstyl, Katarzyna. "The semantics of animal burial sites in the context of human cemeteries. A comparative analysis of macro-signs." Etnolingwistyka. Problemy Języka i Kultury 32 (December 20, 2020): 157. http://dx.doi.org/10.17951/et.2020.32.157.

Full text
Abstract:
The contemporary practice of creating official animal burial sites exhibits certain analogies with cemeteries, which function not only as burial sites for humans but also as complex symbols of remembering the dead. Both are macro-signs, manifested through verbal and non-verbal codes. Human cemeteries are characterised by greater symbolic complexity and diversity, deriving from centuries-old cultural and religious traditions. The linguistic and non-linguistic actions performed with respect to cemeteries, in the broadly understood situational context, are closely related to the sphere of sacrum, represented by the symbol of the cross. Although pet cemeteries are identical to human cemeteries in terms of certain code elements (including headstone inscriptions, photographs, and figural sculptures), such cemeteries are less complex and relate chiefly to the sphere of profanum, represented by symbols of the widespread myth of the Rainbow Bridge. However, the common denominator of both macro-signs are the linguistic and non-linguistic actions that are inspired by the feelings of sadness, love, and gratitude.
APA, Harvard, Vancouver, ISO, and other styles
5

Arbi, Anggun Purnomo, Iddun Muhammad Hattory, and Nur Kalim. "Symbol Used in the Demon Slayer: Mugen Train Movie." JournEEL (Journal of English Education and Literature) 3, no. 1 (June 1, 2021): 33–44. http://dx.doi.org/10.51836/journeel.v3i1.189.

Full text
Abstract:
The objective of this study was to describe the symbol used in the Demon Slayer: Mugen Train the movie. Symbol, as the part of literature, can be defined as often characters, images, settings and the other elements which reflect bigger hidden ideas or message in order to build more interesting story. Viewed from its setting, this study was applied library research as it studied a movie. The subject of this study was a Japanese movie entitled “Demon Slayer: Mugen Train”. In collecting the data, there were two research instruments including: the researcher as a data collector and analyst, and the documentations. The data of this study were phenomena classified as symbols. Those data were collected from the Movie. The steps of data collections included: (1) watching movie several times, (2) reading the movie scripts.The data analysis steps in this study were identified as the decriptive analysis technique. The results of this study presented that there were som symbols found in the Demon Slayer: Mugen train movie, they were: nature symbols (flame, water, and Thunder), object symbols (word (Nichirin Sword), Hanafuda Earrings, and tomb), animal symbol (crow), and color symbols (pink, blue, black or dark, and red).
APA, Harvard, Vancouver, ISO, and other styles
6

HURFORD, JAMES R. "Human uniqueness, learned symbols and recursive thought." European Review 12, no. 4 (October 2004): 551–65. http://dx.doi.org/10.1017/s106279870400047x.

Full text
Abstract:
Human language is qualitatively different from animal communication systems in at least two separate ways. Human languages contain tens of thousands of arbitrary learned symbols (mainly words). No other animal communication system involves learning the component symbolic elements afresh in each individual's lifetime, and certainly not in such vast numbers. Human language also has complex compositional syntax. The meanings of our sentences are composed from the meanings of the constituent parts (e.g. the words). This is obvious to us, but no other animal communication system (with honeybees as an odd but distracting exception) puts messages together in this way. A recent theoretical claim that the sole distinguishing feature of human language is recursion is discussed, and related to these features of learned symbols and compositional syntax. It is argued that recursive thought could have existed in prelinguistic hominids, and that the key step to language was the innovative disposition to learn massive numbers of arbitrary symbols
APA, Harvard, Vancouver, ISO, and other styles
7

Rasche, Michael. "Kontiguität und Similarität der poetischen Sprache der Antike." Bochumer Philosophisches Jahrbuch für Antike und Mittelalter 17 (December 31, 2014): 1–26. http://dx.doi.org/10.1075/bpjam.17.01ras.

Full text
Abstract:
Cassirer proclaimed the human as ‘animal symbolicum’. Language, art and religion are manifestations of an symbolic and symbol-creating awareness. The symbols are caused by a movement which is to be characterized as tropical. A symbol can be generated as a metonymic term, based on the principle of contiguity, but also as an metaphoric term, corresponding to the principle of similarity. The perception of these tropical movements draws the attention to the origination of a symbolic term as well as to the changes of already existing terms. The history of the ancient symbolic speech is a history of permanent creations, but also of mutations of meaning. This history is noticeable in Greece for the first time in Homer. His figurative speech is influenced by the mythical contiguity, which yields to a metaphorization and allegorization of the symbols in lyrics and philosophy in the following period, but still remains present in the religious literature. Finally, the symbolic speech of the new Christianity is situated in the non-solvable tension between the principles of contiguity and similarity. A recognition of this history of the ancient symbolic speech is required for its subsequent analysis, which is especially important for Christianity, for whom the ancient symbolism is normative, as well as for the philosophy, which desires to recognize its own history.
APA, Harvard, Vancouver, ISO, and other styles
8

Viger, Christopher. "The acquired language of thought hypothesis." Interaction Studies 8, no. 1 (June 13, 2007): 125–42. http://dx.doi.org/10.1075/is.8.1.08vig.

Full text
Abstract:
I present the symbol grounding problem in the larger context of a materialist theory of content and then present two problems for causal, teleo-functional accounts of content. This leads to a distinction between two kinds of mental representations: presentations and symbols; only the latter are cognitive. Based on Milner and Goodale’s dual route model of vision, I posit the existence of precise interfaces between cognitive systems that are activated during object recognition. Interfaces are constructed as a child learns, and is taught, how to interact with its environment; hence, interface structure has a social determinant essential for symbol grounding. Symbols are encoded in the brain to exploit these interfaces, by having projections to the interfaces that are activated by what they symbolise. I conclude by situating my proposal in the context of Harnad’s (1990) solution to the symbol grounding problem and responding to three standard objections.
APA, Harvard, Vancouver, ISO, and other styles
9

Gunawan, Fahmi. "PEDOMAN SIMBOL HARI BAIK DAN HARI BURUK MASYARAKAT BUGIS DI KOTA KENDARI." Patanjala : Jurnal Penelitian Sejarah dan Budaya 10, no. 3 (November 8, 2018): 435. http://dx.doi.org/10.30959/patanjala.v10i3.431.

Full text
Abstract:
Hampir semua aktivitas masyarakat Bugis Kendari dimulai dengan mempertimbangkan kualitas waktu yang dikenal dengan istilah hari baik dan hari buruk. Kualitas waktu ini memiliki pedoman dan menggunakan simbol-simbol tertentu. Penelitian ini bertujuan untuk mengkaji simbol hari baik dan hari buruk masyarakat Bugis Kota Kendari. Penelitian ini menggunakan pendekatan deskriptif kualitatif dengan metode studi kasus. Pengumpulan data dilakukan dengan wawancara mendalam dan observasi. Hasil penelitian menunjukkan bahwa pedoman simbol hari baik dan hari buruk masyarakat Bugis di Kota Kendari diklasifikasi menjadi sebelas, yaitu (1) simbol bahasa Arab, (2) simbol matematika, (3) simbol tulisan tangan, (4) Simbol lontara Bugis, (5) simbol lontara Bugis dan gambar, (6) simbol aksara Soewandi, (7) simbol hewan, (8) simbol bintang, (9) simbol bendera, (10) simbol Haji Daud, dan (11) simbol Hj. Nursiah. Penelitian ini akhinrya menegaskan bahwa simbol pedoman ini merepresentasikan masyarakat bugis Kendari yang penuh perencanaan dan memiliki rasa optimisme untuk menggapai hasil maksimal sebuah aktivitas. Almost all activities of the Bugis Kendari community begin by considering the quality of time known as good days and bad days. This quality of time has guidelines and uses certain symbols. This study aims to examine the symbols of good days and bad days of the Bugis people of Kendari city. This study uses a qualitative descriptive approach with a case study method. Data collection is done by in-depth interviews and observations. The results showed that the guideline of the symbol of good days and bad days of Bugis people in Kendari city was classified into eleven, (1) Arabic symbols, (2) mathematical symbols, (3) handwriting symbols, (4) Bugis symbol, (5 ) Bugis symbols and drawings, (6) Soewandi alphabet symbols, (7) animal symbols, (8) star symbols, (9) flag symbols, (10) Haji Daud symbols, and (11) Hj. Nursiah symbols. This research finally emphasizes that the symbol of this guideline represents the Bugis Kendari community which is full of planning and has a sense of optimism to achieve the maximum results of an activity.
APA, Harvard, Vancouver, ISO, and other styles
10

Holloway, Ian D., Christian Battista, Stephan E. Vogel, and Daniel Ansari. "Semantic and Perceptual Processing of Number Symbols: Evidence from a Cross-linguistic fMRI Adaptation Study." Journal of Cognitive Neuroscience 25, no. 3 (March 2013): 388–400. http://dx.doi.org/10.1162/jocn_a_00323.

Full text
Abstract:
The ability to process the numerical magnitude of sets of items has been characterized in many animal species. Neuroimaging data have associated this ability to represent nonsymbolic numerical magnitudes (e.g., arrays of dots) with activity in the bilateral parietal lobes. Yet the quantitative abilities of humans are not limited to processing the numerical magnitude of nonsymbolic sets. Humans have used this quantitative sense as the foundation for symbolic systems for the representation of numerical magnitude. Although numerical symbol use is widespread in human cultures, the brain regions involved in processing of numerical symbols are just beginning to be understood. Here, we investigated the brain regions underlying the semantic and perceptual processing of numerical symbols. Specifically, we used an fMRI adaptation paradigm to examine the neural response to Hindu-Arabic numerals and Chinese numerical ideographs in a group of Chinese readers who could read both symbol types and a control group who could read only the numerals. Across groups, the Hindu-Arabic numerals exhibited ratio-dependent modulation in the left IPS. In contrast, numerical ideographs were associated with activation in the right IPS, exclusively in the Chinese readers. Furthermore, processing of the visual similarity of both digits and ideographs was associated with activation of the left fusiform gyrus. Using culture as an independent variable, we provide clear evidence for differences in the brain regions associated with the semantic and perceptual processing of numerical symbols. Additionally, we reveal a striking difference in the laterality of parietal activation between the semantic processing of the two symbols types.
APA, Harvard, Vancouver, ISO, and other styles
More sources

Dissertations / Theses on the topic "Animal symbols"

1

Singh, Jyoti. "William Blake’s animal symbols: tensions and intersections between science and allegory In Eighteenth-Century attitudes towards animals." Thesis, Rhodes University, 2017. http://hdl.handle.net/10962/4590.

Full text
Abstract:
This thesis explores the tensions and intersections between science, allegory, and related eighteenth-century attitudes towards animals in William Blake’s poetry through detailed analysis of individual animal symbols and tropes. It will focus specifically on the period between 1794 and 1820, to coincide with the dates of Blake’s major works. Chapter One outlines Blake’s key philosophies, concentrating on his particular approach to symbolism. By rejecting certain Enlightenment ideals and beliefs surrounding allegory, Blake created his own form of the literary tradition, and the subjects and symbols of his poetry clearly demonstrate shifting allegorical frames. The chapter also explains why he argued for the recognition, and even valorisation, of the imaginative faculty, or “Poetic Genius”, in an era which accepted reason and rational thinking as one of the main means of apprehending the world. Chapter Two considers the significance of Blake’s use of predatory animals in the SONGS Of INNOCENCE and Of EXPERIENCE. In focussing on symbolic animals, the chapter assesses whether the ‘real’ animals (with all their scientific associations) are alluded to, and the extent to which they influence their symbolic counterparts. In choosing these symbols to represent key themes throughout his oeuvre, Blake drew on some familiar associations and contemporary attitudes towards animals, but offered no critique of society’s attitudes to animals. Chapter Three identifies and analyses the “fragments of Eternity” represented in the contraries of “Good” and “Evil”, and “Energy” and “Reason” embodied by the animals in THE MARRIAGE of HEAVEN and HELL. The symbols’ division between “Reason” and “Energy” develops an understanding of the complex attitudes towards animals, both in Blake’s mind, and in that of the eighteenth-century British public. Chapter Four is concerned with Blake’s depictions of the Worm and Serpent in his poetry, and how his conception of “Beulah” provides more insight into these symbols and their functions. It also grapples with Rod Preece’s argument that the poet recognised the sanctity and divinity in all forms of life, and sought to endorse these beliefs through his animal symbols. As the thesis illustrates, though, Blake is not arguing for the sanctity of all life to be upheld, nor does he see any divinity in the beings and objects found in nature. Sanctity and divinity are constructs of the imagination, and it is through exercising the imaginative faculty - the “Poetic Genius’’ - along with our senses and instincts, that we are able to make sense of the world. The study thus concludes by considering the extent to which ‘real’ animals intrude upon Blake’s oeuvre, and attempts to determine the value of reading the symbols through an “animal studies” paradigm. It also argues that ‘real’ animals are inseparable from their cultural and symbolic representations, because these are the only means of interpretation we have.
APA, Harvard, Vancouver, ISO, and other styles
2

Gouabault, Emmanuel. "La résurgence contemporaine du symbole du dauphin : approche socio-anthropologique." Montpellier 3, 2006. http://www.theses.fr/2006MON30022.

Full text
Abstract:
Le développement d’un intérêt sans cesse croissant pour le dauphin, dans les sociétés occidentales, s’observe dès les années 1950. L’image du cétacé est aujourd’hui si répandue, notamment en France, qu’il faut l’analyser en termes de phénomène de société. Cependant, dans un premier mouvement voulu par une socio-anthropologie de l’animal, la relation homme-dauphin doit être envisagée à travers ses différentes manifestations, historiques et culturelles. Ainsi, une étude zoohistorique de nos représentations du mammifère marin révèle-t-elle leur ancrage au sein des cultures minoenne, hellénique puis romaine. Par la suite, après avoir représenté le Christ chez les premiers chrétiens, le dauphin n’apparaît plus qu’en filigrane dans les pages de l’Histoire. D’autre part, la pratique du comparatisme anthropologique met en évidence la spécificité de différents imaginaires socioculturels. Une analyse homologique a révélé la permanence de structures et de grandes images qui fondent tout système symbolique basé sur le dauphin. Le second mouvement de cette étude, fort des résultats précédents, se recentre sur les sociétés postmodernes et sur la France en particulier. Après avoir précisé les étapes contemporaines du phénomène dauphin, nous avons décrit, à travers une approche mythanalytique, l’imaginaire social et les archaïsmes qui ont permis son émergence. Ce phénomène agit comme le promoteur de certaines valeurs. L’opposition structurale dauphin-requin, l’imaginaire évolutionniste, les delphinariums et la delphinothérapie constituent les principaux axes d’une mythologie delphinienne en acte. Cette analyse permet de conclure notamment sur la fonction de révélateur socio-anthropologique dont est porteur cet animal d’élection qu’est le dauphin
Since the 1950’s, the western societies have been observed to develop an ongoing and growing interest for the dolphin. The image of this cetacean is indeed so widely spread, notably in France, that it warrants an analysis in terms of it being a phenomenon of the society. However, in the context of the first part of our research structured around the socio-anthropology of this animal, the man-dolphin relationship would have to be envisaged by means of its different manifestations, both historical and cultural. Thus a zoohistorical study of our representations of this marine mammal reveals their primary connection to the Minoan, Hellenistic and later Roman cultures. At a later stage, after having represented Christ among the early Christians, the dolphin ceases to appear as anything more than simply a distant and random association through the pages of History. On the other hand the application of anthropological comparatism renders evident the specificity of different socio-cultural imaginaries. A homological analysis has unveiled the permanence of structures and grand images which establish in their entirety a system of symbols based on the dolphin. The second part of this thesis, enforced by precedent results, refocuses on the postmodern societies and France in particular. After having identified the contemporary stages of the dolphin phenomenon, we have described, employing a mythanalytical approach, the imaginary and archaisms that have facilitated its emergence. This phenomenon acts as the promoter of certain values. The structural opposition dolphin-shark, the evolutionary imaginary, the existence of dolphinaria and the wide practice of dolphin-therapy, constitute the principal axes of a dolphinian mythology in practice. This analysis enables us to attain certain conclusions notably on the function of a socio-anthropological revealer, the bearer of which is this animal of choice, the dolphin
APA, Harvard, Vancouver, ISO, and other styles
3

Watanabe, Chikako Esther. "Aspects of animal symbolism in Mesopotamia." Thesis, University of Cambridge, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.624215.

Full text
APA, Harvard, Vancouver, ISO, and other styles
4

Slioa, Silvia. "Visuella rekonstruktioner av skulpturer i Assurnasirpal II:s tronsal och utställningstekniker på British Museum." Thesis, Uppsala universitet, Konstvetenskapliga institutionen, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-296398.

Full text
Abstract:
The purpose of my study is to analyze Assyrian sculptures in the palace of Nimrud from throne room of Aššur-nāṣir-apli northwest palace. My research will be to compare sculptures with a theoretical as well as practical issue in the design of the galleries. Images of supernatural beings would be set up at entrances to palaces and temples. Assyrians called sculptures Lamassū (from written Sumerian references LAM(M) (A) lord of horizons, guardian of the Assyrian Gate. Lamassū are both flanked at the doorways from the throne room of Aššur-nāṣir-apli`s northwest palace. The exact meaning is not clear, but Lamassū can be taken as representing an Assyrian protective divinity. The first method in my analysis combines the need to establish the subjective meaning of objects as objective reality that is their meaning for digital design. My thesis aims to define a specific iconographic theme, centered around sculptures based on similarities in the composition of each scene in the selection of images on monuments in Nimrud. Digitalization projects provide an angle from mergers areas as architecture and archeology through images. With the project historians can use traditional documents and images to reconstruct the past and palaces. The analysis takes as an example of the importance of Digital archeology in understanding the role of artefacts and the role as a function of the specific purpose or activities for which such present or used in museums. We construct meaning as the basis for action, and not only from concrete material, but also from the matrix of symbols that are available from within culture to interpret the substantive conditions. Digital archeology is associated with technology that provides a picture of the physical environment. The digital images show the limit between design of the architectural spaces from the British Museum and the old spaces in Nimrud.
APA, Harvard, Vancouver, ISO, and other styles
5

Anttonen, Ramona. "Animal Imagery and Religious Symbolism in Joseph Conrad's." Thesis, Växjö University, School of Humanities, 2001. http://urn.kb.se/resolve?urn=urn:nbn:se:vxu:diva-536.

Full text
Abstract:

The purpose of this essay is to investigate how Joseph Conrad has used animal imagery and religious symbolism in “Heart of Darkness,” and determine if these tools are somehow linked to the theme of the story. Close reading has been applied in order to be able to go through the entire story in search of these often well-hidden tools. Considering the fact that the story in focus of the analysis is believed by some, including myself, to be a long short story rather than a short novel, this method of approach has proved to be highly useful. First a discussion about a possible theme in “Heart of Darkness” is presented, followed by a brief comment on Conrad’s personal life philosophy and view on the use of symbolic devices in literary works. In order to determine the differences between symbols and imagery, as well as theme, subject and topic, a short discussion of terminology has been included.

Much of the discussion in the analysis relies heavily upon articles and books by critics who have focused exclusively on symbolism and imagery in “Heart on Darkness” and other works by Conrad. The scholarly names worth mentioning in connection with the discussion about animal imagery are Olof Lagercrantz, John A. Palmer, and Samir Elbarbary. The critics Anthony Fothergill and Cedric Watts explore religious symbolism in general, whereas P.K. Saha and Rita A. Bergenholtz focus on particular aspects of it, such as Buddhism and Greek mythology.

The analysis section is for the most part a combination between my own personal interpretations of “Heart of Darkness” and those made by others. It is divided into two major sections, Animal Imagery and Religious Symbolism. The latter, furthermore, comprises two subgroups. The conclusion suggests that Conrad used symbolism and imagery as narratological tools in order to present us with the theme of morality in the story.

APA, Harvard, Vancouver, ISO, and other styles
6

Baum, Marlene. "Das Pferd als Symbol : zur kulturellen Bedeutung einer Symbiose /." Frankfurt am Main : Fischer Taschenbuch Verl, 1991. http://catalogue.bnf.fr/ark:/12148/cb361502526.

Full text
APA, Harvard, Vancouver, ISO, and other styles
7

Sommer, Caitlin Ariel. "Animacy, Symbolism, and Feathers from Mantle's Cave, Colorado." Thesis, University of Colorado at Boulder, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=1539391.

Full text
Abstract:

Rediscovered in the 1930s by the Mantle family, Mantle's Cave contained excellently preserved feather bundles, a feather headdress, moccasins, a deer-scalp headdress, baskets, stone tools, and other perishable goods. From the start of excavations, Mantle's Cave appeared to display influences from both Fremont and Ancestral Puebloan peoples, leading Burgh and Scoggin to determine that the cave was used by Fremont people displaying traits heavily influenced by Basketmaker peoples. Researchers have analyzed the baskets, cordage, and feather headdress in the hopes of obtaining both radiocarbon dates and clues as to which culture group used Mantle's Cave. This thesis attempts to derive the cultural influence of the artifacts from Mantle's Cave by analyzing the feathers. This analysis includes data from comparative cave sites displaying cultural, temporal, or site-type similarities to Mantle's Cave. In addition to the archaeological data, ethnographic data concerning how Great Basin, Southwest, Great Plains, and northern Mexican peoples conceive of and use feathers will be included. Lastly, theoretical perspectives on agency, symbolism, and the transmission of cultural traditions will be used in an effort to interpret the data collected herein.

APA, Harvard, Vancouver, ISO, and other styles
8

Kiehlbauch, Solange Nicole. ""The Gods Have Taken Thought for Them": Syncretic Animal Symbolism in Medieval European Magic." DigitalCommons@CalPoly, 2018. https://digitalcommons.calpoly.edu/theses/1923.

Full text
Abstract:
This thesis investigates syncretic animal symbolism within medieval European occult systems. The major question that this work seeks to answer is: what does the ubiquity and importance of magical animals and animal magic reveal about overarching medieval perceptions of the world? In response, I utilize the emerging subfield of Animal History as a theoretical framework to draw attention to an understudied yet highly relevant aspect of occult theory and practice. This work argues that medieval Europeans lived in a fundamentally “enchanted” world compared to our modern age, where the permeable boundaries between physical and spiritual planes imbued nature and its creatures with intrinsic power. In addition, with the increasingly pervasive influence of Christianity, animals took on supplementary and often negative symbolic dimensions within evolving magical systems, yet retained their sense of power within a new syncretic context. By surveying classical occult inheritance, the pervasive influence of Christian doctrine, the use of animals in medical magic, and their rich symbolic potential within medieval literature, this interdisciplinary work highlights the multifaceted medley of Christian and pagan elements that became intertwined in daily life despite seeming doctrinal opposition. Although further scholarly research has yet to be done, analyzing understandings of a world filled with intrinsic occult power offers a valuable and revealing contrast to an age of increasingly sharpened boundaries between animals, human beings, the cosmic realm, and nature.
APA, Harvard, Vancouver, ISO, and other styles
9

Lopez-Rodriguez, Irene. "Taking the Bull by the Horns: Representing Gender through Animals in Franco's Spain." Thesis, Université d'Ottawa / University of Ottawa, 2021. http://hdl.handle.net/10393/42508.

Full text
Abstract:
This dissertation analyzes the (de)construction of gender and nation through animal symbols in Franco’s Spain. The project explores, first, a web of miscellaneous discourses articulated around the official bestiary rhetoric that serve in the composition of uniform gender models tailor-made for the virile totalitarian state. The selection of texts presented is eclectic, both in its nature and form. It encompasses a wide repertoire of multi-media discourses (i.e., scientific, religious, legal, educational, political, commercial, humorous and popular) presented visually (movies, posters, comics, cartoons, flags, advertisements, logotypes), aurally (songs, harangues, sermons, speeches, radio programs) and in the written form (literary excerpts, newspapers, magazines, medical and religious treatises, conduct manuals, epistles), and whose aim is, ultimately, to illustrate the dissemination and scope of zoomorphic images in the representation of nation and gender during the Francoist dictatorship. Apart from providing a panoramic view of the gendered fauna, these historical documents will also serve as the unifying thread to unravel the complexities of several censored artistic productions that cunningly resort to the prevailing bestial iconography to attack the androcentric state. By focusing on the animalized portrayals of the female characters of la Gata [the She-Cat] in Margarita Alexandre and Rafael María Torrecilla’s movie La gata (1956), la Loba [the She-wolf] in Rafael de León, Andrés Moles and Manuel López Quiroga’s copla “La Loba” (1960), and the surrealistic centaur woman Albina in Ana María Moix’s novel Walter, ¿por qué te fuiste? (1973), this work attempts to illustrate the co-existence of a counter discourse able to re-define the monolithic pillars of gender and nation upon which the Francoist regime was constructed. Finally, to highlight the relevance of animal symbolism in the formation of concepts of gender and nation, this dissertation notes a similar deployment of the Francoist bestiary rhetoric in the nationalist discourse of the far-right Spanish political party VOX (2013-present).
APA, Harvard, Vancouver, ISO, and other styles
10

Lindström, Lovisa. "Människa och hund : Hur aktiva hundägare konstruerar denna relation." Thesis, Uppsala universitet, Sociologiska institutionen, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-175738.

Full text
Abstract:
Tack till min handledare Lars Holmberg för de riktlinjer och stöd som du gav. Jag vill också tacka de snälla människorna på Uppsala Brukshundklubb för intervjuerna. Men framför allt min katt Sally, som under denna tid gick och födde tre underbara kattungar som jag kunde njuta av under pauserna.
APA, Harvard, Vancouver, ISO, and other styles
More sources

Books on the topic "Animal symbols"

1

Rowan, Hall, ed. Animal spirit: Spells, sorcery, and symbols from the wild. Franklin Lakes, NJ: New Page Books, 2002.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
2

Eason, Cassandra. Fabulous creatures, mythical monsters, and animal power symbols: A handbook. Westport, Conn: Greenwood Press, 2008.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
3

Gardner, Bill. LogoLounge, master library.: 3000 animal & mythology logos. Beverly, Mass: Rockport Publishers, 2010.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
4

M, Fishel Catharine, ed. LogoLounge, master library.: 3000 animal & mythology logos. Beverly, Mass: Rockport Publishers, 2010.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
5

Dogra, Vikas. Universalisation of cultural symbols: A case study of Bhunda. Shimla: Institute of Integrated Himalayan Studies, Himachal Pradesh University, 2007.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
6

Hawley, W. M. Chinese art symbols =: [Chung-kuo mei shu piao hao]. Hollywood, Calif., USA: Hawley Publications (8200 Gould Ave. Hollywood, CA 90046), 1993.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
7

Ross, Bruce. The inheritance of animal symbols in modern literature and world culture: Essays, notes, and lectures. New York: P. Lang, 1988.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
8

Tarnóczy, Tamás. Az emberi üzenetváltásról. [Budapest]: MTA Nyelvtudományi Intźete, 1992.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
9

Kiŭi pullyu ro pon Han'guk ŭi tongmul sangjing: A study of animal symbols in late Joseon period : focus on the signified classification of museum collections. Sŏul: Minsogwŏn, 2013.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
10

Lambert, Deborah. Animals. Calgary: Weigl Educational Publishers, 2010.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
More sources

Book chapters on the topic "Animal symbols"

1

Kotyk, Arnošt. "Animal Physiology." In Quantities, Symbols, Units, and Abbreviations in the Life Sciences, 87–89. Totowa, NJ: Humana Press, 1999. http://dx.doi.org/10.1007/978-1-59259-206-7_15.

Full text
APA, Harvard, Vancouver, ISO, and other styles
2

Hillix, William A., and Duane M. Rumbaugh. "Chimpanzees can Write with Plastic Symbols." In Animal Bodies, Human Minds: Ape, Dolphin, and Parrot Language Skills, 113–23. Boston, MA: Springer US, 2004. http://dx.doi.org/10.1007/978-1-4757-4512-2_8.

Full text
APA, Harvard, Vancouver, ISO, and other styles
3

Meijer, Eva, and Bernice Bovenkerk. "Taking Animal Perspectives into Account in Animal Ethics." In The International Library of Environmental, Agricultural and Food Ethics, 49–64. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-63523-7_3.

Full text
Abstract:
AbstractRecent years have seen an explosion of interest in nonhuman animal agency in different fields. In biology and ethology, new studies about animal languages, cultures, cognition and emotion are published weekly. In the broad field of animal studies, the symbolic and ontological human-animal distinction is challenged and other animals are presented as actors. These studies challenge existing approaches to animal ethics. Animals are no longer creatures to simply think about: they have their own perspectives on life, and humans can in some instances communicate with them about that. Animal ethics long determined individual moral rights and duties on the basis of nonhuman animal capacities, but this often measures them to human standards and does not take into account that nonhuman animals are a heterogeneous group in terms of capabilities as well as social relations to humans. The questions of whether animals have agency, and how we should morally evaluate their agency, are especially urgent because we live in an age in which humans dominate the lives of large numbers of other animals. The Anthropocene has shaped the knowledge and technology for humans to realize that animals have more agency than has been assumed, but ironically it is also an epoch where animal agency is increasingly curtailed. This leads to new conflicts and problems of justice. How should animal ethics deal with the new knowledge and challenges generated in the Anthropocene? In this chapter we defend a relational approach to animal ethics, viewing other animals as subjects capable of co-shaping relations.
APA, Harvard, Vancouver, ISO, and other styles
4

Green, Tom, and Joseph Labrecque. "Symbols and Libraries." In Beginning Adobe Animate CC, 123–79. Berkeley, CA: Apress, 2017. http://dx.doi.org/10.1007/978-1-4842-2376-5_3.

Full text
APA, Harvard, Vancouver, ISO, and other styles
5

Scarf, Damian. "Symbolic Distance." In Encyclopedia of Animal Cognition and Behavior, 1–3. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-319-47829-6_1515-1.

Full text
APA, Harvard, Vancouver, ISO, and other styles
6

Pepperberg, Irene M. "Symbolic communication in nonhuman animals." In APA handbook of comparative psychology: Basic concepts, methods, neural substrate, and behavior., 663–79. Washington: American Psychological Association, 2017. http://dx.doi.org/10.1037/0000011-032.

Full text
APA, Harvard, Vancouver, ISO, and other styles
7

Thomas, Roger K. "Relational Concepts and Symbolic Logic." In Encyclopedia of Animal Cognition and Behavior, 1–8. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-319-47829-6_1701-1.

Full text
APA, Harvard, Vancouver, ISO, and other styles
8

Hoffmann, Gérard J., and Howard Wong-Toi. "Symbolic Supervisor Synthesis for the Animal Maze." In Discrete Event Systems: Modeling and Control, 189–97. Basel: Birkhäuser Basel, 1993. http://dx.doi.org/10.1007/978-3-0348-9120-2_17.

Full text
APA, Harvard, Vancouver, ISO, and other styles
9

Leake, Elizabeth. "Cesare Pavese, Posthumanism, and the Maternal Symbolic." In Thinking Italian Animals, 39–56. New York: Palgrave Macmillan US, 2014. http://dx.doi.org/10.1057/9781137454775_3.

Full text
APA, Harvard, Vancouver, ISO, and other styles
10

"Pictish animal symbols." In Signifying Animals, 121–37. Routledge, 2003. http://dx.doi.org/10.4324/9780203169353-15.

Full text
APA, Harvard, Vancouver, ISO, and other styles

Conference papers on the topic "Animal symbols"

1

ISMATULLAYEVA, Nargiza. "PHRASEOLOGY WITH ZOONYMIC COMPONENTS OF "DRAGON" AND "TIGER" IN CHINESE AND KOREAN LANGUAGES." In UZBEKISTAN-KOREA: CURRENT STATE AND PROSPECTS OF COOPERATION. OrientalConferences LTD, 2021. http://dx.doi.org/10.37547/ocl-01-35.

Full text
Abstract:
The figurative foundations of phraseology, which are the result of people's comparisons of objects and events in nature and society with the animal world, flora, and natural phenomena, often have a symbolic meaning. This article analyzes the importance of the image of the dragon and the tiger in Chinese and Korean linguistic culture, as well as the similarities and differences between their symbolism in these two languages. Linguocultural features of Chinese and Korean phraseology with the components of zoononyms "dragon" and "tiger" are studied.
APA, Harvard, Vancouver, ISO, and other styles
2

Chang, Liu. "SYMBOLIC VALUES OF ANIMALS IN RUSSIAN AND CHINESE PHRASEOLOGISM." In FUNCTIONAL ASPECTS OF INTERCULTURAL COMMUNICATION. TRANSLATION AND INTERPRETING ISSUES. Peoples' Friendship University of Russia, 2019. http://dx.doi.org/10.22363/2712-7974-2019-6-372-381.

Full text
APA, Harvard, Vancouver, ISO, and other styles
3

Griffin, Alidair A., Barbara Doyle Prestwich, and Eoin P. Lettice. "UCC Open Arboretum Project: Trees as a teaching and outreach tool for environmental and plant education." In Learning Connections 2019: Spaces, People, Practice. University College Cork||National Forum for the Enhancement of Teaching and Learning in Higher Education, 2019. http://dx.doi.org/10.33178/lc2019.25.

Full text
Abstract:
The University College Cork (UCC) Open Arboretum Project aims to re-imagine the original purpose of the University’s tree collection – as a teaching tool. The arboretum represents a unique on-campus learning space which has been under-utilised for teaching in recent times. The arboretum has the capacity to engage students, staff and visitors in a tangible way with important global issues (e.g. the climate emergency and biodiversity loss). It is also an opportunity to combat ‘plant blindness’, i.e. the ambivalence shown to plants in our environment compared to often charismatic animal species. Wandersee and Schussler (1999) coined the term “plant blindness” to describe the preference for animals rather than plants that they saw in their own biology students. Knapp (2019) has argued that, in fact, humans are less ‘plant blind’ and more ‘everything-but-vertebrates-blind’ with school curricula and television programming over-emphasising the role of vertebrates at the expense of other groups of organisms. Botanic gardens and arboreta have long been used for educational purposes. Sellman and Bogner (2012) have shown that learning about climate change in a botanic garden led to a significant shortterm and long-term knowledge gain for high-school students compared to students who learned in a classroom setting. There is also evidence that learning outside as part of a science curriculum results in higher levels of overall motivation in the students and a greater feeling of competency (Dettweiler et al., 2017). The trees in the UCC collection, like other urban trees also provide a range of benefits outside of the educational sphere. Large, mature trees, with well-developed crowns and large leaf surface area have the capacity to store more carbon than smaller trees. They provide shade as well as food and habitats for animal species as well providing ‘symbolic, religious and historic’ value in public common spaces. Such benefits have recently been summarised by Cavender and Donnolly (2019) and aligned with Sustainable Development Goal 11, Sustainable Cities and Communities by Turner-Skoff and Cavender (2019). A stakeholder survey has been conducted to evaluate how the tree collection is currently used and a tour of the most significant trees in the collection has been developed. The tour encourages participants to explore the benefits of plants through many lenses including recreation, medicine and commemoration. The open arboretum project brings learning beyond the classroom and acts as an entry point for learning in a variety of disciplines, not least plant science and environmental education generally.
APA, Harvard, Vancouver, ISO, and other styles
4

MINYOUNG, Jo. "THE CHARACTERISTICS OF SIMILES IN UZBEK AND KOREAN LANGUAGES AND THE SYMBOLIC MEANING OF ANIMALS USED IN SIMILE EXPRESSIONS." In UZBEKISTAN-KOREA: CURRENT STATE AND PROSPECTS OF COOPERATION. OrientalConferences LTD, 2021. http://dx.doi.org/10.37547/ocl-01-23.

Full text
Abstract:
This thesis explains the characteristics of the simile concept and application of Uzbek and Korean, and the differences and similarities between the objects used as simile auxiliary ideas in Uzbek and Korean through simile example sentences. Humans have been vividly and efficiently expressing parts and various thoughts that are difficult to speak directly through the method of simile within a limited vocabulary for a long time. In particular, it can be seen that expressing animals, plants, and nature, which have always been together since the beginning of humanity, in relation to simile objects, occurs frequently in everyday life and in literary works. For a long time, many scholars around the world have found that metaphors are indispensable and important tools in human cognitive activity, and in particular, representing animals that are closest to humans is very effective in the way humans communicate.
APA, Harvard, Vancouver, ISO, and other styles
5

Kaskaeva, Anastasiia Evgenevna, and Tatyana Nikolaevna Adametskaya. "Symbolic and Stylistic Features of the Image Scheme of the Theromorph in Metal-Plastic Products of the Perm Animal Style." In All-Russian Scientific Conference with International Participation. Publishing house Sreda, 2021. http://dx.doi.org/10.31483/r-98883.

Full text
APA, Harvard, Vancouver, ISO, and other styles
6

Sepe Camargo, Gabriel. "Garder mon aile dans ta main: The genesis of the Open Hand." In LC2015 - Le Corbusier, 50 years later. Valencia: Universitat Politècnica València, 2015. http://dx.doi.org/10.4995/lc2015.2015.938.

Full text
Abstract:
Abstract: The main hypothesis of this paper is that in the image of the Open Hand it is possible to find the reconciliation between two significant themes of the symbolic universe engendered by Le Corbusier: instrumentality and detachment. The genesis of the Open Hand is therefore to be seen as grounded among his late 1940s plastic works, which notably display the gradual movement of certain elements of figuration toward an iconic role. The hand appears as a crucial theme to Le Corbusier. Unlike other themes that have been set as pictograms — as the meander, the solar journey of 24 hours, and the bull figure —, the hand will not find its definitive form until very late in the architect’s work. The hand’s “other” seems to be another image from his painting: the winged figure, half woman and half animal, that appears in a wall at the Pavillion Suisse (mural, 1948) and illustrates the cover of Poésie sur Alger (1951). The image suggests an alienation from the worldly experience and the tragedy represented by the historical time, related to the volatility of natural phenomena. These two figures seem to synthesize the two attitudes governing the work of Le Corbusier thereafter. It is in Le Poème de L’Angle Droit (1947-1953) that the core of the symbolic system of Le Corbusier is found. The duality achieves its final result in the figure of the Open Hand, elected as the synthesis of the entirety of his symbolic system. Resumen: La principal hipótesis de este trabajo es que en la imagen de la Mano Abierta es posible encontrar la reconciliación entre dos temas importantes del universo simbólico engendrada por Le Corbusier: instrumentalidad y el desapego. Por tanto, la génesis de la Mano Abierta es ser visto entre sus obras plásticas finales de 1940, que sobre todo muestran el movimiento gradual de ciertos elementos de la figuración hacia un papel icónico. La mano aparece como un tema crucial para Le Corbusier. A diferencia de otros temas que se han establecido como pictogramas - como el meandro, el viaje solar de 24 horas, y la figura del toro -, la mano no encontrará su forma definitiva hasta muy tarde en la obra del arquitecto. El "otro" parece ser una imagen de su pintura: la figura alada, mitad mujer y mitad animal, que aparece en el Pabellón Suisse (mural, 1948) e ilustra la portada de Poésie sur Alger (1951). La imagen sugiere una alienación de la experiencia mundana y la tragedia representada por el tiempo histórico, relacionado con la volatilidad de los fenómenos naturales. Estas dos figuras parecen sintetizar las dos actitudes que rigen la obra de Le Corbusier a partir de entonces. Es en Le Poème L'Angle Droit de (1947-1.953) que el núcleo del sistema simbólico de Le Corbusier se encuentra. La dualidad logra su resultado final en la figura de la Mano Abierta, elegido como la síntesis de la totalidad de su sistema simbólico. Keywords: Open Hand; Le Poème de L’Angle Droit; Chandigarh; instrumentality; detachment. Palabras clave: Open Hand; Le Poème de L’Angle Droit; Chandigarh; instrumentalidade; desapego. DOI: http://dx.doi.org/10.4995/LC2015.2015.938
APA, Harvard, Vancouver, ISO, and other styles
7

Navarro, Juan F. "Fabricación de (sin)sentido." In III Congreso Internacional de Investigación en Artes Visuales :: ANIAV 2017 :: GLOCAL. Valencia: Universitat Politècnica València, 2017. http://dx.doi.org/10.4995/aniav.2017.4970.

Full text
Abstract:
FABRICATION OF (NON)SENSE es un proyecto artístico que trata de cuestionar los sistemas discursivos sobre los que se construyen la Ciencia y el Arte, mediante la fabricación de un resultado científico `falso’ con apariencia de veracidad y su posterior difusión en el ámbito científico internacional: ha sido presentado en la 2nd International Conference on Mathematics and Computers in Sciences and Industry, celebrada en Malta en agosto de 2015, y publicado en el Journal of Advances in Applied Mathematics (Vol. 1, No. 3, pp. 160-174) en 2016. La aportación, titulada A Symbolic Algorithm for the Computation of Periodic Orbits in Non-Linear Differential Systems, presenta un método para el cálculo de órbitas periódicas en sistemas diferenciales no lineales, empleando para ello una adaptación del método de Poincaré-Lindstedt. Como proyecto artístico, ha sido seleccionado en la convocatoria `Arte en la Casa Bardín’ del Instituto Juan Gil-Albert.Esta comunicación al III Congreso Internacional de Investigación en Artes Visuales analiza, en primer lugar, las partes en las que se ha estructurado el proyecto. En segundo lugar, establece los diferentes niveles de lectura de la pieza, como cuestionamiento de los sistemas de la Ciencia y el Arte y, finalmente, como una reducción al absurdo. Por último, articula una serie de conexiones con otras piezas, estudios y movimientos adscritos al ámbito del arte contemporáneo.http://dx.doi.org/10.4995/ANIAV.2017.4970
APA, Harvard, Vancouver, ISO, and other styles
You might also be interested in the extended bibliographies on the topic 'Animal symbols' for particular source types:
Journal articles Dissertations / Theses Books
We offer discounts on all premium plans for authors whose works are included in thematic literature selections. Contact us to get a unique promo code!

To the bibliography