Symbolic Image Research Articles

Employer Branding in the Healthcare Sector: The Role of Instrumental and Symbolic Image Attributes Among Potential Applicants and Doctors

Employer Branding in the Healthcare Sector: The Role of Instrumental and Symbolic Image Attributes Among Potential Applicants and Doctors

Doppelganger symbolism at the dawn of French Cinema

The pioneers of French cinema founded the audiovisual language which allows narratives with moving images, while developing techniques of capture and editing, recording and representation, sequence and superposition of shots, multiple exposure frames, of appearance or disappearance. For Morin, this ghostly duplication of the world by the cinematographic image is motivated by the symbolic image of the double, which brings together dreams and cinema. In this article we discuss such symbolism in empirical reference objects of this initial moment of the Seventh Art.

"Kabbalah of the Sun and the Moon" – symbolic images -icons of King Heraclius

"Kabbalah of the Sun and the Moon" – symbolic images -icons of King Heraclius

"Kabbalah of the Sun and the Moon" – symbolic images -icons of King Heraclius

"Kabbalah of the Sun and the Moon" – symbolic images -icons of King Heraclius

SYMBOLIC AND MYTHOPOETIC MEANING OF THE CONCEPT OF SERIKBALL KONDYBAI «PRIMORDIAL LAND»

The article analyzes the mythological, symbolic statements and views of the mythologist S. Kondybai. The meaning of the concept «Primordial Land», which has become one of the main characteristics of the ancient Kazakh worldview, its connection with poetic works, cultural code, and the relationship with aspects of national self-consciousness were differentiated. As a result of the mythopoetic analysis, the spiritual concepts of the scientist's heritage, that is necessary for modern Kazakh society, were clarified and vividly reflected. The connection between the myth and the poetic work was also the main form of the article. To prove this, the analysis of mythological layers, symbolic images and artistic details in the poetry of such Kazakh poets as S.Maulenov, K.Amanzholov, M.Makatayev was carried out. Also, such literary aspects as the «Primordial Land», first-time beliefs, traditions, and the worldview of the ancestors in these poetic texts were considered in a new way. In general, it is known that S. Kondybai deeply and carefully studied the system of symbols of indigenous peoples, which began to be forgotten, and its functions. A sign, a symbol, a detail, the unity of an image – represents the values of an entire epoch, its moral and humanistic ideas. Therefore, the influence of history on literature and literature on history is always great. According to the scientist, the vital values of the «ancient Kazakhs» are based on these categories. This horizon of knowledge and theoretical research are present in the article. In order to clarify the ideas about mythology, myth, symbol, they were formulated in the works of mythologists, literary critics.

브랜드 이미지와 고객 만족, 재구매 의도간의 관계 연구

To cope with various changes in consumer consumption patterns, companies are trying to enhance their brand awareness or use marketing to increase their competitiveness. Therefore, companies need to make efforts to gain a competitive advantage by forming a brand image and driving customer satisfaction and repurchase intentions.
 The study aims to analyze the relationship between the brand image of a beauty training institution and the repurchase intentions, such as trainees' satisfaction, linked training, or retraining, and to present the directions and implications necessary to strengthen competitiveness through building competitive advantage and brand activation. To this end, a survey was conducted with a sample of about 280 people training at beauty training institutions in the metropolitan area. Using SPSS WIN 12.0, frequency analysis to identify general characteristics and reliability analysis (Cronbach' a) were performed for each measurement item of variables. Multiple regression analysis and mediation effect analysis were conducted on the relationship between brand image, customer satisfaction, and repurchase intentions.
 The hypothesis was established by dividing the brand image into functional image and symbolic image, and the relationship between the brand image of the training institution along with the satisfaction of the trainees and the intention of repurchase was analyzed. As a result, it was found that the functional and symbolic image of the brand had a positive (+) effect on customer satisfaction, and the affected customer satisfaction had a positive (+) effect on consumer repurchase intentions. The mediated effect of customer satisfaction was partially adopted.
 Although this study has limitations that did not consider all the characteristics of beauty fields such as hair beauty, makeup, skincare, and nail beauty, the importance of brand image was emphasized once again in the environmental change of the beauty industry due to the popularization and specialization of the existing small beauty industry. Furthermore, the brand image will draw more attention, providing the basis for training institutions to be competitive and seek ways to develop the company.

Symbolic image in public communication of Thu Dau Mot University

Symbolic images stand for more than simply what appears before the eyes. They represent a deeper meaning behind the image – something. The symbolic images in public communications, and techniques of their application as an instrument of forming desired ideological models within social consciousness, as well as consider principles of social psychology that enable successful application of communication technologies to a target audience by appealing to their image thinking. Applied methods of the research are: sociocultural, historical, and content analysis, this article focuses on analyzing the significance of symbol image in public communication strategies and its impacts on brand building, trust establishment, and fostering a positive interactive environment with the public. Based on lessons drawn from practical public communication activities of Thu Dau Mot University, the article proposes additional measures to enhance the effectiveness of the unit's communication and their potential application to specific cases, contributing to the development of the field of public communication.

The Impact of Hair Salon Brand Image on Self-Image Congruence and Brand Loyalty

This study aimed to investigate the influence of the congruence between brand image and self-image on brand loyalty within the context of hair salons. A total of 620 online surveys were distributed to hair salon customers in Seoul, Gyeonggi, and Jeju regions using Naver Form, with all 620 surveys successfully collected. The research findings revealed the following key results. Firstly, among the sub-factors of self-image congruence, both ideal self-image and actual self-image were found to significantly impact the brand image, with symbolic image, experiential image, and functional image being the order of significance. Additionally, the sub-factor of social self-image was found to significantly influence the brand image, following the order of symbolic image and experiential image. Secondly, among the sub-factors of brand loyalty, attitudinal loyalty demonstrated a significant influence in the following order: functional image, experiential image, and symbolic image of the brand image. On the other hand, behavioral loyalty showed a significant impact in the order of functional image and symbolic image of the brand image. Thirdly, both attitudinal and behavioral loyalty, as sub-factors of brand loyalty, were found to be significantly influence the sub-factors of self-image congruence, with the order of importance being ideal self-image, social self-image, and actual self-image. This study emphasizes the importance for hair salon brands to focus on enhancing their brand image and strive to align consumer self-image with the brand image. By recognizing and adapting to this congruence, hair salons can effectively increase brand loyalty.

Can agrifood products generate tourist desire to visit a place? An empirical study of image transfer and self-congruity

Tourism relates to many other industries, such as hospitality, transport, and agriculture. In practice, a tourism destination or place has often been promoted together with local products, especially agrifood products. The co-marketing practice between tourism and agrifood products has faced challenges and one of them is consumer acceptance. Although the importance of local agrifood products in promoting a tourism place has been acknowledged in prior literature, little research has empirically examined the establishment of a strong product-place relationship. Using experimental designs, this study empirically investigated how image transfer and self-congruity influence tourists' evaluations of a co-marketing initiative between the tourism (place) and the agrifood (products) sectors. The study collected a sample of 662 potential tourists from China and data was analysed using Structural Equation Modelling. Results showed that an agrifood product's symbolic images can be directly transferred to a tourism place and subsequently generate stronger tourist desire to visit the place than any other product images. Functional images of an agrifood product can also be transferred to a place, but only indirectly through the process of self-congruity. Experiential images were unable to be transferred in a product-place context. Both theoretical and practical implications are discussed with limitations and future research outlined.

Symbolic Image of Colors in the Animation Film, Loving Vincent

Symbolic Image of Colors in the Animation Film, Loving Vincent

Predicting user types with symbolic images: An empirical validation based on two card-sorting studies

In gamification, personalization is considered an important field of research since it can improve user engagement and motivation. Particularly, effective gamified learning needs to strike a balance between gameful design that promotes engagement and does not negatively affect content comprehension and absorption. The existing traditional user-type questionnaires approaches are time-consuming and intrusive, hampering the user’s focus. Previous research in gamification demonstrated how to automate player profile creation through log file analysis of gameful systems instead of traditional approaches, however, psychological archetypes and motivational groups can simplify the process of collecting data to achieve a balanced level of personalization for gamified systems, which are grounded on the user’s profile and preferences which can help with their immersion. To attend to the needs of a wide range of fields that introduce gamification to systems that are not classified as games, a new ludic approach was created to define user types based on user interaction using symbolic images. In this exploratory research, we tested this approach in two card-sorting studies (N=35 and N=19). Our results show that the images can be used to predict the users’ archetypes and motivational groups accurately. Thus, we contribute with validating an image-based user type classification method that is easier to deploy in systems that do not aim to behave as a game but are looking to reap the benefits of personalizing a user’s content and gameful experience where relevant. Our second contribution is delivering guidelines to replicate this validation method to other existing approaches. We expect that with this guideline, we facilitate personalization with other user typologies without disrupting the gameful experience.

Beyond employer brand content: The role of employer brand process attributes in understanding employees' reactions toward their employer

AbstractEmployees play a central role in organizational functioning and representation. HR managers thus strive to create an attractive employer image that stimulates employees' attachment and ambassadorship. However, presently, there is limited research about how employees perceive and react toward their organization's employer brand. More importantly, the studies available have focused on content attributes only (i.e., instrumental and symbolic image dimensions). This has resulted in limited (content‐based) understanding of the construct and failure to incorporate its branding‐related aspects (process attributes) which represent the crux of employer branding theory. Thus, using the HRM system strength theory and employer branding literature, this article examines three process characteristics (i.e., employer brand distinctiveness, consistency, and consensus) vis‐à‐vis instrumental and symbolic content attributes to understand employee reactions (i.e., employer attractiveness, organizational identification, and employee ambassadorship). Data were collected at two times through Prolific Academic with 254 UK and US employees. Results suggest that employer brand process attributes are valuable sources to enhance employees' identification with their organization. Moreover, distinctiveness and consistency seem especially instrumental in enhancing employees' attractiveness perceptions and display of positive ambassadorship. In addition, the process attributes explain significant incremental and unique variance beyond content attributes in employee reactions.

Inner Visions: Art Practice and Sufi Devotion in Morocco at the Turn of the Fourteenth/Twentieth Century

Abstract This article examines a large calligraphic panel from Morocco preserved in the Harvard Art Museums (2016.206). The artwork features stylized representations of Mecca and Medina alongside Prophet Muhammad’s sandals and a selection of religious texts praising the prophet. This composition is characteristic of Islamic devotional imagery, highlighting artistic transfer from Moroccan illustrated copies of the Dalāʾil al-Khayrāt by the ninth/fifteenth-century Sufi mystic al-Ǧazūlī. This article aims to contextualize the production of this specific panel artwork within the Wazzāniyya Sufi Brotherhood in Morocco. It also presents how the expression of religious devotion through symbolic images reflects a mediation between the believer and Islamic holy sites and relics of the prophet.

Миф и порядок: от символа к норме

The path “from myth to logos” can be interpreted in the well-known political and legal classical science as the path from “a symbol to a norm”. Symbolic images inspired by myths and political consciousness are formed and shaped in this situation. Where mythological ideas are born by the organic life of the space-related society, regulatory imperatives are established forcibly. With the appearance of the government, it is vested with this task.

Classification of the Human Image in the Eastern Halychyna Monumental Art of the Early 20th Century

Eastern Halychyna has always been a territory on the border between the cultural paradigms of the East and the West. At the end of the 19th - the first third of the 20th cen. this region became the center of the multicultural environment formation, where certain typological groups of anthropomorphic images were determined at the regional-provincial level. It was reflected in monumental art, in particular temple murals, stained glass and mosaics, as well as architectural decor and monumental sculptural plastic, such as monuments and plastic tombstones. The subject of this research is the characteristic features of the images of the Human in the interiors, exteriors and spatial environment of the cities, towns and villages of Eastern Halychyna of the Early 20th century. The relevance of this topic arises from the fact that, as a result of long-term silence, concealment and destruction, the artifacts of the outlined period have been introduced into scientific circulation only in the last three decades and require not only a final description and fixation, but also analysis and systematization, which have not yet been fully carried out. At the same time, the monumental art of that time developed on the basis of art synthesis, therefore there is actually a need to outline certain pictorial typological groups for their classification and more detailed study. The research method is the classification of the most characteristic images, taking into account the philosophical and aesthetic principles of contemporary anthropomorphic imagery and the artistic and stylistic features of the work of artists of the specified period. Main scientific issue is in the circulation and research of several little-known works of monumental art of Eastern Halychyna of the first third of the 20th cen. and the formation of several typological groups of human images as proposal for their classification. It is based on the analysis of the largest and most representative examples of the monumental art of Eastern Halychyna in sculpture and painting of that time. In conclusion three large typological groups were formed: biblical-mythological, historical (national)-symbolic and symbolic-impersonal images in the monumental art of Eastern Halychyna of the Early 20th century.

Образное поле «конь» в поэзии Алима Кешокова

This article is devoted to the archetypal image of the “horse” and the features of its artistic im-plementation in the poetic work of Alim Keshokov, a classicist of Kabardian literature. The article contains two logically interconnected parts. The first part provides a brief overview of hippologi-cal plots in the historical and ethnographic works of foreign and domestic caucasologists, as well as in the prose of M.Yu. Lermontov. The second is an analytical part in a systematic form, through the prism of historical poetics, the typology of the symbolic images of the “horse” in the poetry of A. Keshokov is studied. The content of the article is determined by the alignment of the diachron-ic cut of hippological motifs from naturalistic zoomorphic samples to astral ones. The results of the analysis, the following forms of semantic conceptualization of the mythologeme “horse” in the works of A. Keshokov were established - “rapid pace of life”, “nostalgia for the patriarchal world”, “resistance to civilization”, “emotional connection with the motherland”, “proximity to nature”, “ creative individuality of the artist”, “actualization of ecological collisions”, “priority of the spiritual over the material”. The article also notes a single case of deformation of the arche-typal image of the “horse” in the practice of literary translation.

“Ozyn shigyr” in Modern Tatar Poetry

The article for the first time considers the most active form of modern Tatar poetry - “ozyn shigyr”. It is noted that this form is not identical to the “long poem”, it has oriental roots. In Tatar literature, “ozyn shigyr” with its unique thematic and aesthetic features was formed in the 1920s and 1930s in the era of experiments to create “new poetry of the revolutionary time”. The revealed features of the genre “ozyn shigyr” of this period are a contextual background for studying the functioning of this form in modern Tatar poetry. The focus is on the work of the young poet Lilia Gibadullina, the author of three poetry collections. In her work, “ozyn shigyr” occupies a leading place, the analysis of her most famous poems to the modern Tatar reader allows us to determine the structural, figurative and motivational features, aesthetic attitudes, artistic preferences of the genre. So, in “ozyn shigyr” by L. Gibadullina, the main place is occupied by existential-evaluative motives. The lyrical heroine analyzes the events of her life, and repeated symbols or symbolic images turn them into the history of the people, the country, humanity in general. Among the identified techniques, the flickering of motives and intertextual dialogue are important, with the help of which a multiplicity of contexts and meanings is created. Thus, it is established that the genre of “ozyn shigyr” in modern Tatar poetry has its own characteristics that arise in dialogue with the traditions of Tatar poetry and make its form different from the “long poem”.

SEMIOTIC ANALYSIS OF A LITERARY TEXT: SYMBOLIC DESCRIPTION

The article differentiates the theoretical side of the phenomenon of symbolic description related to semiotic science. Semiotics is the science of signs. In the semiotic analysis of a literary text, we encounter concepts such as symbol, marking, concept. Despite the fact that the listed concepts are superficially similar, it is important to determine the difference between them and to determine the subtext in the description of the author in the literary text. It also defines a symbolic description, a symbolic concept, a conceptual gap. Therefore, in our article we set out to highlight the differences between semiotics and its other structures, giving theoretical concepts concerning the transfer of a semiotic component in a literary text – a symbol, decoration and image of a literary text. In the article, we examined the main provisions in literary studies concerning the term symbol, considered the description of a symbolic image in a literary text as one of the semiotic analyses of a symbol. To identify a symbol from a literary text, we need to know its main features and its function in the text. Only then will we be able to determine the symbolic meaning of the symbol. Symbolic description not only increases the poetic power of a literary text, but also includes the code of sign systems. Therefore, the symbol can be considered both from the point of view of poetics and from the point of view of semiotics.

Християнські архетипи у творчості Тараса Шевченка

The assimilation of Byzantine culture in the Slavic lands was accompanied by the exegesis of the New Testament and the formation of the phenomenal value of symbolic images, which were part of the literary and artistic consciousness of that time. The force field of Christian archetypes has preserved a long tradition in the Ukrainian literature. Christian archetypes of the Resurrection and the Crucifixion in Shevchenko’s painting and literary work are studied with modern approaches to comparative literature and theological exegesis, taking into account artistic Christology, philosophical and aesthetic approach to art, and key ideas of archetypal interpretation. It is found out that, in Shevchenko’s poetry, the archetypes of the Resurrection and the Crucifixion are manifested in a number of modifications, where resurrection / crucifixion has a symbolic meaning in the sense of the resurrection / crucifixion of Ukraine, the resurrection / crucifixion of the people, the resurrection / crucifixion of a lyrical hero, etc. In painting, Christian archetypes are directly related to the transmission of the New Testament history.

КИЇВ ЯК САКРАЛЬНИЙ ТОПОС У ЛІТОПИСНИХ ТЕКСТАХ І СУЧАСНІЙ ПОЕЗІЇ

The article is devoted to a comparative analysis of the interpretation of the Kyiv’s topos in medieval and modern literary texts. The object of the study is the Primary Chronicle (“The Tale of Bygone Years”) and the poetry of the Ukrainian writer Vira Vovk. This topic has not yet been the subject of scientific analysis, and in the course of modern historical events, it is gaining special relevance. It is noted that in the Primary Chronicle and in the works of Vira Vovk, the image of the capital of Ukraine has the meaning of a special sacred space – the spiritual, historical and cultural center of the state. The specifics of the artistic creation of this image are considered. It is indicated that the Bible is the basis of the interpretation of the Kyiv topos in the Primary Chronicle and modern poetry. The main aspects of the formation of the sacred topos of the capital are highlighted: the sacralization of the history of the city, its role as a statesman and spiritual mission (chronicle) and the sacralization of the history of Kyiv, expressed in church architecture, symbolic images of nature and iconic figures of persons (the Vira Vovk’s lyrics). It is noted that the reason for the sacralization of the image of Kyiv in the Primary Chronicle is the desire to confirm the role of the city as the princely capital, and in the contemporary poetry of Vira Vovk – the desire to preserve the national memory of the people from destruction. It has been proven that the author’s works are largely based on historical plot-image material and are its original reinterpretation in the present. It is indicated that in all texts of interest the Kyiv topos acquires a special significance as the spiritual and axiological center of the Ukrainian State.