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Olayinka, Alawode, Sunday, Adesanya, Oluseyi Olufunke, and Agboola, Olufunsho Cole. "National Symbols as Commemorative Emblems in Nigerian Films." European Scientific Journal, ESJ 14, no. 2 (January 31, 2018): 100. http://dx.doi.org/10.19044/esj.2018.v14n2p100.
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Nigerian films worldwide are the entertainment offerings of the nation, a burgeoning industry with steady increase growth rate and contributing substantially to the GDP of the nation. National symbols are objects, entities and relics representing an idea, concept, character that may be physical, abstract, religious, cultural, and linguistic among others in a sovereign context and beyond. Symbols or objects that connected together may not have anything in common in reality but by association and common agreement, they have come to represent each other in social contexts; a symbol may arbitrarily denote a referent, icon and index. In the case of Nigeria, the National flag, Anthem, Pledge, Currency, language, Coat of arms, National institutions like the National Assembly complex, Federal Capital Territory (FCT), images of past leaders, historical monuments like the Unknown Soldier (representing military men who died in the cause of protecting the nation), dresses are some of these national symbols. Apart from commemorative historical functions, national symbols are also used to represent hard work, credibility or truthfulness, as well as ethnic differentiation, religious affiliation, cultural background, social status, professional orientation, class distinction among others. Theorizing with Gate-keeping and Framing Analysis, this study adopts a content analysis design which is the study of recorded human communications, an objective and systematic analysis of the contents of any document that are manifest. It is often used to investigate the level of presence of a given content in mass communication. The study selected thirty video films between 2010 and 2015 through a systematic sampling with a random start. Content categories include genre of film, type of symbol, setting of symbol, purpose of symbol, cultural implication of symbol, positioning of symbol, symbiotic relations, prominence, and direction of presentation among others. The study presumed that the nation is replete with communicative, symbolic emblems commemorating historical, cultural, religious, social and family landmarks in nationhood but that these items of symbols are minimally represented in the films that stand as cultural products and identity of the nation in the international community. Findings of the study have dire implications for the critical assessment, representation and image or identity of the nation for the past, present and the future.
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Rachkov, Yevhen. "Symbols and Emblems as Part of the Sign-Space of Ukrainian Universities, Late 20th to Early 21st Centuries." Rocznik Polskiego Towarzystwa Heraldycznego. Seria nowa, no. 18 (December 31, 2019): 265–77. http://dx.doi.org/10.36693/rpther.2019.18.
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The article traces the genesis of the symbols and emblems of Ukraine’s classical universities in the late 20th and early 21st centuries. The historical background of the body of symbols and emblems of the classical universities is reviewed. The current directions of the evolution of this symbolic complex are outlined. In particular, we conclude that at the end of the 20th and beginning of the 21st centuries, new symbols and emblems as a rule were created spontaneously and sporadically. In most cases, they are not systematic and represent a synthesis of Ukrainian and Western European symbolic forms. We consider the role of symbolic language in the self-representation practices of Ukraine’s classical universities and show how the direction in which this language is evolving and the factors of its transformation can throw light on the present state of university culture. The prevailing symbolic eclecticism and low level of reflection in university communities regarding the use of symbols are interpreted as manifestations of the current crisis of university identity in Ukraine.
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Murungi, Havi, Ian McLaren, and Robert Chen. "The graphical forms, visual-verbal resonances, meanings and semiosis of the Red Cross symbols." Information Design Journal 11, no. 2-3 (December 31, 2003): 138–50. http://dx.doi.org/10.1075/idj.11.2.06mur.
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We investigated the semiosis of pictorial, schematic, and abstract symbols using current and proposed emblems for the International Red Cross and Red Crescent Movement. Cross-cultural symbol-referent ratings of correspondence suggested the symbols could all be considered icons and indexes of the referents. Mean comprehensibility estimation scores differed significantly between familiar and unfamiliar symbols. Pictorial graphical form and symbol familiarity did not appear to constrain interpretations in the open-ended comprehension test. Thus at the referent denotation level, the symbols appeared to be simultaneously iconic and indexical, and at the symbol interpretation level, they appeared to be simultaneously iconic and symbolic. The findings suggest that symbol semiosis, rather than graphical form, is a more practical method for deciding the type of symbol one would use to communicate specific types of messages.
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Mieliekiestsev, Kyrylo. "Emblems of the Post-Soviet Donetsk Region: Official Ones «From the Bossmen», Upgrades «From the People», Alternatives From the «Russian World» Supporters." Scientific Papers of the Vinnytsia Mykhailo Kotsiubynskyi State Pedagogical University. Series: History, no. 36 (June 2021): 58–66. http://dx.doi.org/10.31652/2411-2143-2021-36-58-66.
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The purpose of the article is the analysis of the development of Donetsk region emblems (official heraldry and vexillology of Donetsk Oblast, reflection of historical themes in commercial nomenclature, reinterpretations of official symbols by individuals) in 1991–2015, identifying the main trends in the development of emblems, their connections with the views of customers and authors on history and politics, transformations of symbolics. The methodology of the research is based on the principles of historicism, objectivity, and systematics. General scientific and special-historical methods were used, such as content analysis, generalization, chronological, retrospective methods. The scientific novelty is based on it being the first attempt to generalize various elements of emblem studies of the Donetsk region, for the first time going beyond the official heraldry and vexillology of the Oblast, while considering their transformation in the hands of non-state actors. Conclusions. The post-Soviet era emblems of Donetsk and the Donetsk Oblast were developed in a unique situation: on the one hand local elites wanted to move away from Soviet symbols and modernize Donetsk as a “brand”, and on the other hand, due to the peculiarities of these elites’ education, origins and political preferences, did not perceive the region’s history. outside of the Soviet stereotypes about “Donbas as the economic center.” As a result, local elites ignored Cossack history of the Donetsk region in contrast to the perpetuation of industrial achievements of the Russian Empire (such as the Oblast’s coat of arms motto with a quote from Dmitri Mendeleev, “The Mertsalov Palm Tree”, as well as various “John Hughes/Yuz” nomenclature). Over the decades, there has been a divergence of traditions of Donetsk emblem use: official, business, and national-patriotic. At the same time, pro-Moscow organizations have been developing and imposing a separate emblem tradition since 1991, based on historical myths around the Donetsk-Kryvyi Rih Soviet Republic, but detached from both the old Soviet symbols and the new official Donetsk emblems. The latter were developed to symbolize the “uniqueness” of eastern Ukraine, the “separateness” of Donetsk region, but did not actually intersperse with Russian symbols (with the exception of the Russian-language motto). In this form, it did not meet the goals of Moscow’s agents of influence, but was accepted and reworked by pro-Ukrainian patriotic forces. Thus, the use of one or the other version of Donetsk region symbols indicates a person’s political beliefs, their understanding of regional history and “memory politics” around it.
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Rechkalova, Anastasia, and Elena Voytishek. "The “On the Emblems” Treatise as a Valuable Source of the History of Date Clan Emblems." Manuscripta Orientalia. International Journal for Oriental Manuscript Research 28, no. 1 (June 2022): 3–11. http://dx.doi.org/10.31250/1238-5018-2022-28-1-3-11.
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The article analyzes the history of family emblems that belonged to the Date clan, which is described in the “Aide‑Memoirs on the Careful Examination of [Date clan] Emblems” treatise by Confucian scholar Yusa Bokusai (also known as Yuza Jirouzaemon, 1658—1734). It considers the process of creation of this document, its structure and content as well as its value for modern studies on the Japanese family emblems. The main feature of the treatise is a detailed description of the use of each family emblem. Yusa Bokusai comprehensively compared the data from historical documents with artefacts he found and the memories of the eldest vassals and servicemen of the Date clan. Based on results of the comparison, he revealed how changes in the aesthetic preferences of a particular head of the Date clan influenced the status of heraldic symbols, their appearance and use. Moreover, the treatise highlighted a series of issues, related to the study of the emblematic history of the families, that for many centuries owned a large number of emblems. The most important among them are those with a correlation with the emblems' functions and its applying on certain tangible objects, precedents of granting and receiving the emblems and the reflection of these processes in historical documents, the issue of using the suzerain's family emblems by vassals and servicemen.
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Maksimenko, Olga I., and Pavel N. Khromenkov. "Polysemiotic Elements of the State Emblems." RUDN Journal of Language Studies, Semiotics and Semantics 10, no. 4 (December 15, 2019): 947–56. http://dx.doi.org/10.22363/2313-2299-2019-10-4-947-956.
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The national emblem of the country as one of three main symbols of the state can be considered as the polycode text including a verbal component (the motto, the name of the country) and iconic heraldic components. Presence on the arms potentially conflict elements (a figure of a bestiary, the weapon and so forth) can be perceived as latent conflictogenity. The article deals with linguosemiotic analysis of the arms of all world countries for their hypothetical conflictogenity. The results of the interpretation by recipients potentially conflict arms (national emblems) are given.
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Guth, Karen V. "Sacred Emblems of Faith." Journal of the Society of Christian Ethics 39, no. 2 (2019): 375–93. http://dx.doi.org/10.5840/jsce2019102918.
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This paper explores the power of womanist ethics to illuminate the Confederate monuments debate. First, I draw on Emilie Townes’s analysis of the “cultural production of evil” to construe Confederate monuments as products of the “fantastic hegemonic imagination” that render visible for whites the invisibility of “whiteness.” Second, I argue that Angela Sims’s work on lynching provides a vivid example of how “countermemory” functions as an antidote to the fantastic hegemonic imagination. Finally, I argue that Delores Williams’s re-evaluation of the cross as a sacred symbol enables a reading of Confederate monuments as realist symbols of violence that require displacement from the center to the periphery of national sacred space. I conclude that although the debate on Confederate monuments is important, womanist analysis warns against an overly-narrow focus on this issue, lest we neglect the already obscured gendered, classist, homophobic, and xenophobic dimensions of structural injustice that the monuments represent.
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Meyer, Michael A. "Protecting the emblems in peacetime: The experiences of the British Red Cross Society." International Review of the Red Cross 29, no. 272 (October 1989): 459–64. http://dx.doi.org/10.1017/s0020860400074660.
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The special significance of the red cross and red crescent emblems as internationally agreed symbols of protection and neutrality in armed conflict will be diluted if these emblems, or signs closely resembling them, are used randomly or for diffuse purposes in time of peace. In countries like the United Kingdom which for the most part have been spared armed conflict for the past 40 years, the red cross emblem has frequently become closely identified with first aid and with general health or medical care, its primary and unique meaning during armed conflict often being forgotten or unknown. For this reason it is perhaps particularly important for National Societies in such countries to help the authorities monitor unauthorised uses or misuses of the emblems, and the role of National Societies in this respect has been recognised under the 1986 International Statutes of the International Red Cross and Red Crescent Movement (Article 3 [2] thereof). In addition, dissemination activities can help to enhance understanding of the purpose of the emblems. This short article will discuss practical aspects of the monitoring role of the British Red Cross Society.
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Pchelov, E. V. "Historical cartography of Muscovy: symbols and emblems." IOP Conference Series: Earth and Environmental Science 350 (November 15, 2019): 012014. http://dx.doi.org/10.1088/1755-1315/350/1/012014.
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Treter, Anna. "Wybrane passusy z czternastowiecznego traktatu Summa de exemplis et rerum similitudinibus Giovanniego z San Gimignano. Możliwe źrodło inspiracji dla ośmiu emblematow z cyklu Symbolica vitae Christi meditatio (Braniewo: Jerzy Schonfels, 1612) Tomasza Tretera." Terminus 23, no. 3 (2021): 309–39. http://dx.doi.org/10.4467/20843844te.21.012.13849.
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Chosen Passages from the 14th-Century Treatise Summa de exemplis et rerum similitudinibus by Giovanni da San Gimignano: A Possible Source of Inspiration for Eight Emblems from the Cycle Symbolica vitae Christi meditatio (Braniewo: Jerzy Schönfels, 1612) by Tomasz Treter In 1612, the Jerzy Schonfels’ printing house in Braniewo published Tomasz Treter’s posthumous work titled Symbolica vitae Christi meditatio. This cycle of ascetic and mystical reflections was considered by Janusz Pelc to be one of the most interesting emblem books written in the Polish Commonwealth. Also Tadeusz Chrzanowski, an art historian, referred to Treter’s work as quite a unique work of Polish emblem art. The same researcher quoted the originality of some of the concepts and ingenuity of many icons (lacking direct correlates among contemporary emblem collections). In 2018, Alicja Bielak wrote an article in which she identified the three 16th-century emblem works (i.e. Hadrianus Junius’ Emblemata, Claude Paradin’s Devises heroiques and Aneau Barthelemy’s Picta poesis) as graphic sources of Treter’s cycle. The main goal of this paper is to identify another, non-emblematic source of inspiration for the Polish author, namely the 14th-century encyclopaedia Summa de exemplis et rerum similitudinibus by the Italian Dominican Giovanni da San Gimignano. It is argued here that Treter might have come into contact with Giovanni’s treatise during his first stay in Rome (1569–1584) and transposed it into the language of emblems. The first section of the paper shortly discusses the life and work of the Italian Dominican, with the particular emphasis on his encyclopaedia. The core of the article consists of the comparison of Treter’s eight emblems with selected passages from Summa de exemplis and setting these emblems against the background of the European tradition. The following emblems are discussed in detail: Fides, Conversatio sancta, Spiritualis profectus, Humilitas, Poenitentia, Correctio fraterna, Fortitudo and Mansuetudo. The study concludes with the claim that even though Treter uses symbols rooted in contemporary emblem art, he interprets them in a different way than other creators did. On the other hand, one can observe a striking accordance between Treter’s interpretations and the ones by Giovanni da San Gimignano. Unlike other 16th and 17th century emblematists, the Polish priest provides a religious rather than a moral interpretation.
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Gnatiuk, Oleksiy, and Anatoliy Melnychuk. "Historical heraldic symbols as a marker of reproducing and transforming regional identity: The case of Ukraine." Geographia Polonica 94, no. 4 (2021): 589–607. http://dx.doi.org/10.7163/gpol.0222.
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This paper demonstrates a way to examine the transformation of the territorial shape of the region. The official symbols (flags and emblems) of modern administrative units of Ukraine were analyzed for the usage of heraldic symbols of historical regions that lost their administrative status a century before. The results confirm more or less constant symbolic reproduction of historical regions, but their spatial shapes has changed under the influence of new administrative boundaries. Simultaneously, in certain cases historical heraldry loses its former meaning and is involved into the development and strengthening of identities with new administrative regions rather than historical ones.
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Sukhodolov, Alexander, Andrei Atanov, and Alina Kolesnikova. "Sociocultural Aspects of Citys Heraldry: History of the Symbols of the City of Irkutsk." Bulletin of Baikal State University 30, no. 2 (June 11, 2020): 174–84. http://dx.doi.org/10.17150/2500-2759.2020.30(2).174-184.
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A versatile art of heraldry includes historical, geographical, legal, and certainly, cultural components. Heraldic symbols reflect notions of basic, fundamental values of society, groups and separate individuals, preserve traditional values and, due to respective symbols, contribute to the formation of notional values. It is impossible to imagine modern society without coats of arms, flags, official signs or emblems. In the article, the authors consider regional and municipal aspects of heraldry which provide a symbolic basis for the development of the area as a part of the whole, integral state. All the above mentioned aspects define a responsible approach to such an essential process as art of heraldry. The article highlights a largely unknown for a broad public and confusing story of the coat of arms of Irkutsk, several versions explaining this peculiar case are taken into account. The authors offer a journey into the history of the city and investigate different representations of the symbol of Irkutsk.
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Bocharova, Marina Yu. "THE STATE SYMBOLS ON JAPANESE POSTCARDS OF MEIJI PERIOD." RSUH/RGGU Bulletin. "Literary Theory. Linguistics. Cultural Studies" Series, no. 9 (2021): 10–24. http://dx.doi.org/10.28995/2686-7249-2021-9-10-24.
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The article discusses the ways of representing of state symbols in the postcards of Japan during Meiji period (1868–1912). On the basis of their visual design the ways of constructing the image of the new government are considered. After the “Meiji restoration”, the state symbols were adopted (based on the old ka-mon family emblems): the national flag, the emperor’s seal, orders and medals. The post service belonged to the state, which allowed the images to show not only the actual state symbols but also in what situations it should be used and how it should be perceived. These tasks were implemented by artistic means. The different types of symbols on postcards were distributed unevenly. The most diverse subjects are related to the national and army flags. It depicted not only war but also the everyday “peaceful” life. The documentary photo, the decorative drawings of emblems, the real peoples and fantastic animals were used for the decoration. Through the positive emotions were transmitted (pride, joy, interest, etc.). Japan is represented there as the modern, internally cohesive state with the irresistible military power, fully supported by the population, with state symbols that preserve continuity with the past.
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Vaculínová, Marta. "Osobní hesla humanistů, jejich funkce, formy a využití v provenienčním výzkumu." Acta Musei Nationalis Pragae – Historia litterarum 67, no. 1-2 (2022): 50–61. http://dx.doi.org/10.37520/amnpsc.2022.007.
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The personal mottos of intellectuals, called symbola, came into greater use under the influence of the Italian Renaissance and its ideas of true nobility, which is not acquired by descent but by education and virtue. Inspired by noblemen, scholars created their own personal representations, among the most common being personal devices, followed by emblems and portraits. The first symbols in the Czech lands are known to have appeared at the beginning of the 16th century, but their use truly developed in the Rudolphine period. Court intellectuals, university professors, teachers, clergymen and educated burghers had their own symbols at that time. Symbola were usually in Latin, with rare appearances in Czech and Old Greek, and sporadically in Hebrew and German. Twothirds of the contents were religious; other motifs concerned the way of life or Christian and ancient virtues. The content of personal mottos was most often inspired by Satellitium animi by Juan Luis Vives, Adagia by Erasmus of Rotterdam and other collections of sentences and proverbs or emblem books. The form was sometimes emblematic; among burghers, the so-called symbola cephalonomatica were common. These were personal mottos in which the first letters of the words formed the initials of the personal name and title of the Humanist. The symbols appear in the form of ownership marks in books as initial supralibros or handwritten ex-libris; in both forms, i.e. as the initials or the entire mottos, they were also used as pseudonyms. A provisional online inventory has been compiled as an identification aid for provenance research and authorship identification, and it will be expanded in future.
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Васильєва, О. С., К. Л. Пашкевич, І. В. Васильєва, О. В. Гричанюк, and О. Ю. Калун. "ЛОГОТИП ТА ЕМБЛЕМА ЯК СКЛАДОВІ ФІРМОВОГО СТИЛЮ ЗАКЛАДІВ ОСВІТИ УКРАЇНИ." Art and Design, no. 4 (February 15, 2021): 70–80. http://dx.doi.org/10.30857/2617-0272.2020.4.5.
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Purpose. The purpose of this article is to identify the characteristic design features of the corporate identity elements used in school uniforms in Ukraine, which have developed under the influence of national and cultural traditions. The objects of analysis were samples of emblems and logos of Ukrainian educational schools, which are visual symbols of the school and part of the design of a school uniform. Methodology. Methodological basis of research is complex approach, methods of visually analysis of research object, systematization of varieties of emblems and logotypes of educational school of Ukraine. Results. The most characteristic artistically-composition decisions of emblems of educational school of Ukraine are analysed and distinguished: their basic types, characteristic symbolics and colour decisions. The typology of the graphical elements used in emblems, as means of communication, is offered by semantic value for producing an image and corporate identity of educational school. The basic types of the logotypes used in the design of school uniform suit of school of Ukraine. Scientific novelty.The imagery of emblems of educational establishments of Ukraine are systematized by their semantic value. Characteristic variations of combination of clip arts and colour combinations are certain in the brandname symbolics of educational establishments of Ukraine. The basic types of the logotypes used in the design of school uniform suit in Ukraine. Practical significance. Classification of graphical elements of emblems of educational establishments of Ukraine is worked out allowed to generalize the artistically-composition features of their brandname style and feature of their use in a design school service dress for visual репрезентации and translation of values and basic descriptions of educational establishment. Research materials can be used for development of brandname style and design modern school uniform
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Ekholm, Karin. "Anatomy, Bloodletting and Emblems." Early Science and Medicine 18, no. 1-2 (2013): 87–123. http://dx.doi.org/10.1163/15733823-0004a0004.
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The title-page of Nathaniel Highmore’s Disquisition on the Anatomy of the Human Body (1651) depicts mythological and historical characters, anatomical and medical symbols and embodiments of anatomy, contemplation and different forms of bloodletting. Seventy-five lines of free verse face the engraving and together with inscriptions help identify characters and themes in each scene. The verses begin with the charge to examine the title-page before proceeding, and this article explores what the picture teaches the reader. The emblem entices not only by what it heralds, but also by the complex enigmas it comprises, and interpreting it requires the reader to circulate between the picture, verses and the main text. This process instructs us in Highmore’s methods of investigation, his views on the relationship between anatomy and medicine, and his anatomical findings. In particular, it calls attention to his argument that the effectiveness of bloodletting can only be explained on the premise that blood circulates.
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المالكي, هادي نعيم. "أحكام الشارة المميزة في القانون الدولي الإنساني." مجلة العلوم القانونية 29, no. 2 (February 6, 2020): 190–213. http://dx.doi.org/10.35246/jols.v29i2.266.
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Thousands of victims of disasters, wars and armed conflicts Found in the emblems of the Red Cross and Red Crescent as a safe haven that protects these victims from violence, and extend a helping hand in the midst of adversity, and a symbol of humanity. However, these symbols which used to protect members of the military medical services during the wars, and a hallmark of the members of the Red Crescent and Red Cross in peace, were at the same time a reason to raise real difficulties because of the multiplicity of these badges, as the significance of religious insignia to create a situation of bias of Islamic and Christian countries at the expense of other religions. This re-search, aim to study and analyze the current status quo and offer the project - drafted, proposed by the states and was adopted by the movement in order to reach to a comprehensive solution to the question of the emblem.
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Pchelov, Evgeniy V. "Sources on the Title Heraldry of Muscovy of the Second Half of the 17th century." Herald of an archivist, no. 2 (2019): 344–56. http://dx.doi.org/10.28995/2073-0101-2019-2-344-356.
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An important stage in creation and unification of title emblems of Muscovy is connected with the war between Russia and the Polish–Lithuanian Commonwealth and further changes of the title during the reign of Tsar Alexei Mikhailovich. At the turn of 1660s-1670s, a number of new title emblems appeared, while the old ones underwent yet another transformation. When creating new emblems, the Western European models were considered and in some ways the title emblems acquired a more pronounced heraldic character. Thus, some new emblems could have originated in the heraldry of the Scandinavian countries and the Holy Roman Empire, other, such as the Siberian coat of arms, combined heraldic symbols of the regions in the aggregate. In a number of earlier emblems Christian semantics were reinforced. Such Christian symbols as hand emerging from clouds, cross, gospel, banner with cross, etc. were added. Christian semantics of the titular heraldry are evident in the heraldic virsi (verses) written at the end of the reign of Alexei Mikhailovich. Despite the fact that the finished complex of title emblems was presented in the “Titulyarnik” of 1672, the old or different versions persisted, which proves the variable nature of title heraldry in the second half of the 17th century. Images of the title coats of arms in three illustrated copies of the “Titulyarnik” display unity, but some differences in detail allow to work out ownership of each copy. “Titulyarnik” was probably the first Russian land coat of arms, even if images of title coats of arms on some regals (saadaks, plates) still retained features of the old visual tradition. The existing complex of the title coats of arms was recorded in the late 17th century in several written sources with heraldic images. The complex of preserved heraldic sources allows to reconstruct the history of the title heraldry in Muscovy in its entirety and to identify main stages in its evolution.
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Bocharova, Marina Yurevna. "Visual state symbols of Japan during the Meiji era." Человек и культура, no. 4 (April 2021): 73–90. http://dx.doi.org/10.25136/2409-8744.2021.4.35261.
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This article is dedicated to the visual state symbols of Japan of the late XIX century (national flag, personal seal of the emperor, order and medal of honor, and military insignia). The aforementioned symbols are viewed as the attributes of the status. First institutionalized graphic symbols in the history of the country have emerged under the influence of European culture and actualized elements of the ”old” Japanese culture, primarily from the emblems “mon” used to decorate and identify an individual or a family. This article explores the mechanisms of their emergence, as well as the mechanisms of evolution and introduction into the cultural environment based on the material of print mass-market production (postcards and Ukiyo-e woodblock prints). The author’s main contribution consists in comprehensive analysis of the state symbols of Japan of the late XIX century as the attributes of the status, which has been conducted for the first time. The flag, order and emblem of the emperor were used to demonstrate their direct affiliation to the department, as an attribute of a festive event, or indicate their authority. The research also employed postcards as a rarely used source for studying political symbols, or used in the context of ideology alone. The visual images of print production illustrate the reality of using state symbols, as well as within the framework of artistic techniques expand their use as the symbols.
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González Cea, David Mª. "Teratología de los vicios en la Emblemática hispánica." JANUS. Estudios sobre el Siglo de Oro, no. 11 (July 18, 2022): 192–211. http://dx.doi.org/10.51472/jeso20221110.
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RESUMEN: La tradición emblemática declara los vicios con símbolos monstruosos. Los emblemas usan con frecuencia motivos teratológicos para expresar las deformaciones producidas por el mal en el organismo social. Es un saber antiguo, mítico y práctico, al servicio de los gobernantes. Mediante esta plástica pedagogía se enseñan las virtudes a través de figuras de nobles animales y los vicios mediante representaciones de monstruos. En nuestro Siglo de Oro, numerosos autores representan los malos hábitos con imágenes de seres irracionales. En este sentido, exponen la caída del orden natural y los graves desórdenes que el pecado original produjo en la creación. ABSTRACT: The emblematic tradition shows the vice by monstruous symbols. Emblem books usually use some teratology motifs to show how evil produces several deformations in society. It is an ancient, mythical and practical knowledge which is at the service of rulers. By means of this artistic pedagogy, virtues are taught through noble animals figures and, on the other hand, vices through monsters. In our Spanish Golden century, several authors of emblems represent vices by irrational creatures. In this way, they express the breach of the natural order and serious deformations which were introduced by the original sin into the creation.
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Mahdihassan, S. "Symbols Designed by European Alchemists Incorporating Elements of Chinese Origin." American Journal of Chinese Medicine 15, no. 01n02 (January 1987): 3–12. http://dx.doi.org/10.1142/s0192415x87000023.
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Alchemy arose in China as cult of longevity generating life-force by imitating creation. Heaven and Earth, as opposites, were conceived as responsible for creation. They were believed to be round and square-shaped when their emblems became Compass and Carpenter's square. These have been retained in the symbols designed by alchemists of the Medieval Age without, however, revealing their origin or significance.
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Jonovski, Jovan. "The Coats of Arms and Other Forms of State Emblem Proposed for the Republic of Macedonia, and the Process of Their Adoption, 1992–2014." Genealogy 2, no. 4 (November 28, 2018): 52. http://dx.doi.org/10.3390/genealogy2040052.
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Selecting national emblems is crucial for the development of a national identity. This paper presents all official proposals for the coat of arms of the Republic of Macedonia, starting in 1992, with the proposals of the public competition for the selection of the coat of arms, flag, and anthem of the Republic of Macedonia, and finishing with the last Government proposal in 2014. All of the proposals are categorized according to their main symbol, a sun or a lion. The long and complex process of creating national symbols shows that there is a deep division regarding which one to use.
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Biłgorajski, Artur. "Granice wolności ekspresji symbolicznej w przestrzeni akademickiej. Przyczynek do dyskusji." Studia Politologiczne, no. 4/2022(66) (January 15, 2023): 262–89. http://dx.doi.org/10.33896/spolit.2022.66.12.
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This study aims to answer two questions from the perspective of the constitutional law of the Republic of Poland. Firstly, are there legal regulations that precisely define the rules and limits of exercising the freedom of expression in university spaces, particularly regarding the expression in signs, posters, symbols, avatars, slogans or emblems? Secondly, which applicable legal regulations justify the restrictions on symbol presentation (religious, ideological, political) during the participation in classes, conferences or other academic events? These answers do not pretend to be exhaustive due to the limited scope of this study. Their purpose is only to outline the topic of related problems.
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Carmona Jiménez, Javiera. "Emblemática e iconografía virreinal. Las apuestas de Diego León Pinelo y Francisco De Ávila (Lima, siglo XVII)." Razón Crítica, no. 10 (January 2020): 93–120. http://dx.doi.org/10.21789/25007807.1712.
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Emblematics in the Viceroyalty of Peru functioned as an intertextual system that established connections between models of emblems already consecrated and the shared use of symbols, Latin phrases and compositions that are related to —but also oppose and divert from— Western symbolic traditions. Hypomnema apologeticum pro Academia Limensi, by jurist Diego León Pinelo (1608-1671), and Tratado de los Evangelios, by the slayer of idolatries and Canon of the Cathedral of Lima, Francisco de Ávila (1573-1647), both published in Lima in 1648, had each front covers that are analyzed based on the visual set they incorporate, which is made up of allegorical images and emblems, and their contexts of production. The vice-regal visual rhetoric reveals that it was not only aimed at exalting monarchical and counter-reformist power and politics, but also at developing the identity of the artists in charge of the engravings. Paradoxically, both images can be considered as a failure on different levels, but also as a triumph within the symbolic struggle of every affirmation of identity whose verb-visual rhetoric remains fixed in memories that many people could decipher.
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Abbosova, Mehrinoz. "HALIMA KHUDAYBERDIEVA POETRY MASTERY TO USE SYMBOLS AND IMAGES." INTERNATIONAL JOURNAL OF WORD ART 3, no. 3 (March 30, 2020): 49–52. http://dx.doi.org/10.26739/2181-9297-2020-3-7.
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The article deals with the skill of using symbols and emblems in the poetry of the poetess Halima Khudaiberdieva. Poetry is one of the highest forms of art, and its perception requires a high level,high taste, deep understanding from the reader. The article lists important aspects of the requirements for an original poem. It is emphasized that the main factor of mystery in the poem are symbols and allusions. Some examples from the poems of the poet are given and analyzed. Through this, an attempt was made to explore the artistic representations of the poet’s poetry
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Lowenthal, David. "Classical antiquities as national and global heritage." Antiquity 62, no. 237 (December 1988): 726–35. http://dx.doi.org/10.1017/s0003598x00075177.
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The current campaign to return to Athens the Parthenon sculptures that have been in the British Museum since the early 19th century highlights the profoundly dual nature of Greek architectural and sculptural heritage, as emblems of both Greek and global attachment. Classical relics in particular have become symbols of Greek attachment to the homeland; underscoring links between past and present, they confirm and celebrate Greek national identity. Other elements of Greek heritage – language, literature, religion, folklore – likewise lend strength to this identity, but material remnants of past glories, notably temples and sculptures from the times of Phidias and Praxiteles, assume an increasingly important symbolic role (Cook 1984; Hitchens 1987).
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Ylönen, Aleksi. "Building the nation in Southern Sudan: state emblems, symbols and national identity." Africa Review 12, no. 2 (April 22, 2020): 151–71. http://dx.doi.org/10.1080/09744053.2020.1755095.
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Dewel, B. F. "The Association's current logo and traditional seal: AAO emblems, symbols, and concepts." American Journal of Orthodontics and Dentofacial Orthopedics 94, no. 3 (September 1988): 181–83. http://dx.doi.org/10.1016/0889-5406(88)90026-1.
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Kovalev, Roman K. "Grand Princess Olga of Rus’ Shows the Bird: Her ‘Christian Falcon’ Emblem." Russian History 39, no. 4 (2012): 460–517. http://dx.doi.org/10.1163/48763316-03904002.
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This study attempts to interpret the symbols (a falcon “crowned” with a cross, a key, and a Riurikid bident) found on a newly discovered tenth-century trapezoidal pendant from Pskov. Aside from a handful of imitation dirham coins that carry identical images of the falcon, no other parallels of these symbols or their combination have yet been discovered. Based on various sources, it is argued that the pendant was jointly issued to a Rus’ administrator-revenue collector by Grand Princess Olga and her son Sviatoslav at the time of his minority but not prior to Olga’s administrative reforms in the late 940s, i.e., ca. 950. While the bident was Sviatoslav’s dynastic emblem (reserved for reigning male Riurikids), Olga’s authority over the realm and her minor son was represented by way of a key (latchlifter) and a falcon. The key carried legal and possibly religious symbolism of right over the domain, while the falcon represented religious as well as royal authority. But, both emblems can be connected with the goddess Freyja – the chief female divinity in the Nordic pantheon – and Olga adopted them as her symbols in ca. 950. Based on her choice of these symbols and other circumstantial evidence, it is contended that Olga was a devotee of the goddess and practiced her cult prior to her conversion to Christianity (i.e., she was a vǫlva). Indeed, it is possible that Olga was the supreme priestess of Freyja, or her close equivalent Slavic goddess Mokosh, for the Rus’ state prior to her stepping down from the position as regent and her official conversion to Christianity.
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Meriboute, Zidane. "The Emblems of the 1949 Geneva Conventions: their Content and Meaning." Yearbook of International Humanitarian Law 3 (December 2000): 258–72. http://dx.doi.org/10.1017/s1389135900000659.
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From time immemorial, human beings have communicated using signs of one kind or another, among them gestures and graphic images. Knowledge of these different forms of communication gradually spread, and they became part of the common heritage of peoples and of humanity as a whole. The respect inspired by signs and symbols stems from the fact that they perform vital functions, such as channeling knowledge, helping survival and protecting individuals and their communities.
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McClure, George. "Heresy at Play: Academies and the Literary Underground in Counter-Reformation Siena*." Renaissance Quarterly 63, no. 4 (2010): 1151–207. http://dx.doi.org/10.1086/658509.
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AbstractThis article examines an anonymous manuscript from the Sienese academies, likely composed between 1584 and 1593, during the period in which these societies were closed by the Medici grand dukes. The work is a dialogue that depicts a contest between the emblems of the academies of the Intronati, the Accesi, and the Travagliati, all vying for cultural primacy. Purportedly written by a zealous monk who appraises these worldly emblems and mottoes in preposterously flattering, even blasphemous, religious terms, the dialogue is actually a hoax that mocks the proselytizing efforts of Counter-Reformation forces in the city. This article attempts to roughly date this underground work, identify its principal targets, and consider its importance: as a telling depiction of a contest between secular images and sacred symbols, as a parody of feigned orthodoxy, and as a possible expression of freethinking well before the Enlightenment.
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Joffe, Alexander. "THE RISE OF SECONDARY STATES IN THE IRON AGE LEVANT." Journal of the Economic and Social History of the Orient 45, no. 4 (2002): 425–67. http://dx.doi.org/10.1163/156852002320939311.
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AbstractThis paper examines the formation of states during the Iron Age of the eastern Mediterranean, with particular emphasis on the Levantine states of Israel, Judah, Ammon, and Moab. Using archaeology and texts it proposes that the formation of secondary states was fundamentally different from that of early states such as in Mesopotamia and Egypt. Secondary states in the Levant needed to create not new bureaucratic methods, but new social identities, novel ethnic categories and boundaries. New ideologies were disseminated through material culture which was saturated with symbols of identity, from royal architecture through personal emblems. Cet article examine la formation des états pendant l'âge de fer du méditerranéen oriental, avec l'emphase particulière sur des états de Levantine de l'Israel, du Judah, de l'Ammon, et du Moab. En utilisant l'archéologie et les textes il propose que la formation des états secondaires ait été fondamentalement différente de celle des états tôt comme dans Mesopotamia et l'Egypte. Les états secondaires dans le Levant ont dû ne pas créer des méthodes bureaucratiques nouvelles, mais de nouvelles identités sociales, des catégories de roman et des bornes ethniques. De nouvelles idéologies ont été diffusées par la culture matérielle qui a été saturée avec des symboles d'identité, de l'architecture royale par les emblèmes personnels.
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Sandoz, Yves. "The red cross and red crescent emblems: what is at stake." International Review of the Red Cross 29, no. 272 (October 1989): 405–7. http://dx.doi.org/10.1017/s0020860400074623.
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The emblems of the red cross and the red crescent are both the strength and the weakness of the Movement.They are its strength because, being the visible and respected symbols of relief to war victims, over the past 125 years they have enabled the Movement to provide protection, assistance and human warmth to millions of wounded persons, prisoners, families and children during the most terrible conflicts mankind has ever known. They are the strength of our Movement because all over the world the image they convey is one of humanity and compassion.
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Doggett, Rob. "“Emblems or Symbols, Not Pictures”: W. B. Yeats and Free State Coinage Design." Éire-Ireland 46, no. 1-2 (2011): 87–105. http://dx.doi.org/10.1353/eir.2011.0010.
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MAXILE, HORACE J. "Implication, Quotation, and Coltrane in Selected Works By David N. Baker." Journal of the Society for American Music 7, no. 2 (May 2013): 147–64. http://dx.doi.org/10.1017/s1752196313000059.
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AbstractThis article explores composer David N. Baker's use of elements of jazz and vernacular music to articulate formal structures and suggest extramusical commentaries in his concert works, with particular focus on the Sonata for Cello and Piano and the Sonata I for Piano. Themes of homage to and respect for jazz saxophonist John Coltrane resonate through these works. Various features bring the jazz legend to mind, but Baker's compelling play with implication and quotation provides fertile ground for studying musical signification and the use of vernacular emblems within Western compositional structures and the concert music of African American composers. Conventional analytical methods are combined with readings of referential symbols to work toward interpretations that address both structural and expressive domains. This approach allows discussions of compositional techniques to intersect with cultural and philosophical considerations. By addressing issues of musical structure and expressivity, this article seeks to move beyond commonplace surface-level descriptions of black vernacular emblems in the concert music of African American composers.
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Doległo, Sławomir. "Urynkowione znaki pamięci." Politeja 17, no. 2(65) (April 30, 2020): 205–17. http://dx.doi.org/10.12797/politeja.17.2020.65.15.
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Commodified Memory Emblems. Historical Culture in the (Post)Consumptional Culture
Postmodernist consumption, developed by the order of self-realisation, increasingly shapes current historical awareness. Consequently, contemporary collective memory is composed not of dates and historical facts but of visual identification, slogans and varied communicative practices, so the components of popular brands which stimulate people’s consumable attitudes. The symbols of the Polish Resistance Movement during World War II as well as national colours and emblem move from historical and commemorative sphere to the sphere of pop culture. They commonly appear on T-shirts, tattoos, murals, social media profiles and political banners and are used to clarify the present day through the prism of the past, to articulate people’s ideas, concerns and affinities. The ‘language’ of memory boom surprisingly corresponds to the rhetoric of present global cultural industry, which is the ‘natural environment’ of communication for Millennials and Post-Millennials. The article is an attempt to summarise the most influential academic perspectives of current memory culture, dominated by media and consumable practices.
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BUÇUKOĞLU, SEYİT MEHMET. "GRAPHIC LANGUAGE OF THE HAGIA SOPHIA: MONOGRAMS." TURKISH ONLINE JOURNAL OF DESIGN ART AND COMMUNICATION 12, no. 3 (July 1, 2022): 870–96. http://dx.doi.org/10.7456/11203100/021.
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Symbols have a wide variety of expressions, from crests to flags, tattoos to clothes, books to inscriptions, coins to seals, and they have been the source of visual communication and used in every stage of history. In this context, the action of symbolism which started with murals in the cave periods accepted as the basis of today's semiotic science. On the other hand, examples of graphic design with its historical development and existence help us understand, recognize and convey a lot of information about civilizations that have had a strong influence on the world. Hagia Sophia, which is the first cathedral in the world, is a good example in the context of our research. Having details regarding graphic features such as many emblems, symbols, texts, and monograms also conveys the relevant clues of the Hagia Sophia to the present day. This research aims to shed light on the meaningful features of monograms, one of the simplest forms of graphic expression, their development, and historical practice. For this purpose, the monograms, many examples that we have come across in Hagia Sophia, have been examined regarding their symbolic expressions representing the Byzantine Emperors and Empresses.
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Górska, Magdalena Kinga. "Status teoretyczny emblematu w polskiej dekoracji." Terminus 23, no. 3 (2021): 227–58. http://dx.doi.org/10.4467/20843844te.21.010.13847.
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The Theoretical Status of the Emblem in Polish Decorative Art This paper argues that the theoretical status of the emblem in decorative art has methodological significance in emblem studies and art history, comparable to its status in the so-called book’s editorial frame. This claim is justified in the historical and theoretical tradition of defining emblems in the sources. The departure point for the author’s considerations comes from the findings of applied emblematics, and its foundation is provided by the theoretical sources describing symbolic genres (scil. emblema, symbolum, hierogliphicum) published in Poland from the 16th to the 18th century, including books of poetics, rhetoric, dictionaries and compendia. The first part of the article presents an overview of research on decorative emblems in Poland, together with factors responsible for the scarcity of such studies, including the lack of symbolic typology of the decorations, and the division into literary and non-literary studies, motivated by the philological roots of emblem studies. It is noted that the emblemata in the so-called book’s editorial frame and those in decorations should be studied separately, as the latter are of ornamental nature, and require a distinct order of perception, explication, and the recipient’s role. Besides, it is pointed out that the anachronism of the 16th-century formulae of emblema raises problems for the genological classification of Polish decorations, and so does the inter-genre, compendiumtype pattern of symbolism dominant in the 18th century. The second part of the article discusses the definition of the emblema, focusing on its details relevant for the artistic practice and present-day genre classification, such as technique, composition, the content of the image, which is confronted with Polish historical materials. The analysis carried out in the paper supports the claim that providing a genelogical definition of a work of art sheds light on its artistic rendition and aesthetic value. It also enhances the perspective on emblem studies, the workshop of an emblem artist and the reception of the emblem. Additionally, it enables the verification of synthetic accounts and research practice, offering a profound reflection on the chronology and previous conceptions of the emblem. Finally, it helps to formulate postulates, which can be useful for the met
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DUNCAN, ROBERT H. "Embracing a Suitable Past: Independence Celebrations under Mexico's Second Empire, 1864–6." Journal of Latin American Studies 30, no. 2 (May 1998): 249–77. http://dx.doi.org/10.1017/s0022216x98005045.
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This study examines Emperor Maximilian's efforts in using public rituals, patriotic symbolism, and the emblems of nationalism to devise an appropriate past for his Mexican empire. The ‘republican’ celebration of independence and its heroes formed the cornerstone of an effort to reconcile feuding political factions, build social cohesion, and ultimately legitimate his regime. The article concentrates on the independence ceremonies, speeches, and statuary employed by the empire. Ultimately, the political dissension existing in Mexico could not be surmounted by symbols alone. Nevertheless, the attempt reveals the creative use and limits of public rituals in the political realm.
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Nabofa, M. Y. "Blood Symbolism in African Religion." Religious Studies 21, no. 3 (September 1985): 389–405. http://dx.doi.org/10.1017/s0034412500017479.
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Symbolism has found spontaneous expression in several religious and secular practices among many different peoples of Africa. These expressions can be seen in religious emblems, ideograms, rituals, songs, prayers, myths, incantations, vows, customary behaviour and personifications. The under-standing of these religious symbols lends itself to rapid comprehensive and compact use; not only that, it also helps understanding and concentration. In fact, Mary Douglas expresses the view that such symbols, especially rituals, aid us in selecting experiences for concentrated attention, creative at the level of performance, and can mysteriously help the co-ordination of brain and body (1966, p. 63). Conversely, religious symbols have their ambiguities, and these could shroud their true meaning to the unwary. A religious symbol could also represent a complex set of ideas at different levels which gives room to diverse theological, philosophical and psychological interpretations. While we may agree with Raymond Firth (1973, p. 32) that an anthropologist is concerned primarily with the public use of the symbolic, and his aim is to separate symbols from referent so that he may describe the relations between them, we are of the view that those who are in the field of psychology of religion will be most concerned with how symbols influence the mind of the believer and thus understand the faith of the devotee better. In fact, it was the non-understanding of traditional African religious symbols and ideas that partly contributed to the way in which some of the early Western and Arab scholars, investigating African thought forms, looked at the African indigenous beliefs in a derogatory manner. As a method of scholarly research, a careful and meaningful study of the religious significance of certain ritualistic elements and behaviour enables us to understand and appreciate the more why certain things are treated in some special way by the believers, and thus helps to deepen our knowledge of that very faith. It helps us to grasp the essence of the religion rather than its incidentals. In order, therefore, to help comprehend some of the practices in African traditional religion attempts will be made in this paper to discuss the central significance of blood in African belief. Although I consulted the works of some anthropologists and theologians on African religions and philosophy of life, the bulk of the ethnographic materials used in this paper are mainly drawn from my fieldwork (1975–82) among some groups of Nigerians; and a great deal of my interpretations are surrounded by the theories propounded by Mary Douglas and Raymond Firth.
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Piskała, Magdalena. "Astrology—Emblematics—Heraldry: On Comets, Moons and Stars in the Book of Arms by Szymon Okolski." Terminus 21, Special Issue 1 (2019): 31–51. http://dx.doi.org/10.4467/20843844te.19.025.11286.
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The paper examines the presence of astrology in the heraldic work Orbis Polonus by Szymon Okolski dating from the mid-1600s. While due to a growing fascination with Neoplatonism and hermetic writings, astrology had enjoyed popularity since the Renaissance, in Okolski’s case its influence came mostly through early-modern books of emblems and compendia of symbols. It is, therefore, important not only to track down astrological motifs in the works of Alciatus, Cesare Ripa, Giulio Cesare Capaccio, Julius Wilhelm Zincgref, and Diego de Saavedra to compare them with those found in Orbis Polonus, but also to recognise the fact that emblematics had a great impact on how Okolski perceived the import of his heraldic work as such. The novelty of Okolski’s project consisted in treating armorial bearings as universal symbols and interpreting them not only in accordance with the rules of heraldry, but also through a wide range of cultural sources, trends, and traditions. In order to make the symbolic significance hidden in coats of arms more apparent, the author tried to organise the heraldic entries in a new way. Apart from the usual parts describing the coat of arms (delineatio), its origins (origo) and the family that used it (linea familiae), he introduced subchapters dealing with its symbolic meaning. He called them “considerations”, “precautions”, or “omens” depending on which aspect of the symbolic explanation he wanted to emphasise. Especially the third of these dovetails with astrology because the symbolism of the coat of arms, including motifs derived from, or related to, astrology, is presented as the best path that should be taken by a family bearing a particular coat of arms. All the while, however, these auguries are made based on symbols as such and not on careful observation of stars, planets or comets, and Okolski was not concerned with the destiny of individual people but with more general tendencies that affected the virtue of noble families, and virtue is for Okolski the foundation of nobility.
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Doległo, Sławomir. "Partyzantka semiotyczna. Historyczne analogie i dekonstrukcje w praktykach medialnych turbo- i softpatriotów." Media Biznes Kultura, no. 2 (13) (December 21, 2022): 199–212. http://dx.doi.org/10.4467/25442554.mbk.22.024.17110.
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Ostentacyjne przywoływanie patriotyzmu i narodowych symboli, ich polityczna instrumentalizacja i indoktrynacja odbywają się dziś w atmosferze permanentnego sporu tożsamościowego. Rezerwuar postaci i symboli historycznych dostarcza jego obu stronom instrumentów do manifestacji swoich idei i reprodukcji podstawowej antropologicznej dychotomii: „my” versus „oni”. Historyczne analogie służą usprawiedliwianiu obywatelskiego nieposłuszeństwa, a pamięć zbiorowa jest powszechnie włączana w repertuar praktyk kontestacyjnych, szczególnie przez przedstawicieli młodego pokolenia, którzy skutecznie korzystają z nowych technologii komunikacyjnych i kodów popkultury. Dążąc do ustanowienia własnej reprezentacji symbolicznej, przechwytują postawy i narzędzia reprezentowane przez oficjalny dyskurs pamięci, dekonstruują narodowe mity i obalają uprzywilejowane wzorce patriotyzmu. Artykuł ukazuje, w jaki sposób „turpopatriotyzm” i „softpatriotyzm” stały się osiami polskiej debaty o symbolicznym głównym nurcie i peryferiach, a także, jak młodzi Polacy podważają hegemoniczne wzorce świadomości historycznej. Semiotic Guerilla. Historical Analogies and Deconstructions in Media Practices of Turbo- and Softpatriots Currently, ostentatious evocation of patriotism and national symbols, their political instrumentalization and indoctrination exists in an atmosphere of permanent identity dispute. The reservoir of historical figures and emblems provides its both sides with instruments to manifest their ideas and multiply the basic anthropological dichotomy: ‘we’ versus ‘they’. Historical analogies are used to justify civil disobedience. Collective memory is commonly included in the repertoire of contestation practices, especially by the members of young generation, effectively using new communication technologies and codes of pop culture. Striving to establish their own symbolic representation, they intercept the attitudes and tools represented by the official memory discourse, they deconstruct national myths, and subvert privileged patriotic patterns. The article presents how so-called ‘turbopatriotism’ and ‘softpatriotism’ become the axis of Polish debate about Sławomir Doległo 200 the symbolic mainstream and periphery and how young Poles discredit hegemonic patterns of historical awareness.
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Perry, Barbara A. "The Israeli and United States Supreme Courts: A Comparative Reflection on Their Symbols, Images, and Functions." Review of Politics 63, no. 2 (2001): 317–40. http://dx.doi.org/10.1017/s003467050003120x.
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Judicial architecture and iconography play important roles in the symbolic lives of courts. Political scientists have noted that symbols of justice, judicial objectivity, and neutrality convey to the public “legitimizing messages” about the judiciary. In the United States these legitimizing symbols frequently expressed themselves through the temple-like attributes of courthouses. Modern architects, however, have rejected this classic paradigm and replaced it with dignified, yet open, edifices. The Israeli Supreme Court building, dedicated in 1992, is an outstanding example of such innovative design. Its emblems of legitimacy include historical, religious, and judicial symbolism. Within a comparative framework, this article explores the unique architectural images of Israel's high court and argues that they may help it to survive the fractious Israeli political milieu into which the tribunal has inserted itself.The symbolism of judicial structures can convey voluminous messages about classic themes in the study of law, history, and politics. Judicial images reflected in court architecture and art may reveal the importance of the rule of law, judicial independence, and judicial power in a political and legal culture. The physical manifestations of a court structure, and how they are transmitted to the public, may also influence media and other public perceptions of tribunals, judges, and their decisions. The architecture of the Israeli Supreme Court building, which opened to rave reviews in 1992, adds two other facets to this mix, namely, religion and historic location.
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Słomak, Iwona. "Military Themes in Selected Eighteenth-Century Prayer Books in Relation to the Emblem Tradition." Terminus 21, Special Issue 1 (2019): 107–38. http://dx.doi.org/10.4467/20843844te.19.028.11289.
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This paper was inspired by the lack of studies that would show examples of military-erotic symbols in religious literature associated with the emblem tradition. The works discussed here, namely prayer books by Andrzej Gabriel Kasperowicz, anonymous Atak niebieskiej twierdzy [The attack of the heavens or The attack into the fortress of heavens] and Wojsko serdecznych afektów [The army of heartfelt affections] by Hieronim Falęcki, retain high formal and semantic discipline; as a result, they are examples of interesting phenomena of Baroque culture. In the first part of the study, Słomak presents three prayer books in which the concept is based on an analogy with the organisation of the army of Christ. In the second part, she presents a book in which the theme of war is combined with the theme of “holy erotica”. In part three, she discusses a print whose composition refers to the structure of military detachments. It is conceived as a collection of “affections” whose task is “to conquer” heaven and the hearts of readers. Characteristically, the formula of the discussed books will be understandable only if we reconstruct their reference to the popular allegorical images (to be found in the collections of emblems, in many treatises on religious themes or in descriptions of the great ceremonies of that era); therefore, it is necessary to take into account the emblematic model that clearly influenced their final shape.
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Shahshahani, Soheila. "Editorial." Anthropology of the Middle East 15, no. 1 (June 1, 2020): v—vii. http://dx.doi.org/10.3167/ame.2020.150101.
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In this issue of AME you have articles which are within established anthropological topics. What is new in them is first, new data from the field, second, new search within old data, and finally new perspective of researchers from the area. So, while kinship, law, methodology, archaeology remain the pillars of our field, they are “reinvented” through new research by scholars some of whom are from the area. Syria, Iraq, and Iran are presented, and Kordish studies relates to all countries which have a Kord population. Our journal being concerned with culture and not political borders, we include an exquisite article on emblems in Uzbekistan which proves the persistence of cultural similarities in symbols from the Middle East and Central Asia.
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Milewska-Waźbińska, Barbara. "Poezja religijna w kręgu mnichów Zakonu Grobu Bożego w Polsce – Gemmae sacrosanctae crucis Jakuba Pawła Radlińskiego." Vox Patrum 65 (July 15, 2016): 433–40. http://dx.doi.org/10.31743/vp.3509.
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Jakub Paweł Radliński was a General of the Order of the Holy Sepulchre in Miechow between 1744-1765. In 1755 he published in Krakow a religious book Gemmae Sacrosanctae Crucis Nostri Domini Jesu Christi (Jewels of the Sacred Cross of Our Lord Jesus Christ). It is a collection of nearly 150 Latin epigrams preceded by lemmas. The work consists of two parts. In the first section the author develops themes and symbols (figurae) drawn from Scripture, both from the Old, and from the New Testament. The second part contains predictions (prophetiae) on St. Cross. The poems are related to emblems, which were popular in the first half of the eighteenth century. Radliński’s Latin book is worth reminding because of its religious and literary values.
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McPherson, Robert. "Circles, Trees, and Bears: Symbols of Power of the Weenuche Ute." American Indian Culture and Research Journal 36, no. 2 (January 1, 2012): 103–30. http://dx.doi.org/10.17953/aicr.36.2.w280374p4142140q.
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The Ute community of White Mesa, comprised of approximately 315 people, sits in the corner of southeastern Utah, eleven miles outside of Blanding. The residents, primarily of Weenuche Ute and Paiute ancestry, enjoy a cultural heritage that embraces elements from plains, mountain, and desert/Great Basin Indian culture. Among their religious practices are the Worship Dance, Ghost Dance, Sun Dance, and Bear Dance. Although each ceremony is unique, and performed for a variety of reasons, the common ground among them cannot be missed. Healing the sick, renewing necessities for survival, connecting spiritually with ancestors, communicating with the Land Beyond, establishing patterns for life, and sharing symbols that unify religious expression—such as the circle, tree, and bear—are elements that characterize the faith of these people as expressed in these ceremonies. Their origin sheds light on the relevance of these practices as they blend traditions from the past with contemporary usage. As symbols imbued with religious relevance, they make the intangible visible while continuing to teach and protect that which is important in Ute cultural survival. This article looks at these shared elements while offering new information about the origin and symbolism of the Ghost Dance as practiced in the Worship Dance. Circles, trees, bears, and other emblems provide not only themes from past teaching but empower the Ute universe today.
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Irwanto, Dedi. "Malaise dan Lambang Kekayaan Ekonomi Penguasa Lokal di Palembang, 1929–1942." Lembaran Sejarah 13, no. 1 (February 27, 2018): 48. http://dx.doi.org/10.22146/lembaran-sejarah.33511.
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This is an article on economic history, particularly on the economic growth of Palembang’sUluan local elites. But the main focus of the article is to understand and interpret other phenomenon that appeared as the product of that economic growth; its social-cultural implications that was present as a social reality of those economic conditions. It focuses on the creation of emblems of symbolic power in its political and economic manifestations. The emblems of economic wealth is seen as a symbol. As a symbol, this emblem represented meanings with several important functions, not merely as material collection, but also through a sociocultural lense; as the effort to create and contest with its peers or as an asimilative or adaptive process and a process of resistance to other groups that are ‘above’ its structure. The symbolic emblems of local power changed during the depression era of 1929. In a period where significant amount of wealth was lost, theuluan Palembang bucked the trend and appeared as new money (orang kaya baru) with all their new atributes of wealth.
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Дмитренко, М. Й. "САКРАЛІЗАЦІЯ Й РИТУАЛІЗАЦІЯ КОРПОРАТИВНОЇ КУЛЬТУРИ." Humanities journal, no. 3 (December 22, 2018): 30–38. http://dx.doi.org/10.32620/gch.2018.3.03.
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The article touches upon the problem of sacralisation and ritualization of corporate culture. The author stresses that corporate culture has cultural and anthropological links with its historical past and analyses symbols, myths, emblems, colour and rituals as a symbolic block of corporate culture.Corporate culture has proved to be an integral part of human life. That is why, exploring the multiplicity of representations and practices of corporate culture, it is necessary to make the main emphasis on the person.The author highlights that symbolic block of corporate culture contains rituals, symbols, myths, legends, heroic personality of the organization, which in rather figurative and concise form reflect the most powerful, significant aspects of the company’s culture and its most important directions.Modern corporate culture clearly demonstrates its cultural and anthropological links to historical prototypes. That is why, it is relevant to analyse the mechanisms of its self-preservation.The objective of the research is to analyse the general tendencies of sacralisation and ritualization of corporate culture, which have anthropological roots and form its intact nucleus.The author proves that desired behaviour patterns, the requirement for predictability, inherent in homo oeconomicus, are embodied in the ritual practices of corporate culture, which have their sacred cyclical chronosophy.The processes of sacralisation of corporate culture coexist with the tendencies of its deserialization, where the anthropological significance of trust grows.The author points out that symbols play an important role and influence people’s behaviour. Symbol is treated as an image that reflects other (usually very diverse) images, contents and attitudes in a concise form, including unknown ones, which can only be foreseen or felt.A graphic symbol is defined as a concentrated conditional abstract form of reflection and fixation of the scientific or religious knowledge of man, as well as of the unconscious part of his psyche through its stylized sign. The symbols represent high abstract concepts, values which are difficult to summarize and can not be fully described by words.Myths are analysed in terms of positive influence on the formation of general corporate values, motivation of employees and expression of corporate identity. By providing a strong emotional impact on employees, they provide the necessary benchmarks for behaviour, ethical behaviour patterns, types and norms of achievement. Characters of corporate myths are always an example to follow.To raise the prestige of the enterprise, to unite the employees and their families, the author finds it necessary to pay attention to the organization of a family holiday or as it is called today «family day». These measures allow creating a ground for «succession of generations», which contribute to the emergence of a favourable psychological climate in the team.Thus, the ambivalent internal logic of corporate culture has been justified, which is determined by the interaction between the logic of sacralisation and the logic of deserialization, where the first dominates the world of work, and the other the field of leisure.The author concludes that models of behaviour are fixed in ritual practices of corporate culture. They have their sacral cyclic chronosophy and form a peculiar hidden esoteric plan of corporate culture. The processes of sacralisation of corporate culture coexist with the tendencies of its deserialization, where the anthropological significance of trust grows.
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Mattioli, Irina. "Horse Burial in Lombard Italy: Crossing Cultural and Afterlife Boundaries in Social Representation." Cheiron: The International Journal of Equine and Equestrian History 1, no. 1 (November 2021): 46–67. http://dx.doi.org/10.22618/tp.cheiron.20211.1.233002.
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The custom of horse burial, of foreign extraction, was carried across the Italian borders by the Lombards during their migration in 568 AD. The buried horses are linked to a variety of human remains: not only warriors, but also young women, adult males without weapons, and men who did not possess the osteological markers of warriors. The focus is on one of the most interesting examples in Lombard Italy, the necropolis of Spilamberto, due to the unique association of horses with young ladies. This paper argues that the horses buried in the Italian Lombard necropolises (late sixth / seventh century), were cultural symbols borrowed from the warfare sphere, but primarily used, in death, as emblems of unique status, whether or not there was a factual involvement in warfare-matters during life.