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Journal articles on the topic 'Gods adn symbols'
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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.
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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.
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Pop, Marius Ciprian. "Mărul, funcții și valențe simbolice." Anuarul Muzeului Etnograif al Transilvaniei 31 (December 20, 2017): 76–92. http://dx.doi.org/10.47802/amet.2017.31.04.
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In the universal beliefs, there are over twenty species of sacred trees considered as the center of the universe, ‘axis mundi’, and the apple is among the trees of these species. In our traditional culture, the apple has a bivalent symbolism magically and Christian religiously, representing the aspect of interdiction and only of reward. As a reflection of the influence of the Greek mythology, one also could find it as a symbol of love, ecstasy, fertility and abundance. According to the belief that each man has a correspondent in the vegetal world, the apple becomes “tree of destiny” accompanying the terrestrial existence in the following stages: birth, marriage, death. From birth the baby accompanies his life with its planting tree in the farmstead yard, and it will support the good way of his life, the one of passing to the world beyond. The multitude and the diversity of the customs and of the passage rituals clearly support the showed statements. It is also necessary to mention the symbolic, juridical valence that apple has in understanding the ancient mythology found in the dispute on the theme of beauty of the Gods Hera, Aphrodite and Athens, known as ‘the marriage of discord’, which defines this aspect. The complementarity of the apple with the fir tree, which is always seconded, is specific to our folk tradition in the context in which both trees have important roles in the mythology of life and death. The space of carols is often marked by the existence of a cosmic tree, the apple of the fir tree, which sums up much of the spiritual activities of our people. Like the fir tree, which is evergreen, the apple, which is preserved as a fruit over the winter, it becomes a symbol of the eternal longing seen in the wishes of passing between years, and as a symbol of fertility, one can find the apple ‘in the breast’ or in the incantation ‘White Apple Flowers’. Therefore, as a reflection of the solar cult, the apple is a landmark in the millennial existence of our nation.
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Stępień, omasz. "The Understanding of Symbols and Their Role in the Ascent of the Soul to God in Pseudo-Dionysius the Areopagite and Nicholas of Cusa." Roczniki Filozoficzne 63, no. 2 (2015): 85–103. http://dx.doi.org/10.18290/rf.2015.63.2-7.
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Tong, Cheu Hock. "The Festival of the Nine Emperor Gods in Malaysia: Myth, Ritual, and Symbol." Asian Folklore Studies 55, no. 1 (1996): 49. http://dx.doi.org/10.2307/1178856.
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Lelono, Hari. "BAHAN DAN CARA PEMBUATAN ARCA BATU SEBAGAI KOMPONEN PENTING CANDI-CANDI MASA KLASIK DI JAWA." Berkala Arkeologi 33, no. 1 (May 31, 2013): 93–108. http://dx.doi.org/10.30883/jba.v33i1.8.
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Most of the building of temples Hindu / Buddhist in Java, always equipped with statues as a symbol of the manifestation of the gods. These statues are usually placed in the temple chambers in accordance with their respective functions. One thing that is interesting about how to obtain the materials and manufacturing process performed by the artists sculpture carving during the Ancient Java era?. Therefore, the approach tries to uncover ethno-archaeology through ethnographic data. From these data, expected to be useful for science as well as add insight for anyone who wants to know about the 'secret' making of the statues in the Java-Kuna. Our ancestors have proven that they have the genius of local identity and identity as a cultural and civilized nation.
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PAVLAKOVIC, VJERAN. "Matija Gubec Goes to Spain: Symbols and Ideology in Croatia, 1936–1939." Journal of Slavic Military Studies 17, no. 4 (December 2004): 727–55. http://dx.doi.org/10.1080/13518040490520026.
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Som, Reba. "Jawaharlal Nehru and the Hindu Code: A Victory of Symbol over Substance?" Modern Asian Studies 28, no. 1 (February 1994): 165–94. http://dx.doi.org/10.1017/s0026749x00011732.
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If to Gandhi goes the credit of having drawn out Indian women from their cloistered protected environment to join the national movement for freedom, to Jawaharlal Nehru surely goes the credit for having recognized the need formally to grant equality between the sexes and to enshrine it in the Fundamental Rights drawn up at the Karachi Congress of 1931.
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Molloy, Barry. "For Gods or men? A reappraisal of the function of European Bronze Age shields." Antiquity 83, no. 322 (December 1, 2009): 1052–64. http://dx.doi.org/10.1017/s0003598x00099348.
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Are the imposing, decorated copper-alloy shields of Bronze Age Europe symbolic objects or functioning weapons? The author undertakes new analysis and experiments to conclude that whether bronze, leather or wood, all shields had a range of purpose in which the ceremonial and homicidal could rarely be completely isolated.
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López-Baralt, Luce. "St. John's Nocturnal Beloved Could Have Been Named “Layla”." Medieval Encounters 12, no. 3 (2006): 436–61. http://dx.doi.org/10.1163/157006706779166093.
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AbstractSt. John of the Cross silences the names of his feminine poetic alter egos. In this essay, I propose a symbolic name for the nocturnal lover of Noche oscura del alma: Layla. In Arabic layl means “night,” and this is the name of the woman Qays loved to the point of madness, according to the famous pre-Islamic legend. Forced to part from his beloved, Qays goes to the desert and writes desperate love verses to her until he feels so spiritually transformed in Layla that he is Layla herself. As “Majnūn Layla,” or “Layla's fool,” the Lover no longer needs the Beloved's physical presence. Sufi mystics like Rūmī read this legend in terms of the mystical union, transforming Layla into the symbol of the dark night of the soul. St. John of the Cross is much indebted to Islamic mystical symbolism, and he closely follows the Islamic symbolism of the dark night in his poem.
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Bolshakov, Vladimir A. "Royal women-sistrophoroi: to the interpretation of sistrum symbolism un cultic practice of the New Kingdom Period." Vostok. Afro-aziatskie obshchestva: istoriia i sovremennost, no. 4 (2021): 25. http://dx.doi.org/10.31857/s086919080015730-0.
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The present article deals with the symbolism of the sistrum in the cultic and ceremonial practice of the New Kingdom period. As a sacred musical instrument, closely associated with Hathor and other goddesses identified with her (Tefnut, Sakhmet, Bastet, Iusaas, Nebet-Hetepet), the sistrum of two types (sSSt and sxm) was widely used in performing various religious rituals and ceremonies. Since the dominant type in the iconography of the king’s wives and mothers of the New Kingdom is their image playing the sistrum/sistra, the author focuses primarily on the main female representatives of the royal family. The article provides a brief overview of iconography, laudatory epithets of royal women and accompanying inscriptions to the use of sistra. A study of official cultic and ceremonial scenes with royal women shaking sistra, allows the author to define three main objects of veneration: a. gods; b. goddesses; c. king. The author also puts into doubt the interpretation widespread in modern Egyptology, according to which, the sexual energy of the supreme deity was stimulated through playing music. Moreover, the absence of the important title “god’s wife/hand” in the protocol of some royal women does not allow reducing their cultic role to the personification of the consort/daughter of a solar deity. A critical approach to this interpretation makes it possible to state that playing sistra was not an exclusively female prerogative and was not limited to the strict opposition “royal woman – god”. Besides, one can conclude that the use of sistra as liturgical objects was a prerequisite for performing offering rituals.
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Mack, William. "VOX POPULI, VOX DEORUM? ATHENIAN DOCUMENT RELIEFS AND THE THEOLOGIES OF PUBLIC INSCRIPTION." Annual of the British School at Athens 113 (November 2018): 365–98. http://dx.doi.org/10.1017/s0068245418000072.
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This article argues that, by concentrating on a reading of the depictions of deities on the Athenian document reliefs as symbolic representations of states rather than as divinities, previous scholarly approaches to them have failed to explore the role they ascribe to the gods in collective decision-making and the exercise of public authority. This article resituates the interpretation of these monuments in the context of other monuments depicting the gods and recent approaches to them, and the other ways in which public inscriptions, both at Athens and elsewhere, make reference to divine actors, through their erection in sacred spaces and the use of thetheoiheading. It then examines the range of possible readings of the relationship between divine agency and political decision-making which these monuments privilege and argues that they reflect a conventional understanding that, in general, Athenian decision-making was underpinned by the gods.
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Cilione, Marco, Silvia Marinozzi, and Valentina Gazzaniga. "Feet and fertility in the healing temples: a symbolic communication system between gods and men?" Medical Humanities 45, no. 1 (June 9, 2018): 21–26. http://dx.doi.org/10.1136/medhum-2017-011439.
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Anatomical ex-votos of feet have always been interpreted as representing the unhealthy part of the body for which patients were asking healing. However, according to the archaeological data and literary sources, another interpretation is also possible: the purpose of this article is to focus on the strong relationship between feet and fertility in the ancient world by cross-referencing the available archaeological evidence with the scientific data relating to this topic. That shed light on an important aspect of the Healing Temples in Greek and Roman medicine.
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Hamdi, Saber. "Of ‘Household Gods’ and Devils: Fetishism in The Old Curiosity Shop." Anglia 137, no. 3 (September 13, 2019): 411–33. http://dx.doi.org/10.1515/ang-2019-0037.
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Abstract Shifting the focus of attention from Nell to Trent opens new possibilities of reading Dickens’s The Old Curiosity Shop. Rather than telling the story of a little child’s journey towards death, the novel is about an old man’s failure to mourn that takes on the aspect of fetishistic disavowal. Trent is a split subject whose phantasmal formations open an abyss between knowledge and belief. His grappling with loss makes him crave for money, a projection which finds its ultimate embodiment in the character of Quilp. Dickens integrates this scenario into a symbolic web centred on the topos of fetishism, which provides the metaphorical medium of the novel while being its central theme. Objects and the subjects’ relation to them are thus placed at the crossroads between an anthropological, a Marxian, and a Freudian conception of fetishism. Dickens weaves his story around the unifying thread between these three facets of the fetishistic paradigm starting from his conception of the latter as a symptom accounting for what is wrong not only with individual lives but also with collective experience. Yet the spear that wounds can also heal, and that is why Dickens’s idea of salutary fetishism as a remedy to the maladies of the self and of society does not undermine his attempt at ‘defetishizing critique’ in The Old Curiosity Shop.
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COVAN, Adrian D. "EPISCOPUL ȘI / SAU RECEPTAREA SOBORNICEASCĂ A KATHOLICITĂȚII (ΚΑΘΟΛΙΚΉ) BISERICII." Revista Românească de Studii Axiologice 2, no. 3 (January 24, 2021): 39–45. http://dx.doi.org/10.26520/rrsa.2021.2.3.39-45.
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In the Symbol of Faith, we profess that the Church is Catholic. Therefore, we can understand this catholicity in several ways. First of them, the Church is catholic because it proclaims the apostolic faith in its entirety; she is the place where we meet Christ in his sacraments and receive the spiritual gifts needed to grow in holiness together with our brothers and sisters. The Church is also catholic because its communion embraces the whole human been, and she is sent to bring to the entire world the joy of redemption. Not eventually, the Church is catholic because it reconciles the wonderful diversity of God’s gifts to build up His People in love, unity and harmony.
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COVAN, Adrian D. "THE BISHOP AND/OR THE ECCLESIAL RECEPTION OF THE CATHOLICITY (ΚΑΘΟΛΙΚΉ) OF THE CHURCH." Icoana Credintei 7, no. 13 (January 24, 2021): 24–30. http://dx.doi.org/10.26520/icoana.2021.13.7.24-30.
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In the Symbol of Faith, we profess that the Church is Catholic. Therefore, we can understand this catholicity in several ways. First of them, the Church is catholic because it proclaims the apostolic faith in its entirety; she is the place where we meet Christ in his sacraments and receive the spiritual gifts needed to grow in holiness together with our brothers and sisters. The Church is also catholic because its communion embraces the whole human been, and she is sent to bring to the entire world the joy of redemption. Not eventually, the Church is catholic because it reconciles the wonderful diversity of God’s gifts to build up His People in love, unity and harmony.
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Taube, Karl A. "THE SYMBOLISM OF JADE IN CLASSIC MAYA RELIGION." Ancient Mesoamerica 16, no. 1 (January 2005): 23–50. http://dx.doi.org/10.1017/s0956536105050017.
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The Classic Maya esteemed jadeite not only for its preciousness and beauty but also as stone of great symbolic import. This paper examines the religious significance of jade and certain types of jade artifacts among the Classic Maya. In this study, I note that the Classic Maya ascribed a number of meanings to jade, including maize, centrality, and rulership, as well as a material embodiment of wind and the vitalizing breath soul. Because of its close relationship to the breath spirit, jade was an important component of funerary rites and the ritual conjuring of gods and ancestors. Carved in floral form, jade earspools were considered supernatural sources or passageways for the breath spirit, frequently portrayed as a bead or a serpent emerging from the center of the jade flare. A common Classic Maya death expression,och b'ih, pertains directly to resurrection of the soul through the symbolism of earspools. Many of the symbolic meanings and imagery found with Classic Maya jade also appears with other cultures of ancient Mesoamerica, including Teotihuacan, Xochicalco, and the contact-period Aztec. Rather than being wholly of Classic Maya origin, many aspects of this jade symbolism and related artifacts can be also found among the earlier Middle Formative Olmec.
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LeCount, Lisa J. "KA'KAW POTS AND COMMON CONTAINERS: CREATING HISTORIES AND COLLECTIVE MEMORIES AMONG THE CLASSIC MAYA OF XUNANTUNICH, BELIZE." Ancient Mesoamerica 21, no. 2 (2010): 341–51. http://dx.doi.org/10.1017/s095653611000026x.
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AbstractReconstruction of foodways at the Lowland Maya center of Xunantunich, Belize, illustrates how commensality is fundamental to the construction of multilayered identities. Collective memory and linear histories form the foundation of identities because they are the mental frameworks people use to construct shared pasts. At Xunantunich, community identity was expressed though pottery and practices associated with the preparation of foods for domestic consumption and public offerings. In a world of natural cycles centered on family reproduction, horticultural activities, and yearly ceremonies, these symbols and rituals structured the lives of all people and embodied within them a collective memory of community. Linear histories were recorded in images and texts on drinking paraphernalia that were likely used for toasting honored individuals, ancestors, or gods during commemorative rites. These inscriptions and bodily practices marked individuals and their houses as people and places of prominence with separate identities.
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Purwanto, Heri, and Kadek Dedy Prawirajaya R. "TRACING VISHNU THROUGH ARCHAEOLOGICAL REMAINS AT THE WESTERN SLOPE OF MOUNT LAWU." KALPATARU 29, no. 1 (July 15, 2020): 15–28. http://dx.doi.org/10.24832/kpt.v29i1.664.
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Abstract. To date, The West Slope area of Mount Lawu has quite a lot of archaeological remains originated from Prehistoric Period to Colonial Period. The number of religious shrines built on Mount Lawu had increased during the Late Majapahit period and were inhabited and used by high priests (rsi) and ascetics. The religious community was resigned to a quiet place, deserted, and placed far away on purpose to be closer to God. All religious activities were held to worship Gods. This study aims to trace Vishnu through archaeological remains. Archaeological methods used in this study are observation, description, and explanation. Result of this study shows that no statue has ever been identified as Vishnu. However, based on archeological data, the signs or symbols that indicated the existence of Vishnu had clearly been observed. The archeological evidences are the tortoise statue as a form of Vishnu Avatar, Garuda as the vehicle of Vishnu, a figure riding Garuda, a figure carrying cakra (the main weapon of Vishnu), and soles of his feet (trivikrama of Vishnu).
Keyword: Mount Lawu, Symbols, Vishnu
Abstrak. Kawasan Lereng Barat Gunung Lawu hingga saat ini cukup banyak menyimpan tinggalan arkeologi, baik yang berasal dari Masa Prasejarah hingga Masa Kolonial. Jumlah bangunan suci keagamaan yang didirikan mengalami peningkatan ketika masa Majapahit Akhir, yang diyakini dibangun dan dihuni oleh kaum rsi dan pertapa. Kaum agamawan tersebut sengaja mengundurkan diri ke tempat yang sunyi, sepi, dan jauh dari keramaian untuk mendekatkan diri kepada Tuhan. Sudah barang tentu kegiataan keagamaan yang dilakukan adalah pemujaan terhadap para dewa. Kajian ini ingin menelusuri jejak keberadaan Wisnu melalui tinggalan arkeologi yang ada. Untuk menyelesaikan permasalahan tersebut digunakan metode arkeologi yakni observasi, deskripsi, dan ekplanasi. Hasil dari kajian ini menunjukkan bahwa hingga sekarang belum ditemukan adanya arca Wisnu, namun berdasarkan tanda dan simbol yang berkaitan dengan Wisnu jelas teramati. Bukti-bukti tersebut adalah arca kura-kura yang merupakan salah satu wujud dari avatara Wisnu, Garuda wahana dari Wisnu, tokoh menunggang garuda, tokoh membawa cakra (senjata utama dari Wisnu), dan telapak kaki (trivikrama Wisnu).
Kata kunci: Gunung Lawu, Simbol, Wisnu
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Ochonicky, Adam. "‘Something to be haunted by’: Adaptive monsters and regional mythologies in ‘The Forbidden’ and Candyman." Horror Studies 11, no. 1 (April 1, 2020): 101–22. http://dx.doi.org/10.1386/host_00013_1.
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Since Bernard Rose’s Candyman (1992) was first released more than 25 years ago, there has been a great deal of scholarly commentary on the film’s treatment of class, race, gender and urban legends. To a lesser degree, Clive Barker’s short story, ‘The Forbidden’ (1986), has received some critical attention largely because of its status as the source material for the film’s general premise and now-iconic central monster. This article expands on such existent scholarship by analysing regional mythologies and the cross-cultural adaptation of place-specific monsters within and across both texts. To develop these primary arguments, this article extracts a theory of adaptation and location from Neil Gaiman’s novel, American Gods ([2001] 2011), and applies that theory to the acts of adaptation pervading ‘The Forbidden’ and Candyman. In complementary ways, all three of these texts explicitly reflect on the complexities of adapting monsters to precise locales. Notably, both American Gods and Candyman take place in the American Midwest; this regional setting greatly impacts the conceptualization of each narrative’s supernatural beings (Gaiman’s cohort of gods and the Candyman, respectively). Within popular culture, the Midwest is regularly depicted as both a site of nostalgic memory and a cultural space defined by the willful forgetting or elision of history. This article asserts the importance of recognizing the Midwest as a recurrent staging ground for horror narratives, particularly those featuring monsters who embody forgotten, misremembered, suppressed or denied pieces of history. Further, by examining such regional dynamics in American Gods and Candyman, this article develops the concept of ‘adaptive monsters’, which describes horrific beings who assume symbolic attributes of the historical, cultural and/or spatial environments into which they are adapted. Overall, through analyses of ‘The Forbidden’, Candyman and American Gods, this article demonstrates how regional mythologies (especially those of the Midwest) shape the adaptation of monstrous beings in horror narratives and across textual forms.
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Robinson, Laura. "The cyberself: the self-ing project goes online, symbolic interaction in the digital age." New Media & Society 9, no. 1 (February 2007): 93–110. http://dx.doi.org/10.1177/1461444807072216.
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Gorn, Elliott J. "The Manassa Mauler and the Fighting Marine: An Interpretation of the Dempsey–Tunney Fights." Journal of American Studies 19, no. 1 (April 1985): 27–47. http://dx.doi.org/10.1017/s002187580002003x.
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I often have heard boxing fans remark that the prize ring reveals life the way it really is. The elemental combat between two individuals, the primal physical struggle, the quest for glory and fear of humiliation, all contribute to the belief that men in the ring are in touch with life's underlying realities. Significantly, depicting “life the way it really is” is precisely the role anthropologist Clifford Geertz ascribes to religious worldviews. Religions, Geertz tells us, do not just buttress social systems or justify conditions as men and women find them. They also explain the way the world works, cut behind surface appearances, and offer visions of underlying order which give meaning to daily life. Through drama and ritual, religion depicts the “really real” with idealized clarity. Religious symbols unmask the way the universe is in sheer actuality and demonstrate the moving forces behind mundane affairs. The truism that America's popular religion is sports takes on new significance in light of Geertz' observation. And in the pantheon of the 1920s, no gods shone more brightly than the heroes of the ring.
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Fithoroini, Dayan. "TRADISI BUKA PINTU DALAM PERKAWINAN MASYARAKAT BANTEN: Studi terhadap Tradisi Ya Lail di Kampung Pakuncen Ciwedus, Cilegon." Al-Ahwal: Jurnal Hukum Keluarga Islam 13, no. 1 (March 19, 2021): 23. http://dx.doi.org/10.14421/ahwal.2020.23-30.
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This article discusses about the tradition of yalil/yalail practiced in Kampung Pakuncen Cilegon Banten in the process of marriage celebration. It is a symbol of the beginning of family life. This tradition is conducted after marriage contract. The discussion concentrate on the meaning of the tradition among the society. Based on empirical research, this paper argues that the tradition of yalil is a symbol of the arrival of the first time the groom goes to the bride's house and the acceptance of the bride’s family to the groom. In Kampung Pakuncen, Ya lail tradition has important meaning for the society, even it was considered as a compulsory in wedding procession and give impact to the validity of marriage. As a fruit of social development, contemporary development shows that ya lail is considered as a good tradition which does not give impact to the validity of marriage. Tulisan ini membahas tentang tradisi yalil/ya lail, sebuah tradisi yang ada dalam pesta perkawinan, yang dipraktikkan di Kampung Pakuncen, Cilegon, Banten. Tradisi Yalil ini dianggap sebagai simbol dimulainya kehidupan berumah tangga dan biasanya diadakan setelah akad nikah. Tulisan ini berfokus pada makna tradisi ya lail bagi masyarakat kampung Pakuncen. Berdasarkan penelitian empiris, tulisan ini menyimpulkan bahwa tradisi Yalil merupakan tanda kedatangan mempelai laki-laki ke rumah mempelai perempuan untuk pertama kalinya, dan simbol penerimaan keluarga mempelai perempuan terhadap mempelai laki-laki. Bagi masyarakat Pekuncen, tradisi Ya lail mempunyai makna yang penting dalam perkawinan. Tradisi ini pernah dianggap sebagai salah satu syarat yang menentukan sahnya perkawinan. Namun, seiring dengan perkembangan sosial yang terjadi, sekarang masyarakat hanya menganggap ya lail sebagai tradisi baik yang tidak berpengaruh terhadap keabsahan perkawinan.
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Jané, Maria Rosa Guasch. "The meaning of wine in Egyptian tombs: the three amphorae from Tutankhamun's burial chamber." Antiquity 85, no. 329 (August 2011): 851–58. http://dx.doi.org/10.1017/s0003598x00068356.
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Three wine jars in Tutankhamun's fabulously preserved burial chamber had been opened and placed east, west and south of the sarcophagus. By means of inscriptions, endorsed by residue analysis, the author distinguishes the contents as red wine, white wine and a high quality fortified wine, and goes on to argue for specific symbolic meanings for these choices in the context of religious change after Akhenaten.
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Myles, David. "‘Anne goes rogue for abortion rights!’: Hashtag feminism and the polyphonic nature of activist discourse." New Media & Society 21, no. 2 (September 20, 2018): 507–27. http://dx.doi.org/10.1177/1461444818800242.
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In the emerging context of hashtag feminism, this article explores the #SupportIslandWomen pro-choice initiative in Prince Edward Island (PEI), Canada. The movement gained visibility by using the altered image of Anne of Green Gables (rogue Anne) on posters and graffiti throughout PEI and on social media. Drawing from organizational discourse theory, we analyse how rogue Anne was invoked by activists who spoke in her name, thus enacting the polyphonic nature of discourse. Our case study was built by performing non-participant observation online and by conducting a search in Canadian blogs and newspapers. First, we detail the discursive practices developed within the #SupportIslandWomen movement and underline their constitutive effects, namely, by focusing on the organizing properties of the hashtag feature. Then, we investigate the benefits and limitations of using rogue Anne as a unifying symbol and reflect on the discursive struggles that led to and were generated by her usurpation.
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Movahedi, Siamak. "Cultural Preconceptions of Time: Can We Use Operational Time to Meddle in God's Time?" Comparative Studies in Society and History 27, no. 3 (July 1985): 385–400. http://dx.doi.org/10.1017/s001041750001149x.
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Almost on the eve of the Iranian revolution, the shah's regime adopted a policy of daylight-saving time to cope with a chronic power shortage in Tehran, a densely populated city of more than four million people. The clock was moved ahead by an hour in the spring and set back again in the fall. Few decisions of the old government evoked as much public criticism and outcry as this one. Thousands of complaints were registered against the plan. The Department of Energy was swamped by daily protest letters and phone calls. Iran's daily newspapers printed hundreds of letters and editorials decrying the idea as absurd and futile. Comedians capitalized on the arbitrary nature of the official time as they sought to mobilize public ridicule of the government. Many people rejected the plan outright and adhered to the old time. Others kept both times. When you asked someone for the time of the day, the immediate response was “which time do you mean, the old time or the new time?” For some people, the rejection of daylight-saving time became a symbol of opposition to the shah's regime—it was at least justified as such.
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Gabowitsch, Mischa. "Belarusian Protest: Regimes of Engagement and Coordination." Slavic Review 80, no. 1 (2021): 27–37. http://dx.doi.org/10.1017/slr.2021.28.
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The Belarusian protest movement that started in August 2020 has been discussed from the point of view of strategy and objectives, and as the cradle of a new subjectivity. This essay goes beyond those two perspectives by looking at the regimes of engagement, developing in interaction with the material and technological environment, that have given the protests their distinctive style. The first part looks at coordination and representation at protest events and in producing protest symbols such as flags. The second part discusses the role of Telegram and the emergence of local protest groups. Even though the movement did not grow organically out of everyday concerns, there are some signs that it has begun to reassemble local communities from above. Yet there are also indications that politics continues to be seen as distinct from everyday life, making it uncertain that the movement will lead to a deeper transformation of society.
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Loos, Eugène. "Language Choice, Linguistic Capital and Symbolic Domination in the European Union." Language Problems and Language Planning 24, no. 1 (December 6, 2000): 37–53. http://dx.doi.org/10.1075/lplp.24.1.04loo.
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The current linguistic regime in the institutions of the European Union is highly complex. The EU considers that equal status for its official languages goes to the heart of what the Union is all about. Actually, the member states are not willing to grant another language recognition. Bourdieu’s publication Language and Symbolic Power (1992) helps explain this unwillingness: an official language can be considered as “linguistic capital” which affords its holders “symbolic power”. On the other hand, when new countries join the European Union it is not inconceivable that, for reasons of a utilitarian and financial-economic nature, there will be a shift in favour of the exclusively institutional use of English in the long term. Bourdieu’s analysis of the mechanisms which underlie the process of linguistic unification during the construction of the French nation state in the nineteenth century answers the question whether the mechanisms which led to the use of French as common language for France also apply to the language choice in the EU.
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Dimitriu, I. "The trickster and the prison house: The Bakhtinian dimension of ‘the carnivalesque’ in Breyten Breytenbach’s True Confessions of an Albino Terrorist." Literator 16, no. 1 (April 30, 1995): 127–38. http://dx.doi.org/10.4102/lit.v16i1.598.
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This paper undertakes an analysis of Breytenbach’s prison book in terms of the autobiographer's psychological response to his experience of incarceration. Breytenbach’s ‘gallows humour' is shown to parallel the Bakhtinian ‘carnivalesque' with its symbolic destruction of official authority on the one hand, and the assertion of spiritual renewal on the other While looking into the carnivalesque dimension of gallows humour as mediated through the literary device of the trickster figure, I shall show that ‘the laughter of irreverence' goes beyond mere verbal playfulness in that it is part of a spiritually-based programme of opposition.
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Pena, Joabson Xavier. "Wearing the Cosmos: The High Priestly Attire in Josephus’ Judean Antiquities." Journal for the Study of Judaism 52, no. 3 (February 23, 2021): 359–87. http://dx.doi.org/10.1163/15700631-bja10015.
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Abstract In his recounting of the Exodus narrative of the making of the priestly vestments in Judean Antiquities 3.151-180, 184-187, Josephus provides a vivid description of the high priest’s wardrobe, including its cosmological connotations. This article shows that Josephus uses cosmological motifs in his recounting of the high priestly attire in order to convey a message to his intended audience in Rome. Josephus adds his own accents to the biblical narrative to convince his public that the high priest’s fine clothing functions as a statement that the Judean God is not a national deity with restricted power, but the Highest God, who is the only creator, maintainer, and supreme ruler of the universe. Seen from this perspective, we observe Josephus in dialogue with a well-established Greco-Roman clothing imagery tradition that portrays gods and mortals in symbolic garments to enhance their far-reaching power or authority.
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Sergeeva, Valentina S. "Food Symbolism in the World of Vision of Piers Plowman." Studia Litterarum 6, no. 2 (2021): 28–49. http://dx.doi.org/10.22455/10.22455/2500-4247-2021-6-2-28-49.
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W. Langland’s allegorical poem Vision of Piers Plowman is one of the key works of the medieval religious literature. Scenes of eating or drinking are among its most important episodes. The sacral meaning of food in the poem originates in the context of medieval theology appearing around certain evangelic images (“I am the bread of life,” etc.) Each time when the characters eat or drink the realization of Christian dogmas is having place, or, on the contrary, they are refused, because the abundance of “daily bread” leads to spiritual deafness. Gluttony goes hand in hand with hypocrisy, and in the world of the poem it appears not only as over-eating but also as rejecting any real Christian practice. A glutton wastes goods he could give out to the needy, as well as the treasures of his soul; and if he is of the learned, he deprives the “little ones” of their spiritual repast, too. W. Langland includes everyday events and doings into the supertemporal Bible narrative, thus actualizing them for all his Christian readers. As the result of such text organization, food-related episodes appear to be linking spots for the main themes of the poem (Christian life, charity, love, knowledge).
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Sergeeva, Valentina S. "Food Symbolism in the World of Vision of Piers Plowman." Studia Litterarum 6, no. 2 (2021): 28–49. http://dx.doi.org/10.22455/2500-4247-2021-6-2-28-49.
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W. Langland’s allegorical poem Vision of Piers Plowman is one of the key works of the medieval religious literature. Scenes of eating or drinking are among its most important episodes. The sacral meaning of food in the poem originates in the context of medieval theology appearing around certain evangelic images (“I am the bread of life,” etc.) Each time when the characters eat or drink the realization of Christian dogmas is having place, or, on the contrary, they are refused, because the abundance of “daily bread” leads to spiritual deafness. Gluttony goes hand in hand with hypocrisy, and in the world of the poem it appears not only as over-eating but also as rejecting any real Christian practice. A glutton wastes goods he could give out to the needy, as well as the treasures of his soul; and if he is of the learned, he deprives the “little ones” of their spiritual repast, too. W. Langland includes everyday events and doings into the supertemporal Bible narrative, thus actualizing them for all his Christian readers. As the result of such text organization, food-related episodes appear to be linking spots for the main themes of the poem (Christian life, charity, love, knowledge).
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Nuban Timo, Ebenhaizer Imanuel. "Church Tradition and Culture: No Admission of Children to the Holy Communion." EDULEAD: Journal of Christian Education and Leadership 2, no. 1 (June 1, 2021): 36–52. http://dx.doi.org/10.47530/edulead.v2i1.57.
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Abstrak
Penulis mendiskusikan sikap penolakan terhadap kehadiran anak-anak penerima baptisan dalam perayaan Perjamuan Kudus sebagaimana yang dipraktekkan kebanyakan jemaat dalam lingkungan Gereja Kristen Jawa (GKJ). Bertolak dari penelitian terhadap Pokok-Pokok Ajaran (PPA) GKJ, penulis menunjukkan adanya inkonsistensi dalam penerapan PPA-GKJ. Pada satu sisi GKJ memahami Perjamuan Kudus sebagai perlambang kehidupan keluarga Allah. Tetapi pada sisi lain, anak-anak penerima baptisan tidak terhisab dalam keluarga Allah sehingga ditolak kehadirannya dalam Perjamuan Kudus. Ada dua penyebab yang melandasi praktek ini. Pertama, penetapan persyaratan yang terlalu tinggi bagi keikut-sertaan dalam Perjamuan Kudus. Kedua, masih kuat pengaruh paham dalam budaya Jawa tradisional tentang anak-anak sebagai kaum yang tidak bisa disetarakan dengan orang dewasa. Perspektif rangkap dari Roberth Schreiter yakni membuka tradisi gereja dan membuka budaya dipakai penulis untuk memperlihatkan bahwa penolakan terhadap anak-anak dalam Perjamuan Kudus merupakan tindakan yang bertentangan dengan hakikat Perjamuan Kudus.
Abstract
The author discusses the prohibition of entry of baptized children in the celebration of Holy Communion as practiced by most congregations in Christian Church of Java (Gereja Kristen Jawa/GKJ, Bahasa Indonesia). Drawing from the research conducted on the Principle Teachings (Pokok-Pokok Ajaran/PPA, Bahasa Indonesia) of GKJ, the author explains that there are inconsistencies in the implementation of PPA-GKJ. On one hand, GKJ understands that the Holy Communion is a symbol of life in God’s family. On the other hand, baptized children are not included within God’s family, which is the reason why they are not allowed to attend Holy Communion. There are two main reasons why this happens. First, difficult requirement for the permission to attend Holy Communion. Second, strong traditional Javanese ideology to exclude children from adult activities. The author employs Double perspective from Roberth Schreiter to analyze church tradition and culture to show that excluding children from Holy Communion contrasts to the main essence of Holy Communion.
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Jasiński, Tomasz. "Muzyka obrazu. Impresja na temat Riepina." Annales Universitatis Mariae Curie-Sklodowska, sectio L – Artes 16, no. 1/2 (June 14, 2019): 273. http://dx.doi.org/10.17951/l.2018.16.1/2.273-287.
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<p>Jakkolwiek malarstwo ma zasadniczo inną naturę niż muzyka, która w przeciwieństwie do nieruchomego obrazu rozwija się w czasie, to zdarza się, że dzieło sztuki malarskiej wkracza – w trakcie aktu percepcji – w ów obcy sobie, a immanentny muzyce wymiar. Gdy uważnie wpatrujemy się w obraz, kontemplujemy go z największą intensywnością, angażując wiedzę, erudycję, pamięć, myśl, uruchamiając jednocześnie całą naszą wyobraźnię, to przy takiej właśnie percepcji widniejące na płótnie postacie, widoki, sceny mogą przejść w sferę temporalności. Patrząc bowiem na roztaczające się przed nami znaki plastyczne z ową twórczą koncentracją i najdalej posuniętą przenikliwością, „dopisujemy” do nich dodatkowe sensy, wyposażamy je w nowe atrybuty, symbole, nieprzeczuwane wcześniej treści. Naszą wewnętrzną pracą wprawiamy je w ruch. Rezultatem wszystkich tych niezwykłych doznań rodzących się w naszej jaźni jest to, że przeżywamy jakąś historię, która rozgrywa się już w toku czasowym. Obraz zaczyna żyć w nowej, odmienionej perspektywie; niczym muzyka – w sekwencjach, splotach i nawarstwieniach zdarzeń przeszłych, teraźniejszych, przyszłych. Powstaje rodzaj wielowymiarowej „kompozycji” rozwijanej w przestrzeni czasu. To swoista temporalna eksterioryzacja dzieła malarskiego – które wychodzi poza siebie i rozprzestrzenia się w czasie. Fenomen ten, opisany przed laty przez Gustawa Holoubka, autor artykułu stara się odkryć w obrazie <em>Nie żdali</em> wybitnego malarza rosyjskiego Ilji Riepina (1844-1930).</p><p><strong>The Music of a Picture. Impressions on Repin</strong></p>SUMMARY<p>Although painting is of quite different nature than music which, in contrast to the motionless picture, develops in time, it sometimes happens that the work of art enters – during the perception act – this strange dimension immanent for music. When we attentively look at the picture, we contemplate it with the highest intensity, engaging our knowledge, erudition, memory, thought, and at the same time initiating all our imagination; it is with such perception that the fi gures, views, and scenes observable in the picture may evolve into the sphere of temporality. Looking at these fi ne arts signs in front us, with this creative concentration and furthest reaching perceptiveness we “add” to them additional meanings, we equip them with new attributes, symbols, and content unfelt earlier. Through our inner work we make them move. The result of all these unusual experiences born in our ego is the fact that we experience a history which takes place in a time course. The picture starts living in a new, different perspective; like music – in sequences, tangles, and layers of past, modern, and future events. A kind of multi-dimensional “composition” developed in the temporal space is being composed. This is a unique temporal exteriorization of a painting work – which goes beyond itself and is spread in time. The author tries to fi nd this phenomenon, described long ago by Gustaw Holoubek, in the picture Ne zhdali [Unexpected Return/Visitors] painted by an eminent Russian painter Ilya Repin (1844-1930).</p>
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Sierz, Aleks. "John Osborne and the Myth of Anger." New Theatre Quarterly 12, no. 46 (May 1996): 136–46. http://dx.doi.org/10.1017/s0266464x00009969.
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John Osborne's Look Back in Anger is one of a handful of plays which have attained iconic status, becoming a symbolic work which means much more than the message of the play. Aleks Sierz examines Look Back in Anger not as a literary text or performance event but as a myth factory. After showing how the anger at the centre of the play depends on non-verbal signs such as emotionality, he goes on to show how John Osborne and his anti-hero Jimmy Porter became fused in the public mind into a symbolic figure, the Angry Young Man – a crucial ingredient in making Look Back in Anger part of a narrative of cultural revolution, in which a play mainly concerned with a problematic love affair turns into a political statement. He then questions the prevailing assumption, common in radical drama, that culture can be revolutionary, and asks whether radicalism in culture is a substitute for political radicalism. Aleks Sierz is theatre critic for Tribune.
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Karam Ally, Hamza. "‘Which Story do you Prefer?’: The Limits of the Symbolic in Yann Martel’s Life of Pi." Literature and Theology 34, no. 1 (January 29, 2020): 83–100. http://dx.doi.org/10.1093/litthe/frz048.
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Abstract This article investigates the symbolic and the material in Yann Martel’s novel Life of Pi. I develop through psychoanalytical and phenomenological argumentation a reading of Martel’s book as an updating of Herman Melville’s Moby Dick, in the sense that each tempts its protagonist to try to glimpse the presence of the divine within the indifferent mutability of animal natures. Like Ishmael, who alternatively perceives Ahab as Jonah and Job, Martel’s castaway Piscine asks us to choose which ‘story’ about the universe we prefer, one in which nature is a window into God’s mind, and the other in which it refuses us this desire.
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Mielczarek, Natalia. "The dead Syrian refugee boy goes viral: funerary Aylan Kurdi memes as tools of mourning and visual reparation in remix culture." Visual Communication 19, no. 4 (September 3, 2018): 506–30. http://dx.doi.org/10.1177/1470357218797366.
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The picture of 3-year-old Syrian refugee Aylan Kurdi, whose dead body washed up on a Turkish beach in September 2015, was lauded as iconic after it went viral. Within hours, Aylan was a symbol, a hashtag and a meme. This project analyzes funerary Aylan memes to understand their meanings and functions as they proliferated in cyberspace. Through iconographic tracking and visual rhetorical analysis, the project expands the functions of memes from visual jokes and social and political commentary to tools of grieving and atonement. The study demonstrates how memes are deployed to subvert and renegotiate reality, in this case to create a ‘better ending’ for the child and seek reparations for his death. The project also suggests that the rhetorical powers of iconic images may be eroding in remix culture due to their digital appropriations.
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Selby, Gary S. "“Blameless at His Coming”: The Discursive Construction of Eschatological Reality in 1 Thessalonians." Rhetorica 17, no. 4 (1999): 385–410. http://dx.doi.org/10.1525/rh.1999.17.4.385.
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Abstract: This essay argues that in 1 Thessalonians, Paul uses eschatological discourse—language about the end of hme—in order to evoke a symbolic world-view in which his readers become God's elect, living at the end of time and awaiting the sudden, imminent retum of Christ from heaven. This self-identification explains their present misfortunes, while at the sam.e time demanding that they fulfill the ethical and moral demands of the Christian faith. More broadly, this essay points to the role that eschatological discourse played within early Christianity in general, suggesting that it formed a central, paradigmatic drama which helped to define ontological and teleological reality for the movement's adherents.
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Andrijasevic, Rutvica. "Beautiful Dead Bodies: Gender, Migration and Representation in Anti-Trafficking Campaigns." Feminist Review 86, no. 1 (July 2007): 24–44. http://dx.doi.org/10.1057/palgrave.fr.9400355.
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This essay addresses the link between sex trafficking and European citizesnhip by examining several anti-trafficking campaigns launched in post-socialist Europe. In illustrating which techniques are used in the production of images, it points to the highly symbolic and stereotypical constructions of femininity (victims) and masculinity (criminals) of eastern European nationals. A close analysis of female bodies dispayed in the campaigns indicates that the use of victimizing images goes hand in hand with the erotization of women's bodies. Wounded and dead women's bodies are read as attempts to stabilize the current political and social transformations in Europe by capturing women within the highly immobile boundaries of the sign ‘Woman’. The essay suggests that the representation of violence is thus violent itself since it confirms the stereotypes about eastern European women, equates the feminine with the passive object, severs the body from its materiality and from the historical context in which trafficking occurs, and finally confines women within the highly disabling symbolic register of ‘Woman’ as to maintain an imaginary social order in Europe.
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Putnam, Michael C. J. "Romulus Tropaeophorus (Aeneid 6.779–80)." Classical Quarterly 35, no. 1 (May 1985): 237–40. http://dx.doi.org/10.1017/s0009838800014737.
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A general consensus has emerged among twentieth-century commentators on the Aeneid that pater ipse…superum must be taken together and understood as referring to the father of the gods and not to Mars, sire of Romulus. What remains a subject of debate is the meaning of honor here and its particular association with Jupiter. Does it betoken the abstraction itself or a concrete manifestation of it? Austin, following Donatus, opts for the former alternative (‘probably no more than “majesty”’), Norden and R. D. Williams for the latter. Of these the first finds a reference to the Zeus-given sceptre of kings, the second to Jove's thunderbolt.The language of the passage argues in favour of metonymy for two reasons. First, we expect Anchises, when showing off Romulus, to adhere to the pattern he has already set in the two portions of his parade which have preceded. In the case of the initial hero, Silvius, we attend largely to genealogical background (760–6). The second segment, a group made up of Procas, Capys, Numitor and Aeneas Silvius, elicits from Aeneas' father a series of exclamations on the valour of their res gestae (767–77). Yet each also has a tangible symbol of martial virtus that distinguishes him.
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Weber, Paul J. "Democratizing the Kingdom of God - William Johnson Everett: God's Federal Republic: Reconstructing Our Governing Symbol. (Mahwah, NJ: Paulist Press, 1988. Pp. 204. $19.95.)." Review of Politics 50, no. 4 (1988): 760–61. http://dx.doi.org/10.1017/s0034670500042108.
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CARVALHÃO BUESCO, HELENA. "Seeing too much: the 1755 earthquake in literature." European Review 14, no. 3 (June 8, 2006): 329–38. http://dx.doi.org/10.1017/s1062798706000330.
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The 1755 Lisbon earthquake produced huge and diversified reactions in Portuguese literature. This paper aims at analysing some of the issues raised by these reactions, namely: the recognition of the disturbance, beginning as geographical and architectural, but soon becoming symbolic and anthropological; the effects on the understanding of a phenomenon which, because it goes beyond the frontiers of what is known, soon becomes a paradigm of the incomprehensible, with the consequent debates on how to make God compatible with the destruction that occurred, and the confirmation of fear and terror as the major effects of the event. The paradoxical relation between seeing (too much) and saying (too little) is stressed, as well as the visual, theatrical, and melodramatic components of several descriptions of the event.
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lonescu, Ghiţa. "Reading Notes, Winter 1996." Government and Opposition 31, no. 1 (January 1996): 100–109. http://dx.doi.org/10.1111/j.1477-7053.1996.tb00151.x.
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The good news is that the Queen Mother, at the age of 95, has undergone a successful hip replacement operation. The great lady is indeed a phenomenon of vitality. We can only wish that it will continue for many years to come, for she is, and recent events have proved it, an example of a monarchy which is popular without being populist. She is adored by the crowds, but she has never gone and never goes beyond the limits of her position. Incidentally, it was learnt recently that she has not given an interview to the Press since 1923. This is, to my mind, a sign of monarchical discretion. The populist style of monarchy, on the contrary, affects great familiarity with the media and finds itself, afterwards, the worse for it. But the Queen Mother is not only needed as a symbol of pure monarchy. Her presence is still very badly needed by the Queen who does need now as much help as she can get.
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McComb, Todd. "A Numerical Study of Very High Speed Flat Ship Theory." Journal of Ship Research 35, no. 01 (March 1, 1991): 63–72. http://dx.doi.org/10.5957/jsr.1991.35.1.63.
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This paper uses an asymptotic procedure to generate analytic solutions to the low-aspect-ratio problem of flat ship theory, in the limit for a very fast ship. The first two terms of the solution are worked out for hulls of parabolic planform and with 20 arbitrary constants in the expression for the draft. Optimizations are then performed for lift and drag on a smaller class of hulls. Analytic solutions were found by using symbolic computation, and the results are discussed. Optimal hulls are presented for various values of the ship's speed, optimized with both total lift and static lift held fixed. The optimization solution in the limit as the ship's speed goes to infinity gives independence of some constants in the expression for the hull.
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Muzakki, Akhmad, and Irham. "Tensions of Adam and Iblis in the Quran: The Imagology Approach." International Journal of Applied Linguistics and English Literature 10, no. 2 (March 31, 2021): 56. http://dx.doi.org/10.7575/aiac.ijalel.v.10n.2p.56.
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This study investigates the tensions between Adam and Iblis in the Quran by using imagology as the main approach. The main focus of the imagology approach reveals the interrelationship between text, intertext, and context altogether, by focusing on contextualizing them in the story. This approach does not intend to judge the truth of representations but to analyze their values important to build community weltanschauung (view of life) that leads them to a social change, a changing of meaning, and a new understanding. The findings demonstrate that a triangular conversation between Allah (henceforth, God), the angels and the satan on the creation of Adam showed the big scenario about Adam’s image as a noble creature. Adam’s noble image was because God teaches him names (asma’ or the epistemology of science) on earth where Adam was then symbolized as God’s representative on earth due to his creativity in revealing names which resembled God’s manner as a creator in making innovation and change. God then governed angels and satan to kneel down before Adam as a form of honor. All did it except the Iblis who refused to obey due to his feeling of superiority over Adam. A psycological tension between Iblis’s superiority which is not supported by the capacity of knowledge is defeated by Adam’s inferiority which is strengthened by knowledge. The word ‘kneel’ was actually a theological word applied to the relation between human and God, but the word was used in this context as a symbol of appreciation for science.
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Nyambi, Oliver. "“No more plastic balls”: Symbolic childhoods in Zimbabwean short stories of the crisis." Journal of Commonwealth Literature 53, no. 3 (November 21, 2016): 463–80. http://dx.doi.org/10.1177/0021989416677588.
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Post-2000 Zimbabwean literature in English demonstrates an unprecedented fascination with the child narrator. While there is some precedence for the use of child narrators or narratives that focus on child experiences to grapple with sociopolitical issues, the wide extent to which this style has been used post-2000 is unparalleled. The post-2000 socioeconomic crisis in Zimbabwe has clear victims; however, owing to the intensely polarized perspectives on its origins and nature, the identity of the victimizers is not so clear and is in fact hotly contested and politicized. As typical and “known” victims, their victimization can furtively reveal and reflect on their victimizers and in the process subtly expose them for knowing. This form of “knowing” transcends a mere discernment of the victimizers’ physical identities; it goes to the heart of their motives, apparent and subterranean political objectives, and means of attaining them. Victim child characters are often used symbolically to represent the weak and vulnerable members of society who are exploited as political fodder by the powerful. The symbolic children are seen to be caught in between the political goals and strategies of the powerful, and their victimization reveals overt and covert markings of their political abuse. This makes child-narrated or child-centred narratives possible sites to encounter the nexus between children’s victimization and the underhand methods of creating and sustaining political hegemony. This article explores this connection, particularly focusing on the aesthetic subtlety with which child-centred or child-focused narratives proffer a counter-discursive discourse which unsettles the dominant narratives presently given of victims and victimizers in a post-2000 Zimbabwean context.
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Francis, Peter. "Baba Ghor and the Ratanpur Rakshisha." Journal of the Economic and Social History of the Orient 29, no. 2 (1986): 198–205. http://dx.doi.org/10.1163/156852086x00108.
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AbstractAs the patron saint of the Indian agate bead industry, Baba Ghor is very important in any reconstruction of its history. The facts about him are quite scanty; we can only hypothetically reassemble them and understand his myth. Abbas, or Habash, a scion of the Malwa Ghors, died in a skirmish near Ratanpur in the early 15th century, probably fighting Ahmed Shah of Gujarat. He was buried on the hill which had long been sacred and was once graced with a fine temple of Makkhan Devi, the Mother Goddess. Her temple was likely destroyed by Ahmed's troops, not those of the Malwa Ghors. Ghor's grave became a place of pilgrimage, first serving the waxing Muslim strength in the area by providing an approved focus of worship. In time it became even more important to the Siddis, who appropriated Ghor as one of their own. He gave the Ratanpur Siddis respectability: in turn they serve his memory. The legends of Baba Ghor and the Ratanpur Rakshisha are not mere fantasy, for they serve the truth as symbols. Ghor represents the coming of Islam, the loss of the old gods, the destruction of the temples, and the forgetting of the old ways. A new dispensation came to Ratanpur and the agate bead industry, and as a result the age-old commerce changed its focus as Cambay replaced Limodra as the lapidary center. Ghor is alive for the Siddis and other Muslims in whose hands the industry is still concentrated. In a very real sense Ghor did encounter the Ratanpur Rakshisha. The Indian agate bead industry has never been the same since, nor can it be understood without taking their battle into account.
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Veebel, Viljar, Raul Markus, and Illimar Ploom. "EU-financed peripheral large-scale infrastructure projects and the White Elephant syndrome: The example of Rail Baltica." Acta Oeconomica 69, no. 1 (March 2019): 17–39. http://dx.doi.org/10.1556/032.2019.69.1.2.
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The present study revolves around the question of the appropriateness of “the White Elephant syndrome” to characterise the nature of the planned trans-Baltic railway project Rail Baltica (RB) in terms of its initial financing, long-term profitability and symbolic importance. Whereas, in general, the expected outcome of the project goes well together with the EU Cohesion Policy goals, in its concrete application RB could serve as an example of the tendency of politicians and public servants to institutionally lock themselves into certain irrational choices about publicly financed mega-projects. This is what “the White Elephant syndrome” metaphor illustrates. Methodologically, this paper aims to analyse whether RB meets the common criteria of “the White Elephant syndrome” of public investments or if it can be seen as a sustainable and profitable long-term project after the initial investment.
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Raven, Diederick. "How not to explain the Great Divide." Social Science Information 40, no. 3 (September 2001): 373–409. http://dx.doi.org/10.1177/053901801040003002.
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Detailed micro-sociological in situ case studies of science in action construe the intellectual endeavour that goes on in a laboratory as an “external” iterative process of manipulation of materialized strings of symbols, known as immutable mobiles. This article accepts that a theory of thinking with “eyes and hands” represents a fundamental step forward in our description and explanation of any kind of intellectual undertaking. It does however want to challenge the way this idea has been used, in what is known as the autonomous communication theory (ACT), to deflate the problem of the Great Divide by construing the crucial difference between oral societies and Western knowledge-based society solely in terms of the kind of immutable mobiles that are available in these societies. A general outline of this theory is given and particular attention is paid to the alleged objectifying potentialities of writing and printing. It is argued that the explanatory structure of ACT is theoretically flawed and its empirical claims contradicted by both ethnographic and historiographic evidence. Whereas ACT construes literacy and printing as monolithic phenomena which can be understood in terms of some decontextualized technical characteristic, this article suggests that they are multifaceted and that their function crucially depends on the social practices in which they are embedded. Some implications of this theoretical insight for STS in general are explored briefly at the end of this article.
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Kiyofon, Antoine, and Patrick Duffley. "Semantically-based functions of noun-class markers in Tagbana." Cognitive Linguistics 28, no. 1 (February 1, 2017): 131–54. http://dx.doi.org/10.1515/cog-2015-0100.
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AbstractThis paper addresses the use of noun-class markers in Tagbana from the perspective of a cognitively-inspired approach based on Langacker’s (2000. Grammar and conceptualization. Berlin & New York: Mouton de Gruyter) semiological principle. Drawing on this basic tenet of Cognitive Grammar according to which the symbolic function of language consists in making speakers’ conceptualizations auditorily or visually perceptible, it demonstrates that in syntactic constructions composed of ‘noun-stem+noun-class marker’ and ‘noun-class marker+identifier’, noun-class markers fulfil the semantic function of making explicit the way the speaker conceives of the experiential entity referred to in the utterance.This view goes beyond form-centred functions such as referent-tracking to include the signifying of complex conceptualizations involving more than one noun-class marker with the same noun-stem, as well as the discourse functions of indicating topicality, insistence on a referent’s existence and contrastive focus.
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Klein, Cecelia F. "THE DEVIL AND THE SKIRT." Ancient Mesoamerica 11, no. 1 (January 2000): 1–26. http://dx.doi.org/10.1017/s0956536100111010.
Full textAbstract:
Similarities in certain paintings and sculptures created by pre-Conquest and early Colonial Aztec artists strongly suggest that the original identities and nature of the tzitzimime changed over the decades following the Spanish conquest. These images support textual evidence that Spanish authors, typically mendicants and clergymen, quickly conflated the tzitzimime with the Devil and his servants, in the process demonizing and ultimately masculinizing them as well. Whereas the most important tzitzimime were apparently female in pre-Hispanic times, Colonial authors writing after the mid-sixteenth century described them as exclusively or predominantly male. The potential for the tzitzimime terrorizing people during periods of crisis, when the sun's continued passage through the firmament was perceived as doubtful, became the sole focus of late-Colonial descriptions of the role and attributes of the tzitzimime. In pre-Hispanic times, in contrast, the most important tzitzimime were ambivalent creator deities whose generative powers rendered them capable of preventing and curing illness as well as causing harm. In the beginning, the tzitzimime apparently were female, the principal tzitzimitl, Citlalinicue, having passed on her powers to her daughters and granddaughters. These descendants included the goddess Cihuacoatl who, like the goddess Citlalinicue, was the patroness of parturient Aztec women and midwives and closely associated with the souls of women who had died in childbirth. Itzpapalotl is another example, to which we can add Tlaltecuhtli, Coatlicue, and Coatlicue's four self-sacrificing sisters. It was probably not until the Aztec government was in a position to rework official history that the national male deity Huitzilopochtli was inserted into Aztec stories of the creation in his manifestation as Omitecuhtli, “Bone Lord.” Like other tzitzimime, however, Omitecuhtli was petitioned to heal the sick, especially children, and was subsequently called upon to bestow his generative powers on newly elected government officials. These magical powers were embedded in the tzitzimime's garments. Their capes and skirts were decorated with skulls and crossbones that were often combined with symbols of stars and, occasionally, stone knives. This explains why petitions for a tzitzimitl's assistance were apparently made at a stone platform bearing these same designs. The platforms represented the sacred capes and skirts that, legend suggests, were the essence of the gods. Midwives and curers of both sexes probably made special use of these platforms, which provided them direct access to the tzitzimime. Materializing the sacred garments that embodied the generative essence of the tzitzimime provided the Aztec with a means of petitioning their assistance in averting illness and cosmic destruction.