Iconic Form Research Articles

ASPECT OF LANGUAGE FOREIGN EDUCATION IN PELANGI MELBOURNE BY ZUHAIRI MISRAWI (Structural Semiotic Study)

Abstract : The reserach aims is identify and understand thoroughly foreign language education contained in Pelangi Melbourne Novel by Zahairi Misrawi. The research is qualitative Approach with analysis methode uses a structural study semiotic. The sourche of data is a Pelangi Melbourne Novel. The Data collected by reading over to understand and obtain data of foreign language education foreigners the factor personal and socio-cultural factors with semiotic structural study Methode.So, The data are grupp suitable foreigh learning theory. After that, Tha analyzing and doing interpretation is based on the theory foreign language learning. The researchers finded personal and social factors culture in Semiotic structural Study data are : form of icons 42 (36%) index of 58 (52%) and the symbol of 10 (13%). Third The semiotic is provide interpretation about foreign language education contained in the novel.Based on Pelangi Melbourne Novel, The Story gives an explanation that language education is not only requires learning English, but need the living environment and learning support. Personal, All students must have believe that self-nature both within the class and outside the classroom so that he is ready to communicate, eliminating anxiety and so forth. In addition, educational institutions must also be provide student residence so it is easy and convenient for students practice the English language without Indonesian rule out as national language.Keywords: Foreign Language, Education, Novel, factor personal, social and cultural factors, structural semiotic

Anatomical revision of the Australian teleosts Cavenderichthys talbragarensis and Waldmanichthys koonwarri impacting on previous phylogenetic interpretations of teleostean relationships

Bean, L. B. & Arratia, G., 4 October 2019. Anatomical revision of the Australian teleosts Cavenderichthys talbragarensis and Waldmanichthys koonwarri impacting on previous phylogenetic interpretations of teleostean relationships. Alcheringa 44, 121–159. ISSN 0311-5518. Australia has two important sites for Mesozoic fishes. The Talbragar Fossil Fish Bed in New South Wales is a Tithonian freshwater lake deposit containing the iconic form Cavenderichthys talbragarensis, first described in 1895. The Koonwarra Fossil Bed in Victoria is an Albian freshwater lake deposit containing Waldmanichthys koonwarri, first described in 1971. Following the tradition of the time, both species were first ascribed to the historic genus Leptolepis. In 2015, these two species were placed into a newly erected family, Luisiellidae, with the Oxfordian–Tithonian fish Luisiella feruglioi from the Cañadón Calcáreo Formation in Chubut, Argentinian Patagonia. This new family was interpreted as a stem teleost group, closer to Leptolepis coryphaenoides than to the crown-group Teleostei, a contrary hypothesis to previous interpretations that placed Cavenderichthys as a teleost incertae sedis in the crown Teleostei. This paper re-examines the morphological characters of the Australian taxa, including 46 previously undescribed specimens of W. koonwarri, from Museum Victoria. Some of the new characters include the special configuration of the jaws and the position of the quadrate-mandibular articulation; the special vertebral pattern at the level of the abdominal/caudal regions; a stegural-like uroneural in the caudal skeleton; and the structure of the scales. Finding the new characters in Waldmanichthys called for reappraisals of the morphology of Cavenderichthys and Luisiella. In the case of Cavenderichthys, 34 specimens were re-examined, but for specimens of Luisiella, a conservative approach was followed, based on its last morphological description as well as photographs taken more recently. The systematic position of the three Gondwanan taxa was re-evaluated using a pre-existing data matrix including 240 characters and 56 taxa. The new results give a very different scenario, with the three taxa now included in the crown-group Teleostei. The family Luisiellidae is restricted to its type species L. feruglioi. The two Australian fish genera cluster together with the Late Jurassic European genera Leptolepides and Orthogonikleithrus and are now ascribed to the family Orthogonikleithridae. The new results suggest that the three Gondwanan genera are stem taxa to the Osteoglossocephala (osteoglosomorphs plus more advanced teleosts), and their combination of morphological characters has a major effect on the interpretation of basal euteleosts, questioning some previous interpretations, as for instance, the homology of the stegural as an euteleostean character. Lynne B. Bean* [lynne.bean@anu.edu.au], Research School of Earth Sciences, Australian National University, Acton 2001, Australia; Gloria Arratia [garratia@ku.edu], Department of Ecology and Evolutionary Biology and Biodiversity Institute, University of Kansas, Dyche Hall, Lawrence, KS 66045, USA.

Unconventional spoken iconicity follows a conventional structure: Evidence from demonstrations

Some languages have more forms of conventional spoken iconicity than others. Japanese, for example, has more ideophones than English. So how do speakers of a language with limited semantic categories of ideophones depict percepts? One possibility is demonstrations: unconventional, yet depictive, discourse. Demonstrations follow quotatives (e.g., I was like ___) and perform referents as opposed to describing them. In English, a language with arguably restricted sets of ideophones, speakers may enact/create demonstrations using their hands, voice, and body. This paper examines which visual and spoken components are vital to comprehending demonstrations in English with features from Güldemann's (2008) observations: enacted verbal behaviour, non-linguistic vocal imitation, ideophones, and representational gesture. 28 videos containing demonstrations of 11 celebrities engaging in impromptu storytelling on USA talk shows were our critical stimuli. 145 native speakers completed forced multiple-choice judgement tasks to qualify each demonstration. To see which forms of visual and spoken communication contributed to comprehension, videos were presented in visual (muted), audio (pixelated and darkened), and audio–visual (left as is) conditions. Our results show that if arbitrary speech (e.g., I was like I can't go over the ocean!) is in a demonstration, then it is vital to comprehension. The visual condition rendered these demonstrations uninterpretable. If sound imitations (e.g., I was like prfff!) or ideophones coupled with hand gesture (e.g., I was like yay! + hands opening and closing in unison) are in a demonstration, then the interpretability of that demonstration across our experimental conditions depends on whether its components (gesture, sound imitation) can unambiguously express meaning in isolation. These findings allow us to make several conjectures about the wellformedness of demonstrations. Our findings are in line with studies on enactments in deaf signed languages whereby the more unconventional a form of iconic depiction is, the more it requires conventional framing to be interpretable.

The iconicity toolbox: empirical approaches to measuring iconicity

abstractGrowing evidence from across the cognitive sciences indicates that iconicity plays an important role in a number of fundamental language processes, spanning learning, comprehension, and online use. One benefit of this recent upsurge in empirical work is the diversification of methods available for measuring iconicity. In this paper, we provide an overview of methods in the form of a ‘toolbox’. We lay out empirical methods for measuring iconicity at a behavioural level, in the perception, production, and comprehension of iconic forms. We also discuss large-scale studies that look at iconicity on a system-wide level, based on objective measures of similarity between signals and meanings. We give a detailed overview of how different measures of iconicity can better address specific hypotheses, providing greater clarity when choosing testing methods.

Pengembangan Motif Batik Semarang untuk Penguatan Identitas Budaya Semarang

At the beginning of its development, Semarang Batik motifs did not reflect the special character of batik that developed in other regions. At that time, Semarang Batik tended to show coastal motifs and many were influenced by the Dutch and Chinese.This article highlights the development of Semarang Batik which helped shape the identity of the city of Semarang, moreover with the acknowledgement of UNESCO in 2006 which also had an impact on the development of batik motifs in each region, including Semarang. The contemporer Semarang Batik motifs are in the form of city and cultural icons, such as Tugu Muda, Blenduk Church, Marabunta Building, Blekok Srondol, Wewe Gombel, Warak Ngendok, and even food motifs such as Lumpia, Tahu Gimbal, and so on. Historical method was used in this study, includingheuristics (source collection), criticism, interpretation, and writing facts. The results of this study can be concluded that, the present Semarang batik motif developing metamorphosis from traditional motifs to contemporary ones with more varied innovations.

A Peircean perspective on human voice: the semiotic nonagon of the uses of voice

La voz humana es un fenómeno ampliamente estudiado desde una gran variedad de disciplinas, desde las especialidades de la medicina hasta las artes. Aunque esta situación resulta enriquecedora, la multiplicidad de perspectivas ha conspirado contra la formulación de una concepción única de la voz y de un sistema lógico que pueda ayudar a entender los fenómenos asociados con ella en términos más generales, enfatizando continuidades y relaciones en lugar de requerir cada vez una definición del objeto de estudio de acuerdo con las herramientas conceptuales y las metodologías de cada disciplina. La semeiotica de Peirce ofrece una alternativa a esta fragmentación de los estudios de la voz, especialmente a través de su taxonomía de signos relacionada con las categorías faneroscópicas. El nonágono semiótico (Guerri, 2003, 2014 y 2016) es un modelo operativo que, adoptando la forma de un ícono diagramático, ayuda a aplicar las categorías peirceanas al análisis de conceptos, objetos o disciplinas en general. Con el nonágono semiótico como herramienta metodológica, este artículo ofrece una forma de analizar, describir y categorizar de acuerdo con criterios lógicos los múltiples usos de la voz humana. Se espera que las relaciones que revela entre usos radicalmente diferentes de la voz ayuden a reducir la redundancia entre disciplinas y a proveer nuevas direcciones para la investigación en otras áreas, así también como para cubrir potenciales necesidades pedagógicas y analíticas en las artes y otras disciplinas (i.e. lingüística, estudios culturales).

A role for onomatopoeia in early language: evidence from phonological development

abstractOnomatopoeia appear in high quantities in many infants’ earliest words, yet there is minimal research in this area. Instead, findings from the wider iconicity literature are generalised to include onomatopoeia, leading to the assumption that their iconic status makes them inherently learnable, thereby prompting their early production. In this review we bring together the literature on onomatopoeia specifically and iconicity more generally to consider infants’ acquisition from three perspectives: perception, production, and interaction. We consider these findings in relation to Imai and Kita’s (2014) ‘sound symbolism bootstrapping hypothesis’ to determine whether their framework can account for onomatopoeia alongside other iconic forms.

Rhetorical Figures of Viewing in Classical and Academic Art

The article is a mirror for the author’s work on the iconographic motif of Venus pudica. Like Venus, the image of a sleeping satyr from the famous Barberini Faun statue has become a figure of visual rhetoric in modern times, with a similar meaning of viewing the human body, but this time a male body. French artist Nicolas Poussin and Italian painter Giovanni Battista Pittoni used this recognizable iconic form to express a complex set of meanings, often in opposition to each other. In the arsenal of academic art, it has been applied in creating artistic images by Russian painters of the eighteenth and early nineteenth centuries: Anton Losenko, Andrei Ivanov, and his brilliant son Alexander. At first glance, this article only continues, using new material, the series of studies initiated by Aby Warburg (1866–1929) on visual patterns invented in antiquity that then became part of Modern art. However, unlike iconological studies, which only state such borrowings, the author examines these visual metaphors from the perspective of their internal form, which for a long time could hold and transmit important messages from the artist to others. The author believes that rhetoric from antiquity until the beginning of the nineteenth century (in Russia to the middle of the nineteenth century), and in academic art even later, held a leading position in the education of the artistic consciousness of masters of fine arts, and, directly or indirectly, in the management of practical activities — even playing the role of art theory, which began to form as an independent discipline at the turn of the twentieth century.

Settlers of the Marsh: settler desire and its vicissitudes

ABSTRACTFrederick Philip Grove’s Settlers of the Marsh (1925) is a settler-colonial farm novel. Grove’s novel is an exemplary Canadian instance of a mode of fiction which attended the ‘settler revolution’ – the agricultural colonisation of temperate range lands in North and South America, Eurasia, Australasia and Southern Africa in the second half of the nineteenth century and first half of the twentieth. The defining feature of this iconic form of settler colonialism was the presence of what the Canadian historian Peter A. Russell terms a ‘large scale open land frontier’. The settler farm – whether it was in the South African High Veld, the Western Australian wheatbelt, the prairies of Manitoba or the Canterbury Plains of New Zealand – was the main instrument in a mode of colonisation in which seized indigenous land was made available to mainly European immigrants for agricultural enterprise. In the literary sphere, the particular aura and ideological valency of the pioneer farm find expression in the appearance of novels that dramatise the taking up of land by settlers in these frontier communities. This essay uses Grove’s Settlers of the Marsh to trace how the particular forms of desire mobilised by settler colonialism are modulated in the settler-colonial farm novel.

Old School Rules

This article considers the unique features of what we call Old School storefront signs in Brooklyn, NY. These signs, which were often hand-painted and notably text-rich with large-size fonts, signaled an openness to all in a highly diverse, multi-cultural urban area. At the same time, very laconic, ambiguous and ironic gentrifying (or what we call New School) signage is replacing these Old School storefront signs at a rapid pace. Using sociolinguistic, semiotic and aesthetic analysis, we show how Old School shop signage acts as a “register of place.” The openness of this register allows it to adopt and incorporate elements preferred by Brooklyn’s gentrifying population. Also, we show how New School businesses begin to take on certain semiotic and textual features of Old School shops in order to survive in the face of corporate development. This appropriation of form/format, we argue, further demonstrates the effectiveness of Old School “rules,” which allow these signs to remain despite accelerating gentrification and the relentless march of corporate capitalism. Old School, as a marker of history and as an iconic form of place, is a living style that represents the past, has been transformed by the present, and perhaps has the power to change the future.

Language is more abstract than you think, or, why aren't languages more iconic?

How abstract is language? We show that abstractness pervades every corner of language, going far beyond the usual examples of freedom and justice In the light of the ubiquity of abstract words, the need to understand where abstract meanings come from becomes ever more acute. We argue that the best source of knowledge about abstract meanings may be language itself. We then consider a seemingly unrelated question: Why isn't language more iconic? Iconicity-a resemblance between the form of words and their meanings-can be immensely useful in language learning and communication. Languages could be much more iconic than they currently are. So why aren't they? We suggest that one reason is that iconicity is inimical to abstraction because iconic forms are too connected to specific contexts and sensory depictions. Form-meaning arbitrariness may allow language to better convey abstract meanings.This article is part of the theme issue 'Varieties of abstract concepts: development, use and representation in the brain'.

Visual Iconicity Across Sign Languages: Large-Scale Automated Video Analysis of Iconic Articulators and Locations.

We use automatic processing of 120,000 sign videos in 31 different sign languages to show a cross-linguistic pattern for two types of iconic form–meaning relationships in the visual modality. First, we demonstrate that the degree of inherent plurality of concepts, based on individual ratings by non-signers, strongly correlates with the number of hands used in the sign forms encoding the same concepts across sign languages. Second, we show that certain concepts are iconically articulated around specific parts of the body, as predicted by the associational intuitions by non-signers. The implications of our results are both theoretical and methodological. With regard to theoretical implications, we corroborate previous research by demonstrating and quantifying, using a much larger material than previously available, the iconic nature of languages in the visual modality. As for the methodological implications, we show how automatic methods are, in fact, useful for performing large-scale analysis of sign language data, to a high level of accuracy, as indicated by our manual error analysis.

Self-regulation of the Peruvian food industry: health message cues in the context of food and beverage advertisements

ObjectivesOne strategy to prevent the onset of non-communicable diseases is to motivate healthy lifestyles through health media messages. In Peru, the food industry is currently implementing such strategy with health message cues, in the form of a small icon of a walking person or a healthy dish, appearing on televised food and beverage advertisements. Yet the extent of this practice is unknown. Thus, the objective of this study was three-fold: to identify (1) the food and beverage advertisements showing health cues, (2) the types of health cues, and (3) their length in time. Study designCross-sectional analysis of televised food and beverage advertisements that children and adolescents encounter on Peruvian television. MethodsContent analysis of the presence of a health cue, type of health cue (physical activity and healthy diets), and the length in time of the health cue appearing on televised food and beverage advertisements in Peru. ResultsHealth cues appeared on over 70% of advertisements for sugary drinks and tended to promote healthy diets more so than physical activity. ConclusionsThis study shows that the food industry is currently advertising their products along with health message cues, and children and adolescents are exposed to this practice. Thus, we call for further testing of the effect of these health cues on children's and adolescents' food preferences and behaviors.

Dr. Frankenstein, I Presume? Revising the Popular Image of Frankenstein

This article critically examines the popular images of “Dr. Frankenstein” and his Creature, which took their iconic form in the 1931 film Frankenstein, influenced by medical experimentation following the Great War. Thus the title character is a medical student who stitches together stolen body parts to create a violent and subhuman monster, played to perfection by Boris Karloff. Because these images hardly resemble the original characters or plot of Mary Shelley’s Frankenstein, the article presents a revised interpretation of that novel emphasizing its scientific context, particularly the theories of Erasmus Darwin and Xavier Bichat. Here Victor Frankenstein is a chemist inspired by alchemy, who applies an ingenious technique of spontaneous generation to grow tissues to form the body of a gigantic Creature. Its appearance is terrifying because it is a new species, uncannily similar to but also superior to a human being, and thus it threatens to replace humanity.

New York's Democratic Aqueduct: Old Croton and Rome

New York’s Democratic Aqueduct: Old Croton and Rome PETER AICHER In 1832 the painter Thomas Cole, already renowned among artistic circles in New York, concluded a working tour of Europe with a productive year in Italy. Primarily a painter of wilderness landscapes until then, with a passion for Catskill scenery and biblical allegory, in Italy, Cole expanded his landscapes—not surprisingly—to include architectural ruins and the sweep of history. In a few years’ time this engagement with history and architecture would bear fruit in his famous five-part series The Course of Empire (1834 to 1836). Conceived in a Gibbonesque twilight reverie while Cole was still in Rome, the series envisions through didactic eyes the rise and fall of a civilization that looks much like ancient Rome but engages the anxieties of the new empire arising on American shores and gaining steam under Andrew Jackson’s presidency.1 While still in Italy, Cole finished a large landscape painting entitled Aqueduct near Rome (fig. 1). This painting not only anticipates, on one canvas, the concerns of the later Course of Empire series (note the human skull lurking in the vegetation , lower left), but also accurately depicts the ruins of what was originally, and remains today, the most impressive display of aqueduct engineering serving the ancient capital. It is this architectural display, as we shall see, that is central to the intricate historical dialogue between ancient Rome and America’s first monumental aqueduct, New York City’s Croton Aqueduct. This dialogue not only includes the dramatic mimicry of Roman aqueducts displayed by the Croton’s most prominent showpiece, the recently refurbished High arion 26.2 fall 2018 Bridge over the Harlem River, but also engages Frontinus’s ancient treatise on the aqueducts of Rome. In his treatise, it was precisely the stretch of aqueducts depicted later by Cole that moved Frontinus to elevate Roman architectural achievements over those of Egypt and Greece, and to claim elsewhere in his treatise that Rome’s aqueducts were her “chief symbol of empire.” And, as will be seen, in public commemorations of the Croton Aqueduct’s 1842 inauguration , the imperial past of Rome and Frontinus’s text itself played important roles in shaping and expressing New Yorkers ’ understanding of their own empire on the ascendant. ❖ that the ancient Romans appreciated the propaganda value of aqueducts is not hard to surmise from the visual impact of 82 new york’s democratic aqueduct Fig. 1: Thomas Cole (American, b. England, 1801–1848), Aqueduct near Rome, 1832. Oil on canvas, 44 1/2 x 67 5/16". Mildred Lane Kemper Art Museum, Washington University in St. Louis. University purchase, Bixby Fund, by exchange, 1987. their remains. In the case of the tall, slender arcade of gray stone in downtown Segovia, Spain, and of the still more famous Pont du Gard near Nimes in southern France, this impact has earned Roman aqueducts the status of World Heritage Sites, coupled with elaborate visitor centers that interpret the remains. In addition to their utilitarian function of delivering water, Roman aqueducts functioned as signs of power on numerous levels, whether as signs of political power wielded by a family or an emperor within Roman society itself, or as projections of power throughout the empire, often in territories whose pacification frequently required demonstrations of Roman power, military or otherwise.2 Monumental aqueduct construction demonstrates, and broadcasts, capacities of organization, control of resources, long-term ambitions, and engineering bordering on the marvelous. The iconic form of the aqueduct, the arcade, was a brand-mark of Roman urbanism , as familiar a feature of the Roman city and suburbs as colonnaded streets, fora, and amphitheater. An aqueduct’s stretch of arches implies imperial reach over territory. In its control of the element of water, in its channeling of this amorphous substance while harnessing the element’s own properties to transport it, there is also a measure of legerdemain involved in an aqueduct, just as there is in the defining component of the arcade, the arch itself, which achieves an uncanny suspension of massive weight. Looking up at a massive keystone from beneath one of the Segovia arches is an effective way to experience the drama...

Lonely sensational icons: semantic neighbourhood density, sensory experience and iconicity

ABSTRACTPerry, Perlman, and Lupyan (2015. Iconicity in English and Spanish and its relation to lexical category and age of acquisition. PLoS One, 10, e0137147. doi:10.1371/journal.pone.0137147) found that a sample of English words was rated as being slightly iconic, on average, with words varying in their iconicity. Thus, the relationship between word form and meaning does not seem to be categorically arbitrary. We investigated factors that might explain variation in iconicity: specifically, that concepts with sparser semantic neighbourhoods have more iconic word forms, and that concepts with more sensory information are more likely to have iconic word forms (as in Winter, Perlman, Perry, & Lupyan, in press. Which words are the most iconic? Iconicity in English sensory words. Interaction Studies. Retrieved from http://sapir.psych.wisc.edu/papers/winter_perlman_perry_lupyan_interaction-studies.pdf), even after accounting for age of acquisition (AoA; Kuperman, Stadthagen-Gonzalez, & Brysbaert, 2012. Age-of-acquisition ratings for 30,000 English words. Behavior Research Methods, 44, 978–990. doi:10.3758/s13428-012-0210-4). We found support for both predictions: words with sparser semantic neighbourhoods (ARC; Shaoul & Westbury, 2010. Exploring lexical co-occurrence space using HiDEx. Behavior Research Methods, 42, 393–413. doi:10.3758/Brm.42.2.393), and greater associated sensory experience (SER; Juhasz & Yap, 2013. Sensory experience ratings for over 5,000 mono-and disyllabic words. Behavior Research Methods, 45, 160–168. doi:10.3758/s13428-012-0242-9), were more iconic, even after accounting for AoA. ARC was also found to moderate SER. These results further our appreciation of iconicity as a general property of the lexicon.

Śiva’s multiplicity of presence in aniconic and iconic form

ABSTRACTThe early medieval Śaiva Siddhānta school, a theistic school of Hinduism, positively embraced material forms as means for worshipers to approach the god Śiva. Theistic schools of thought like the Śaiva Siddhānta and their iconophilic ritual practices are responsible for the profusion of religious images we see in Hinduism. This essay examines how priests and worshipers addressed these issues in early medieval South India. There are two primary themes. One is Śiva’s material polymorphism. According to the Śaivas, Śiva intervenes pervasively throughout the cosmos. Therefore, the material forms that he may inhabit are also many and diverse. The annual temple festival provides a rich illustration of Śiva’s multiple forms. The second theme is the translucency of the material object of worship. Since a consecrated icon is considered replete with Śiva’s presence, a viewer can learn to see with a devotional eye through the materiality of the object to other dimensions of Śiva’s being. The songs of the Tamil poet-saints provide a program for this devotional gaze into the divine fullness contained in a material form.

A perceptual advantage for onomatopoeia in early word learning: Evidence from eye-tracking

A perceptual advantage for iconic forms in infant language learning has been widely reported in the literature, termed the “sound symbolism bootstrapping hypothesis” by Imai and Kita (2014). However, empirical research in this area is limited mainly to sound symbolic forms, which are very common in languages such as Japanese but less so in Indo-European languages such as English. In this study, we extended this body of research to onomatopoeia—words that are thought to be present across most of the world’s languages and that are known to be dominant in infants’ early lexicons. In a picture-mapping task, 10- and 11-month-old infants showed a processing advantage for onomatopoeia (e.g., woof woof) over their conventional counterparts (e.g., doggie). However, further analysis suggests that the input may play a key role in infants’ experience and processing of these forms.

Moving toward settlement: tourism as acculturation practice

PurposeThe purpose of this paper is to explore the capital-based benefits which arise when acculturating immigrants perform touristic practices, and how these shape their tourism and migration experiences.Design/methodology/approachGrounded in consumer culture theory, this paper draws on theories of capital consumption to inform a hermeneutic analysis of multi-modal depth interviews with Southeast Asian skilled migrants in New Zealand.FindingsDomestic touristic practices offer three types of capital-based benefits, enabling consumers to index economic capital, accrue social capital and index cultural capital. Additionally, the quest for capital emphasises iconic forms of tourism and supersedes concerns about commodification.Research limitations/implicationsThis paper demonstrates the important role of touristic practices not only in short-term mobility, but also for long-term migrants. Further research should investigate how capital shapes the touristic practices of other types of mobile consumers.Practical implicationsUnderstanding the capital-based benefits of touristic practices in acculturation informs the design of migrant settlement policy and the managerial staging of touristic experiences.Originality/valueWhile theorists of liquid modernity have largely treated tourism as a discrete type of mobility, this paper reframes tourism as a key acculturation practice. In contrast to dominant conceptualisations of tourism as a quest for cultural authenticity, this paper reconceptualises tourism as a quest for capital. Finally, while previous studies have focused on how capital constrains acculturation outcomes, this paper explores how a consumption practice enables the expression and accumulation of capital.

The real presence of Osiris: iconic, semi-iconic and aniconic ritual representations of an Egyptian god

ABSTRACTThe ancient Egyptian god Osiris was represented in iconic forms in temple reliefs and statues, in semi-iconic form in the so-called corn-Osiris or Osiris-bed, and in aniconic form as the Djed-pillar. All three variations in iconicity are ritual representations of the god and somehow claim his real presence: the temple reliefs by (textually transmitted) conventions, the corn-Osiris by the real, sprouting corn that fills the Osiris outline or form, and the Djed-pillar by the very universality and immense potential of denoting without (yet) depicting or narrating. The synchronous occurrence of these degrees of iconicity illustrates aniconism as a rhetorical option, a matter of ritual design, not a cognitive or theological stage in the evolution of mankind.