Academic literature on the topic 'Symbolika wody'

Artykuł poświęcony omówieniu problematyki związanej z wykorzystaniem przestrzeni akwatycznej w wybranych utworach polskich poetów zamieszkałych w Kanadzie. Autor omawia sposoby literackiej funkcjonalizacji obrazów oceanu, morza, jezior czy rzek w twórczości Zofii Bohdanowiczowej, Wacława Iwaniuka, Floriana Śmiei, Bogdana Czaykowskiego i Andrzeja Buszy. Dla polskich poetów emigracyjnych starszego pokolenia żywioł wodny był częstym elementem świata przedstawionego, a także ważnym ogniwem ich wyobraźni twórczej. Przestrzenie wody łączyły się bowiem z sytuacją niezakorzenienia, wyobcowania w zetknięciu z ogromem nowego kontynentu, przytłaczały wielkością, wyznaczały granice nie do przejścia. Zdaniem autora symbolika wody częściej bywała metaforą egzystencji niż zwierciadłem duchowym rozważań. Wertykalnie przeciwstawiana niebu i życiu, stawała się ikoną śmierci, a nawet nicości. W konsekwencji rzadziej ujawniała tradycyjną moc ozdrowieńczą czy znaną z przeszłości funkcję metafizycznego uwznioślenia.

The article presents the results of the research of the role of plants in the formation of the figurative and symbolic structure of the war memorial parks. It is determined that tree plants can play a role of the the indirect means of expressing the ideological load during different periods of the year. Some species of deciduous shrubs play this role only in autumn due to the red colour of not only fruits but also of foliage, in particular, the Viburnum opulus L., which is common in the war memorial parks in Kyiv, which emphasizes their ideological load due to the fruit and leaves in autumn colouring, as well as the symbolic meaning of this plant for Ukrainians. In winter, the plant act as the means of expressing the ideological load of the war memorial parks due to the shape and colour of the crown, branches, fruits (Rhus typhina L., Cornus mas 'Sibirica', Viburnum opulus L., Sorbus aucuparia 'Pendula'). Based on the results of an expert assessment of Kyiv memorial parks, the peculiarities of the use of woody plants in the formation of figurative and symbolic structure of the war memorial parks of Kyiv are revealed and a structural scheme is developed according to the semiotic levels of perception as per Barabanov (2002). It is discovered that using of plants is most widely represented in parks, which is based on the sign level of perception (collective unconscious) caused by the peculiarities of perception and interpretation of the lines, form and colour of the plant. In particular, within the researched parks, it was revealed that both the positive and the negative effects of the shape, size, colour and texture of the plants influence the perception of the memorial architectural components. When using symbols in the formation of figurative and symbolic structure of the park using plants two approaches to the formation of plant composition are revealed. The first is based on the use of symbolical for Ukrainian species of plants (Viburnum opulus L., Sorbus aucuparia L.), while plant groups are mono-species independent components of the composition. In the second approach, the matching of plants is based on the symbolic meaning of their morphological characteristics. In this case, the plants are located next to the memorial architectural objects as secondary components to enhance emotional influence and increase the information characteristics of the memorial. This approach to the use of plants for the formation of figurative and symbolic structure of the park is based on the symbolic level of semiotic units of perception, according to Barabanov (2002), which is determined by the sociocultural context that is formed within a certain social, historical period and territory.

Artykuł stanowi owoc badań nad patrystyczną i średniowieczną symboliką Ducha Świętego, na podstawie tekstów Starego Testamentu, wyrażoną przy pomocy obrazów sił natury, takich jak wiatr, woda i ogień. Zostały przedstawione i omówione najważniejsze interpretacje należące do tradycji Kościoła łacińskiego.

Autorka artykułu opisuje przykłady infraz, których zadaniem jest wzbudzenie emocji wywołanych lekturą tekstu literackiego i odzwierciedlenie ich w dziele artystycznym, w tym wypadku w dziełach trzech czeskich artystów fotografików. Punktem wyjścia do analizy trzech wybranych fotografii jest w pierwszej kolejności postać Ofelii z tragedii Williama Szekspira Hamlet i opis jej tragicznej śmierci, następnie odniesienie tego fragmentu tekstu do obrazu prerafaelity Johna Everetta Millais’a pt. Ofelia. Dalsza analiza skupia się wokół fotografii Martina Faltejska (cykl Weightless), Jana Fauknera (cykl Nemesis) i Barbory Bálkovej (cykl Literary Suicides). Opis fotografii przedstawiających Ofelię dotyczy m.in. ich symboliki (archetypów kobiecości, wody, natury), podkreśla podobieństwa i różnice między trzema nośnikami znaczeń (literatura, malarstwo, fotografia). Artykuł porusza kwestię m.in. doświadczenia wizualnego i zamysłu nad tym, czy pojedyncze opisywane fotografie uwolniły się od Szekspirowskiego kontekstu i wpisały w kontekst plastyczny, czy artyści zaproponowali własne, nowe odczytanie owego “mitu Ofelii”.

In view of theatrical performances, water is not only an important cultural trajectory, but also an attractive, though very special, stage material. The authoress draws attention to the ambivalent character of water as an element of the spectacle. Water identifies the very essence of theatricality, which consists of the constant oscillation between illusion and reality. The effect of real water – limited by technical restrictions and in effect artificial to some extent – has an unquestionable spectacle value. The authoress recalls selected performances whose creators have chosen large-scale solutions and introduced a large amount of water to the stage. In this way, she shows how they create the symbolic value of aqua motives, how they use their semantic and sensual potential in the process of translating the cultural connotations of water into signs and meanings of a particular show.

It is the thesis of this article that a secular form of the biblical Exodus pattern is used by Woody Allen in his Broadway Danny Rose. In the history of the Bible, and its interpretation, the Exodus pattern is again and again used as a model for inspiration: from oppression to deliverance. It was an important source of both argument and symbolism during the American Revolution. It was used by the Boer nationalists fighting the British Empire and it comes to life in the hand of liberations theology in South America. The use of this pattern and its use during the seder meal is to be taken loosely here: Exodus is not a theory, but a story, a “Big Story” that became part of the cultural consciousness of the West and quite a few other parts of the world. Although the Exodus story is in the first place an account of deliverance or liberation in a religious context and framework, in Broadway Danny Rose it is used as a moral device about how to survive in the modern wilderness.

This paper claims that scents, alone and/or in combination with visual and/or verbal support, are made to function metaphorically in ads since they symbolize something different (i.e., sexuality, romanticism, etc.) from the physical odor directly conveyed by each fragrance (i.e., floral, woody, oriental, etc.). Drawing on Lakoff and Johnson’s assertion that metaphors are fundamentally nonlinguistic devices, on the application of metaphor theory to pictures and film, and on investigations into olfactory metaphors and synaesthesias, our empirical analyses have found first that odors in perfumes are not indexes but symbols which give rise to olfactory metaphors; secondly, that olfactory metaphors do not stand alone in print ads for perfume; and thirdly, that the advertiser (mostly the composite of copywriters and art directors) succeeds in using olfactory and olfactory-mixed metaphors, as part of the overall covert communication that permeates advertising.