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Books on the topic 'Symbolic references'

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Published: 4 June 2021
Last updated: 3 February 2022

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1

Steen, S. W. P. Mathematical logic: With special reference to the natural numbers. Cambridge: Cambridge University Press, 2008.

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2

Ikwuagwu, Onwumere A. Initiation in African traditional religion: A systematic symbolic analysis ; with special reference to aspects of Igbo religion in Nigeria. Würzburg [Germany]: Echter, 2007.

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3

Ormell, C. P. Some varieties of superparadox: The implications of dynamic contradictions, the characteristic form of breakdown of breakdown of sense to which self-reference is prone. Norwich: MAG-EDU University of East Anglia, 1993.

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4

Hieronimus, Robert. The united symbolism of America: Deciphering hidden meanings in America's most familiar art, architecture, and logos. Franklin Lakes, NJ: New Page Books, 2008.

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5

Mattelaer, Johan. For this Relief, Much Thanks ... Translated by Ian Connerty. NL Amsterdam: Amsterdam University Press, 2018. http://dx.doi.org/10.5117/9789462987326.

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Even though peeing is something we all do several times a day, it is still a taboo subject. From an early age, we are taught to master our urinary urges and to use decent words for this most necessary physiological activity. This paradox has not gone unnoticed by artists through the ages. For this Relief, Much Thanks! Peeing in Art is a journey through time and space, stopping along the way to look at many different art forms. The reader-viewer will see how peeing figures - men and women, young and old, human and angelic - have been depicted over the centuries. You will be amazed to discover how often, even in famous works of art, you can find a man quietly peeing in a corner or a putto who is 'irrigating' some grassy field. A detail you will never have seen before, but one that you will never forget when confronted with those same art works in future! Artists have portrayed pee-ers in a variety of different ways and for a variety of different reasons: serious, frivolous, humorous, to make a protest, to make a statement... Whatever their purpose, these works of art always intrigue, not least because of their secret messages and symbolic references, which sometimes can only be unravelled by an expert - like the author of this book. The extensive background information about the artists and their work also gives interesting insights into the often complex origins of the different art forms. In short, a fascinating voyage of discovery awaits you!
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6

Stimpson, Audrey Constance. Colour symbolism with particular reference to the French literature of the twelfth and early thirteenth centuries. Lille: Universite de Lille III, Centre d'e tudes me die vales, 1988.

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7

Wittgensteins Tractatus und die Selbstbezüglichkeit der Sprache. Frankfurt am Main: P. Lang, 1987.

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8

Zeichen und Bezeichnetes: Sprachphilosophische Untersuchungen zum Problem der Referenz. Berlin: W. de Gruyter, 1985.

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9

The puzzler's dilemma: From the Lighthouse of Alexandria to Monty Hall, a fresh look at classic conundrums of logic, mathematics, and life. New York: Perigee Trade, 2012.

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10

A medieval semiotic: Reference and representation in John of St Thomas' theory of signs. New York: P. Lang, 1995.

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11

Alex, Greystone, ed. Mary Summer Rain on dreams: A quick-reference guide to over 14,500 dream symbols. Charlottesville, VA: Hampton Roads Pub., 1996.

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12

McGinn, Bernadette Gerardine. Percentage: Children's strategies and errors : a case for diagnostic assessment, with special referenceto language and symbolism in mathematics. [S.l: The Author], 1991.

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13

Hausman, Carl R. Metaphor and art: Interactionism and reference in the verbal and nonverbal arts. Cambridge: Cambridge University Press, 1989.

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14

Crosilla, Beatrice. A selected, partially annotated bibliography of critical writings about George Moore: With reference to realism,naturalism, and symbolism (1880-1905). [s.l.]: typescript, 1992.

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15

The encyclopedia of erotic wisdom: A reference guide to the symbolism, techniques, rituals, sacred texts, anatomy, and history of sexuality. Rochester, Vt: Inner Traditions International, 1991.

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16

James, Juliet. Palaces and courts of the exposition: A handbook of the architecture, sculpture and mural paintings with special reference to the symbolism. San Francisco: California Book Company, 1989.

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17

Ānanda. Myth, symbol, and language: A modern perspective with reference to India and her religions, including mythologem and mythologene. New Delhi: Aryan Books International, 1998.

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18

Ivonne, Saíd Marínez, and Grupo Editorial Tomo, eds. La biblia del tatuaje: Una referencia para el body art. México, D.F: Grupo Editorial Tomo, 2011.

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19

Madhuri, Sharma, ed. Early Buddhist metal images of South Asia: With special reference to Gupta-Vakatakas period. Delhi: Bharatiya Kala Prakashan, 2000.

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20

Kripke: Names, necessity, and identity. Oxford: Clarendon, 2004.

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21

Logomania: 1 problem ; 31 solutions (plus other stuff). Gloucester, MA: Rockport, 2006.

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22

Schwarz, Karl M. Netsuke subjects: A study on the netsuke themes with reference to their interpretation and symbolism : containing photographs and details on more than 400 netsuke and 200 signatures, 1000 keywords. Wien: Böhlau, 1992.

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23

Principles of Knowledge Representation and Reasoning. (3rd 1992 Cambridge, MA). Principles of knowledge representation and reasoning: Proceedings of the third international conference (KR '92). San Mateo, Calif: MorganKaufmann, 1992.

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24

Beyer, Thomas R. 33 Keys to Unlocking The Lost Symbol. New York: Newmarket Press, 2009.

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25

33 keys to unlocking The lost symbol: A reader's companion to the Dan Brown novel. New York: Newmarket Press, 2010.

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26

Beyer, Thomas R. 33 keys to unlocking The lost symbol: A reader's companion to the Dan Brown novel. New York: Newmarket Press, 2010.

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27

Watch your dreams: A master key and reference book for all initiates of the soul, the mind, and the heart. 3rd ed. Glendale, Calif: Ann Ree Colton Foundation of Niscience, 1996.

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28

A dictionary of alchemical imagery. Cambridge, UK: Cambridge University Press, 1998.

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29

Cardon, Bert. Manuscripts of the Speculum humanae salvationis in the southern Netherlands, c. 1410-c. 1470: A contribution to the study of the 15th century book illumination and of the function and meaning of historical symbolism. Leuven: Peeters, 1996.

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30

Kling, Sheri D. Avoiding a Fatal Error: Extending Whitehead’s Symbolism Beyond Language. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474429566.003.0008.

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Typically, discussion of Whitehead’s modes of perception and symbolic reference are limited to the perception of sense-data and the use and interpretation of language as symbolic, but Whitehead’s thought can be connected to the imaginal realm of art, dream symbols, and archetypes when he argues that broadening our definition of perception beyond solely sense perception ‘can be of no importance unless we can detect occasions of experience exhibiting modes of functioning which fall within its wider scope. If we discover such instances of non-sensuous perception, then the tacit identification of perception with sense-perception must be a fatal error barring the advance of systematic metaphysics’ (AI 180). In order to avoid the ‘fatal error’ of limiting perception to strictly sense perception, this chapter argues that since Whitehead included aesthetic expression in his understanding of symbolism, and was open to non-sensory perception, Whitehead’s symbolism can be connected to that of Carl Jung to broaden and enrich the scholarship on symbolism, and that such an integration can positively influence human society’s intensity of experience and overall aliveness, vitality, and zest for life, especially when a practice of dream work is incorporated in this integration.
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31

Prestholdt, Jeremy. Icons of Dissent. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190632144.001.0001.

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The global icon is an omnipresent but poorly understood element of mass culture. This book asks why audiences around the world have embraced particular iconic figures, how perceptions of these figures have changed, and what this tells us about transnational relations since the Cold War era. Prestholdt addresses these questions by examining one type of icon: the anti-establishment figure. As symbols that represent sentiments, ideals, or something else recognizable to a wide audience, icons of dissent have been integrated into diverse political and consumer cultures, and global audiences have reinterpreted them over time. To illustrate these points the book examines four of the most evocative and controversial figures of the past fifty years: Che Guevara, Bob Marley, Tupac Shakur, and Osama bin Laden. Each has embodied a convergence of dissent, cultural politics, and consumerism, yet popular perceptions of each reveal the dissonance between shared, global references and locally contingent interpretations. By examining four very different figures, Icons of Dissent offers new insights into global symbolic idioms, the mutability of common references, and the commodification of political sentiment in the contemporary world.
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32

Radner, Hilary, and Alistair Fox. Film Analysis and the Symbolic. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474422888.003.0007.

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Raymond Bellour explains the difference between Christian Metz’s semiological approach and his own approach to film analysis, and the degrees by which he became disenchanted with psychoanalysis, despite his debt to Lacan’s notion of the imaginary, the real, and the symbolic. With reference to his analysis of Alfred Hitchcock’s North by Northwest, he proceeds to comment on how he evolved such key notions as “symbolic blockage” (“le blocage symbolique”) and “the undiscoverable text” (also referred to as “the unattainable text” or “le texte introuvable”). He then describes the influence of Anti-Oedipus by Gilles Deleuze and Félix Guattari, and his interest in American cinema and filmmakers like Alfred Hitchcock, Michael Curtiz, and Fritz Lang.
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33

Foley, Barbara. Georgia on His Mind. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252038440.003.0006.

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This chapter analyzes how many of the texts in part 1 of Cane display Toomer's continuing attempt to incorporate Sempter/Sparta into the program for sectional art that had failed to achieve effective expression in “Kabnis.” While things are so immediate in the Georgia that traumatizes Toomer's artist-hero, in part 1 the word “Georgia” figures prominently among the symbolic acts that link the soil and the folk through the ideologeme of metonymic nationalism. Such references to Georgia propose that the folk culture located on the Dixie Pike is a vital spiritual link in the chain connecting region with nation, and affirming the belonging of African Americans in an expanded version of “our” America.
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34

Robinson, Keith. Originary Symbolism: Whitehead, Deleuze and the Process View on Perception. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474429566.003.0003.

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Whitehead’s accounts of perception are arguably amongst his most important philosophical legacies. His notions of ‘causal efficacy’, ‘presentational immediacy’, and ‘symbolic reference’ offer a direct challenge to the various schools of thought derived from Hume and Kant, in which causation is seen as a pale derivation from the ‘sensationalist’ vivid impressions of immediate atomic sense-data presented to consciousness. Whitehead ties his account of perception not only to a certain conception of causality and time, but also to a generalized or originary account of symbolism. Originary symbolism is the power to affect or be affected, an exposure to what happens as the condition not just for language, experience, or even God in Whitehead’s sense, but for all becoming and life.This critique of ‘natural perception’ and the generalization of an ‘originary’ differential structure is also taken up and developed in great detail and complexity in the work of the French philosopher Gilles Deleuze. Contrasting Whitehead’s account of originary symbolism with Deleuze will enable the drawing out of some of the radical innovations and variations of the process view with regard to perception and life.
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35

Abi-Hassan, Sahar. Populism and Gender. Edited by Cristóbal Rovira Kaltwasser, Paul Taggart, Paulina Ochoa Espejo, and Pierre Ostiguy. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780198803560.013.16.

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Despite the breadth and depth of inquiries into populism, its relationship with gender issues remains a widely understudied topic. On one hand, focus has been almost entirely on male leadership, despite the presence of a significant number of female populist leaders. On the other hand, procedural definitions of populism ignore the substantive and symbolic elements that emerge from a populist gendered discourse. Through a generalized discussion and references to specific examples in Europe and Latin America, this chapter explores three major topics at the intersection of populism and gender: populist supporters, populist gendered representation, and the subordination of personal (gender) identity in populist discourse. Consistent with previous studies, it illustrates the difficulty in finding common patterns in the populist treatment of gender issues, and where they emerge it is an instance of trends in gendered discourse, not populist discourse.
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36

Vinycomb, John. Fictitious & symbolic creatures in Art: With special reference to their use in British heraldry. CreateSpace Independent Publishing Platform, 2011.

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37

Trencsényi, Balázs, Michal Kopeček, Luka Lisjak Gabrijelčič, Maria Falina, Mónika Baár, and Maciej Janowski. The Postwar “Transition Years”. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198737155.003.0008.

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Debates on the postwar “transition” are symbolically linked to the year 1945, but in many cases they had already started in 1943–4 and lasted until 1948. A general feeling of rupture with the past dominated throughout East Central Europe. Symbolic geographical references underwent important change, stressing some sort of synthesis between East and West. The experience of the Holocaust resulted in reflections on the responsibility of the region’s societies for the genocide. The debates of the immediate postwar period were also concerned with the relationship of democracy and socialism, the nationalization of communism, the conflict of neo-Romantic, neoclassicist, and modernist aesthetic sensitivities, and the clash between a strict adherence to Moscow and dissenting options. The noncommunist thought of the period ranged from social democratic and Christian democratic streams to various versions of nationalism. In turn, the armed anti-communist resistance rarely went beyond devising a mobilizing rhetoric, the most important exception being the Ukrainian underground, which produced relatively developed theoretical reflection.
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38

Brinkmann, Svend. French Philosophies of Qualitative Research. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190247249.003.0006.

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This chapter focuses on the French traditions of structuralism and post-structuralism. What unites structuralists, post-structuralists, and many qualitative scholars who work on the basis of post-structuralism is a detachment of meaning from the world. Saussure argued that meaning is not found in the references of language but, rather, internally in language as a structure. Once meaning lost its ties to the world as such, the road was open for postmodernists and others who study discourses, representations, and social constructions as symbolic spheres in their own right. With the deconstructionist approach, there is a further willingness to unsettle the signifiers and show how everything can in principle be otherwise. In other words, everything obvious is always already rendered dubious. The postmodern attitude is a stance of openness to and tolerance of the idea that there are no stable foundations—no secure ways that our understandings are hooked on to the world.
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39

Fictitious and Symbolic Creatures in Art with Special Reference to Their Use in British Heraldry. Kessinger Publishing, 2004.

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40

Vinycomb, John. Fictitious and Symbolic Creatures in Art With Special Reference to Their Use in British Heraldry. Kessinger Publishing, LLC, 2004.

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41

Uva, Christian. Sergio Leone. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190942687.001.0001.

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Spectacle, myth, fable. These are the main categories that have traditionally defined Sergio Leone’s cinematic production, but it is necessary to underline how much they are fueled by a profound, layered political interest. Leone’s cinema bears witness to a critical outlook both on the subjects it showcases and on its representational means. Far from any militancy and escaping ideological classifications, Leone’s perspective is problematic and unreconciled: it is grounded in the coexistence of different elements in a state of perennial productive tension and instability. The adjective “political” takes on a deeper meaning when it is used to denote the director’s ability to narrate and interpret key aspects of Italian national identity and history. The abstract quality of his production relies on an original use of different genres, particularly sword-and-sandal and the Spaghetti Western, which allowed Leone to insert frequent symbolic references to both history and then-current events. On the stylistic level, his constant disobedience to classical models and his need to revolutionize forms were motivated by an authorial desire to make films politically, though still within a conception of cinema as an industrial spectacle.
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42

D, Sluga Hans, ed. Sense and reference in Frege's philosophy. New York: Garland, 1993.

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43

(Editor), Peter Murray, and Linda Murray (Editor), eds. A Dictionary of Christian Art (Oxford Paperback Reference). Oxford University Press, USA, 2004.

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44

Logo: The reference guide to symbols and logotypes. Laurence King Publishing, 2015.

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45

Kenski, Kate, and Kathleen Hall Jamieson, eds. The Oxford Handbook of Political Communication. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780199793471.001.0001.

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An incisive, broad-based overview of political communication, the Oxford Handbook for Political Communication assembles the leading scholars in the field of political communication to answer the question: What do we know and need to know about the process by which humans claim, lose, or share power through symbolic exchanges? Its sixty-three essays address the following five themes: contexts for viewing the field of political communication, political discourse, media and political communication, interpersonal and small group political communication, and the altered political communication landscape. This comprehensive review of the political communication literature is designed to become the first reference for scholars and students interested in the study of how, why, when, and with what effect humans make sense of symbolic exchanges about sharing and shared power.
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46

Evamy, Michael. Logotype: The reference guide to logotypes, monograms, and text-based marks. 2016.

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47

Hieronimus, Robert. United Symbolism of America: Deciphering Hidden Meanings in America's Most Familiar Art, Architecture, and Logos. Red Wheel/Weiser, 2008.

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48

Tallgren, Immi. The Faith in Humanity and International Criminal Law. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198805878.003.0015.

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International criminal law is at times taken to manifest fundamental consensual boundaries against violence and destruction of the human species. The faith in law is celebrated in a cult with rituals, symbols, and mythologies where law is saving humans from evil. This chapter takes issue with the transcendental reference in ‘humanity’ by situating it within discussions on religion, the non-deist religions in particular. Three French thinkers: Henri Saint-Simon, Auguste Comte, and Emile Durkheim are stimulating intellectual figures—often neglected or caricatured. They developed new visions for society as religions–creating dogmas, symbolism, and ritual practices. Yet they declared the transcendental divinities dead. The human individual and ‘humanity’ were further elevated yet declared ‘positive’, victorious over superstition. Their religions aimed to capture the best of two worlds: secular and religious, rational and affective. But what difference does it make to see ideas, beliefs, faith, or commitment as religious or as something else, such as politics or ideology?
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49

Zbikowski, Lawrence M. Origins. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190653637.003.0001.

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This chapter provides an introduction to the unique approach to musical grammar taken in this volume, which adopts a theoretical perspective first developed by cognitive linguists. According to this theory, grammatical units are constructions that combine both form (syntax) and function (semantics). Building on the assumption that language and music have different functions in human cultures, it is proposed these media exploit different systems of reference: language relies on symbolic reference, and music relies on analogical reference. Musical grammar is based on form-function pairs (“constructions”) that provide sonic analogs for dynamic processes central to human cultures. This volume will focus on three such processes: those related to the emotions, to gestures, and to dance. The chapter provides an overview of the book as a whole and also explains how this approach to musical grammar connects with previous work in music theory.
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50

The United Symbolism of America: Deciphering Hidden Meanings in America's Most Familiar Art, Architecture, and Logos. New Page Books, 2008.

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