Symbol Of Glory Research Articles

The Analysis of the Implicature and Pragmatics Force of the Carving Ornaments of the Mantingan Mosque, Jepara, and Their Acculturation to Surrounding Communities

The Masjid Mantingan, the second-oldest mosque after the Masjid Agung Demak, is located in Mantingan village, Tahunan subdistrict, Jepara Regency. The Masjid Mantingan was established in 1481 Saka or 1559 AD by Sultan Hadlirin, the spouse of Queen Kalinyamat. There are white stone carvings in the mosque that result from the influence of Hindu, Buddhist, Chinese, and Islamic cultures and have artistic value. This case study aimed to examine the implicatures and pragmatic forces of the carved ornaments on the interior walls of the Masjid Mantingan. Data were collected through observation and interviews with the administrators, visitors, traders, and the community surrounding the mosque. The data was then analyzed using contextual analysis. The study’s findings demonstrated that, pragmatically, the Masjid Mantingan construction prioritizes functional components over aesthetic ones, as demonstrated by the mosque’s use as a place of prayer, education, tourism, business, and socio-culture. The mosque was also constructed by emphasizing elements of implicature and pragmatics force, as evidenced by the use of ornaments drawn simultaneously from three different cultures, namely Islamic, Hindu, and Javanese. Cultural acculturation at the mosque also contributes to the development of socio-cultural aspects and the economics of the local community by preserving traditions, maintaining carved ornaments, and engaging in tourism activities. The Masjid Mantingan, as the precursor to the development of Islam in Jepara, is also able to adapt to become a historical, cultural, and religious edifice, a symbol of glory, and a symbol of tolerance among religious communities. Keywords: Masjid Mantingan Jepara, implicature of carving ornaments, pragmatics force of carving ornaments

The Cultural Symbol of Akkorongtigi in the Wedding Tradition of Makassar Society

This research was intended to examine the caltural symbol of Akkorongtigi in Makassar wedding tradition. Moreover, the approach used was a semiotic approach. The data of this research were the documentation of bridal Akkorongtigi activities and verbal utterances which were transcribed into the text. Besides, data collection used were documentation, in-depth interviews, and observations (field recording, recording, and photo shooting). The data analysis stages were carried out through three stages, namely (1) reduction, (2) presentation, and (3) conclusion drawing. Furthermore, the results showed that there were four cultural symbols in Akkorongtigi, namely the symbol of hope, the symbol of religion, the symbol of glory, and the symbol of togetherness. In addition, the representation of the implementation of the Akkorongtigi tradition was supported by two things, they were verbal and nonverbal aspects.Keywords:Symbols, culture, Akkorongtigi, tradition, Makassar

REINTERPRETATION OF HIJAB CONCEPT IN THE VIEW OF MURTADHA MUTAHHARI

In the view of Millennial society, Hijab was better known as fashion for woman to look beautiful. It’s proven by the presence of so many tutorials wearing Hijab with various models showed on Youtube. Those tutorials influenced women views that to make them look completely enchanting they should wear Hijab. As the consequence, Hijab what must be believed to be an obligation and the guidance of the Shari’a, it’s even understood by women as a form of need and desire only, and it’s especially just to attract man attentions. Former times, Hijab was understood by people as a symbol of glory and a form of the obedience of a woman to God. But, now, due to misunderstanding of the meaning and the essence of Hijab, it’s misused by women in this Millennial era. To solve this problem, it’s required a philosophical study. This study is expected to be one way to refine meaning of the essence of Hijab. To look further, we can study some views of Sayid Murtadha Muthahhari. He was one of contemporary Iranian philosophers who refined the essence of Hijab. In Murtadha Mutahhari philosophical views, he offered to us four meaning of the essence of Hijab, those were the first was psychological tranquility, the second was strengthen the relationship of husband and wife, the third was the glory and honor of women, and the fourth was strengthen of the society. In another hand, he also offered to us three reasons that why women must wear Hijab. It’s economic reasons, social reason, and ethical reason. This Study is trying to refine and inform the meaning of the essence of hijab to Moslem society through Murtadha Mutahhari philosophical view.

The Cross: History, Art, and Controversy by Robin M. Jensen

Reviewed by: The Cross: History, Art, and Controversy by Robin M. Jensen Diliana Angelova Robin M. JensenThe Cross: History, Art, and Controversy Cambridge, MA; London: Harvard University Press, 2017 Pp. x + 270, 63 color illustrations. $35.00. In this new monograph, distinguished historian of early Christian spirituality and visual tradition Robin M. Jensen offers a biography of the cross as a symbol from antiquity to the present day. The preface describes the book’s objective as “a modest attempt to cover some ground and to lead the readers more or less chronologically through some of the highlights (and lowlights) of the history of this epic symbol” (ix). To appreciate the daring of such a task, one needs to contemplate the centrality of the cross to the European imagination and the deep and often treacherous scholarly debates surrounding its varied uses as relic and symbol. Jensen has engaged with centuries of history, scholarly controversy, and visual tradition with poise and verve. The result is an elegantly written account of the most enduring symbol of Christianity. While controversy is not the author’s objective, this is a thesis-driven book and will surely stir debate. The argument unfolds over nine chapters (each titled in Latin) that organize the vast material into tidy smaller units that trace the changing meanings of the same symbol. Some of these meanings endured for centuries, while others were more fleeting. In brief, the cross symbol was born in shame (Scandalum Crucis). For different reasons Romans and Jews deemed a death on a cross deeply ignoble. Jensen traces how early Christian apologists turned the instrument of disgrace and humiliation into a symbol of glory, salvation, and eternal life, one that proved essential to Christian ritual and artifacts (Signum Crucis). Her analysis demonstrates that the cross was not simply an object but “a kind of living being” (28). Despite the positive associations (in part through Paul’s typological linking between Adam and Christ) that enabled the cross to be transformed from a “tree of death” to a “tree of life” in both mainstream and noncanonical writings, images of Christ on the cross were very slow to gain popularity (Crux Abscondita). In Jensen’s reading, the gradual acceptance of scenes of Christ’s crucifixion is more readily attributable to pilgrimages to the Holy Land and the dissemination of cross relics than to Christian teaching (76). Among the first extant images of the crucifixion, the Maskell ivories in the British Museum and the wooden doors of Santa Sabina in Rome—both dated to the 400s—depict the crucified Christ very much alive. As is well known, emphasis on the dead Christ is a later phenomenon. It became more popular in public monuments only in the tenth and eleventh centuries, a process Jensen examines in Crux Patiens, and one she attributes to medieval eucharistic piety [End Page 684] (166). Her discussion of eucharistic piety, however, focuses on the western middle ages; regrettably she omits the Byzantine image of the Man of Sorrows (Christ depicted dead on the cross with arms by his body), and with it its connections to the ritual lamentations of Holy Week (Hans Belting, “An Image and Its Function in the Liturgy: The Man of Sorrows in Byzantium,” Dumbarton Oaks Papers 34/35 [1980]: 1–16). The chapter on the discovery of the true cross relic (Inventio Crucis) launches the argument that frames the study. Jensen dismisses the notion that Constantine’s vision and the purported discovery of the true cross relic by Constantine’s mother contributed to the wide acceptance and dissemination of the cross as a symbol. Instead, the author credits the cross’s earlier significance (as underscored in the writings of Paul, Hippolytus of Rome, Tertullian, the Gospel of Peter, and the Acts of John, among others) for its popularization. The imperial uses of the cross as symbol and relic were, by her reading, short-lived phenomena. This conclusion partly relies on a particular reconstruction of the Augusta Helena’s association with the cross. The author doubts that the relic had to do much with Helena, Constantine, or Helena’s residence in Rome, the Sessorian Palace. (For a different reading of the relationship between the...

Enduring war: Heroes’ Acre, ‘the empty throne’, and the politics of disappearance

ABSTRACTWar memorials are a common and often controversial part of the commemoration of past wars. In order to better grasp their importance for the way war endures below the surface of peace, this article stages an ethnographic encounter with a Namibian monument: Heroes’ Acre. The memorial embodies the official Namibian narrative on past wars by emphasizing a nationalist and quasi-religious symbolism, a framing that has been challenged by a number of writers pointing to the need for going beyond the state discourse. This article complements and complicates the way Heroes’ Acre appears in discourse by focusing on the interstices and absences at the site. By drawing upon my own visit to the monument as well as theoretical engagements, most notably Georgio Agamben’s discussion of ‘the empty throne’, I read Heroes’ Acre as a place where political power functions through emptiness, as it allows the future of war to endure in the present. Engaging particularly with the empty graveyard at the site, I argue that its emptiness needs to be understood as a guarantee for war – not in case it occurs – but as a ready-made symbol of glory, always virtually there, waiting to be fulfilled.