Symbolic Story Research Articles

Ungkapan Sejarah-Simbolik Prabu Airlangga dalam Kakawin Lambang Pralambang

Kakawin Lambaᶇ Pralambaᶇ is an Old Javanese poet in the bhāṣa genre written in Lombok and contained in a manuscript coded CP.25 LT-223, in FSUI collection. This work contains lyrics with erotic-romantic themes, although there is a symbolic story of King Airlangga. The purpose of this study is to reveal the content of the text through philological work and identify the symbolic elements of King Airlangga in it. This research is qualitative research using a philological method based on one manuscript or codex unicus. This study also uses a reception approach. After doing philological work on the text, it can be seen that KLP is framed in the kakawin meter, has 8 chapters, has a romantic-erotic theme, and has a uniqueness in the form of a symbolic story of King Airlangga. The symbolism related to King Airlangga can be seen from the mention of his name, his majesty, to the sraddha ceremony being discussed. The element is seen as a collective memory stored in the text. The conclusion of this research is that the symbolic image of King Airlangga in the Kakawin Lambaᶇ Pralambaᶇ text is a form of collective memory in Old Javanese literature in Lombok.

Memorials and the Mine Disaster in Monongah, West Virginia: From Trauma to an Italian Global Memoryscape

Memorials and the Mine Disaster in Monongah, West Virginia: From Trauma to an Italian Global Memoryscape

“Seignior Nicolo” by Yurii Kosach and Gogol text in ukrainian literature of the 20th century

In the context of the Ukrainian Gogol discourse of the 20th century, the paper analyzes fragments from the unfinished Yurii Kosach’s novel “Seignior Nicolo”, which deals with the history of Mykola Gogol. The researcher focuses on the peculiarities of Kosach’s understanding of Gogol and the worldview analogies of the two writers.
 The concept of symbolic autobiography is understood as a manifestation of the author’s self through the image and history of the other. Presenting the Roman episode in Gogol’s biography, Yurii Kosach tells his own symbolic story, and this relationship between fictitious and real stories functions as a certain way of the author’s symbolic self-representation in his text and through the text.
 The incomplete Yuri Kosach’s novel about Gogol is considered in the context of ideological discussions about the national and cultural identity of the writer, as a component of Gogol discourse in Ukrainian literature of the 20th century. The problem of Gogol’s duality, understood in ideological and psychological aspects, manifests a worldview split of Yurii Kosach himself, his own drama. Yuri Kosach’s re-thinking of Gogol’s figure must have been an attempt of destroying two main ideological myths: the Russian-imperial, based on the Soviet, socialist-realist Gogol’s cult, and the colonial one, rooted in the Ukrainian populist tradition.
 In addition, the paper pays attention to the sources of Kosach’s novel and clarifies the historical and psychological contexts of its creation, as well as its inter- and midtextual relations, both with Kosach’s works and Gogol discourse as a whole. It is argued that in the history of Gogol the writer considered the problem of cultural colonialism, both in the political and psychological aspects, in particular the problem of Gogol’s sexuality, ‘fear of sex’, which is associated with colonial subordination and the loss of masculinity.
 The main personal manifestation of Gogol in the novel by Kosach is a migrant, i. e. a man without ground, an artist without a motherland. The history of Gogol in Rome is examined through the relation of “Seignior Nicolo” to Gogol’s “Rome”, a comparison of the Roman text in Gogol’s and Kosach’s works

The Polished Mirror: Storytelling and the Pursuit of Virtue in Islamic Philosophy and Sufism (By Cyrus Ali Zargar)

Reviewed by: The Polished Mirror: Storytelling and the Pursuit of Virtue in Islamic Philosophy and Sufism by Cyrus Ali Zargar Joel Richmond (bio) The Polished Mirror: Storytelling and the Pursuit of Virtue in Islamic Philosophy and Sufism Cyrus Ali Zargar London: Oneworld Academic, 2017. 341 Pages. The contemporary revival of virtue ethics initiated by such moral philosophers as Elizabeth Anscombe (d. 2001) and Alasdair MacIntyre has provided new areas of cross-cultural investigation for researchers. One such contribution to this burgeoning field is by Cyrus Ali Zargar, whose recent monograph, The Polished Mirror: Storytelling and the Pursuit of Virtue in Islamic Philosophy and Sufism, consists of two sections, each dedicated to both Islamic philosophy and Sufism. In ten chapters, Zargar is able to provide a panoramic view of Islamic thinkers who have dedicated treatises to the varied notions of Islamic ethics. Considering thinkers from the period roughly between 900 to 1300 CE, the book challenges modern and classical Western virtue ethics by including explorations into premodern narrative, poetry, allegorical tales, and hagiography. The first ongoing problem is how to locate and then define the varieties of ethical thought in Islam. It is this question which the book's introduction sets out to specify. Beginning with a summary of ethics as it features in Islamic theology, law, the Qur'an, and ahadith, the initial chapters set out to explain where virtue ethics can be situated among these various perplexing classifications. Challenging ethical categories is the theme consistently found in The Polished Mirror, while previous attempts at classification are also noted by Zargar throughout. For example, according to the Brethren of Purity (Ikhwān al-Ṣafā'), one of the early psychological concepts used to introduce human character is that of the four bodily humors which were incorporated from Greek into Islamic medicine. In addition to these humors are the adaptations of Aristotelian faculties of the soul: the vegetative, the animal, and the rational. With the facilitation of the liver, heart, and brain, these three aspects of the soul give rise to the desire of the appetitive faculty, the anger of the irascible faculty, and the reflection of the rational faculty. In the Islamic context of the writings of the Brethren, the rational faculty is then responsible to the higher intellect. This psychological context of the character traits is only one of the features given in Zargar's monograph. In the section on Islamic philosophy, the writings of Avicenna (d. 1037), Ibn Ṭufayl (d. 1185–6), Suhrawardī (d. 1191), Miskawayh (d. 1030), and al-Ghazālī (d. 1111) capture the pedagogical role of allegories and symbols as ways to bring about virtue. Each thinker is given a separate chapter showing how the [End Page 109] use of stories convey the journey to God and the fulfillment of knowledge. For Avicenna, the lines between epistemology, psychology, metaphysics, and ethics, are sometimes blurred, but this is necessary. Practical philosophy is that which puts theoretical philosophy to work, so to speak. Likewise, ethical behaviour often reciprocally leads to the contemplation of metaphysics. These specific categories all combine to fill out the unique manner in which virtues can be newly considered. In Zargar's own treatment of Avicenna, he is able to perfectly walk the fine line between the often debated roles of Avicenna's relation to mysticism and Aristotelian philosophy. Before turning to the symbolic story of Ḥayy ibn Yaqẓān, we are given a full analytic treatment and summary of Avicenna's psychology and ethics that would satisfy scholars inclining towards the more Aristotelian interpretation. In the allegories, the interpretation of Corbin and others are given their full due, while supplemented with Zargar's own unique insights. Also considered here is Avicenna's ninth division of Allusions and Admonitions, named, "Stations of the Knowers." This story is very difficult to interpret as anyone who has read the text would immediately recognize. To bring the story to life, we are also given the interpretation of Naṣīr al-Dīn Ṭūsī alongside its many twists and turns. As no surprize, Ṭūsī interprets the story as the journey of the human intellect, flowering into its own perfection as an acquired intellect ('aql mustafād). Since there is...

Cogmic space for narrative-based world representation

Representing a world or a physical/social environment in an agent’s cognitive system is essential for creating human-like artificial intelligence. This study takes a story-centered approach to this issue. In this context, a story refers to an internal representation involving a narrative structure, which is assumed to be a common form of organizing past, present, future, and fictional events and situations. In the artificial intelligence field, a story or narrative is traditionally treated as a symbolic representation. However, a symbolic story representation is limited in its representational power to construct a rich world. For example, a symbolic story representation is unfit to handle the sensory/bodily dimension of a world. In search of a computational theory for narrative-based world representation, this study proposes the conceptual framework of a Cogmic Space for a comic strip-like representation of a world. In the proposed framework, a story is positioned as a mid-level representation, in which the conceptual and sensory/bodily dimensions of a world are unified. The events and their background situations that constitute a story are unified into a sequence of panels. Based on this structure, a representation (i.e., a story) and the represented environment are connected via an isomorphism of their temporal, spatial, and relational structures. Furthermore, the framework of a Cogmic Space is associated with the generative aspect of representations, which is conceptualized in terms of unconscious- and conscious-level processes/representations. Finally, a proof-of-concept implementation is presented to provide a concrete account of the proposed framework.

Ajji (Abuelita): relato simbólico y escena primaria en la narrativa fílmica india de violación y venganza

El presente estudio analiza la película india del género de violación y venganza Ajji (Devashish Makhija, 2017) y su relación con el inconsciente. Sus objetivos son identificar estructuras del inconsciente en el relato de Ajji para constatar si se trata de un relato simbólico desde la teoría del relato y la hipótesis de escena primaria de tipo “figura agresora materna” propuestas por González Requena. Con tal fin hemos empleado una metodología mixta cualitativo-cuantitativa, con un análisis de contenido de Ajji; un análisis de contenido de cuatro películas del mismo género estrenadas en India el mismo año; y una entrevista al director de la película, así como la revisión de otras entrevistas al mismo. Los resultados obtenidos confirman que Ajji no constituye un relato simbólico y manifiesta una escena primaria del tipo “figura agresora materna”.

Collective impact: dialogue at the interface of the colliding systems of philanthropy

Collective impact as a collaborative effort arose from the acknowledgment that existing methods and development approaches were incapable of addressing large-scale and long-term societal problems, the so-called wicked problems. By creating a model of the ecosystem of organizations around a particular issue, a funder can understand who else is working in the same space, identify potential allies, and anticipate political or economic challenges that might arise. In a case study to assess the developmental impacts of foreign aid and developmental programs on women and children in one of the poorest districts in Ghana, we developed an approach through which collective impact can be initiated and evaluated. Through the life of Lamisi Seidu, a typical, poor, rural Ghanaian woman, we tell the symbolic story of poor women living in rural, peri-urban, and urban areas all over the world. We examine what defines collective impact, how such initiatives are structured, and the challenges in creating collective impact initiatives that achieve successes that are both long-lasting and large scale. We also discuss the landscape mapping approach we developed.

Qishatu Âdam fî al-Qurân ‘Inda Muhamad ‘Abduh (Al-Dirâsat at-Tahlîliyah fî Sûrati al-Baqarah al-Âyat 30-39)

One of the unique stories in the al-Qur’an is the story of Adam as. Because in this story many things are mentioned disappear news that cannot be directly accepted by reason, Muhamad Abduh is one of the rationalist exegetical figures, he has a different thought of what is implied in the story of Adam, he saw that the story of Adam in Surat al-Baqarah verses 30-39 explained the flow of human life and human potential as a leader of this world. According to him, there were other creatures before Adam who lived on earth and Adam was not the first human. He also mentioned that the story of Adam as a symbolic story, it makes the story of Adam in the Koran not real. Based on that problems, the purpose of this study is to know the interpretation and opinion of Muhamad Abduh regarding human potential in Surat al-Baqoroh verses 30-39, this research used two methods. The first is descriptive method where the researcher will explain the explanation of the interpretation of Muhamad Abduh in Surat al-Baqoroh verses 30-39. The second is the analytical method where the researcher presented a little criticism about the interpretation of Muhamad Abduh then draws conclusions about Muhamad Abduh's interpretation of human potential in surat al -Baqarah verses 30-39.

Collective Impact: Dialogue at the Interface of the Colliding Systems of Philanthropy

Collective impact as a collaborative effort arose from the acknowledgement that existing methods and development approaches were incapable of addressing large-scale and long-term societal problems, the so-called wicked problems. By creating a model of the ecosystem of organisations around a particular issue, a funder can understand who else is working in the same space, identify potential allies, and anticipate political or economic challenges that might arise. In a case study to assess the developmental impacts of foreign aid and developmental programs on women and children in one of the poorest districts in Ghana, we developed an approach through which collective impact can be initiated and evaluated. Through the life of Lamisi Seidu, a typical, poor, rural Ghanaian woman, we tell the symbolic story of poor women living in rural, peri-urban, and urban areas all over the world. We examine what defines collective impact, how such initiatives are structured, and the challenges in creating collective impact initiatives that achieve successes that are both long lasting and large scale. We also discuss the landscape mapping approach we developed.

The Book of Judith: from a symbolic story to a historical mystery

The Apocryphal tale of Judith describes the story of the encounter between the Assyrians and the Jews, who managed to overcome the enemy through the faith and strength of Judith. The Book is rich in historical and geographical details but the general historical stage is false or more likely intentionally modified. The reason of this modification may be the creation of a pseudo-historical reality with the purpose to make an impression of a timeless lesson. But with the course of time this symbolic role of this artistical device is slackening so that the process of decoding advances to the forefront

On the Suggestion of Dasan(茶山) Jung Yak-yong(丁若鏞) about the Symbolic Expression and Story of ‘Ilmu’(佾舞)

On the Suggestion of Dasan(茶山) Jung Yak-yong(丁若鏞) about the Symbolic Expression and Story of ‘Ilmu’(佾舞)

Why on Earth are you still a Lutheran? Memoirs of a heretic by Norm Habel

Reviewed by: Why on Earth are you still a Lutheran? Memoirs of a heretic by Norm Habel Matthew Becker Why on Earth are you still a Lutheran? Memoirs of a heretic. By Norm Habel. Eugene: Wipf & Stock, 2015. 122 pp. Neither an autobiography nor quite a memoir, this little book of anecdotes, ponderings, and poems offers a personal account of several [End Page 465] key ecclesial turning points in the author's life and an overall response to the question that serves as the title. These incidents not only provide a glimpse into Habel's theological development and sense of identity ("as an Australian, an Earth child and a Lutheran") (9) they also lift up an exacting mirror to the church tradition that has both nourished and troubled him for so many decades. This miniature apologia pro vita sua thus serves to define what the term "Lutheran" means to him and why he thinks the labels of "heresy" and "heretic," when they have been leveled against him and his teaching, say more about his accusers than they do about the objects of their criticism. Habel moves chronologically, from his childhood in Tarrington, Victoria, where he grew up in a Saxon immigrant farming community, through his years as a graduate student and professor of Old Testament at Concordia Seminary, Saint Louis, and then back to his native land, where he lives today. That last move took place in the mid-1970s, in the aftermath of Seminex, when he and forty-five of his fifty fellow faculty members were fired by Concordia's board, which had been filled with a majority of reactionary conservatives aligned with then-LCMS president J. A. O. Preus and his aims to root out "heretics" from the synod's flagship seminary. Each of Habel's twenty-three chapters is small, some just a page or two. Nearly all relate a story that led him to affirm or criticize aspects of the Lutheran tradition. For example, a childhood incident opened his eyes to an exclusionary practice in his home congregation, where a "swagman," a tramp, was turned away from the Lord's Supper simply because he was not Lutheran and "may have been a heretic." Another event confronted young Habel with the deepest of theological questions relating to issues of human suffering, death, and theodicy. The story of Job became a conversation partner for him. He would eventually write a well-regarded commentary on that biblical book. Still other scenes unveil a continuity between actions of his Wendish-Lutheran ancestors, who "chatted with trees, communed with cows, and conversed with the skies" (28), and his own eco-friendly theology of creation. One can see why he interviewed to become the director of Holden Village after his dismissal from the Saint Louis seminary. Habel's central chapters address his years at Concordia. Here he learned how to use historical-critical methods for biblical study, the [End Page 466] use of which put him at odds with Preus and his fundamentalist-inerrantist supporters. A slim majority of delegates to the synod's 1973 convention condemned "the faculty majority" (without naming any names), including Habel. His work on the form and meaning of the second and third chapters of Genesis, which he presented publicly at a 1963 meeting of all LCMS district presidents, was just too controversial at the time (and clearly still is so today, given the synod's repeated affirmation of six-day creationism). No LCMS professor could publicly get away with defending the view that the fall narrative is better understood as a symbolic story or primal myth than as some kind of historical account. (Apparently Preus tempted Habel with the position of president of the synod's Springfield seminary, if only Habel would renounce his understanding of Genesis 2–3, a temptation he successfully overcame.) Even non-fundamentalist Lutherans might find some material objectionable here. While the author is to be commended for his frequent return to the theme of sola gratia, which serves as the book's cantus firmus, how Lutheran can one be, if one denies the doctrinal content of Article II of the Augsburg Confession or affirms what appears to be a form of...

Allure of the Abroad: Tiffany & Co., Its Cultural Influence, and Consumers

Allure of the Abroad: Tiffany & Co., Its Cultural Influence, and Consumers

Tokoh Kabayan Sebagai Inspirasi Torotot Heong the Song of Kabayan

Kabayan as an Inspiration of Torotot Heong The Song Of Kabayan. The theater art creation of Torotot Heongthe Song of Kabayan is a process that is inspired by the characters of folklore in Sundanese literature, Kabayan. InSundanese society, Kabayan is a stunt character from parable, a symbolic story, in the community as a media tonotify precept or wisdom. Kabayan is regarded as character with characteristic of Sundanese culture that hold on to“Cageur jeung Bageur” living guide (hale and healthy, and kind hearted). The creation process of Torotot Heongthe Song of Kabayan is performing into several stages and working methods according to Patri Pavis. It is startedby selecting the Kabayan’s Story to under take into the script. The next stage is doing some preparation for StagingProcess. The creating process is conducted through the mise en scene show’s appearance, perform into idea identification stage, artistic observation of cultural resources, the artist perspective and performance realization. TorototHeong the Song of Kabayan performances are the ultimate stage for the creative process of the hardworking teamwith a lot of effort to accomplish a communicative performance and appreciate well by the audience.

How a Series of Hallucinations Tells a Symbolic Story

How a Series of Hallucinations Tells a Symbolic Story

Die Erzählung von der Fußwaschung Jesu. Joh 13,1–11 als narratives Christuszeugnis

The symbolic story of John 13:1-11 conveys in narrative form the point that Jesus' crucifixion, as the uppermost illustration of his love for his people, is both the necessary and the fully sufficient condition for their purification from sin. After the narrative describes the death of Jesus as a sacramentum that transforms human existence, the instructions to Jesus' disciples that follow in John 13:12-17 portray this death as an exemplum that unconditionally binds all believers. The sequence in which these two passages, 13:1-11 and 13:12-17, are presented clearly indicates that the significance of Jesus' death as a sacramentum is essential to and prioritized over its interpretation as an exemplum.

Artist Paints Her Dreams To Understand Her Mind

Artist Paints Her Dreams To Understand Her Mind

ReadingisSeeing: Using Visual Response to Improve the Literary Reading of Reluctant Readers

This study compared the responses of two highly reluctant learning-disabled readers before and after they were helped to visualize story situations and events through visual art. These visual art procedures included the reading of illustrated books, the use of visual protocols, and the creation of symbolic story representations, illustrated books, collages, and picture maps regarding their reading. Data gathered from the students were subjected to ethnographic analysis, including preliminary and systematic domain searches, to reveal codes and themes. Data revealed that the use of visual art helped these two readers to begin enjoying reading, and to begin evoking and manipulating story worlds in their minds. The treatments encouraged the students not only to “see” what they were reading, but also to make other response moves involving emotional affect, connecting their own life to the literary experience, and the consideration of significance. Most importantly, perhaps, these students began to participate in the classroom community through their artwork.

The development of a dream from concrete realization to symbolic story

This paper is based on material from an analysis with a girl who was four years old at the time she started analysis. I relate how we worked with her feeling of vacillating, between invading and being invaded by the object, and how she was finally able to let go of her omnipotent control to a higher degree than before. Inspired by Hanna Segal and Donald Winnicott, I trace our progress from; (1) a denial of separation; (2) the analysand establishes a certain sense of separation by creating her own “space”. Through splitting and projective identification, she rids herself of feeling dependent and helpless, feelings that she cannot bear to acknowledge. The analyst receives, contains and names these feelings; to a stage where (3) the relationship established through the agency of projective identification is dissolved, and makes way for an ability to experience dependence as well as a recognition of the analyst as a separate person whom the analysand needs and can use.

The Archaeology of the Temple to Juno in Carthage (Aen. 1. 446-93)

There is a legend told of Aristippus. He was shipwrecked on the shore of Rhodes. There in his despair he discovered geometrical figures drawn in the sand, and these gave him good hope, for in them he saw the traces of humankind. Bene speremus, was his encouragement to his companions, hominum enim vestigia video! The same tale is told of Plato. He too was driven by a storm to an unknown land, and on its shores he discovered geometrical figures. These symbols of humanity, even more than the evident signs of cultivation of this unknown land, gave Plato and his companions courage: they recognized that they had been driven to a land not merely of humans but of true humanity.' Vergil tells a similar and even more symbolic story of Aeneas. When they had almost come within sight of Italy (Aen. 1. 34-35), Aeneas and his fleet were driven by a storm to the shores of Libya. These shores seemed deserted to the shipwrecked Aeneas, and the land seemed a land in which he would be destitute and unknown: 'ipse ignotus, egens, Libyae deserta peragro' (1. 384). But Aeneas soon discovers that this desert is inhabited, and, in the evident traces of its nascent civilization, he discovers its humanity precisely as he discovers himself depicted in a mural in a temple to Juno (1. 488-89). His first prospect of the civilization of Carthage is from a hill from which he looks down on the new city in the making. From this height he can observe the transformation of a collection of African huts into a city of majestic buildings; and, unawares, he glimpses what he will never live to see the transformation of Rome from an Arcadian village into the marble and monumental city of Augustus.2 In the distance he can make