Journal articles: 'Ideograms'

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Modreanu, Cristina. "African Ideograms." PAJ: A Journal of Performance and Art 36, no. 3 (September 2014): 66–72. http://dx.doi.org/10.1162/pajj_a_00221.

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Sieburth, Richard. "Ideograms: Pound/Michaux." L'Esprit Créateur 26, no. 3 (1986): 15–27. http://dx.doi.org/10.1353/esp.1986.0058.

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Porter, Anne. "Isotopes and ideograms:." Claroscuro. Revista del Centro de Estudios sobre Diversidad Cultural, no. 18 (December 30, 2021): 1–34. http://dx.doi.org/10.35305/cl.vi18.73.

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The fundamental issue obscuring our understanding of the place of animal husbandry in the societies and economies of the ancient Near East remains definitional. The continual conflation of the term "mobile pastoralism" with politically and socially independent pastoralism has reached a point where mobile pastoralism is claimed never to have existed. Sheep and goat recovered from settlements that show evidence for foddering, or grazing on cultivated crops, is argued as proof of a lack of mobility, but this fails to take into account whether these animals are used for meat and milk, sacri ce, or their wool. It also does not distinguish between those animals kept for daily use by individual households and institutionally owned animals. The textual evidence from Mari, which describes mobile pastoralism, is argued to be anomalous. But, in fact, Mari pastoralism is not independent pastoralism either. It is, however, mobile and long-distance, as well as variable according to the particular pastoralist group under discussion. This paper argues that a wide range of textual material, of which the Mari archive is but one source, shows that multiple kinds of pastoralism coexisted in the ancient Near East, including multiple kinds of mobile, or distance, pastoralism, as distinct from independent pastoralism.

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Halstead, Paul. "Late bronze age grain crops and Linear B ideograms *65, *120, and *121." Annual of the British School at Athens 90 (November 1995): 229–34. http://dx.doi.org/10.1017/s0068245400016166.

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For late bronze age Greece, archaeobotanical research has demonstrated a striking range of grain crops, whereas only two or three categories of grain are recorded in Linear B texts. It is unlikely that each Linear B grain ideogram covers several crops, or that the paucity of grain ideograms results from the partial preservation of texts. It is argued that the Linear B evidence reflects selective palatial involvement in grain production, although the identity of the two or three crops documented in Linear B is uncertain.

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García Risueño, Pablo, Apostolos Syropoulos, and Natàlia Vergés. "Ideograms for Physics and Chemistry." Foundations of Physics 46, no. 12 (November 4, 2016): 1713–21. http://dx.doi.org/10.1007/s10701-016-0044-5.

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Petrović, Predrag. "The Christological Aspects of Hebrew Ideograms." Bogoslovni vestnik 79, no. 4 (2019): 1027–38. http://dx.doi.org/10.34291/bv2019/04/petrovic.

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Abstract: The linguistic form of the Hebrew Old Testament retained its ancient ideogram values included in the mystical directions and meanings originating from the divine way of addressing people. As such, the Old Hebrew alphabet has remained a true lexical treasure of the God-established mysteries of the ecclesiological way of existence. The ideographic meanings of the Old Hebrew language represent the form of a mystagogy through which God spoke to the Old Testament fathers about the mysteries of the divine creation, maintenance, and future re-creation of the world. Thus, the importance of the ideogram is reflected not only in the recognition of the Christological elements embedded in the very structure of the Old Testament narrative, but also in the ever-present working structure of the existence of the world initiated by the divine economy of salvation. In this way both the Old Testament and the New Testament Israelites testify to the historicizing character of the divine will by which the world was

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Dubois, J. E., D. Laurent, and J. Weber. "Chemical ideograms and molecular computer graphics." Visual Computer 1, no. 1 (July 1985): 49–63. http://dx.doi.org/10.1007/bf01901269.

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Sakhno, Irina. "Alexander Burganov’s Alternative Worlds and Visual Ideograms." Scientific and analytical journal Burganov House. The space of culture 16, no. 1 (March 10, 2020): 38–55. http://dx.doi.org/10.36340/2071-6818-2020-16-1-38-55.

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Summary: The creative work of famous Russian sculptor Alexander Nikolayevich Burganov in the context of a system of copyright signs and conventional symbols, the artist’s relationship with the world and himself from the standpoint of symbolic valency which combines two forms of sculptural expressiveness – figurative and abstract art, are analyzed in the article. Considering hidden comparisons in Burganov’s work, the author analyzes the mythological and metaphorical thinking of the artist who appeals to invariable ancient images and surreal poetics that ultimately form an organic constellation of images and their harmonious completeness. Alexander Burganov’s sculptures are a productive space for an ambivalent play of many meanings and visual tautologies. The artist’s original reflections involve visual patterns that the sculptor articulates in his works: tradition and antiquity, cultural memory and modern philosophical contexts, semiotics of drapery/folds, a cage as a special sign, a symbol. The sculptor’s image paradigm also develops at the intersection of visual and verbal contexts, although the word as such is absent; however, the narrative discourse is obvious. The use of diverse semantics of sculpture-gestures plays an important role. Alexander Burganov’s sculptures, establishing a movable border between tradition and the historical avant-garde, reduce and reproduce new cultural meanings. Overcoming the boundaries of artistic optics and recreating new polystylism, he models a special lightness of sculpture and mobility of images in his sculptural works. The author draws attention to the sculptor’s ability to combine the most diverse layers of culture thus translating the artist’s original semantics based on allusions and allegories giving the viewer the right to independently navigate through the mazes of visual memory. The author emphasizes that the dialogue between the artist and the audience through symbolically abstract signs begins to model new forms of artistic matter and affect the human ordering of the world. Burganov’s artistic practice recreates the space of another reality – the world behind the looking glass of everyday life. The sculptor’s alchemy is such that the viewer immerses into the space of spiritual worlds, comprehends the sculptural plasticity and its expressiveness using the language of allegories and symbols. The observer establishes the inner essence of things, hidden conceptual impulses, tries to discover the spiritual in the material.

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Shaked, Shaul, Bo Utas, and Henrik Samuel Nyberg. "A Dictionary of Aramaic Ideograms in Pahlavi." Journal of the American Oriental Society 113, no. 1 (January 1993): 75. http://dx.doi.org/10.2307/604197.

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Danilova, M. V., V. M. Bondarko, and Y. E. Shelepin. "Complexity of Chinese Ideograms is Related to the Number of Sampling Elements." Perception 26, no. 1_suppl (August 1997): 121. http://dx.doi.org/10.1068/v970057.

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Two sets of psychophysical experiments were carried out to find a qualitative measure of the complexity of visual images. The stimuli were 15 Chinese ideograms of the same size. In experiment 1, observers were asked to rate the complexity of images. In experiment 2, for each stimulus the threshold size was determined, defined as the smallest size for which the perceived quality of the image was the same as for large (2 deg) stimuli, ie all details were clearly seen and the stimuli had the same contrast. The measured threshold sizes were in the range 7.9 – 27.6 min arc. Analysing the data further, we found that for some ideograms the sizes of the minimal details (strokes, dots) corresponded to the resolution limit (1 min arc). Some ideograms contained parts with parallel stripes forming quasi-gratings. The distances between stripes at threshold were 1.8 min arc which corresponds to the tuning frequency of the highest spatial frequency channel (Wilson et al, 1983 Vision Research23 873 – 882). The average order of ideograms sorted by degree of complexity was similar to the order according to threshold size. Thus we found a direct correspondence between the complexity of an object and a description in terms of the minimal number of elements needed to preserve the quality of a reduced image. Our results are in agreement with concepts of complexity expressed as a number of details in objects as suggested by Landolt and Snellen, or as a number of spatial-frequency channels as suggested by Ginsburg (1971 IEEE Proceedings 283 – 290).

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Balthasar, Johannes. "Anthropological Ideograms. What Kind of Species is Man?" Philosophy and History 24, no. 1 (1991): 29. http://dx.doi.org/10.5840/philhist1991241/214.

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Chen, Hao. "Ideograms or pictograms? An introduction to Chinese characters." México y la Cuenca del Pacífico 4, no. 10 (January 1, 2015): 107–29. http://dx.doi.org/10.32870/mycp.v4i10.479.

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Gatti, Armand, Hélène Châtelain, and Wesley Hutchinson. "Seventeen Ideograms and the Search for the Wandering Word." New Theatre Quarterly 10, no. 38 (May 1994): 107–16. http://dx.doi.org/10.1017/s0266464x00000270.

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In NTQ 30 (1992) Dorothy Knowles provided a description and explication of the recent work of the visionary French director Armand Gatti. For what he calls his ‘plural writing’ projects, Gatti has increasingly come to recruit not actors but ‘actors’: those exclus or rejects who have been marginalized by society, but whose histories need both to be reclaimed and, in the process, given back to them – together with the dignity of which they have so often been stripped. Whether developing a performance within the close confines of a prison, or accommodating the constraints of ‘the system’ at the Avignon Festival, Gatti's voice and theatre are entirely distinctive – as also, paradoxically, is his ability to speak with and for the unheard voices of others. Here, he speaks for himself, describing both the inspiration and the evolution of his work in a style which characteristically combines pragmatism with lyricism. The article derives from a series of interviews conducted in 1991 by Hélène Châtelain – an actress who has worked with Gatti since 1966 – and first published in Le Monde Diplomatique for February 1992. The translator for NTQ, Wesley Hutchinson, wrote his doctoral thesis on Gatti at Trinity College, Dublin, and now lectures in the English Department of the University of Paris, Nanterre.

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Artsyshevska, O. R., and I. O. Hunchyk. "SEMANTICS OF GRAPHIC SIGNS-SYMBOLS-IDEOGRAMS OF TRANSLATION CURRICULUM." "Scientific notes of V. I. Vernadsky Taurida National University", Series: "Philology. Journalism" 1, no. 2 (2021): 262–68. http://dx.doi.org/10.32838/2710-4656/2021.2-1/44.

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Hunchuk, I. O., and S. O. Mykhalchuk. "FUNCTIONNING OF NUMERICAL SYMBOLS-IDEOGRAMS IN THE LANGUAGE SYSTEM." "Scientific notes of V. I. Vernadsky Taurida National University", Series: "Philology. Journalism" 1, no. 6 (2021): 197–201. http://dx.doi.org/10.32838/2710-4656/2021.6-1/35.

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Ajiginni, Margaret, and Bakare Olayinka Olumide. "Ibiebe Alphabet and Ideograms as Motifs for Fabric Embellishment." Advances in Social Sciences Research Journal 8, no. 10 (November 7, 2021): 545–55. http://dx.doi.org/10.14738/assrj.810.11077.

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The invented Bruce Onobrakpeya’s Ibiebe alphabet and ideogram (writing system) have not been explored maximally and redesigned as recurring motifs to embellish contemporary fabric. These are artistic codified graphical images that represent the visual translation of myths, legends, ideal concepts, and the philosophies of the Urhobo cultural heritage from Delta State. They are mostly explored in paintings and sculptural pieces for aesthetic and refinement purposes. Whereas, it is pertinent to encourage the integration of the creative potential of indigenous culture as visual concepts into contemporary works, since art is a potent medium for cultural dialogue. Therefore, this paper seeks to redesign the versatility and ingenuity embedded in Bruce Onobrakpeya’s formation as a recurring motif for fabric embellishment. It is essentially to provoke creativity, the development of knowledge, skills, in-studio experimentation/exploration, and the creation of new design possibilities with a diverse visual relationship. The Aesthetic theory propounded by Alexander Gottlieb Baumgarten (1714-1762) and the Modern Creativity theory by Kanematsu, H. and Barry, D. M. (2016) were adopted. The approach is exploratory and descriptive and relies on literal information. It will serve as an encyclopedia of redesigned motifs that cut across visual history.

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HSIA, HSIAO-CHUAN, HERNÁN VERA, and FELIX M. BERARDO. "Prolegomena for a Sociological Study of the Chinese Family in Indigenous Terms." Journal of Family Issues 20, no. 6 (November 1999): 789–806. http://dx.doi.org/10.1177/019251399020006004.

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We examine the Chinese family from an indigenous perspective. Starting from the meanings conveyed by the ideograms in the Chinese language, we analyze 4 different concepts into which the English term and sociological notion of family can be translated. Then, we examine the physical and ideological structures on which the ideograms are based. Our analysis reveals that the Chinese family has similarities with what in the West is called lineage and tribe, having complicated functions in politics, economics, and religion. Chinese views of family are related to a worldview that emphasizes continuity of being, which results in the distinctive emphasis on ancestor worship. Accompanying industrialization and urbanization, the Chinese in Taiwan have made adjustments to preserve the ideal of a joint family type and the equal obligation to support parents among sons, rather than moving toward a conjugal system, as W. J. Goode (1970) predicted.

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YACOUBIAN, Narineh. "The Twelve Gifts Lost by Adamand a List of Ideograms." Le Muséon 116, no. 1 (January 1, 2003): 45–52. http://dx.doi.org/10.2143/mus.116.1.342.

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Davey, Christopher J. "Crucibles in the Petrie Collection and Hieroglyphic Ideograms for Metal." Journal of Egyptian Archaeology 71 (1985): 142. http://dx.doi.org/10.2307/3821719.

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Davey, Christopher J. "Crucibles in the Petrie Collection and Hieroglyphic Ideograms for Metal." Journal of Egyptian Archaeology 71, no. 1 (August 1985): 142–48. http://dx.doi.org/10.1177/030751338507100114.

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Francke, Uta. "Digitized and differentially shaded human chromosome ideograms for genomic applications." Cytogenetic and Genome Research 65, no. 3 (1994): 206–19. http://dx.doi.org/10.1159/000133633.

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NAZARENKO, TATIANA. "WORDS ABANDONED: PICTOGRAMS AND IDEOGRAMS IN CONTEMPORARY RUSSIAN VISUAL POETRY." Canadian-American Slavic Studies 36, no. 4 (2002): 447–69. http://dx.doi.org/10.1163/221023902x00063.

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WEIH, Dalu Da. "Deciphering the Oracle Bone Script Г and its Derived Ideograms." International Journal of Chinese Character Studies 4, no. 2 (December 31, 2021): 169–233. http://dx.doi.org/10.18369/waccs.2021.4.2.169.

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Trošelj, Mirjana. "Prilog proučavanju ikonografskog motiva stabla svijeta/života na mirilima Južnog Velebita." Senjski zbornik 44, no. 1 (2017): 311–32. http://dx.doi.org/10.31953/sz.44.1.18.

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U radu se prikazuje ikonografsko-simbolička struktura ideograma arbor mundi (kozmičkog stabla, stabla svijeta/života na mirilištu Kosa Renjovačka na pola puta između naselja Reljinovca/Renjovca i groblja Ljubotić. Ideogrami se analiziraju stilsko-morfološki na mirilima i u funeralnoj umjetnosti na jednoj uzglavnici groba suhozidne gradnje tipa mirilo na groblju Ljubotić te na dvjema grobnim pločama na lunskom groblju na otoku Pagu. Analogno se uspoređuju s motivima istih ili sličnih ikonografskih osobina na širem geografskom prostoru. Pitanje predodžbe stabla svijeta u Podgorju pokreće u prvom redu pitanje rekonstrukcije njezinog tradicijskog religijsko-simboličkog značenja, na mirilima i na funeralnim spomenicima. Budući da je cilj ovoga rada prikazati ideogram stabla svijeta kao jedan od likovnih motiva koji do sada nije evidentiran u literaturi o likovnim prikazima na južnovelebitskim mirilištima, na pitanje shvaćanja njegove predodžbe do početka 20. stoljeća nije moguće dati konačan odgovor.

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Fasanaro, A. M., D. L. A. Spitaleri, R. Valiani, and D. Grossi. "Dissociation in Musical Reading: A Musician Affected by Alexia without Agraphia." Music Perception 7, no. 3 (1990): 259–72. http://dx.doi.org/10.2307/40285464.

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Previous works have postulated a similarity between music reading and text reading. Therefore it is interesting to evaluate both of these functions in an alexic subject. The patient investigated is a professional musician who had an ischemic lesion in the left temporoparieto-occipital region. Text reading showed pure alexia in which both the phonological and global routes were damaged. His ability to read correctly via matching tests showed that the word-form system was preserved. The reading of musical scores was damaged too and showed a dissociation between the reading of ideograms and rhythms (preserved) and the reading of notes (impaired). The results of note reading were analogous to those of word reading. Furthermore, the patient could read notes correctly via matching tests. On the basis of these findings, we propose a model of music reading where the reading of notes is based on a representational system analogous to that of words (the so-called internal language) whereas reading of ideograms and rhythms occurs via an internal representation unrelated to linguistic functions.

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SCRIVEN, P. N. "Communicating Chromosome Rearrangements and Their Outcomes Using Simple Computer-Generated Color Ideograms." Genetic Testing 2, no. 1 (January 1998): 71–74. http://dx.doi.org/10.1089/gte.1998.2.71.

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Joseph, Sunitha, Rebecca O’Connor, Abdullah Al Mutery, Mick Watson, Denis Larkin, and Darren Griffin. "Chromosome Level Genome Assembly and Comparative Genomics between Three Falcon Species Reveals an Unusual Pattern of Genome Organisation." Diversity 10, no. 4 (October 18, 2018): 113. http://dx.doi.org/10.3390/d10040113.

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Whole genome assemblies are crucial for understanding a wide range of aspects of falcon biology, including morphology, ecology, and physiology, and are thus essential for their care and conservation. A key aspect of the genome of any species is its karyotype, which can then be linked to the whole genome sequence to generate a so-called chromosome-level assembly. Chromosome-level assemblies are essential for marker assisted selection and genotype-phenotype correlations in breeding regimes, as well as determining patterns of gross genomic evolution. To date, only two falcon species have been sequenced and neither initially were assembled to the chromosome level. Falcons have atypical avian karyotypes with fewer chromosomes than other birds, presumably brought about by wholesale fusion. To date, however, published chromosome preparations are of poor quality, few chromosomes have been distinguished and standard ideograms have not been made. The purposes of this study were to generate analyzable karyotypes and ideograms of peregrine, saker, and gyr falcons, report on our recent generation of chromosome level sequence assemblies of peregrine and saker falcons, and for the first time, sequence the gyr falcon genome. Finally, we aimed to generate comparative genomic data between all three species and the reference chicken genome. Results revealed a diploid number of 2n = 50 for peregrine falcon and 2n = 52 for saker and gyr through high quality banded chromosomes. Standard ideograms that are generated here helped to map predicted chromosomal fragments (PCFs) from the genome sequences directly to chromosomes and thus generate chromosome level sequence assemblies for peregrine and saker falcons. Whole genome sequencing was successful in gyr falcon, but read depth and coverage was not sufficient to generate a chromosome level assembly. Nonetheless, comparative genomics revealed no differences in genome organization between gyr and saker falcons. When compared to peregrine falcon, saker/gyr differed by one interchromosomal and seven intrachromosomal rearrangements (a fusion plus seven inversions), whereas peregrine and saker/gyr differ from the reference chicken genome by 14/13 fusions (11 microchromosomal) and six fissions. The chromosomal differences between the species could potentially provide the basis of a screening test for hybrid animals.

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Klawitter, Arne. "Athanasius Kircher als Exeget ägyptischer Hieroglyphen und chinesischer Schriftzeichen." Daphnis 43, no. 2 (May 3, 2015): 392–413. http://dx.doi.org/10.1163/18796583-10000002.

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In many of his lavishly illustrated books, the German Jesuit scholar Athanasius Kircher deals with foreign writing systems such as hieroglyphs and ideograms. He claimed to have deciphered the Egyptian hieroglyphs, and in the supposed iconicity of Chinese written characters he wanted to track down an original resemblance to the objects. In fact, his assumptions were based on serious misunderstandings that were typical of his time. This article explores Kircher’s ‘christological hallucinations’ as a form of the 17th century’s ‘semiotic ideology’ and shows how his views have been adapted until the 18th and 19th century.

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Shekera, Ya. "The most ancient Chinese cosmogonica! ideas and their representation in ideograms of Chinese language." World of the Orient 2012, no. 3 (September 30, 2012): 109–14. http://dx.doi.org/10.15407/orientw2012.03.109.

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Nabeshima, Terutaka, and Yukio-Pegio Gunji. "Zipf’s law in phonograms and Weibull distribution in ideograms: comparison of English with Japanese." Biosystems 73, no. 2 (February 2004): 131–39. http://dx.doi.org/10.1016/j.biosystems.2003.11.002.

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Kozhukhovskaia, Iuliia. "Reflection of Solar Symbolism in the Burial Rite of the Kemi Oba Culture: Case Study of the Grave Cist Painting from Koyash Village." Vestnik Volgogradskogo gosudarstvennogo universiteta. Serija 4. Istorija. Regionovedenie. Mezhdunarodnye otnoshenija, no. 4 (October 2020): 300–314. http://dx.doi.org/10.15688/jvolsu4.2020.4.20.

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Introduction. The article focuses on the analysis of solar elements in the burial rite of the Kemi Oba culture of the Early Bronze Age. Methods and materials. The material draws attention to the painting of the grave cist from Koyash (Vodnoye) village that presents a set of mythopoetic schemes and plots, their interpretation proceeds from the processes of comprehension of the outside world. Analysis. The paper identifies the ideograms on the basis of the painting of the grave cist under study: the circle with a dot in its center, the concentric circle, the triangle. The burial rite of the Kemi Oba culture focuses on the conceptualization of the afterlife in terms of observations of the solar nature, which is consistent with the prevailing Indo-European concepts of the Bronze Age. The sign of the concentric circle in the Kemi Oba culture appears as a solar symbol based on the analogies in the Indo-European mythology. The ideogram is part of the plot with dynamic character, and participates in the mythopoetic scheme based on the dichotomies: up – down, this life – afterlife in the context of the Axis Mundi idea. Four suns as part of the plot of the painted cist demonstrate the non-static solar nature, its four states, and, consequently, suggests the solar myth that has a spatio-temporal realization. Results. The cosmological picture of the world of the Kemi-Oba people includes the processes of categorization of the environment objectified through the fragmentation of the path of the sun, i.e. duality and quaternary.

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Conley, Tom. "Deleuze and the Filmic Diagram." Deleuze Studies 5, no. 2 (July 2011): 163–76. http://dx.doi.org/10.3366/dls.2011.0016.

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This article aims to consider how the ‘diagram’ or ‘little machine’ is integral to the dissociative, at once polyvocal and polymorphous writing that marks the work of Blanchot and that, in turn, informs the disjunctive – hence critical and productive – operation within the register of Deleuze's writings on cinema. I shall consider a number of Deleuze's ‘keywords’ or recurring formulas as diagrams, that is, as intermediate configurations at once visual and lexical, in order to show how, like rebuses or ideograms, they form collisions and ruptures of voice and graphic form, in order to bring forward the ‘outside’ of thought – what cannot be put into language yet is conveyed in language.

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Horie, Shizuka, Takao Yamasaki, Tsuyoshi Okamoto, Shigeyuki Kan, Katsuya Ogata, Satoru Miyauchi, and Shozo Tobimatsu. "Distinct role of spatial frequency in dissociative reading of ideograms and phonograms: An fMRI study." NeuroImage 63, no. 2 (November 2012): 979–88. http://dx.doi.org/10.1016/j.neuroimage.2012.03.046.

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Wong, Kin-yuen. "As the Tree Greens: Deleuze's Form-Event Assemblage and Chinese Ideograms in a Biosemiotic Ecosystem." Deleuze and Guattari Studies 15, no. 2 (May 2021): 285–317. http://dx.doi.org/10.3366/dlgs.2021.0440.

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This paper takes Deleuze's idea ‘to green’ as a qualitative predicate which becomes a rhizomatic event where Jesper Hoffmeyer's ‘plant being’ contemplates through waves and rhythms (refrains), hence affects and percepts. The article then brings forward an intertwined group of Chinese ideograms which are designed with plant-radicals, making up an ecosystem towards the establishment of a new Chinese ecocriticism under the banner of biosemiotics. Such an effort will, hopefully, widen the scope and dimension of the new field of environmental humanities, with an emphasis on the scenario of affective attuning to the agency of vegetal life. The main purpose is to put Deleuze and Guattari's form-event assemblage within the stratification of regimes of signs in A Thousand Plateaus, in order to establish a ‘natureculture’ continuity not only between science and art, but also between a Western rethinking of language/culture and a Chinese ecosystem/ecocriticism.

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Manzardo, Ann M., Austen McGuire, and Merlin G. Butler. "Clinically relevant genetic biomarkers from the brain in alcoholism with representation on high resolution chromosome ideograms." Gene 560, no. 2 (April 2015): 184–94. http://dx.doi.org/10.1016/j.gene.2015.01.064.

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Boulanger, Jean-Claude, and Gaétane Lavigne. "Quelques caractéristiques du vocabulaire de l'acupuncture." Terminology 1, no. 1 (January 1, 1994): 17–40. http://dx.doi.org/10.1075/term.1.1.04bou.

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The authors study a few characteristics of French acupuncture vocabulary. Their observations are based on a corpus of texts gathered from approximately twenty works. The contacts between two languages with extremely divergent systems give rise to many borrowings, thereby increasing the number of synonyms in the receptor language, in particular given the necessity to Romanize the writing system of the borrower language. Transcribing Chinese ideograms into French causes virtually insurmountable phonological, spelling, grammatical, morphological, syntactic and other difficulties. Synonymy and borrowing are described critically by use of a Romanization protocol. They are examined from the standpoint of language planning and the internal functioning of an emerging terminology, partially based on foreign lexical units. A few directions are proposed to facilitate the standardization of this LSP vocabulary.

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PIEROZZI, NEIVA IZABEL, and MARA FERNANDES MOURA. "KARYOTYPE ANALYSIS IN GRAPEVINES." Revista Brasileira de Fruticultura 38, no. 1 (February 2016): 213–21. http://dx.doi.org/10.1590/0100-2945-280/14.

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ABSTRACT Seven species of Vitis L., V. champinii Planchon, V. cinerea (Engelm in Gray) Engelm, V. girdiana Munson, V. labrusca L., V. rotundifolia Michaux, V. rupestres Scheels and V. vinifera L. were studied with the purpose of complementing the karyomorphometric information for further comparative analyses. Based on ideograms and on chromosome measures obtained it was possible to see several differences among the species, which were enough to distinguish at least V. champinii and V. girdiana from the others as well as V. labrusca for the lowest measures and V. rotundifolia for the highest mean value of arm ratio. It seems that during the species diversification process the most crucial differences among them did not involve drastic changes in chromosome morphometry.

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Pavliv, Dmytro. "Semantics of images of funeral vessels from Rovantsi cemetery of the Final Bronze Age." Materials and studies on archaeology of Sub-Carpathian and Volhynian area 24 (December 24, 2020): 88–116. http://dx.doi.org/10.33402/mdapv.2020-24-88-116.

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The study of the semantics of images on archaeological artifacts is a matter of great interest, because the content of ornamental compositions, ideograms, symbolic signs can be interpreted in the context of the sphere of contemporary religious doctrines. This also applies to the ornamentation of ceramic ware found in burials. During the research of bi-ritual cemetery of Ulvivets-Rovantsi cultural group in Rovantsi (Volhyn region), dated back to the second half of IX–VIII centuries B.C., cinerary vase-urn with the remains of cremation was found. The vessel is decorated by images of four «trees» that stand on a wavy line and have raised branches and round tops. One of them differs by presence of broken branches. Comparative analysis of archaeological materials with using of ethnographic and folklore sources and examples from mythology allows us to explain the semantics of these symbolic signs, which form a holistic ideogram with figurative and symbolic meaning. It is confirmed that such an ideogram, which also occurs in the burial vessels of Corded Ware culture, Komarivska, Bilozerska, Pomeranian and especially Vysotska and Lusatian cultures, can be considered a universal sign system aimed at the figurative expression of one of the oldest religious doctrines. Image of a tree on a funerary vessel can be associated with image of the «world tree (tree of life)», a universal mythological archetype, a symbolic embodiment of the idea of rebirth, although it can also be a «tree of death» or a «tree of the underworld». It is also noted that it is possible to anthropomorphically interpret the image of a tree as a symbol of souls of the dead who stand on the banks of the river – boundaries of the worlds or float by the «river of death» to the afterlife, as evidenced by the image of water (river) under the tree. It is claimed that the images on the cinerary urn from Rovantsi represent magical signs-symbols used by ancient people, applied to the burial vessels to ensure «transition» of the dead to the afterlife and subsequent revival, possibly an encoded story about dead whose remains were buried in this vessel. After all, at the base of such beliefs is the ancient cult of ancestors known in wide areas in many cultures, which belong to different historical periods and ethnic groups. Key words: Late Bronze Age, Rovantsi cemetery, cremation, funerary vessels, semantics of images, magical signs-symbols, cult of ancestors, idea of revival.

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BENNETT-CARPENTER, BENJAMIN R., and MICHAEL J. MCCALLION. "Specialized, Ecclesial Ideography: The <New Evangelization> in the Catholic Church." Michigan Academician 41, no. 1 (January 1, 2012): 1–21. http://dx.doi.org/10.7245/0026-2005-41.1.1.

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ABSTRACT This article suggests that analysis of ideographs is useful within specialized contexts. The authors analyze the emergence of the <new evangelization> as an ideograph in the Roman Catholic Church at international, national, and local levels – metropolitan Detroit in particular. With its remarkable plasticity and power, <new evangelization> rhetoric has come to galvanize the leadership of the Catholic Church even as varying or conflicting ideas are advanced under that rhetoric. The <new evangelization> operates as a specialized ideograph that remains primarily internal to the Catholic Church but has implications beyond it. The authors suggest a continued and extensive application for analyzing ideographs in culture.

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Horie, Shizuka, Takao Yamasaki, Tsuyoshi Okamoto, Taisuke Nakashima, Katsuya Ogata, and Shozo Tobimatsu. "Differential roles of spatial frequency on reading processes for ideograms and phonograms: A high-density ERP study." Neuroscience Research 72, no. 1 (January 2012): 68–78. http://dx.doi.org/10.1016/j.neures.2011.10.003.

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Lazarovici, Gheorghe. "Focul în simbolistica neoliticului." Anuarul Muzeului Etnograif al Transilvaniei 29 (December 20, 2015): 221–47. http://dx.doi.org/10.47802/amet.2015.29.13.

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Fire is presented generally after 5 issues: the usual fire, thunderbolt, Sun, fire of penetration or absorption, fire of destruction. There are several objects containing symbols, signs or sacred scenes related with fire. Some of them represent ideograms, other mithogrames, representing means of communication between man and divinity in Heaven. It is necessary to remind of these messages, especially those discovered on small cult altars used for burning the offerings: Ocna Sibiului, Turdaş, Karanovo, Gradešnica etc. On other objects, such as the ceramic fragment discovered at Lozna, man sent arrow to the Sun (god of light and of diurnal heat). Sanctuary 2 at Parţa occupies an important place in the Neolithic man's relationship with chthonian and celestial deities, helping us to decipher the religious beliefs of those times.

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Carayannis, Elias G., Stephen C. Clark, Dora E. Valvi, Suki Stone, and Farnaz Sharifrazi. "Smartphone Affordance: Achieving Better Business through Innovation: Cross Industry: Cross Border." Advanced Materials Research 628 (December 2012): 337–42. http://dx.doi.org/10.4028/www.scientific.net/amr.628.337.

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This paper is a pilot study using qualitative analysis to obtain concepts related to individual perceptions of Chief Executive Officers within various industries internationally. These concepts are related to emerging technologies such as mobile devices and their usefulness within a business and personal context. Technology has played a role in human affairs including business for millennia – starting with the lighting of the first fire, the carving of ideograms on the walls of caves and inventing the first round artifact that would eventually serve as a wheel. This research has empirically documented the ways and means that mobile technologies and “Smart-phones” impact an executive’s productivity and efficiency at work by conducting a series of opened ended interviews. Our findings further corroborate the presence, role and impact of what we call “happy accidents” in terms of strategic knowledge serendipity and arbitrage (SKARSE™) as factors shaping and even driving choices made by business leaders with strategic intent and implications.

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Bessmertny, Igor A., Xiaoxi Huang, Aleksei V. Platonov, Chuqiao Yu, and Julia A. Koroleva. "Applying the Bell’s Test to Chinese Texts." Entropy 22, no. 3 (February 28, 2020): 275. http://dx.doi.org/10.3390/e22030275.

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Search engines are able to find documents containing patterns from a query. This approach can be used for alphabetic languages such as English. However, Chinese is highly dependent on context. The significant problem of Chinese text processing is the missing blanks between words, so it is necessary to segment the text to words before any other action. Algorithms for Chinese text segmentation should consider context; that is, the word segmentation process depends on other ideograms. As the existing segmentation algorithms are imperfect, we have considered an approach to build the context from all possible n-grams surrounding the query words. This paper proposes a quantum-inspired approach to rank Chinese text documents by their relevancy to the query. Particularly, this approach uses Bell’s test, which measures the quantum entanglement of two words within the context. The contexts of words are built using the hyperspace analogue to language (HAL) algorithm. Experiments fulfilled in three domains demonstrated that the proposed approach provides acceptable results.

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Jiang, Hongxin. "PAINTING AND POETRY: EZRA POUND’S “SEVEN LAKES CANTO” AND EIGHT VIEWS OF XIAO XIANG." Revista Brasileira de Literatura Comparada 22, no. 41 (December 2020): 84–94. http://dx.doi.org/10.1590/2596-304x20202241jh.

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Abstract: In the history of cultural exchange between China and the West, it’s a deed praised far and wide that the Chinese paintings Eight Views of Xiao Xiang had exerted great influence on Ezra Pound’s poetic work “Seven Lakes Canto” or “Canto 49.” By exploring the details of the paintings and tracing the influence of the paintings on the creation of the poem, this paper reveals that the etymological and compositional use of Chinese ideograms had an enormous impact on Pound’s thinking about poetry and cultural matters, and on the writing of The Cantos. Pound, by adopting the images of China in Eight Views of Xiao Xiang, finds another paradise, so the Chinese cultural elements enabled him to create a new entity in its own right: the Poundian poem. Discussion of Pound’s “Seven Lakes Canto” from his poetic and translation theories certifies that the poem can actually be perceived as a unique way of interpreting and displaying China.

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Butler, Merlin G., Syed K. Rafi, Austen McGuire, and Ann M. Manzardo. "Currently recognized clinically relevant and known genes for human reproduction and related infertility with representation on high-resolution chromosome ideograms." Gene 575, no. 1 (January 2016): 149–59. http://dx.doi.org/10.1016/j.gene.2015.08.057.

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Иванов, Константин Владимирович. "SEMIOLOGY OF PRELITERATE ASTRAL FIGURES." ΠΡΑΞΗMΑ. Journal of Visual Semiotics, no. 4(30) (October 28, 2021): 81–116. http://dx.doi.org/10.23951/2312-7899-2021-4-81-116.

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В течение долгого времени идеограммы и графемы неолитического периода интересовали преимущественно археологов, этнологов, культурологов и историков религии. Однако с развитием и упрочением дисциплинарных позиций археоастрономии они все больше становились предметом внимания историков астрономии. Несомненная ориентированность памятников эпохи бронзы по значимым солнечным и лунным направлениям, связанным с азимутами восхода и / или захода этих светил в экстремальные моменты солнечных и лунных циклов, убедительно свидетельствует о том, что представители бронзового века были неплохими астрономами. А это, в свою очередь, означает, что для полноценного понимания оставленной ими символики (если она действительно являлась таковой) нужно обладать компетенцией астронома, хорошо знакомого с основами хотя бы сферической астрономии. Эпоха бронзы в фазе ее наивысшего развития прекрасно ориентировалась по сторонам горизонта, имела представление о тропическом годе как о цикле повторений положений Солнца относительно горизонта, знала о солнцестояниях и равноденствиях, различала азимуты самой высокой и самой низкой Луны, возвела монументальную архитектуру для регулярных наблюдений за Солнцем и Луной и даже изобрела первое, идеографическое, письмо, хотя и не повсеместно. Очень сложно представить, чтобы столь насыщенная система представлений и действий родилась разом, без эволюционного накопления деталей этого довольно сложного знания и цепочек ярких прозрений, подготовивших итоговое открытие, материализовавшееся в каменных и письменных памятниках бронзового века. Указанное обстоятельство вынуждает нас с максимальной пристальностью всматриваться в символику эпох, предшествовавших бронзовому веку, а именно – в символику неолита и энеолита. Не сохранила ли она в себе каких-то следов формализации первичных астрономических наблюдений, результаты которых были усвоены, усовершенствованы и широко использованы представителями бронзового века? В данном исследовании предпринимается попытка, использовав систему значений неолитических знаков Ариэля Голана и гипотезу стадиального называния знаков зодиака Александра Гурштейна, выявить в комплексе неолитических символов, графем и идеограмм знаки, предположительно употреблявшиеся для обозначения астрономических значений. В ходе семиологического анализа неолитических идеограмм выявлены категории символов и знаков, сложно поддающихся интерпретации с точки зрения данных археологии и этнографии, но имеющих очевидные признаки корреляций с ритмами смены сезонов тропического года. Это так называемые знаки «двух солнц», «Ф-образные знаки» и «четырехчастно-парные символы». Анализ их вероятной семантики позволяет предположить, что появлению концепта «протозодиака» могло предшествовать более простое бинарное членение года, маркируемое оппозицией зимнего и летнего солнцестояний. В связи с этим внесены уточнения в гипотезу Гурштейна, касающиеся семантики и символической значимости первого зодиакального квартета. For a long time, ideograms and graphemes of the Neolithic period were primarily the particular archaeological, ethnological, cultural, and theological interest. However, as archaeoastronomy consolidated its disciplinary positions, they were increasingly becoming a matter of attention for historians of astronomy. Indisputable alignments of archaeological remains toward the points of midsummer and midwinter risings and settings of the sun shows conclusively that people of the Bronze Age were expected to have a still greater knowledge of astronomy. The broad truth of the cyclical movements of the points of rising and setting and their correlation with the cycle of growth in nature was certainly known from very early times. That, in turn, means that the thorough understanding of the oldest symbolism to have come down to us – if it, in fact, was so – is only possible when a researcher is familiar at least with spherical astronomy. At their highest stage of development the Bronze Age people certainly knew the cardinal points of the horizon; they were aware of the tropical year as a cycle of repetition of the position of the sun against the horizon; they knew about solstices and equinoxes; some of them distinguished between azimuth positions of the highest and the lowest moon; they built monumental architecture for regular observations of the sun and the moon, and even invented writing, though not everywhere. It would be hard to imagine that such a complicated system of ideas and actions was created all at once, without an evolutionary accumulation of that rather complex knowledge and a concatenation of insights which came together to make the final discovery embodied in stone monuments of the Bronze Age. The given circumstance forces us to look closely into ideograms of the pre-Bronze Ages, namely the Neolithic and the Aeneolithic ones. Is it possible to find there some traces of formalization of primary astronomical observations which could be assimilated, developed, and widely adopted by representatives of the Bronze Age? This study attempts to identify among the corpus of Neolithic symbols, graphemes, and ideograms those of them that could be supposedly used as denotations for astronomical meanings. The article uses the system of Neolithic meanings developed by Ariel Golan as the reference body. The astronomical part of the study is based on the gradualist concept of the Western Zodiac by Alexander Gurshtein. In the course of a semiological analysis of Neolithic ideograms, categories of symbols and signs have been identified that are difficult to interpret from the point of view of archaeological and ethnographic data. However, they show clear signs of correlation with the rhythms of the seasons. Among these are, for instance: the so-called sign of ‘two suns,’ ‘f-shaped’ signs, and ‘four-part-binary symbols.’ Analysis of their probable semantics suggests that ‘protozodiac’ concept could have been preceded by a simpler binary division of the year indicated by opposition between the winter and summer solstices. In this regard, clarifications, concerning semantics and symbolic meanings of the first zodiacal quartet are included in the hypothesis by Gurshtein.

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Olin-Fatih, Majlis, and W. K. Heneen. "C-banded karyotypes of Brassica campestris, B. oleracea, and B. napus." Genome 35, no. 4 (August 1, 1992): 583–89. http://dx.doi.org/10.1139/g92-087.

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The chromosome complements of three Brassica species, namely B. campestris (2n = 20), B. oleracea (2n = 18), and B. napus (2n = 38), were studied using the air-dry method and C-banding. Karyotypes and ideograms of late prophase chromosomes were constructed, since contracted metaphase chromosomes were generally not suitable for this purpose. The three species generally had a similar banding pattern, manifested in the presence of a centromeric C-band in all chromosomes and heterochromatic knobs at the telomeric end of some chromosomes. The centromeric C-bands were more pronounced in B. campestris than in B. oleracea. Depending on the centromeric position, the chromosomes were grouped into median, submedian, subterminal, and terminal types. All chromosome pairs were morphologically distinguishable. Only one nucleolar chromosome pair, with heterochromatic satellites, was observed in each species. When compared, it was possible to distinguish chromosomes of both B. campestris and B. oleracea type in B. napus, but conclusive evidence as to the origin of all chromosome pairs in B. napus was not at hand.Key words: Brassica, chromosomes, late prophase, C-bands, knob structures, karyotypes, idiograms.

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ATASAGUN, BAYRAM, AHMET AKSOY, and ESRA MARTİN. "Anatomical, palynological and karyological remarks of Silene brevicalyx and Silene ozyurtii (Caryophyllaceae)." Phytotaxa 270, no. 2 (August 17, 2016): 116. http://dx.doi.org/10.11646/phytotaxa.270.2.4.

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Anatomical, palynological, karyological and morphological seed characters of Silene brevicalyx and S. ozyurtii (Caryophyllaceae) were investigated for the first time. S. brevicalyx grows on serpentine rocky slopes and open forest in Muğla province (southwestern Turkey), while S. ozyurtii is an East Mediterranean element growing on serpentine stony slopes and again open forest. Anatomically, cross-section of root of both species have a periderm as the protective tissue at the outermost layer and locally druse crystals are encountered in cortex layer. Stems have a thick well-developed sclerenchyma layer. The walls of outward sclerenchyma cells are wider than the walls of inward cells. Leaves are equifacial. Pollen are prolate-spheroidal, symmetry radially, polarity apolar, with aperture periporate, ornamentation microechinate-perforate. Seeds of both species are reniform, with surface concave and granulation coarse-medium, hylar zone recessed, dark-brown or fuscous coloured. Somatic chromosome numbers of 2n = 24 were found for both taxa. The karyotypes are analyzed for the first time for S. brevicalyx and S. ozyurtii. Ideograms of these taxa were drawn by use of an Image Analysis System.

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Dai, Wenjin, Jonathan Gosling, and Annie Pye. "The Inclusiveness and Emptiness of Gong Qi: A Non-Anglophone Perspective on Ethics from a Sino-Japanese Corporation." Journal of Business Ethics 165, no. 2 (October 22, 2019): 277–93. http://dx.doi.org/10.1007/s10551-019-04308-3.

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Abstract This article introduces a non-Anglophone concept of gong qi (communal vessel, 公器) as a metaphor for ‘corporation’. It contributes an endogenous perspective from a Sino-Japanese organizational context that enriches mainstream business ethics literature, otherwise heavily reliant on Western traditions. We translate the multi-layered meanings of gong qi based on analysis of its ideograms, its references into classical philosophies, and contemporary application in this Japanese multinational corporation in China. Gong qi contributes a perspective that sees a corporation as an inclusive and virtuous social entity, and also addresses the elusive, implicit, and forever evolving nature of organizational life that is rarely noticed. We propose gong qi can be applied in other organizations and wider cultural contexts to show a new way of seeing and understanding business ethics and organization. Rather than considering virtue as a list of definable individual qualities, we suggest that the metaphor of gong qi reveals how virtue can be experienced as indeterminate, yet immanently present, like the substance of emptiness. This, then allows us to see the virtue of immanence, the beauty of implicitness, and hence, the efficacy of gong qi.

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Wirakusumah, Indri Astrina, Antariksa Antariksa, and Purnama Salura. "Needs and wants in mosque architecture." Linguistics and Culture Review 5, S3 (October 22, 2021): 381–95. http://dx.doi.org/10.21744/lingcure.v5ns3.1535.

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Generally, the study on mosque architecture focuses partly on classifying mosque forms or exploring the historical, socio-cultural, and political meanings behind the architectural design of mosques. This study puts forward a new concept of an interesting relationship between the needs of Islamic ritual activities and the wants of certain traditions that underlie the diversity of mosque architectural forms in Indonesia. Therefore, the search for these two essential aspects of mosque architecture is important to position the diversity of mosque architectural forms in the context of architectural design that continues to evolve. In line with these issues, this study analyzes the concepts of needs and wants that underlie the design of traditional, and contemporary mosques in West Java. The analysis process is carried out by comparing ideograms that represent the concept of the need for Islamic fiqh-based ritual activities, with typograms that represent the elements of the scope and mosque space in the study cases. Furthermore, the analysis results show that the expression of the architectural form of the mosque in each case study is more influenced by the wants of the pious congregation and the personal wants of the architect.

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Journal articles on the topic 'Ideograms'

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