Symbol Research Articles

THE EMPEROR MARCUS AURELIUS ANTONINUS ELAGABALUS AND THE TRIAD OF EMESA: AZIZOS AND MONIMOS, COMPA-NIONS OF SOL INVICTUS ELAGABAL

Through the analysis of the structure of the religious pantheon of the city of Emesa and of several coins specific to the emperor Elagabalus, in this paper we shall try to check whether the individual stars present in these coins could be identified as concrete astronomical facts with a religious significance, applying the parameters established for these studies. In Roman coins, the presence of sym bols of an astronomical nature is very common and has received different interpre tations. More precisely, the symbol of the star appears in the coins of different em perors, individually or in greater or lesser numbers. In light of the religious policy of Elagabalus, we might conclude that these stars, depending on their position on the reverses of the studied coins, could be identified with the god Azizos – the mor ning star – or with the god Monimos – the evening star –, gods accompanying the Sun Invictus Elagabal in the triad of Emesa.

From structure preserving representation to making worlds with symbols

From structure preserving representation to making worlds with symbols

Corner Operators with Symbol Hierarchies

Corner Operators with Symbol Hierarchies

Multi-Level Characterization of Microbial Consortia Involved in the Biodeterioration of Wooden and Stone Romanian Heritage Churches

The 17th to 19th century wooden and stone churches are an iconic symbol of Romanian national heritage. The present study investigates by qualitative and quantitative methods the microbial communities from the biodeteriorated surfaces of wooden and stone monument churches included in the cultural heritage list of local or national importance. From a total of twelve monuments, samples were taken with cotton sterile swabs, inoculated on specific culture and identified by classical, automated and molecular methods. A total of 133 strains belonging to Ascomycota phylum were identified and confirmed at species level from the wooden churches, amongst which, Penicillium spp. strains (mostly P. corylophylum, P. chrysogenum) were the most frequent, followed by Alternaria alternata and species of Trichoderma, Aspergillus, Rhizopus, Mucor, and Fusarium genera. From the stone churches a total of 100 strains belonging to Aspergillus, Alternaria, Mucor, Penicillium, Aspergillus, Trichoderma, Fusarium and Rhizopus genera were isolated. A total of 55 bacterial strains were isolated and identified as Bacillus, Artrobacter and Pseudomonas species. The microbial load of the samples ranged between 2.18x107 and 3x105 CFU/mL. A very small number of fungal strains (6/77) isolated from wooden churches (mostly A. alternata, followed by P. corylophilum and one Cladosporium spp. strain) and from stone churches (5/55) (mostly A. alternata, followed by A. versicolor, A. nidulans strain) were involved in biofilm formation. The results of this study can help to improve understanding of the microbial deterioration of Romanian heritage churches and allow more reliable decontamination, conservation and preservation tools to be defined.

Dabkeh al Djoufieh: Exploring the Sustainability of Jordanian Folklore

The authors of this paper analyze the Dabkeh al Djoufieh (Dabkɛ ālǧwofyɛ) in its capacity as an inherent part of Jordanian folklore that has been seldom studied. Whereas contemporary Jordan has experienced a rapid burst of cultural globalization, the rural song and dance of Dabkeh al Djoufieh can be observed as a highly dynamic manifestation of belonging and as a symbol of national solidarity. One of the defining features of the Dabkeh al Djoufieh is that it is immanent in every social event in Arab communities. Secondly, as a sample of folk music, Dabkeh al Djoufieh continues to be a vibrant resource for contemporary audiences. The paper focuses on the main musical and poetic characteristics of Dabkeh al Djoufieh. The qualitative analysis applied integrates ideas concerning semantics as a representation of the social context and ethnic identities, whereas music is viewed as an indicator of local heritage. This paper probes the questions: What is Dabkeh Djoufieh? Where does it originate? And how is it implemented in Jordanian folklore culture? Furthermore, the study discusses the social power found within poetic folk verse, specifically, the role of the metaphor as a tool for expressing communal realities and individual experiences. Likewise, the study analyzes the musical features of the traditional Dabkeh al Djoufieh and how it moved across generations, sacred and social boundaries, becoming a symbol of Jordanian folk tradition.

METODE PENGENALAN ALLAH MELALUI ALAM SEKITAR KEPADA ANAK-ANAK DI DUSUN SAKATETANG-PUTUSSIBAU

Metode pengenalan Allah melalui alam sekitar kepada anak-anak merupakan sebuah kegiatan penting dalam menumbuhkan kembali iman serta kepercayaan anak kepada Allah. Secara umum, kehidupan iman masyarakat Dusun Sakatetang baik yang Agama Katholik maupun yang beragama Kristen Protestan sangat miris dimana hampir saja melupakan Tuhan dan percaya penuh kepada tradisi yang diturunkan oleh nenek moyang mereka. Ritual-ritual dan penyembahan kepada berhala masih saja dipegang erat. Agama hanyalah simbol kepercayaan tetapi dalam kehidupan sehari-hari mereka masih berpegang penuh pada tradisi. Dengan demikian metode pengenalan Allah melalui alam sekitar kepada anak-anak di Dusun Sakatetang bertujuan antara lain: untuk menumbuhkan kembali kecintaan anak-anak kepada Tuhan dan segala ciptaan-Nya, untuk menyadarkan bahwa penyembahan kepada berhala dan melakukan ritual-ritual adalah kekejian bagi Tuhan, serta menyadarkan bahwa sumber dari segala sesuatu yang ada di dunia berasal dari Tuhan. Salah satu penyebab mengapa daerah tersebut tidak mengenal dan percaya kepada Tuhan adalah karena maraknya pemahaman-pemahaman asing tentang Tuhan dan tradisi. Mereka percaya bahwa dengan melaksakan ritual-ritual akan memperoleh keselamatan. Akibatnya mereka diperbudak oleh tradisi dan ritual yang dianggap menjanjikan perlindungan dan rezeki. Dengan metode pengenalan Allah melalui alam sekitar tersebut dapat menyadarkan, membangkitkan dan mengembalikan iman anak-anak ke jalan yang benar yaitu hanya percaya kepada Tuhan Sumber kehidupan.

A Psychological Study on Wild Grass' Symbols in Dreams

A Psychological Study on Wild Grass' Symbols in Dreams

Символи офтальмології та знамениті українські окулісти в дзеркалі нумізматики

Символи офтальмології та знамениті українські окулісти в дзеркалі нумізматики

A Jungian Perspective on the Symbols and Archetypes in Swan Lake

A Jungian Perspective on the Symbols and Archetypes in Swan Lake

История в зеркале одного мотива: григовский мотив и неузнанный символ

Статья представляет опыт изучения мелодического motto григовской музыки в качестве скрытого музыкально-исторического символа. Автор прослеживает, как мелодический мотив, который норвежский композитор и музыковед Д. М. Юхансен назвал «григовским лейтмотивом» («Griegske ledemotiv»), воплощает композиционно-технические устремления не одного только Грига, но многих композиторов его времени. В основе статьи лежат наблюдения автора над влиянием эстетических, композиционно-практических и музыкально-научных идей прошлого на восприятие и понимание содержания музыки. The article is an attempt to present a motivic motto of Edvard Grieg's music as a hidden symbol in the history of Western music. The author investigates how this melodic unit, defined as “Grieg's leitmotif” (“Griegske ledemotiv”) by the Norwegian composer and musicologist D. M. Johansen, embodies tonal pursuits, as well as harmonic and formal ones, within not only Grieg's output, but with various composers of his time. The article is based on observations on how some aesthetic, compositional and scholarly procedures of the past influenced on reception and comprehension of musical substance.

Preferred identity as phoenix epiphanies for people immersed in their illness experiences. A qualitative study on autobiographies

The illness immersion condition prevents patients from enjoying everything worth living life for. In any case, according to Frank, this condition could represent one of the most insightful experiences towards understanding the meaning of life. Using the metaphor of phoenix (as a symbol of rebirth) taken from May (1991), Frank identified four kinds of embodiments through which the phoenix can reveal itself in a patient after an illness immersion experience: the phoenix that could ever be and the phoenix that might have been; the recurrent and cumulative phoenix and the reluctant phoenix. Based on these considerations, a qualitative study was conducted in order to give voice to the different phoenix embodiments focusing on several autobiographies of patients afflicted with severe or terminal illness. The analysis highlights several similarities that the different phoenixes shared (i.e. the ability to use words and experiential learning skill); however, a deep difference emerged in their worldview which proves able to lead them towards different epiphanies. These evidences reveal that every sick person should be understood, stimulated and accompanied throughout his lived experience of illness by an expressly designed and dedicated care.

الأسطورة والرمز في أشعار بدر شاكر السياب وسيرغي ألكسندروفيتش يسينين

يناقش البحث مسألة الأسطورة والرمز في أشعار بدر شاكر السياب والشاعر الروسي سيرغي ألكسندروفيتش يسينين، وتأثير العالم المحيط المتجلي في قصائدهم، وقد حللنا أوجه التشابه في القصائد الشعرية للشاعرين، وكيف صوروا العالم باستعمال الرمز والأسطورة، فالأسطورة ترمز عند كليهما للحب، والحرية، والحياة، والكراهية والظلم.

Research on the Communication Effect of Intangible Cultural Heritage Cultural Symbols by the Game Character Design in 'King of Glory '： Focused on the ‘Guangdong Lion Dance’

Research on the Communication Effect of Intangible Cultural Heritage Cultural Symbols by the Game Character Design in 'King of Glory '： Focused on the ‘Guangdong Lion Dance’

Elements in color: A symbolistic approach to analyzing the Haitian flag

The literature and artifacts associated with Haiti’s history have puzzled its people for a long time. One historical symbol left open to interpretation is the Haitian flag, although its aesthetic appeal is apparent to many. Ascertaining precise meanings from the flag's design is difficult due to the lack of available information and alteration of the original design by successive political administrations. This study is an attempt to decipher the hidden significance embedded in the Haitian flag and explore various themes represented in its colorful elements. The themes that are displayed in the Haitian flag are an exemplification of symbols that carry several important messages pertaining to order, discipline, unity, self-control, strength, opportunities for commerce, economic development, stability, wisdom, and health. It embodies a bond in which the native takes pride in self-identifying with a culture rich in beauty and content. The artifact is a resourceful guide that elicits substantive lessons aiming at progress, nationalism, and governance. It is also a spatial-temporal ensign with positive connotations and an ongoing inspiration for the homeland. Key words: Haitian flag, flag symbolism, national symbolism.

PENGEMBANGAN BUKU BRAILLE STATISTIK DASAR PADA PROGRAM STUDI TEKNIK INFORMATIKA DI UNIVERSITAS PAMULANG

Tunanetra yang tidak disertai dengan hambatan intelektual berhak mendapatkan pendidikan di sekolah inklusi. Saat ini pendidikan inklusi di Indonesia telah berkembang pada tingkat perguruan tinggi untuk memfalitiasi mahasiswa tunanetra belajar. Dalam perjalanannya pendidikan inklusi di perguruan tinggi menemui berbagai kendala. Salah satunya kesulitas mahasiswa tunenetra belajar matematika. Kesulitan terjadi karena pembaca layar yang digunakan mahasiswa tunanetra untuk memahami file dari dosen tidak bisa membaca persamaan atau simbol matematika. Tujuan penelitian ini adalah untuk menghasilkan buku braille statistika dasar untuk memfasilitasi mahasiswa tunanetra belajar di kelas inklusi bersama dengan mahasiswa lainnya. Penelitian ini merupakan penelitian pengembangan dengan adaptasi pengembangan model pengembangan Borg & Gall yang meliputi tahap penelitian dan pengumpulan data, perencanaan, pengembangan produk awal, uji coba terbatas, revisi produk, uji coba lapangan dan revisi akhir. Instrumen penelitian yang digunakan adalah lembar validasi, lembar observasi, pedoman wawancara dan tes statistika. Hasil dari penelitian ini telah menghasilkan buku braille statistika dasar yang layak digunakan karena memenuhi kriteria valid, praktis dan efektif berdasarkan hasil uji coba lapangan. Oleh karena itu buku braille statistika dasar dapat digunakan sebagai pilihan alternatif dalam membantu mahasiswa tunanetra belajar materi statistika dasar, khususnya di program studi Teknik informatika.

폐쇄적 기호 창조자의 기억법 고찰 -김영하의 『살인자의 기억법』에 관하여-

이 글의 목적은 김영하의 『살인자의 기억법』에 대한 새로운 독법을 시도하는 데에 있다. 이 소설은 독자들에게 서술의 진정성을 느끼게 하는 고백적 진술로 이루어져 있다. 그럼에도 불구하고 애매모호함을 드러내는 서사지표들로 인하여 그 진정성에 대한 판단을 유보하게 만든다. 이는 서술자-인물인 ‘나’가 기억을 구성하는 방식과 관련이 있다. ‘나’는 세계 속 대상에 자신의 경험을 투사하여 기호를 생성하고 대상들을 조작한다. ‘나’는 대상을 기호화하여 자신의 고유한 삶을 구성하려는 의도를 가진 존재이기 때문이다. 이는 ‘나’가 지속하는 글쓰기와 같은 행위로 구체화된다. 자신의 경험을 투사하는 대상들은 삶의 지향성을 드러내는 표상, 의지를 위협하는 표상, 타인들과의 인식 차이를 드러내는 표상 등으로 기호화된다. ‘나’는 기록을 통해 기억을 보존하고자 한다. 이 과정에서 망각을 부추기는 ‘알츠하이머’는 기억을 추동하는 계기로 작용한다. 이때 ‘나’는 자신의 삶을 기념비적으로 역사화하려는 의도를 드러낸다. 자신의 삶을 절대화하려는 것이다. ‘나’는 자신의 신념을 의탁하는 표준들을 통해 이를 정당화하고자 한다. 대상을 전유하여 삶을 구성하는 것은 인간의 보편적인 기억 방식이다. 그런데 ‘나’는 경험을 투사한 기호가 새롭게 해석될 수 있는 가능성을 간과한다. 또한 대상을 자율적으로 해석하고 기호화한 기억들을 타자들과 공유하는 것 역시 거부한다. 『살인자의 기억법』은 ‘나’의 이러한 기억 방식, 즉 삶을 구성하는 방식에 주목한다. 그리고 기호를 통해 자신의 경험을 정당화하려는 의지를 지닌 존재가 파국을 맞는 이유를 제시한다.

Символы яблок и граната в фильмах Сергея Параджанова в контексте эстетики советского кинематографа

В статье рассматриваются символы яблок и граната в фильмах Сергея Параджанова. Авторы статьи указывают, что на символ граната режиссер Сергей Параджанов вышел по ходу своей творческой эволюции не сразу. Он начинал свою самостоятельную творческую деятельность на киностудии в Киеве, и в его первых больших работах заметна метафора яблока. В данном случае очевидна преемственность видеоряда с фильмом классика украинского кинематографа Александра Довженко «Земля». Символ яблок активно использовали в своих фильмах и иные советские кинорежиссеры: Тарковский, Хуциев. Во второй половине 1960-х гг. Сергей Параджанов нашел новый образ – гранат. В 1968 году Сергей Параджанов снимает фильм «Цвет граната», и именно в этом фильме он окончательно обрел свое авторское лицо. У Сергея Параджанова было тонкое чувство символов. В своих поздних работах он вводит двойной режим символов, то и дело чередуя модернистские и домодернистские символы. Домодернистские символы ближе к аллегории, к чувственному образу, выражающему общее понятие и обладающему более универсальным значением. Модернистский символ, в свою очередь, амбивалентен и субъективен. Возможно предположить следующее: символика яблок в фильмах Параджанова, по преимуществу, домодернистская, а символика граната – модернистская. Сергей Параджанов, будучи гражданином мира, был очень чувствителен к локальному колориту и традициям. Он чувствовал уместность, логичность того или иного символа в контексте национального кинематографа: яблоки – для украинского кино, гранаты – для грузинского и армянского кинематографа. В данной работе предлагается существенно новый взгляд на работы режиссера. Ключевые слова и словосочетания: символы яблок и граната, авторская позиция, преемственность видеоряда, конструирование архаики, символизм в кино.

Проблема постижения смысла образа через символы

Проблема постижения смысла образа через символы

Mask – A Ubiquitous Symbol of COVID-19 Scuffle

Mask – A Ubiquitous Symbol of COVID-19 Scuffle

Religious, Symbols and Clothing

Religious, Symbols and Clothing