Journal articles: 'Symbolism in literature'

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Van Rensburg, F. I. J. "Van Wyk Louw Simbolis?" Literator 11, no. 1 (May 6, 1990): 35–55. http://dx.doi.org/10.4102/lit.v11i1.792.

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In this article the question is posed whether one is justified in associating N.P. van Wyk Louw’s work with Symbolism as seen in terms of its being a historical art movement. At first sight some of the main characteristics of his work seem incompatible with the overall spirit of Symbolism. A close look is taken at these characteristics. They are weighed against typical characteristics of Symbolism. A number of common traits are discovered. Following this, a study of Van Wyk Louw’s utterances in his prose works is undertaken to establish the extent of his knowledge of the works of Symbolists and of Symbolism as such, The unfolding history of his contact with their work and with Symbolism is traced. Some revealing relations are uncovered. Having established a number of definite Symbolist traits in his work, his poetical oeuvre is projected against the set of fundamental characteristics of Symbolism as a phenomenon identified by S. Dresden in his book Symbolisme (1980). Seen at against this background, the range of symbolist features in his work shows up clearly. The conclusion reached is that Van Wyk Louw so thoroughly absorbed those characteristics of Symbolism that corresponded with his own creative personality that they have blended almost imperceptibly with the rest of his oeuvre, thereby creating the impression that they are fully native to his work.

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Pack, R. "Symbolism in French literature." Literator 11, no. 1 (May 6, 1990): 67–76. http://dx.doi.org/10.4102/lit.v11i1.794.

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To talk of Symbolism in French literature may be ambiguous, as two different categories of writers have been grouped under this generic term: the symbolists stricto sensu, such as Moréas or Viélé-Griffin, who were mostly minor poets, and some great figures of French literature. The aim of this article is to show that, although Symbolism as an organized movement did not produce any important contribution, the nineteenth century witnessed indeed the emergence of a new trend, common to several poets who were inclined to do away with the heritage of the classical school. These poets - of whom Baudelaire, Verlaine, Rimbaud and Mallarmé are the most renowned, although they did not really associate with the symbolist school, created individualistic poetry of the foremost rank.

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Oboladze, Tatia. "Georgian Symbolism: Context and Influence." International Journal of Applied Linguistics and English Literature 7, no. 2 (March 1, 2018): 110. http://dx.doi.org/10.7575/aiac.ijalel.v.7n.1p.110.

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In the 1910s in the Georgian literary area the first Symbolist group TsisperiQantsebi (The Blue Horns) comes into being, with a clearly defined purpose and aesthetic position, which implied renewing the Georgian literature and including it into the Western context. Desiring to expand the thought area and to modernize Georgian literature, Georgian Symbolists rested on the philosophical and worldview principles of French Symbolism. Georgian Symbolism appears as an original invariant generated from the French Symbolist aesthetics, which is unequivocally national.

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Lombard, M., and H. Viljoen. "Die verdonkerende spieël: Simbolistiese trekke in Wilma Stockenstrom se eerste drie bundels." Literator 14, no. 3 (May 3, 1993): 21–36. http://dx.doi.org/10.4102/lit.v14i3.709.

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This article is an attempt to relate the first three of Wilma Stockenstrom's collections of poetry to international Symbolism. First we discuss possible links between her work and Symbolism. The mam emphasis then falls on Stockenstrom’s method of Symbolism, the possible symbolist tone of her work and prominent symbolist motifs in her work. Finally we consider some manifestations of the symbolist oilier world in these collections. The conclusion arrived at is that Stockenstrom's earlier work shows many of the main characteristics of Symbolism so that her work can be regarded as a continuation of the symbolist tradition. This tradition undergoes three important transformations in her work: the European world of symbolist poetry is replaced by an archeologically rich but mute African world, modern science and technology replaces the medieval system of reference of Symbolism, and sound and musicality p la y a much smaller part in Stockenstrom's poetry. Stockenstrom's cynical, ironic tone, the use of opaque kafkaesque symbols, her emphasis on tentative visions, her distrust of language and her tendency to relativize frames of reference in the endings of her poems, show that Stockenstrom's poetry has already crossed the boundary to Modernism.

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Oboladze, Tatia. "Wine, Opium, and Hashish in Georgian and European Symbolism." Ars & Humanitas 16, no. 1 (December 22, 2022): 219–30. http://dx.doi.org/10.4312/ars.16.1.219-230.

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The subject of the article “Wine, Opium, Hashish in Georgian and European Symbolism” is the identification of the cultural links between Georgian and European (primarily French and, German) symbolism. Our goal is to determine the role and place of Georgian symbolism in the world literature context and study the cultural-aesthetic ties that have influenced the art of the Georgian symbolist group, the process of forming their aesthetic taste and worldview. In this article, we focus on the genesis of the symbolist theory of the myth, its specific nature and the motivation for the creation of a new mythology. In addition, we consider the theme of wine, opium and hashish in Georgian and European cultural areas, and analyse the conceptual sense and function of this new mythology.

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Vorova, T. P., N. V. Pidmogylna, and O. I. Romanova. "Short Excursus into the History of the Russian Symbolism Origin." International Letters of Social and Humanistic Sciences 63 (November 2015): 151–217. http://dx.doi.org/10.18052/www.scipress.com/ilshs.63.151.

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Being well-known nowadays as the Silver Age of Russian literature, Russian symbolism is an extraordinary phenomenon of spiritual life at the end of the 19th – beginning of the 20thcenturies. This essay aims to study the appearance and development of Russian symbolism as a result of revaluation of cultural wealth in philosophy / art and stimulation of the appropriate rise of the certain aesthetic systems which were embodied in the literary works of that period. The current study introduces a new approach to the origin of this trend and represents the new tendencies in Russian symbolist novels which were beyond the artistic movements of that epoch. The sources of symbolist literature are traced in the principles of esoteric theory and its basic postulates. The results of the investigation and received conclusions are confirmed with the direct textual references from the novels of the writer who proves to be a forerunner of literature with bright mystical orientation.

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Van der Elst, J. "Simbolisme: ’n poging tot deflniering." Literator 11, no. 1 (May 6, 1990): 1–12. http://dx.doi.org/10.4102/lit.v11i1.790.

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In this article an attempt is made to establish a framework within which one can define or describe Symbolism as a literary phenomenon. As is the case with most literary movements one cannot reach a final definition or conclusion on Symbolism because it has many manifestations in different countries with different literary artists - so many men, so many minds. It is, however, possible to identify some common trends in the works of many symbolist poets and prose-writers. These trends are outlined in this article. The following also serves as an introduction to a special issue of Literator on Symbolism and its occurrence in the literary works of D.J. Opperman, Totius, N.P. van Wyk Louw and other Afrikaans literary artists. This special issue forms part of a comprehensive investigation into the incidence of Symbolism in the Afrikaans literary tradition undertaken by the Departement Afrikaans-Nederlands of the PU for CHE under the supervision of prof. D.H. Steenberg and with financial assistance of the Human Sciences Research Council.

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Zou, Jiahao. "Porównanie symboliki wierzby i lilii w chińskiej i polskiej kulturze na tle teorii językowego obrazu świata." Gdańskie Studia Azji Wschodniej, no. 23 (August 31, 2023): 84–103. http://dx.doi.org/10.4467/23538724gs.23.005.18151.

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The article introduces the symbolism of the willow and the lily, which have played an important role in the lives of Chinese and Poles over many years. The research issue of this article is the question: What are the differences and similarities in terms of willow and lily symbolism in Chinese and Polish culture? The article is based on an analysis of literature. It aims to indicate the symbolism of the willow and the lily and to find the roots of their differences and similarities in Chinese and Polish cultures. The first part of the article is devoted to the theory of a linguistic worldview, which is the theoretical basis of the research. The second part of the article focuses on the most important and widespread symbolisms of the willow. The third part presents the most important connotations of the lily in both cultures. I It turns out that there are many similar symbolisms of the willow in Chinese and Polish culture, such as homesickness and vitality, etc. Nevertheless, the willow is an attribute of the noble hermit in Chinese culture, while in Polish culture it symbolizes susceptibility because of its pliancy. There are also many analogies in the associations of the lily in Polish and Chinese cultures, such as purity and holiness. Contrary to appearances, in the two civilizations the differences in lily symbolism are not readily apparent.

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Wang, Xiaoxi. "Sound symbolism in Chinese children’s literature." Cognitive Linguistics 33, no. 1 (November 11, 2021): 95–120. http://dx.doi.org/10.1515/cog-2021-0019.

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Abstract Iconicity is a fundamental property of spoken and signed languages. However, quantitative analysis of sound-meaning association in Chinese has not been extensively developed, and little is known about the impact of sound symbolism in children’s literature. As sound symbolism is supposed to be a universal cognitive phenomenon, this research seeks to investigate whether iconic structures of Mandarin are embodied in native Chinese speakers’ language experience. The paper describes a case study of Chinese storybooks with the goal of testing whether phonosemantic association is prominent between name sounds and character features. A quantitative method was used to investigate the distribution of different phonological units in character denomination depending on their physical and emotional traits. The results show that phonemes and syllable combination patterns are closely related to perceivable character features. By comparing schematic mapping in Chinese with other languages, the study illuminates a cross-linguistic tendency in addition to a Chinese-specific iconic relation between sound and meaning.

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Yoo, Hyung Joon. "Literature & Medicine - Symbolism of Obesity." Korean Journal of Obesity 20, no. 3 (2011): 107. http://dx.doi.org/10.7570/kjo.2011.20.3.107.

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Hibbitt, Richard. "Bruges as Symbolic Capital (Abstract)." Comparative Critical Studies 15, supplement (June 2018): 19. http://dx.doi.org/10.3366/ccs.2018.0276.

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This article proposes a new reading of the relationship between place and symbolic capital, arguing that certain loci are able to consecrate literary works through inspiration rather than reception, publication and circulation. Taking the city of Bruges as an exemplar, it examines its representation by Baudelaire, Rodenbach and Rilke, arguing that Rilke's poetic transformation enables it to transcend its status as a ‘dead city’ and Decadent trope. By combining the expressive possibilities of Symbolism with elements of the realist chronotope, Bruges can also be read as a future city that performs itself. It thereby provides a different illustration of Pierre Bourdieu's argument that habitus can function as a form of symbolic capital. If, as Pascale Casanova argues, Brussels was the ‘capital of Symbolism’, in this reading Bruges constitutes an alternative Symbolist capital: another example of the capital and its double.

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12

Greenberg, Meg. "Synesthesia and Literary Symbolism." Forum Italicum: A Journal of Italian Studies 43, no. 2 (September 2009): 362–84. http://dx.doi.org/10.1177/001458580904300203.

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‘Synesthesia and Literary Symbolism’ broadens the well-established relationship between synesthesia and French Symbolist poetry to include Marinetti's experimentation with sensory blurring. Synesthesia was a recognized medical condition that came to public awareness by the end of the nineteenth-century both because of work made available to the public as well as there being a general sense associated with modernity of nervousness. The Symbolist poets beginning with Baudelaire applied the scientific concept of synesthesia as a metaphor to describe the modern condition. The feeling of the interconnectedness of the body and the city was picked up on most notably by Jules Romains, the founder of Unanimism and by Gustave Kahn and Gian Pietro Lucini, who helped to breathe new life into poetry by freeing verse of its traditional meter. Marinetti followed the example of his predecessors with the invention of the parole in libertà, which allowed for the representation of sensory overload.

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Abbar, Emad Mohammad. "A Critical Analysis of Symbolism in Modernist Literature with reference to T.S. Eliot and Roland Barthes." South Asian Research Journal of Arts, Language and Literature 5, no. 04 (August 10, 2023): 138–42. http://dx.doi.org/10.36346/sarjall.2023.v05i04.005.

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This study aims to conduct a critical analysis of symbolism in modernist literature, with specific reference to the works of T.S. Eliot and Roland Barthes. The objectives of the study are to identify the key symbols employed by these authors, explore their significance within the context of modernist literature, and examine the underlying themes and messages conveyed through these symbols. The methodology of the study involves a comprehensive literature review of relevant scholarly articles, books, and primary sources related to modernist literature, symbolism, and the selected authors' works. The analysis will be conducted through close reading and textual analysis of specific poems and writings by T.S. Eliot and Roland Barthes, focusing on their symbolic elements and their connections to broader social, cultural, and philosophical contexts. The problem statement of this study addresses the need to understand the deeper layers of meaning and significance in modernist literature, particularly with regards to the role of symbolism. By unraveling the layers of symbolism in the works of T.S. Eliot and Roland Barthes, this research aims to shed light on the complexities and nuances of modernist literature, and contribute to a deeper understanding of its artistic and intellectual foundations. The results and discussions of this study anticipate uncovering the intricate symbolic network embedded in the selected authors' works, revealing the multiple layers of meaning and the interplay between symbols and their socio-cultural context. Furthermore, the study aims to identify recurring themes and motifs across their writings, highlighting the distinct approaches to symbolism employed by each author. In conclusion, this study seeks to provide a critical analysis of symbolism in modernist literature, specifically examining the works of T.S. Eliot and Roland Barthes. By exploring the symbols, themes, and underlying messages in their writings, this research aims to contribute to a deeper appreciation and understanding of modernist literature as a significant literary and artistic movement. The findings of this study will not only enhance the scholarly discourse surrounding these authors but also offer valuable insights into the broader field of literary symbolism and its relevance in modernist literature.

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Pospelova, Olga S. "The Image of Bluebeard in the Age of Symbolism." Literary Fact, no. 4 (26) (2022): 183–201. http://dx.doi.org/10.22455/2541-8297-2022-26-183-201.

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The article examines the symbolics in the play “Ariana and Bluebeard, or Vain Deliverance” (1896) by the Belgian writer Maurice Maeterlinck and in the libretto “Duke Bluebeard’s Castle” by the Hungarian writer Béla Balazs (1911). There is a transformation of the Bluebeard story from folklore to the field of symbolist and neo-romantic literature, where it undergoes significant changes, being transformed into a “new age myth.”

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Indriyanto, Kristiawan. "ARTICULATING THE MARGINALIZED VOICES: SYMBOLISM IN AFRICAN AMERICAN, HISPANIC, AND ASIAN AMERICAN LITERATURE." British (Jurnal Bahasa dan Sastra Inggris) 9, no. 2 (September 26, 2020): 20. http://dx.doi.org/10.31314/british.9.2.20-36.2020.

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The present study contextualizes how symbolism is employed by writers of ethnically minority in the United States as an avenue of their agency and criticism against the dominant white perspective. The history of American minorities is marred with legacy of racial discrimination and segregation which highlights the inequality of race. Literature as a cultural production captures the experiences of the marginalized and the use of symbolism is intended to transform themes into the field of aesthetics. This study is a qualitative research which is conducted through the post-nationalist American Studies framework in order to focus on the minorities’ experience instead of the Anglo-Saxon outlook. The object of the study is three playscripts written from authors from Mexican-American, African-American and Asian-American to emphasize how discrimination is faced by multi-ethnic. The finding suggests how symbolism in these literary works intends to counter the stereotypical representation of Mexican-American, aligns with the passive resistance of the Civil Right Movement and subvert binary opposition of East and West which exoticizing the East. Keywords : minority literature in the U.S , symbolism, post-national

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Pyman, Avril. "Symbolism and Philosophical Discourse." Russian Literature 36, no. 4 (November 1994): 371–86. http://dx.doi.org/10.1016/0304-3479(94)p3026-h.

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Piantoni, Antoine. "Silentiaires fin-de-siècle : émergence et épuisement d’un motif poétique." Quêtes littéraires, no. 7 (December 30, 2017): 93–104. http://dx.doi.org/10.31743/ql.161.

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The parallel urge of introspection and meditation which comes with the evocation of silence acts as landmark for a whole current of fin de siecle literature. The symbolist era gives the impression that its actors were obsessedwith silence. Symbolist poetry took possession of silence as a way to encapsulate the ineffability of feelings and the various states of mind it explored, leaning towards an aesthetical mysticism. Yet that tendency soon turned into a form of cliché that opened a path towards parody, silence becoming a stigma of the ideological shortcomings of symbolism in the eye of its detractors. The attempt to seize the silence led to a harsh confrontation with void.

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Whistler, Daniel. "NATURALISM AND SYMBOLISM." Angelaki 21, no. 4 (September 27, 2016): 91–109. http://dx.doi.org/10.1080/0969725x.2016.1229439.

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Richter, David, and Manuel Aguirre. "The Closed Space: Horror Literature and Western Symbolism." Modern Language Review 87, no. 3 (July 1992): 710. http://dx.doi.org/10.2307/3732964.

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Kim, Byungsook. "The Symbolism of Blue in Japanese Ancient Literature." Hankuk University of Foreign Studies Literature Studies 69 (February 3, 2018): 59–80. http://dx.doi.org/10.22344/fls.2018.69.59.

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Prusak, Błażej, and Muhammad Mushafiq. "Colour Symbolism in Finance." Financial Internet Quarterly 19, no. 4 (December 1, 2023): 49–62. http://dx.doi.org/10.2478/fiqf-2023-0026.

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Abstract Colour symbolism plays an important role in everyday life and science. The subject is interdisciplinary and receives significant attention in the literature. It is increasingly entering the field of economics and finance. The authors are the first to research the connotations and symbolism of colours in finance. The following research aims to: identify and determine the meaning of colours in connection with the word “finance”, determine the popularity of the use of particular colours in relation to the word “finance”, and identify the most popular subject areas in the literature related to the most commonly used colour in finance. Bibliometric and textual analyses were adopted as research methods. The main research conclusions are as follows. Of the 14 colours examined, only green, blue, brown, black and white showed connotations accurately portrayed in the text. Apart from the colour black, the symbolism is universal and unambiguous. For black, the symbolism is twofold, with one of the meanings going back to historical times. The dominant colour is green. The main research areas pursued under “green finance” include investing in and financing environmentally friendly projects (including various types of technology), developing financial instruments to support environmentally friendly activities and supporting clean energy projects.

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Obatnina, Elena Rudol’fovna. "AROUND THE BOOK POSOLON’: «THE DARK NIGHT» FAIRY TALE IN THE CONTEXT OF THE PETERSBURG ENCOUNTERS BETWEEN A. M. REMIZOV AND M. V. SABASHNIKOVA." Russkaya literatura 2 (2023): 180–90. http://dx.doi.org/10.31860/0131-6095-2023-2-180-190.

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Dealing with the mythmaking problem in Russian Symbolism, the article analyses transferring of the images and motifs of the novel The Dark Night from the book Posolon’ (1907) by A. M. Remizov into the realities of the most famous locus of Symbolist culture, Vyach. Ivanov’s The Tower. The author deciphers its latent meanings and offers a new reading of the Remizov’s tale as a work that attempts to replicate the mythological folk mentality. The additional meanings are derived from Remizov’s rare autographs, in the subtext of which there is an episode associated with M. V. Sabashnikova. The true story from the literary life of the Symbolist circle helps to fill the gaps in the biographies of the two personalities, and refl ects the signifi cant literary and cultural phenomena of the early 20th century.

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Kinasih, Putri Rindu. "The application of reader-response theory to teach symbolism in literature class for EFL students." Journal of Research on English and Language Learning (J-REaLL) 1, no. 2 (July 6, 2020): 87. http://dx.doi.org/10.33474/j-reall.v1i2.6757.

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For years, scholars believed one effective approach that can be used in teaching literature in EFL context is reader-response approach yet very limited study can be found about the application of reader-response theory in teaching symbolism. Whereas, symbolism is considered as the most important elements of serious imaginative literature which provide rich sources of insight. The problem is, deciding exactly what is represented by a symbol is not an easy thing to do, though the general meaning is clear because a symbol most commonly represents something unnamed. This research aimed to find out the application of reader-response theory in teaching symbolism. This research observed 16 participants majoring in English Literature program. Within four weeks, the participants were asked to read selected poems and short stories and asked to write a reflective writing as a response. Then, the writings were assessed by using critical thinking rubric. From this research, it can be drawn that the participants’ score of symbolism interpretation were increasing by the end of the research. In other word, reader-response theory is beneficial to the improvement of students’ inadequacies in studying symbolism and offers potential benefits to solve problems in literature discussion such as low self-confidence and fear of stating out different interpretations. By the end of the research, the participants are more accustomed to express various ideas and more motivated to explore more supporting sentences to strengthen their ideas.

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Khachatryan, Armine. "Sound Symbolism and Onomatopoeia." Armenian Folia Anglistika 11, no. 1 (13) (April 15, 2015): 58–64. http://dx.doi.org/10.46991/afa/2015.11.1.058.

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The function, realization and the role of sound-symbolic phenomenon can vary in some languages. The study of sound symbolism and onomatopoeia in Armenian, Russian and English showed that highly expressive forms of language occur not only in daily conversation, advertising, newspapers and magazines, but also in creative literature: children’s poems, stories and great works of art. As a powerful stylistic device they realize an impact upon the reader or listener and evoke certain emotional expressively evaluative reactions. The comparative analysis of this phenomenon demonstrates that the word is heard differently in different cultures.

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Flier, Andrey Ya, and Tatiana V. Glazkova. "The historical evolution of social functions of the family and the images of their symbolization in culture." Observatory of Culture, no. 6 (December 28, 2014): 23–29. http://dx.doi.org/10.25281/2072-3156-2014-0-6-23-29.

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Analyses the problem of social functions of the family, cultural symbolism of the concept of "family" and the historical dynamics of this symbolism. Analysed cultural practices related to symbolization family relationships and their depiction in literature and cinema.

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Dalal, Bassam, and Ahmad Aljarah. "How Brand Symbolism, Perceived Service Quality, and CSR Skepticism Influence Consumers to Engage in Citizenship Behavior." Sustainability 13, no. 11 (May 27, 2021): 6021. http://dx.doi.org/10.3390/su13116021.

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Brand symbolism, which stems from the vitality of the brand and feeds self-symbolism and social symbolism, has become an increasingly important strategy for firms to enhance consumer behavior. Building on attachment theory, social identity theory, and cognitive consistency theory, and using data from 439 customers of Starbucks in Lebanon, we used an integrative model to examine how brand symbolism, perceived service quality, and Corporate Social Responsibility (CSR) skepticism jointly affect two types of Customer Citizenship Behavior (CCB): helping other customers and policing other customers. The findings revealed that brand symbolism has a significant positive impact on CCBs and is a stronger predictor of policing other customers than helping other customers in the hospitality context. Further, perceived service quality acts as a mediator between the brand symbolism and CCB dimensions. This study discovered that CSR skepticism negatively moderates the direct and indirect effects of brand symbolism on CCBs through perceived service quality. The findings contribute to the literature by examining the boundary conditions of how and under what conditions brand symbolism affects CCBs by enrolling perceived service quality as a mediator variable and CSR skepticism as a moderator variable in the brand symbolism–CCB relationship.

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Coşar, Bora, Ülkü Uzunçarşili, and Erkut Altindağ. "Do Not Neglect the Power of Symbols on Employee Performance: An Empirical Evidence From Turkey." SAGE Open 10, no. 4 (October 2020): 215824402096794. http://dx.doi.org/10.1177/2158244020967949.

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Symbols, which are considered as a reflection of an organization’s culture, also provide clues about an organization’s character and value system. The positioning of symbols in the business world and academic studies thus remains an important issue. This study, which measures the effects of organizational symbolism on organizational commitment and firm performance, carries out a scale development study to evaluate the concept of symbolism. For this analysis, a questionnaire was provided to 727 family-owned business employees. In the scale development section, the organizational symbolism was divided into three dimensions, where it was observed that structural and administrative symbolism, along with outward symbolism, affect organizational commitment and firm performance, although narrative and discursive symbolism do not affect organizational commitment and firm performance. The findings are partially consistent with the current literature. In the “Discussion” section, suggestions are given to academicians and administrators.

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Mnich, Ludmila. "THE GOSPEL TRADITION OF NUMBER SYMBOLISM IN TWENTIETH-CENTURY RUSSIAN POETRY." Проблемы исторической поэтики 19, no. 1 (February 2021): 328–62. http://dx.doi.org/10.15393/j9.art.2021.9142.

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The article discusses the issues of studying and interpreting number symbolism in a literary work and characteristics of gospel number symbolism in the Christian context. In 20th-century Russian literature, the Christian tradition had a decisive impact on shaping the meaning of number symbolism. An important feature of the Christian symbolism of numbers is the correlation of number symbolism with two spheres, which can be designated as “positive” (sacral) and “negative” (sinful). The author proposes a methodology for interpreting number symbolism, which comprises three stages: 1) a description of the numbers in a literary text, 2) the correlation of these numbers with the tradition of number symbolism, 3) the interpretation of the meaning of number symbolism, which is an integral part of literary work. The article also distinguishes between two concepts — that of the number image and of the image of number, and substantiates the differences in interpretation of such images. Theoretical notions are supported by the interpretation of number symbolism in the poems of Boris Pasternak, Zinaida Gippius and Alexander Blok, where it is presented explicitly. Other images, motifs and concepts presented in the literary works augmented and added complexity to the tradition of gospel number symbolism in the poems of these authors.

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Stokes, John, and James Redmond. "Drama and Symbolism." Modern Language Review 81, no. 2 (April 1986): 437. http://dx.doi.org/10.2307/3729718.

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Belliquist, John Eric. "Strindberg's Father: Symbolism, Nihilism, Myth." Modern Drama 29, no. 4 (December 1986): 532–43. http://dx.doi.org/10.3138/md.29.4.532.

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Dwan, David. "Important Nonsense: Yeats and Symbolism." New Literary History 50, no. 2 (2019): 219–43. http://dx.doi.org/10.1353/nlh.2019.0013.

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Herbert, M. K. "The Symbolism of Skin." Interdisciplinary Studies in Literature and Environment 4, no. 2 (October 1, 1997): 99–100. http://dx.doi.org/10.1093/isle/4.2.99a.

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Singh, Raj Kishor. "Symbology and Codes in Dan Brown’s Origin." Molung Educational Frontier 14 (July 22, 2024): 242–62. http://dx.doi.org/10.3126/mef.v14i01.67923.

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This paper explores the intricate web of symbology and codes found within Dan Brown's gripping novel, Origin. As a renowned master of blending history, art, science and religion, Brown weaves a tale that captivates readers with a labyrinth of symbols and enigmatic ciphers. Through an analysis of key elements in the narrative, this study aims to shed light on the significance of symbolism and cryptographic puzzles as essential devices in the plot's development. Drawing upon Brown's signature writing style, the paper examines the role of religious symbology, ancient texts and iconic art and architecture, intertwining them with scientific theories to craft a compelling narrative. The central focus lies in the protagonist, Robert Langdon, a symbologist, whose expertise in languages and linguistics plays a pivotal role in deciphering messages and solving the mystery at hand. Jean Moréas' Symbolist Manifesto (1886) is a foundational text in the development of literary symbolism. In this manifesto, Moréas emphasized the importance of symbolism in art and literature, advocating for a departure from naturalism and realism. He proposed that artists should focus on conveying emotions and ideas through symbols, rather than direct representation. Applying Moréas' theory of symbolism, the researcher analyzes how Dan Brown employs symbols and codes as key elements in Origin. By analyzing the relationship between language and technological innovation, the study aims to unveil how these elements converge to heighten the intrigue and suspense in the novel. It delves into the significance of linguistic techniques and cryptic passages, as tools for building suspense and enriching the reading experience. Langdon reveals meanings and ideas inherent in symbols and codes and demystifies the concepts- "Where do we come from?" and "Where are we going?"

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Hamad, Mohammad. "Symbolism of Water in Classic and Modern Arabic Literature." International Journal of Language and Literary Studies 2, no. 4 (December 26, 2020): 258–65. http://dx.doi.org/10.36892/ijlls.v2i4.367.

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Water in Arabic literature has literal and symbolic meanings. Water is one of the four elements in Greek mythology; life would be impossible without water and it is a synonym for life; life originated in water. Springs, wells, rain, seas, snow, and swamps are all associated with water. Each form of water may take on a different manifestation of the original from which it comes about. Arabic literature employs the element of water in poetry, the short story, and the novel. We find it in titles of poems: Unshudat al-matar (Hymn of the Rain) and Waj’ al-ma’ (The Pain of Water); and novels: Dhakirat al-ma’ (The Memory of Water); Taht al-matar (Under the Rain); Matar huzayran (June Rain); Al-Bahr khalf al-sata’ir (The Seas Behind the Curtains); Rahil al-bahr (Departure of the Sea); and many others. This study aims to answer the following questions: How does the element of water manifest in Arabic literature? What are the semantics and symbolism of the different forms of water in the literary imaginary? The study refers to six different significations for water in classical and modern Arabic literature: water as synonymous with life, purity and the revelation of truth, separation and death, fertility and sex, land and homeland, and talent and creativity.

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Hunt, David. "Colour Symbolism in the Folk Literature of the Caucasus." Folklore 117, no. 3 (December 2006): 329–38. http://dx.doi.org/10.1080/00155870600928989.

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Gasimova, Vusala. "The symbolism of the “eye”: from myth to literature." Poetika.izm, no. 01 (2023): 40. http://dx.doi.org/10.59849/2663-2926.2023.1.40.

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Liao, Fangfang. "One hundred years of change in Andrey Bely's image: Russian criticism of Bely as a symbolist literary critic." Advances in Education, Humanities and Social Science Research 2, no. 1 (September 20, 2022): 444. http://dx.doi.org/10.56028/aehssr.2.1.444.

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In order to gain a comprehensive understanding of the Russian critical discourse on the symbolist critic Bely in the last hundred years and to show the changes in this image, the critic Bely is judged in three stages in terms of the multiple relationships between Bely's literary criticism and his own literary creation, Russian symbolist literature, Russian literature and even Russian literary criticism, and finally to construct a collection of critical Bely's images covering different times, perspectives and fields, in which the image goes through the process of going from invisibility to incipient and then to complete presentation. The Russian criticism of Bely has been controversial in different eras, but his insistence on a combination of tradition and innovation and his active search for originality have made him a highly regarded critic. This review of the changing image of Bely deepens the understanding of Bely and Russian symbolism and is a useful reference for the study of Bely's literary criticism.

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Liao, Fangfang. "One hundred years of change in Andrey Bely's image: Russian criticism of Bely as a symbolist literary critic." Advances in Education, Humanities and Social Science Research 1, no. 2 (September 20, 2022): 444. http://dx.doi.org/10.56028/aehssr.1.2.444.

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In order to gain a comprehensive understanding of the Russian critical discourse on the symbolist critic Bely in the last hundred years and to show the changes in this image, the critic Bely is judged in three stages in terms of the multiple relationships between Bely's literary criticism and his own literary creation, Russian symbolist literature, Russian literature and even Russian literary criticism, and finally to construct a collection of critical Bely's images covering different times, perspectives and fields, in which the image goes through the process of going from invisibility to incipient and then to complete presentation. The Russian criticism of Bely has been controversial in different eras, but his insistence on a combination of tradition and innovation and his active search for originality have made him a highly regarded critic. This review of the changing image of Bely deepens the understanding of Bely and Russian symbolism and is a useful reference for the study of Bely's literary criticism.

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Pogacar, Ruth, Agnes Pisanski Peterlin, Nike K. Pokorn, and Timothy Pogačar. "Sound symbolism in translation." Translation and Interpreting Studies 12, no. 1 (April 10, 2017): 137–61. http://dx.doi.org/10.1075/tis.12.1.07pog.

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Abstract Readers may infer that literary characters are sympathetic or unsympathetic based on the perceived phonetics of character names. Drawing on brand name literature in marketing, we investigate whether Slovene and English speakers can identify sympathetic and unsympathetic characters in Charles Dickens’s Oliver Twist based solely on their names, despite being unfamiliar with the novel. Both Slovene and English speakers can make this distinction, suggesting that sound symbolism may help communicate Dickens’s intended characterizations. Dickens’s documented focus on creating meaningful names suggests the sound symbolism in his characters’ names is likely intentional. These findings are relevant to the translating convention of preserving proper names, which leaves spelling intact (given similar alphabets). Preserving the original names in translation may be justified for readers fluent enough to perceive the original name sounds. However, not altering character names in translation may sometimes lead to different phonetic perceptions, which alter the sound symbolic meaning.

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Pischedda, Pier Simone. "A Corpus-Based Study on the Translation of English Ideophones in Italian Picture Books: The Case of the Diary of a Wimpy Kid." Languages 7, no. 3 (August 26, 2022): 224. http://dx.doi.org/10.3390/languages7030224.

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This paper aims to provide the readers with an overview of the nature of sound symbolism in Italian and offers new food for thought to scholars in the under-researched field of sound symbolism in translated literature for young readers. Whilst English uses ideophones in literature for young readers, Italian sound symbolism often seems to rely on Anglophonic creations, arguably due to both linguistic and cultural reasons. The third and fourth books of the series for children and young adults, ‘Diary of a Wimpy Kid’, have been taken as a source for examples. The books contain both text and pictures, which include ideophones in them. Each of the two English books has been analysed together with their Italian versions, and the strategies employed to translate sound symbolism have been catalogued into a small corpus. The results, on top of elucidating the nature of Italian sound symbolism, show a considerable degree of adaption and a frequent reliance on Anglophonic forms, with scattered attempts made at adapting English ideophones for the Italian readership. This is achieved through the modification of source forms to resemble Italian syntactical structures more closely and through the removal of certain consonant clusters that are considered typically Anglophonic (i.e., <th>, <sh>).

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Roos, H. "Verskyningsvorme van die Simbolisme in die ouer Afrikaanse vertelkuns." Literator 11, no. 1 (May 6, 1990): 13–34. http://dx.doi.org/10.4102/lit.v11i1.791.

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As the Symbolist movement has primarily been linked to the poetic mode, the association of symbolism with prose writing, and particularly with traditional Afrikaans prose, raises many questions, From the writings of older critics it appears that whereas they did identify symbolic patterns in the work of contemporaries, the presence of a specific Symbolist influence is either not recognized at all, or played down and evaluated negatively. However, several of the early authors themselves, e.g. Leipoldt, Grosskopf and Marais, referred to, or admitted to being influenced by the great 19th-century Symbolist poets. The most marked example of Symbolist writing is evident in the short stories of Marais (“Die Reënbul”) and Van Melle (Denker kom kyk). In all the cases where the symbolist influence can be traced, several common characteristics are evident: the authors remained outside the mainstream of traditional Afrikaans prose writing, the lyrical tone and a decadent mood dominate, and in these early works signs of the innovative “Sestiger” prose are already evident.

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Piechucka, Alicja. "Possessed by Poe: Hart Crane’s Tribute to il Miglior Fabbro in a Symbolist-Modernist Context." Polish Journal for American Studies, no. 11 (Spring 2017) (August 30, 2023): 27–40. http://dx.doi.org/10.7311/pjas.11/1/2017.03.

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The article explores the ways in which Hart Crane, Stéphane Mallarmé and Mina Loy pay homage to Edgar Allan Poe in their respective poems. A comparative exegesis of the tributes in question reveals the connections as well as the differences between the ways the two American modernist poets and the French symbolist approach the legacy of their eminent American predecessor. A critical juxtaposition of Crane’s, Mallarmé’s and Loy’s poetic texts seems particularly worthwhile in view of the fact that Poe is regarded as one of the fathers of both French symbolism and American modernist poetry, which, in turn, are strongly interconnected. Consequently, the analysis undertaken in the present article results in broader conclusions concerning what, in the context of American and French literature, may be referred to as the symbolist-modernist continuum.

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Abboud, Sāleḥ Tāha. "Symbolism in the modern short story in Palestinian literature: Rāwiah Burbārah and the “white transparent” an example." Research and Analysis Journal 6, no. 2 (February 10, 2023): 01–05. http://dx.doi.org/10.18535/raj.v6i2.391.

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This critical article deals with the issue of symbolism, as its transparent employment is evident in the modern Palestinian short story of the writer, Rāwiah Burbārah, through her short story production in her collection of stories “Shaqā`iq Al-`Asīl” published in 2007. The research focuses on a short story selected from the collection of the stories of the aforementioned group, which is The white transparent, through a symbolic reading, to defining the features of modern symbolism. Symbolism is prominent in the modern short story, as the narrator employs symbolism in its integrated concept, using it to express his thoughts and visions within the elements of the story, so he enters the symbolic building in the writer’s style and formulation of the fictional text, adding to it a space of intended gaps and ambiguity and moving away from declarative and specific, so that the writer makes his story a text Literary evasive and clever in its presentation, structure and plot, calling the readers to implement all they possess of the elements of reading, interpretation, deconstruction and composition in order to reach a deeper and optimal understanding of the text and its cause, which is what the writer aims to achieve. The writer, Rāwiah Burbārah, is considered one of the creative Palestinian writers in the field of fictional writing of all kinds. A few scholars have paid attention to her short stories, which are collected in two collections: "Shaqā`iq Al-`Asīl" in 2007, and "Min Mashī`at Jasad" in 2008. Therefore, this article is complementary with What has been written about her role in writing short stories, and this article is concerned with the symbolic approach present in her first collection, in order to answer a central question: What are the features of transparent symbolism for the writer, Rāwiah Burbārah, in her short story text “The White Transparent”?

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Franchuk, Edward S. "Symbolism in Miss Julie." Theatre Research International 18, S1 (March 1993): 11–15. http://dx.doi.org/10.1017/s0307883300021052.

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The theme of Strindberg's Miss Julie (Fröken Julie, 1888), the struggle for sexual ascendancy between a liberated young woman and an ambitious young man who is her social inferior, continues to hold fascination even in times such as our own, which purport to be sexually liberated, socially egalitarian, and feminist. Perhaps, one might speculate, fascination with the play, its characters, and its situation is especially intense in such times. Certainly awareness of an interest in sexual politics have not lessened in the century since the play appeared. Since it has been a century dominated to a large extent by the theories of Dr Sigmund Freud, this is hardly surprising.

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Zhang, Hua, and Yosra Ibrahim. "Mo Yan’s Symbolism and Literary Root-seeking." Literary Studies 35, no. 01 (March 9, 2022): 7–16. http://dx.doi.org/10.3126/litstud.v35i01.43686.

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Mo Yan is the first Chinese writer to win the Nobel Prize for Literature. After he won the Nobel Prize for Literature in October 2012, he immediately drew the attention of the world. In the past nine years, there have been many theoretical articles on Mo Yan’s creative style and narrative art, but a very few articles on Mo Yan’s root-seeking characteristics from the perspective of symbolism. This paper attempts to explore the ways Mo Yan searches for his roots through his writings.

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Lagory, Michael. "Wormy Circumstance: Symbolism in Keats's "Isabella"." Studies in Romanticism 34, no. 3 (1995): 321. http://dx.doi.org/10.2307/25601124.

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Quigley, Austine. "Realism and Symbolism in Oscar Wilde'sSalome." Modern Drama 37, no. 1 (March 1994): 104–19. http://dx.doi.org/10.3138/md.37.1.104.

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Corrigan, Yuri. "Čechov and the Foundations of Symbolism." Russian Literature 66, no. 2 (August 2009): 165–88. http://dx.doi.org/10.1016/j.ruslit.2009.10.002.

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Prokhorenkova, Svetlana. "Features of the Interpretaition of Light and Color in the Philosophy and Literature of Symbolism." Bulletin of Baikal State University 33, no. 3 (October 26, 2023): 622–30. http://dx.doi.org/10.17150/2500-2759.2023.33(3).622-630.

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This article is devoted to the discoveries of poets, writers and symbolist philosophers in the field of color symbolism and its new content. Saturation with a new meaning of human existence, the search for spiritual support, reflections on the human soul and the fate of Russia — these are the main topics with which the understanding of color turned out to be interconnected. On the example of the analysis of the philosophical and literary activities of outstanding thinkers of the late XIX — early XX century, the main ideas of a difficult time for Russia are considered. The analysis of color symbolism in the work of Vl. Solovyov, A. Bely, D. Merezhkovsky and F. Sologub made it possible to give a comparative description of the images-symbols presented in the works of prominent thinkers. The range of topics in the philosophy and literature of the Silver Age is unusually wide. Significant was the interest of the authors in mythology and religion (the spiritual life of a person), in social life, in the creative activity and personality of a person: in his inner life, thoughts and experiences. The world of the soul and the world of thought were colored by philosophers and poets of the Silver Age in different colors. A fine line of interaction between the soul and the human mind has been discovered. An intuitive approach helped thinkers to understand and decipher the most complex phenomena of the surrounding world and the inner life of a person. That is why the images of poetry and prose were not always distinct and clear. They acquired a multi-level nature and developed into signs, symbols of the era. The processes of change in the perception of the world, which characterize the Silver Age, almost simultaneously occurred not only in literature and philosophy, but also in the visual arts, architecture and musical art.

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Krois, John Michael. "Cassirer's “Prototype and Model” of Symbolism: Its Sources and Significance." Science in Context 12, no. 4 (1999): 531–47. http://dx.doi.org/10.1017/s0269889700003598.

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The ArgumentErnst Cassirer's fundamental conception of symbolism (symbolic pregnance) derives from what may be called a bio-medical model of semiotics, not a linguistic one. He employs both models in his philosophy of symbolic forms, but his notion of the “prototype and model of symbolism” was not derived from linguistics. The sources for his conception of symbolism include the ethnographic and anthropological literature he discovered in Aby Warburg's (1866–1929) Hamburg research library, findings of medical research on aphasia and related conditions, particularly the work of Kurt Goldstein (1878–1965) and the theoretical biology of Jacob von Uexküll (1864–1944). The linguistic model of semiotics regards the bond between the signifier and the signified as purely arbitrary and conventional, but Cassirer traced meaning back to a “natural symbolism” of image-like configurations in bodily feeling and perception. In this way, his doctrine of symbolism assumed a form that undercut the distinction between philosophical Naturalism and Idealism. This helps to explain why in later years Cassirer developed his theory of Basic Phenomena. Cassirer's notion of the “prototype and model of symbolism” illustrates his method of thought, which eschews pure argument in favor of interaction with empirical research.

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Journal articles on the topic 'Symbolism in literature'

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