Symbol Of Purity Research Articles

The Interplay of DeFi and CeFi: Analyzing Decentralized Finance through the Lens of the Shiva Milk Story and the Ramayana Metaphor

This paper explores the evolution of decentralized finance (DeFi), represented as Rama, and its adversary, centralized finance (CeFi), represented as Ravana in the metaphorical context of the Ramayana. Drawing inspiration from the story of the Raja's attempt to fill a temple with milk for Lord Shiva, we examine how individual greed, lack of transparency, and improper contributions can lead to the collapse of collective financial systems. Just as Ravana's greed and manipulation disrupt harmony, CeFi is characterized by centralized control, fostering inefficiency and inequity. In contrast, DeFi offers a decentralized, transparent system that aims to align with Shiva's Linga, the symbol of purity and divine order, ensuring collective participation for an optimized financial ecosystem.

Indian Knowledge System and National Education Policy (Nep) 2020

Knowledge is the supreme value. Indian knowledge tradition is a pernnial flow of the Ganga. Ganga is a symbol of purity and liberationas it descended from heaven to give moksha to the people of yogabhumi, Bharata. Indian Knowledge System aspired to know everything that the mind can comprehend from tiny atoms to the universe. India has a glorious tradition of spirituality propagated by a long line of rishis. The teachings of the sages have an eternal relevance and unleashed the creativity of the Indian culture over a wide spectrum-literature, medicine, music, dancing art, painting, sculpture, mythology, ethics, astronomy, mathematics, grammar, metaphysics, epistemology, ontology, yoga, phiplosophy, psychology and economics. This explosion of creativity has enriched Indian culture and upliftment the human soul. Vedas are the oldest and richest source of Indian Knowledge Systems based on spiritual knowledge. The Supreme Creator creates the cosmos, the creative potency descends among the created beings to assist the Supreme Creator in the manifestation of the material worlds. Universities are temples of knowledge where ideas, innovations, and skills are nurtured. The National Education Policy 2020 is the synthesis of knowledge and education and from the teaching of humanity and values, India is Vishwaguru.

Fraiman, S. (2017). Extreme Domesticity: A View from the Margins. New York: Columbia University Press. Review by Yishi Pan

In her essay Professions for Women (1931), Virginia Woolf shares her ambition to kill ‘the Angel in the House,’ Coventry Patmore’s now infamous image of idealised nineteenth-century femininity. Serving as a symbol of purity and selflessness in the Victorian era, the Angel ‘never had a mind or a wish of her own’ but preferred to sacrifice herself for the well-being of domestic life (p. 141). Woolf thus calls for resistance against the Angel, whose haunting shadow always lurks around, waiting to deprive women of their own voice. In Extreme Domesticity (2017), Fraiman likewise denounces this iconic image when she begins a discussion on the relation between women and domesticity.

‘Retirement home’ or ‘symbol of purity and nobility’? David Ben-Gurion’s changing perception of the Israeli presidency

ABSTRACT David Ben-Gurion played a pivotal role in shaping Israel’s political institutions, yet scholarly literature concerning his views on the Israeli presidency is notably lacking. Traditionally, his perception of the presidency has been portrayed as deeming it ‘unnecessary’. However, such portrayals are limited, focusing on isolated moments rather than encompassing his entire political career. This research aims to address this gap by examining Ben-Gurion’s relationship with presidential candidacies from 1949 to 1963. Through this analysis, it seeks to elucidate the evolution of his perceptions, articulations, and conceptualizations of the presidency in Israel over time.

The Concept of Water Exaltation in The Subak

Objective: A contribution to a better understanding of Balinese subak farming rituals through symbolic and mythological analysis of the water breeding and preservation concept. The symbolism and mythology in the concept of water exhalation in subak ritual as a visual communication of humans, God, and the environment will be examined in this qualitative descriptive study with an ethnographic approach. Method: The implementation of THK philosophy as the foundation for a high spirit of cooperation, as well as the existence of ritual activities as a unifying element for members of the subak organization, has the potential to sustain the subak existence. Meanwhile, in the Balinese people's cosmos, natural, religious, and cultural attributes are interconnected through the traditional and Subak systems, and their properties are still fully functional. They have even lasted for thousands of years. Result: Farming rituals in Subak are forms of nonverbal communication that have manifested as tangible symbolic actions involving interpretations and perspectives on the lives of the Balinese agricultural community. Balinese farmers perform several rituals during one rice planting cycle. Conclusion: The mapag Toya ritual is part of religious practice as a concept of exaltation and preserving water as a source of life, a symbol of purity, a means of cleaning, a means of expelling disease, and a means of communication that connects humans with the Creator and ancestors.

ANALYSIS OF THE DESIGN OF A GLOSSY MAGAZINE WITH THE HERO OF THE ISSUE ON THE COVER

The article is devoted to the analysis of the cover design of a glossy magazine. It examines the important role of the mass media in the process of forming the views of modern society, which, thanks to the design and spread of certain models of life, has huge impact on the points of view of its audience. This is also inherent in glossy magazines. The peculiarity of the communicative component of the design of this type of publications is analyzed. It is determined that its content covers different layers of human society as a translator of ideas, trends, mass culture phenomena and current events. These tasks are solved not only due to illustrative materials accompanied by meaningful texts, but also by the choice of those persons whose photos designers and editors place on the covers of publications. Actors, writers, artists, politicians, famous fashion designers, etc often become their "heroes". The results of the study indicate that interesting exceptions from this list can be observed recently. For example, the cover of the glossy magazine "Vogue Scandinavia" for August 2021 featured a photo illustration of the eco-leader Greta Thunberg as a symbol of the fight against environmental pollution as a result of human activities. The choice for analysis of this magazine has been made due to the fact that it is in demand on the market of periodicals today, is very popular with readers and has an impact on its audience segment, building stereotypes of its behavior. The article proves that the desire to raise such an important issue as an environmental problem draws our attention to a new trend of glossy magazines. That is, a departure from the former, narrowly specific issues – beauty, fashion, glamour, news from the lives of movie stars and show business stars, sophisticated lifestyle and a turn to those aspects of life without which all this cannot be realized, in particular, to the problems of nature conservation. It has been investigated that the photographic subject of the cover refers to the archetype "girl with a unicorn" known from paintings of the Middle Ages and the Renaissance, which is a symbol of purity and virtue, the fragility of harmony with nature. This parallel is read by the reader as a certain cultural code with a warning about the importance of maintaining this natural balance.

Image-symbols of Alazani from the point of view of Levan Gotua

Rivers have a symbolic meaning in the work of Levan Gotua. As a writer thinking about the fate of the nation, he looks at the river with this eye, the river is an integral part of history, a witness to the fate of the country. The writer presents Alazani not only figuratively, but also is a kind of conceptual line that adds a new color to the work of Levan Gotua. Alazani is the mother river of the „Gmirta Varami“, on the other hand, Alazani and the Alazani floodplains are the main places in Levan Gotua's series of essays – „Mgzavruli Krialosani“, where the writer traveled by boat in October 1940 to the confluence of the Mtkvari. Levan Gotua, like his heroes, is the son of the "sweet country of Alazani", which has many enemies. It is on its shore that the pain of unity and the future of the nation is expressed. According to Levan Gotua's point of view, Alazani has different images - symbols, which are discussed in detail in the work. From the point of view of the writer, Alazani is a sacred river, like Jordan. In addition to the fact that water is a symbol of purity and renewal, it also has a special memory, a new age of the soul, renewal should be done with the "talisman opened in water" of Alazani

Self-Rooted Belonging and “Pleasing Dislocations”

Abstract This paper examines the interplay of religion, nationalism, and Muslim womanhood in the work of Pakistani-American artist Shahzia Sikander. Specifically, I examine how Sikander’s work grapples with the problem of home and belonging for South Asian Muslim women in the face of religious, cultural, and nationalist discourses. These discourses characterize women as perpetual outsiders to the nation and as potential threats to the religion, while also objectifying women as symbols of purity whose bodies and sexuality must be strictly policed. For Muslim women in diaspora, the rhetoric and policies of the War on Terror compound this sense of unbelonging by characterizing Muslim women as potential threats to homeland security and as “the enemy within” due to their actual or perceived religious identity.

MAKNA SIMBOLIS DAN FUNGSI TARI HUDOQ SUKU DAYAK WEHEA DI PEDALAMAN KALIMANTAN TIMUR

Hudoq dance is included in the type of traditional folk dance, because it was created by the local community of the Dayak Wehea tribe in the interior of East Kalimantan. Hudoq dance is performed once a year after the rice harvest. Hudoq dance serves as an expression of gratitude for the success of the harvest and protection from supernatural spirits for the village and the community. This article aims to find out the symbolic meaning and role of the Hudoq dance of the Dayak Wehea tribe in the interior of East Kalimantan. The method used in this study is literature via the internet. Through this study it can be concluded that the symbolic meaning of the Hudoq dance of the Dayak Wehea tribe, namely the Hudoq mask resembles a wild animal which is dominated by red, black and white as the favorite colors of the gods while the motifs on the Hudoq mask are typical carvings of the Dayak Wehea tribe. The red color on the Hudoq mask symbolizes courage in people's lives and the black color is believed to be a form of majesty while the white color is a symbol of purity. The symbolic meaning of the Hudoq dance in Lom Plai (harvest thanksgiving) can be seen from the function of the dance and the elements of its presentation. The role of the Hudoq dance is as an expression of gratitude for the success of the harvest during the year and also as a tribute to the ancestral spirits who have protected the residents and the village. This is intended as a form of appreciation to their predecessors that the Dayak Wehea community continues to preserve customs, so the Lom Plai event is held every year.

The analysis of semiotic signs appearing on the names of Acehnese online newspapers

This study was carried out to analyze semiotic signs appearing on the names of Acehnese online newspapers. The method used in this research was qualitative by using content analysis, and the technique used for this research was documentation. The instrument used to collect the data for this research was a checklist by reviewing the names of Acehnese online newspapers: Aceh Redaksi, Kabar Aceh, Aceh TerUpdate, Aceh Info, Aceh WorldTime, and Acehzone_id. The data was analyzed using the sign theory of icons, indices, and symbols. The result of the analysis found that the signs which appeared on the names of Acehnese online newspapers and the meaning which appeared on them were related to the history of Aceh. They have the same characteristics in the use of colors: red, white, and black. These are the hues used on Aceh’s flag, which serves to represent the identity of the Acehnese. Since the newspaper organizations were also part of the Aceh community, Acehnese online newspapers also had the same culture. Thus, using the flag colors strengthened their identity and signified their origin. White is a symbol of purity, honesty, and kindness, meanwhile black refers to a warning and grief to the heroes, and finally, red symbolizes courage and heroism. The representation of the flag and people, in general, revealed the Acehnese desire to have a distinct identity from other Indonesian ethnicities in the 38 provinces of this country. Such portrayal was designed to create a distinct identity within the diversity of Indonesia.

Unicorno-mania: dalla mitologia greca all'immaginario contemporaneo = Unicorn-mania: from Greek mythology to contemporary imagery

Since 2016 the has become one of the trendiest subjects in several sectors: from fashion to accessories, to food, as is proved by the launch of drinks such as unicorn's milk. Yet, what does the represent in contemporary imagery? In order to answer such a question, this research traces the history of the symbolism of the unicorn, so as to understand how its representation and meaning have changed. Ever since ancient times the Greeks had attributed thaumaturgical powers to the unicorn; in particular, its horn was considered a universal antidote to any poison, whereas the itself became a symbol of purity. The presence of the figure of the in Psalm 91 brings the animal close to Christianity. In the Middle Ages the was often depicted in the illuminated Bibles and was also used in the decorations of the main buildings of the time, usually next to a virgin as an allegory of chastity. For this reason, it became a symbol of chaste love and marital fidelity. In the 16th and 17th centuries, the powder of the horn was still considered an antidote to poison and even an aphrodisiac. Only in the Victorian Age did the begin to people children's stories, losing the sexual meaning and being associated with the rainbow for the first time. The connection between the and the rainbow has led to the present use of the animal as an emblem of LGBT+ community. Nowadays the embodies the concepts of rarity and magic. It is even worth noting how the term unicorn has also become part of the economic language. The instagrammability of the has made the animal even more popular, making it, in the social media era, the symbol of uniqueness and differentiation from the mass.

„Mówię rzecz, jak jest – kolor biały nie rozwija się przez niuanse”. Wybrane przykłady funkcjonowania symboliki bieli w liryce Cypriana Norwida

The article presents functioning of whiteness as a symbol in Cyprian Norwid’s poetic works, based on selected examples. The author indicates that this issue has not yet been fully investigated and the article is only an outline of the subject due to its extent. The research is focused on several selected meanings: whiteness of the landscape, white color as a symbol of nobility and divinity, of virginity and purity, even of ethical ambiguity. Author also distinguishes between themes of whiteness and pallor. White color can be mainly associated with theme of the light in poetry, which Norwid very often used, but this not makes the only meaning. Ancient and Christian culture defined the semantics of white color as a symbol of purity, virginity and divinity and such meanings dominate in Norwid’s poems. Interestingly, the writer also used the whiteness to describe the nature of evil. The poet juxtaposed the symbolism of white by comparing it to dirt or black color, he accumulated themes related to whiteness as well to show its meaning in a broader context. In conclusion, Norwid, in his poetic works, often used the symbolism of whiteness in the sense determined by culture, however, he did it in an original way, enriching it with his own ideas and associations.

Stylistic features of the choral concerto “Witchery songs” by M. Shukh.

Stylistic features of the choral concerto “Witchery songs” by M. Shukh.

The Movement of Industrially Applicable Yellow Metal and Its Impact on Global Currencies

Gold Has Long Been Considered The Desirable Of Precious Metals, And Its Value Has Been Used As The Standard For Many Currencies. Gold Has Been Used As A Symbol Of Purity, Value, Royalty. Gold Is A Major Financial Asset For Countries And Central Banks. The Demand Of Gold Obviously Has Two Impacts First It Increases Or Decreases The Margin Of Importers And Suppliers In India, As Most Of The Demand Of Indian Market Is Catered By Imported Gold So With The Rise Of International Price Purchase Price Which Impacts The Retail Price Of Gold. The Gold Price In India Is Determined By The Demand Of Metal. Gold Has A Profound Impact On The Value Of World Currencies. The Gold Standard Has Been Abandoned ,Gold As A Commodity Can Act As A Substitute For Fiat Currencies, It Will Play An Integral Role In The Foreign Exchange Markets. Investors Typically Buy Large Quantities Of Gold When Their Country Is Experiencing High Levels Of Inflation. The Demand Of Gold Increases Due O Its Inherent Value And Limited Supply. Gold Is Able To Retain Value Much Better Than Other Forms Of Currency. The Price F Gold Is Generally Inversely Related To The Value Of The United States Dollar. A Stronger Us Dollar Tends To Keep The Price Of Gold Lower And Vice-Versa ,This Is Because People Have A Tendency To Invest And Trade In Dollars When The Dollar Is Strong And When The Dollar Is Weak, However, People Prefer To Invest In Gold, According To The Wgc ( World Gold Council) And The London Bullion Market Association.

THE REPRESENTATION OF TECHNOLOGICALLY LITERATE ULEMA IN THE TELEVISION DRAMA “TUKANG BUBUR NAIK HAJI”

Tukang Bubur Naik Haji (TBNH) was one of the most popular television dramas in Indonesia. The popularity was measured either by its long-running drama episodes – i.e. from the year 2012 until 2017. In the outline, the story was about the Jakartans daily life with the figure of Bang Sulam as the main character. Bang Sulam was a chicken porridge seller who aspired to perform Hajj (Islamic pilgrimage to Mecca) as a part of Five Pillars of Islam. In TBNH, there were a number of scenes that represented the existence of ulema (Islamic cleric) in the midst of society. The ulema was not only propagated religious messages conventionally but also used technology as a more effective means of delivery. The delivery of religious messages through this technology channel was analyzed by semiotic and multimodality approaches. Through these methods, a number of scenes in TBNH were examined and viewed from various sides such as the camera angle, text analysis, the actor’s gaze direction, the color semiotics of the attribute, etc. The result of this study showed a technologically literate ulema represented by breaking the fourth wall, the use of tools in delivering messages, white as a symbol of purity, and the adapted text to the montage scenes.

Du corporal à la pale : un nouvel objet sur l’autel au Moyen Âge tardif

From the ninth century onwards, the corporal, which was a symbol of purity and the winding-sheet of Christ, possessed great sacrality. However, during the later Middle Ages it was partially replaced by the palla for the purpose of covering the chalice during the Mass. It is difficult to identify it because of its variable names, but the palla is nevertheless indicated by textual, iconographical and material sources as being present on altars from the mid-fifteenth century. Its rigidity and its decor belong to a general tendency towards ornamenting the fabrics used in worship. Its proliferation points to the obsolescence of part of the symbolic exegesis and also to a degree of rationalisation in the eucharistic ritual that would blossom during the early modern period.

Live Your Myth in Greece: Towards the Construction of a Heritage Identity

Nowadays, top-rated tourist attractions in Greece are ancient archaeological places and islands with blue-and-white esthetics. The country’s projected impression is greatly based on these two distinguished representations, chosen for their distinctive architecture scattered in the Greek landscape. Both imageries seem to be officially promoted in order to configure today’s national identity. The classical antiquities are related to the birthplace of European civilization, whereas the notion of the unspoilt archipelago with the whitewashed Cycladic houses works as a symbol of purity and eternity. The present article focuses on the analysis of these two Greek heritage scenarios and, subsequently, on their deconstruction. It aims to investigate the interaction between myth and reality and their role in forming the perception of contemporary Greece. The article argues that there is not a unique architectural history to come to light and, therefore, the highlighting of specific periods of it probably conceals intentions concerning patrimony management: selective excavation among the layers of history, historic preservation of selected buildings, and laws which impose the maintenance of certain findings or specific colors are some indicative signs. It also investigates the ways in which national heritage is directed and affected according to certain policies—local or foreign—that aim at a cultural investment in the world history.

The Physiochemical, Biological Quality and Seasonal Variability of River Ganges in Varanasi, Uttar Pradesh, India

Background: The Ganga River is a life-line, a symbol of purity and virtue for countless people of India. Nearly all the sewage, industrial effluent, runoff from chemical fertilizers and pesticides used in agriculture within the basin, and large quantities of solid waste, including thousands of animals carcasses and hundreds of human corpses are dumped in the river everyday which posed a considerable public health threat to the religious bathers and a large number of people living along the river who uses Ganges water for drinking and other household purposes. Objective: To assess the physiochemical and biological quality of river Ganges water and to study the seasonality pattern of pollution of River Ganges. Materials and Methods: Two points namely Samne ghat and Rajghat (entry and exit point of Ganga into the city) were selected as the first and the last sampling stations, beside 8 other intermediate sampling stations to assess the physiochemical and biological quality of River Ganga water. The study was conducted from April 2013 to March 2014 and this period was crudely divided into three seasons viz Winter, Summer and Rainy season for the purpose of studying seasonality pattern of pollution. Results: As the river progress through city of Varanasi, Total dissolved solids (TDS), Chloride, Conductivity, Biochemical Oxygen Demand (BOD), Nitrate, Nitrite and Most Probable Number (MPN) increases, DO decreases progressively and Temperature and pH remain same. Conclusion: As far as quality of water with regard to recreational and industrial purposes are concerned, Ganges water may be considered useful but most of the parameters observed across different seasons indicates that it may not be used as potable water.

The Cultural Implication of the Chinese Lexicon Containing ‘Moon’

The present article tends to discuss the Chinese cultural implications by taking deep analysis of the words and phrases containing yue 月（moon）. It could help us discover the rich and profound Chinese culture and enhance our understanding of national thinking mode, cultural psychological structure, social system and living custom. From those words containing moon, we can understand the plain and poetic moon culture in Chinese traditional culture: First, the moon embodies the immorality and eternity of life in the phrases such as, rishengyueheng 日升月恒. Second, the moon itself constitutes a pleasant scenery which is a marvelously inventive scene and let people get beautiful enjoyment, for example, chunhuaqiuyue 春花秋月, or yuelangfengqing 月朗风清. Third, in the phrases containing moon find sustenance of fullness and success, for instance, huahaoyueyuan 花好月圆, yuezhongzhegui 月中折桂. Fourth, the moon is a symbol of purity, such as yueguangrushui 月光如水. Fifth, the moon phrases embody the beauty of women, and the pursuit of good love life, for instance, huarongyuemao 花容月貌, yuelaojisheng 月老赤绳.

Perverse conservatism: A Lacanian interpretation of Russia’s turn to traditional values

This article analyzes Russia’s “conservative turn”, which occurred in 2012 when Vladimir Putin was elected President for a third time. An overview of this turn – incorporating anti-Westernism, an emphasis on tradition, the protection of symbols of purity, and the persecution of symbols of impurity – opens the article. The author then explains the concept of “perverse conservatism” and elaborates its basic pattern with reference to such Lacanian psychoanalytic concepts as subjectification, perversion, disavowal, and what he calls the “defensive fetish”. Finally, this pattern and its sub-patterns of fetishism and sadism are applied to an explanation of certain aspects of Russia’s domestic policy. The author concludes that the discourse on traditional values, at least in some respects, is subordinated to the pattern of perversion.