Meaning Of Icons Research Articles

Impacts of Cultural Biases on the International Advertising Translation

The translator's role is, by definition, to transfer the linguistic and iconic meanings of the text from one language to another, but during the translation process the translator's attitudes, judgments, prejudices... come into play. These are cultural biases linked to the socio-cultural context in which he was raised. Therefore, we can say that the translator's cultural biases largely affect, on the one hand, the production of the text; and on the other hand, the process of the receiver’s involvement in the construction of the meaning of the message. Thus, the translator is given a great deal of leeway to fill in the gaps and spaces in the original text. On the other hand, the reader's knowledge and cognitive faculties allow him to give interpretations to the received text. In this article, we have shown to what extent the cultural biases of both the translator and the reader impact the production of meaning in the advertising text. The object of the study is a corpus of advertising messages of international brands. The methodology adopted is based on an analytical and comparative approach that allows us to shed light on the main manifestations of these biases, as well as the problems and pitfalls that the translator faces when transferring the meaning of the texts in the original language into the target language.

Semiotic Analysis of Icon and Symbol Found on Ed’s Heinz Video Advertisement

This study aimed to explain and examine the semiotic process as well as the meaning of icon and symbols in Ed' Heinz advertisement videos. The triadic semiosis concept from Charles Sanders Pierce's theory (1991) is used to identify and analyze data that focuses on representamen, object, and interpretant. This research used qualitative research as the method of collecting data which was downloaded from a Youtube Heinz video advertisement, a brand of ketchup produced by the H.J. HEINZ Company from the United States and has been exporting the ketchup all over the world. The result reveals that 16 Icons and 4 Symbols were found in the 3 scenes on Ed’ Heinz Video Advertisement. According to the results analysis, every components of the commercials have different meanings and interpretations.

Morphopragmatic analysis of reduplication in Nigerian Pidgin (Naija)

AbstractReduplication has a strong presence in creoles and expanded Pidgins. It has been studied for the several grammatical functions it performs in these languages. The present study is based on morphopragmatics theory, and explores reduplication in Nigerian Pidgin with the goal of identifying the pragmatic meanings it conveys. To achieve this, we analysed data from Wazobia FM, a Nigerian Pidgin-based radio station in Nigeria. The analysis process involved interviews and a focus group discussion with native informants. Our results show that in addition to more prototypical iconic meanings, some categories of reduplication in Nigerian Pidgin convey secondary meanings that are often heavily pragmatically and pejoratively charged, and which speakers strategically use to mark in-group and out-group associations, as well as to neutralize or attenuate the inherent negative meanings of the simplex forms.

Development of textile pattern design by M. C. Escher’s tessellation technique using chaekgeori icons

The purpose of this study is to raise awareness of the uniqueness and excellence of Korea’s traditional culture among members of the MZ generation (Millennials and generation Z) and explore the possibility of utilizing archetypes of traditional culture in the contemporary context. To that end, this study develops and proposes unique contemporary textile pattern designs applying M. C. Escher’s tessellation technique to the formative characteristics and symbolic meaning of Chaekgeori icons. To develop the designs, this study reviews the previous literature and theoretically considers the concept of Chaekgeori, its formative characteristics, and Escher’s tessellation. After extracting iconsrelated to the themes, stylized iconographic motives were applied to geometric shapes to create repeating units. Then, Escher’s tessellation was applied to these repeats to develop twelve contemporarily reimagined textile patterns. To verify the usability of the developed textile pattern designs in products targeting the MZ generation, in-depth interviews were conducted with the MZ generation living in Jeju. The developed textile patterns were mapped onto the selected items to prove the applicability of the developed textile patterns to the items preferred by the MZ generation. The contribution of this study lies in the fact that it develops unique and contemporary textile pattern designs based on the formative characteristics and symbolic meaning of Chaekgeori icons and maps the designs of fashion items preferred by the MZ generation, thereby raising awareness of the value and excellence of Chaekgeori as a part of Korea’s traditional culture and shedding light on the possibility of using traditional cultural archetypes in contemporary contexts.

세르게이 불가꼬프(Сергей Булгаков)의 소피아론에 나타난 종교 철학과 미학적 고찰

This study examines Bulgakov's socialist ideology and how it was influenced by Sophia's theory of Solovyov. Chapter 1 analyzes the differences between socialism and Christianity through Bulgakov's early writings. Chapter 2 examines aspects of Bulgakov's Sophia Theory that were developed from Solovyov's Sophia Theory. The study seeks to understand Sophia and Gnosticism, the flow of Sophia's divinity and humanity, and the differences and trends in Sophia's theory in Russian religious philosophy. While Solovyov tried to prove the basic concept of Sophia's theory with reason, Bulgarkov analyzed the problem of the fourth person by dividing it into the problem of hypostasis and hypostatized. This problem of personification originates from the duality of Sophia's theory. While Solovyov focused on the divine Sophia, Bulgakov defined Sophia as a middle ground between the divine and human beings in the form of 'creatures'. The problem of duality and person in Sophia's theory is further examined in Chapter 3 through the problem of the image and name of the divine. The study posits that God manifests as divine energy from the word God itself. Before examining the concept of name worship, the study briefly reviews the meaning of icon and compares the correlation between the meaning of icon and name worship as the original image of God.

Iconicity as a way of exchanging scientific and technical information in academic texts in the context of sustainable development of sociolinguistic interactions

Nowadays, there is an increasing interest in non-verbal means of written forms of interpersonal communication. It is explained by the fact that the informational component and the pragmatic potential of non-verbal means of communication are often much higher than those of verbal means. As a result, the researchers focus their studies on texts which structural organization contains, in addition to verbal code units, the means of other semiotic codes. Such texts are called creolized or polycode. Polycode texts are a distinctive feature of academic texts, and their interpretation poses certain difficulties for students. The purpose of this study is to analyze the structural components of academic polycode texts; to study the ways of organizing verbal and iconic components; to describe the functional characteristics of iconic elements; to establish the mechanisms of interaction between linguistic and paralinguistic means when creating a single semantic unity of a polycode text. The main research methods are analysis, synthesis, comparison and observation. The textbook for the training of professional engineersCambridge English for Engineering written by M. Ibbotsonis used as the empirical material. The authors come to the following conclusions: there are four types of academic polycode texts; each type has a different pragmatic potential of verbal and iconic parts; in some types, the information function is more prominent in the iconic component; the use of photographs as iconic means facilitates the process of text interpretation and scientific and technical data exchange.

백수백복도의 도상을 활용한 유아용 텍스타일 패턴디자인 개발

To express the wish for longevity, children have prayed for a healthy and happy life, as if engraving the word "Soo(壽) " on a belt or headdress since ancient times. A textile pattern for infants was developed based on the formative composition and symbolic meaning of the Baeksubaekbokdo(百壽百福圖). Through its development, theoretical and empirical studies were carried out in parallel to increase its value as a material that can help children aspire to health and happiness, as well as a prototype of traditional culture, and to identify the possibility of modern application. As a theoretical study, the concept of Baeksubaekbokdo, the formative composition and symbolic meaning of icons, and the colors preferred by infants were examined, focusing on literature, previous studies, and Internet resources. As an empirical study, an empirical analysis was conducted focusing on two folding screens of Baeksubaekbokdo, which are extant and readable relics stored in the National Folklore Museum, two folding screens of Baeksubaekbokdo, which are included in the catalog of the Gahoe Museum, and two pieces of Baeksubaekbokdo, which the Hengso Museum owns. Ten images suitable for the development of textile patterns for infants were extracted. After deriving a motif from the extracted circular image and characterizing it, a textile pattern was developed using tossed and half-drop layouts as design methods. As for the colors, red, blue, green, and yellow were extracted from the prototype of the Baeksbaekbokd, and the colors preferred by children, such as red, yellow, blue, green, and purple, were applied. Finally, we predicted the image when the developed textile pattern was applied to the infants" clothing design by additionally performing mapping by applying the developed textile pattern to the infants’s clothing design. It was derived that the formative composition of an image consisted of a combination of an image and a letter, an image arranged between letters, a letter form consisting of an image, and a form in which characters were engraved on the image. Based on the formative and symbolic meanings of the ten extracted icons, we developed peach, fish, image-engraved combination shapes, bird, turtle, three-legged pot shape, sailing boat, house, plum blossom, and cloud as textile patterns for infants.

Buket Uzuner’s Fire and Sacred Trees: An Interview and Impressions

Buket Uzuner’s construction of iconography of nature, especially her integration of arboreal bodies in her novels, reveals anxiety mixed with the sense of accountability and responsibility she feels as we all face climate change. This work contains the interview that we conducted with Uzuner and an exploration of her conceptualisation of arboreal complexities in the age of climate change, especially discussing her upcoming work Fire. Our interpretation is informed by Paul Ricoeur, who approached different levels of hermeneutic adaptation by giving weight to both the transparency and opaqueness of the meaning of icons and metaphors.

Icons

As long as we remained within the Orthodox Church circles, worshiping and studying, there was no clear explanation on what icons stands for, or are meant to be. It was after venturing into theological training, at a Protestant ecumenical University, that the challenge of understanding icons was unveiled. Historically, Iconoclasm, a medieval period controversy, led to a schism in the Church and persecutions of the iconodules. Apparently, the persecutions did not bring to an end the question whether icons were idols or not. Listening to the public crusades by Protestant churches, it is not uncommon to hear condemnation of icons, especially from the Orthodox and Roman Catholic churches. This research article sets on the premise that if transcendentalism, as developed by John Macquarrie and Bernard Lonergan, is used to explain the use of icons in worship, the meaning and use of icons will be understood and thus appreciated in a multi-denominational context. The research was both field and library based. In field research, non-probability sampling was used and data collected was tabulated using nvivo tools.

La dimensione cromatica nella riflessione di Gottfried Boehm. La differenza iconica, il colore e un confronto con la filosofia francese

Our paper aims at analyzing the relationship between the dimension of colour and the concept of iconic difference as it has been developed by the German philosopher Gottfried Boehm. In particular, we show how colours can contribute to the blossoming of iconic meaning in a way that cannot be fully expressed through language, thus giving access to a more authentic ontological truth of the object represented in the image. Moreover, we introduce a comparison between Boehm, Merleau-Ponty and Derrida. More specifically, we argue that Boehm’s understanding of the colour and of the concept of difference relies largely on the work of Merleau-Ponty and diverges for this reason with Derrida’s approach towards colours. Therefore, we conclude that any comparison between Boehm and Derrida should be undertaken prudently, if our goal is to appreciate the specific material features of images against the reduction of textual analysis.

American graphic Novel: Multimodality and Identity

The graphic novel is considered as a multimodal text — a complex of verbal and visual components. The differences between comics and graphic novels are explained. The definition of the concept of “multimodality” is given, and the main approaches to the study of a multimodal text are described. Attention is paid to the issue of identity in a multicultural aspect. On the example of a specific autobiographical graphic novel, the discursive construction of identity by visual and linguistic means is analyzed. The expediency of using critical discourse analysis to understand verbal and non-verbal connections, visual images and communications, as well as text and context is substantiated. To study the linguistic modality of the graphic novel, the methods of linguo-stylistic, lexico-semantic and contextual analysis of the literary text were used, while the iconic components were considered using the methods of observation, interpretation and comparison with the text. The sociocultural dominants of food and appearance were revealed in the novel, which contributed to the convergence of stylistic and iconic means of expressing meaning. Examples of combining linguistic, metalinguistic and visual aspects of expressing aspects of identity in the space of the American graphic novel as a multimodal text are given. The novelty of the study is seen in the demonstration of identity markers in a multimodal text.

The Communion of the Apostles and the Spiritual Eucharist in the Religious Thought and Art of the Old Believers

The division that occurred in the Patriarchate of Muscovy in the middle of the 17th century resulted in a large part of the believers being alienated from the clergy; in consequence, many communities of the Old Believers, who had come to terms with this loss, renounced most of the sacraments, including the Eucharist. This situation impacted the art of the Old Believers, especially in the Priestless Old Believer communities, for instance, in the interiors of their houses of prayer, where the presbytery area disappeared, and the iconostasis changed its function. This article contains an analysis of how one of the old iconographic themes connected with the Eucharist, namely the Communion of the Apostles, functioned in the Old Believer setting. Sources originating from those circles, especially the 18th-century Pomorian Answers (Pomorskie otvety), indicate that the Old Believers saw the Eucharist as a spiritual experience—the only one that was available to the faithful who lived in communities that lacked a clergy. This is most probably the context in which, for instance, Old Believer versions of the Communion of the Apostles should be understood. The view of the Old Believer identity, and Old Believer art, as proposed in this article takes under consideration not only the tradition but also the change, which was an unavoidable part of their communities’ experience, and which may also constitute an essential key to our reading of the contents and meaning of Old Believer icons.

Blowing in the Wind—Norwegian Wind Power Photographs in Transition

ABSTRACT With the growing awareness about the impact of images in climate change communication, wind turbine images are largely associated with positive and solution-oriented actions. This article questions if this is inherently so. Empiric material from the Norwegian media coverage of land-based wind power plants in 2018 and 2020 suggests that wind power images are transitioning from green icons to more ambiguous and sometimes downright threatening representations. The visual transformation is particularly salient in the growing body of photojournalistic images, as opposed to photographs from commercial sources such as news agencies and wind power companies. In addition, it seems that even the symbolic meaning of wind power icons is transitioning from representing a hopeful “future perfect” to symbolizing nature degradation and political arrogance. These findings generate a call for contextual awareness when it comes to identifying visual meaning, and caution about treating “solution visuals” as ready-made tools for greater climate awareness.

Articulatory features of phonemes pattern to iconic meanings: evidence from cross-linguistic ideophones

Abstract Iconic words are supposed to exhibit imitative relationships between their linguistic forms and their referents. Many studies have worked to pinpoint sound-to-meaning correspondences for ideophones from different languages. The correspondence patterns show similarities across languages, but what makes such language-specific correspondences universal, as iconicity claims to be, remains unclear. This could be due to a lack of consensus on how to describe and test the perceptuo-motor affordances that make an iconic word feel imitative to speakers. We created and analysed a database of 1,860 ideophones across 13 languages, and found that seven articulatory features, physiologically accessible to all spoken language users, pattern according to semantic features of ideophones. Our findings pave the way for future research to utilize articulatory properties as a means to test and explain how iconicity is encoded in spoken language. The perspective taken here fits in with ongoing research of embodiment, motivation, and iconicity research, three major strands of research within Cognitive Linguistics. The results support that there is a degree of unity between the concepts of imitative communication and the spoken forms through cross-domain mappings, which involve physical articulatory movement.

Law of Digital Society: Actual Problems and the Ways of Development

The article discusses the digitalization of law enforcement as the most important trend of post-Russian social development. The author believes that attempts to oppose the transition of postmodern society to digital society are scientifically insolvent for several reasons. First, according to the current consensus, post-contemporary (or post-industrial) society is a stage of sociocultural evolution, when advanced technologies, including information technology, begin to play a leading role, determining the further direction of the development of human civilization. Second, the cultural, social, political, and legal uncertainties of the Postmodern Era are not only not permitted but to some extent are exacerbated by the digitalization of society and law enforcement. Thus, according to the author, the rights of digital society develop tendencies, which, in general, are inherent and natural manifestations of postmodern civilization.
 As shown in the work, the rights of digital society in the current stage of legal communication development are characterized by a generally greater (compared to preceding stages) accuracy of the iconic means, among which include digital media, as well as their further extraction from objects acting as referred signs. As a result, digital design of the law enforcement generates several problems that have not received adequate solutions.
 The most important of those solutions include anonymization of the subjects of legal interactions (primarily states and legal entities, but also physical individuals), as well as the divorce from objects to which these relationships are addressed. These trends generate a crisis of confidence for communication participants, which is a key problem of post-hour law enforcement. In order to overcome such a crisis, the author offers the reconstruction of the rule of law based on human rights and freedoms that protect the fundamental identity and ensure the stability and coherence of legal reality.

The iconography of vehicle automation\u2014a focus group study

SAE level 2 and 3 semi-autonomous vehicles are widely available but, due to the nature of automation, their in-vehicle displays are required to communicate more complex information to the driver. Examination of interfaces from a variety of manufacturers revealed a clear lack of consistency in the way key information is displayed. Different manufacturers have adopted icons varying in shape and colour to convey the same message. When driving a semi-autonomous vehicle, mode awareness is critical for trust, performance and safety. Standardisation of icons has been shown to have many benefits including opening products up to wider international markets by helping overcome language and cultural barriers, by providing a method of communication which can surpass them. However, the current lack of standardisation in icon design could cause mode confusion and has little cross-vehicle compatibility. To understand the impact of mode confusion on users, a focus group was held in which participants were asked to interpret the meaning of icons from a variety of different driver interfaces. Ambiguity in user interpretations makes the case for the introduction of new ISO standard icons to better support drivers in SAE level 2 and 3 automated vehicles.

Representación Iconográfica del Aguayo y Chuspa de la Danza Carnaval de Vilavila – Puno - Perú

Las prendas textiles son parte de nuestra cultura e identidad, en donde se igualan características propias de otras. La materia prima utilizada generalmente es lana de camélidos y ovinos que pasa por diferentes procesos como el hilado, teñido hasta obtener el producto. En ese sentido la iconografía textil en las danzas es un tema fundamental en materia de estudio, realización, combinación de colores, significado de íconos. El objetivo primordial es describir la iconografía del aguayo y chuspa, piezas que conforman el vestuario de la danza Carnaval de Vilavila. La metodología aplicada es la cualitativa desde un enfoque descriptivo e iconográfico; el diseño de la investigación será mediante la observación y entrevista, en donde lo principal será profundizar en los diseños iconográficos que se encuentran en el aguayo y chuspa. Concluyendo que en la actualidad se está dejando de lado descifrar esos mensajes que son significativos, para entender un contexto social, las actividades que desarrollan, formas de vida, a través de las diferentes danzas, del vestuario y prendas que lo conforman.

Illustration Images in Muslimah Visual Communication Da’wah Movement on Instagram

The rise of various da’wah content on Instagram explains the emergence of Muslimah movement to deliver Islamic messages through social media. Through Instagram, the Muslimah community becomes an agent for transforming Islamic knowledge in carrying out da’wah . This study aims to explain how the illustration artworks produced by the Muslimah community become visual communication media and provide their nuances in da’wah through Instagram. With a virtual ethnographic approach, this research is a qualitative study involving 15 illustrators who are members of the Hijabographic virtual community. This study reveals that the embodiment of the illustration artworks shows distinctive style and shape, which makes the Hijabographic community have its own positioning as a virtual community that produces illustration artworks for da’wah content. As visual communication media, the illustration artworks created by Hijabographic community members contain iconic meanings that emphasize aesthetic principles. The creativity of Hijabographic community members in producing illustration artworks is not an individual phenomenon but a structured cultural system that is adaptive to the demands of technological development. Hijabographic community illustration artworks present a new way of performing da’wah through virtual space.

ПРОТИВОПОСТАВЛЕНИЕ В КАРИКАТУРЕ ВЕЛИКОЙ ОТЕЧЕСТВЕННОЙ ВОЙНЫ

The article has for an object to determine themes of the Great Patriotic War cartoons based on the contrast between of two pictures and to detect and describe aims that cartoonists try to achieve with help of the political cartoons under study. The author conducts research of the Great Patriotic War cartoons created by Kukryniksy, a group of caricaturists, which M.V. Kupriyanov, P.N. Krylov, and N.A. Sokolov belonged to. They often involved S.Ya. Marshak in the work on the verbal part of their political cartoons. Some of the political cartoons under study give an example of wholeness of his rhymes and the painter’s pictures. The author treats the political cartoon of the Great Patriotic War as a message that is addressed to the Russian language personality and is a polycode one, which presupposes that information, which caricaturists code into the cartoon, is a result of cooperation between iconic and verbal means. Using Yu.N. Karaulov’s idea about the structure of the language personality, the author describes the encoding-decoding process of political cartoons meaning, in forming of which codes of different semiotic systems take part, as projections onto different levels of the language personality where these projections activate a certain string of associative links. The analysis of the political cartoons under study made it possible to detect five themes discussed in them: change of the state of things, change of personage’s emotional state, personage’s intention and results of its realization, action-and-reaction, personage’s mask and his real identity. Describing the political cartoons, the author ascertains that, combining two pictures based on the contrast within the bounds of a political cartoon, the caricaturists fulfill specific range of tasks. (1) The contrast of pictures, which contain both similar and different elements, furthers directing and holding of addressee’s attention. The caricaturists stimulate the addressee of the message to an active search for similar and different elements on those pictures, which diverts the addressee. (2) The contrast in the political cartoon can produce comical effect or increase it. The more cloudless the situation is for the personage on the first picture, the clearer it is to everyone how abased he is on the second one. (3) The contrast of situations with different characteristics (the one in the past and another in the present / the real situation and its hypothetical projection) in a message in the form of a political cartoon can have an explanatory function. The evil depicted on the first picture serves as proof of rightfulness and necessity of counteraction to it. If the form of such counteraction is shown on the second picture, the message contains an indirect appeal to the addressee for his active counteraction to this evil. (4) The usage of contrast for discussion of the theme “personage’s mask and his real identity” enables to show the true face of him, to give his personality a certain estimate and to form addressee’s opinion of the characterized person.

Social Memory, Iconicity, and Gendered Spaces in Tuareg Sedentarization and Urbanization

This article explores selective memories of nomadic gendered spaces, as expressed in the iconicity of housing built forms and their surrounding motifs and practices in terms of their meanings in relation to changing social contexts among the previously more nomadic Saharan Tuareg in sedentarization and urbanization. The approach here takes the apparently temporal idea of historical change in a formerly nomadic society and connects it to the spatial continuities and transformations in settled and urban organization and practice, analyzing their impact upon gender constructs and relations between the sexes, and exploring ways women and men actively respond to and manipulate these new spaces through evoking selective memories of their rural nomadic milieu. It is shown how local and national social constructions of memory and history sometimes converge, sometimes diverge, and have changed under wider pressures, while Tuareg women's lives and their place as makers of much material culture have been transformed. It is argued that agency in gendered spaces in oases and towns of Niger and Mali alternately obliterates and commemorates important gender constructs central to cultural identity. More broadly, this article argues that spatial and iconic meanings emerge only when animated by practices focused on both remembering and forgetting, practices not always rigidly opposed or mutually exclusive.