Understanding Of Symbol Research Articles

Analysis of Generation Z's Understanding of the Lolik Lalen Fedak Fena symbol Against the Development of Education in Namrole District, South Buru Regency

This research is a qualitative descriptive study that aims to determine the meaning of the cultural symbol lolik lalen fedak fena for generation Z, to determine generation Z's understanding of the lolik lalen fedak fena symbol and to determine the relationship between the lolik lalen fedak fena symbol and the development of education in Namrole District, South Buru Regency . This research was conducted in Namrole District. Primary data collection was carried out through interviews with a number of informants who were considered to be directly involved. Data collection techniques used are observation, interviews and documentation. The results of this interview can show that the lolik lalen fedak fena symbol which is a unifying symbol for the people of Namrole District has a very important meaning and significance for the life of the people of Namrole District. Where the meaning of this symbol is to unite the heart to build the country. The implied meaning behind this symbol is to remain united in heart, hand in hand, in building the country regardless of race, ethnicity, religion and culture. This symbol is a unifying principle for the people of Namrole, just as Pancasila is the way of life for the Indonesian people, the people of Namrole District, whose culture is still so strong that it makes Namrole District an area that adheres to culture and continues to maintain and preserve what has become the pride of the community as a community. rich in culture. A culture that both want to build without having to look at each other's backgrounds or differences. This symbol is present in the midst of existing diversity or diversity as a unifying symbol. Because the people of Namrole have the belief that without unity there will be no progress.

천문의 상징 기호에 대한 이해 - 무속의 상징물 명도를 중심으로 -

천문의 상징 기호에 대한 이해 - 무속의 상징물 명도를 중심으로 -

Символ как средство ориентировки в личностных задачах: персонологическая перспектива

The role of symbol in culture is in the focus of many works. In this paper, we aim to look at symbol from a personological perspective, that is, to consider it as a means of orientation in the tasks of personality development that is widely used in counseling and psychotherapy. Working with symbols is reflected in psychoanalysis, but it employs methods that are mostly based on interpreting symbols. These methods are founded on the understanding of symbol as a special semiotic unit: a sign with an unusual correlation between the signifier and the signified. Such interpretation is by all means possible and, in a way, productive, however, we would like to explore the model of working with symbol that is based on another understanding of its function. From our perspective, symbol is not the meaning of certain content, but its embodiment. The models of symbolic mediation of orienting activity that we are familiar with tend to describe the outcome of this process as a transition to the fixation of certainty in sign, that is, to the explanation of certain phenomenology. We, on the contrary, suppose that orienting activity, being a specially organised one and mediated by symbol, may result not so much in the fixation of certainty as in the emotional experience of belonging to the world, of comprehending the ‘binding pattern’, the feeling of ‘presumption of solution’ of life task. Such emotional experience/ attitude (as both intellectual and affective formation) turns out to be more reliable as a foundation for reconstructing one’s life in the process of psychotherapy than pure thought containing an explanation.

On the essence of the symbol in the thought of Nikolay Berdyaev and Wіadywsіaw Strуїewski

The author analyzes the understanding of symbol by Nikolay Berdyaev and Wіadysіaw Strуїewski. Both thinkers, in spite of their belonging to different cultures and philosophical traditions, paid great attention to the study of the symbolic in their works as they considered the symbol to be of real importance. Moreover, they came to similar conclusions. Thus, Berdyaev, in his exis-tential-spiritualistic philosophy, claimed that the world itself is symbolic, and human creativity is kind of a symbolic representation of the divine creative principles that lie at the foundation of a culture. In this view, religion, culture and history are symbolic too, and the symbol itself “is a bridge thrown from a creative act to an intimate, ultimate reality”. The phenomenologist Strуїew-ski tried to make a phenomenological decon-struction of the symbol to describe its multi-layer structure. The Polish philosopher regarded the symbol as a sign relating to something absolute-ly inexpressible. To his mind, it is the religious symbol that has a special significance, which helps the consciousness of man to grasp the Absolutely Different. The symbol is not a mere-ly linguistic construct as it “reaches the unknown and, leaving it unexplored, indicates the tran-scendence”. Therefore, he insists, the symbol can be interpreted as kind of a mysterious Devine gift. Thus, both Berdyaev and Strуїew-ski consider symbols as what can best refer to the reality which is outside of it and is absolutely different and inexpressible. Both philosophers emphasize the importance of the symbol and its reflection for a proper understanding of a culture and the mysterious relationship between God and human being. It is concluded that the ideas expressed by both Berdyaev and Struzhevsky about the symbol have not lost their relevance at the present time.

British South Asian women’s feminist aesthetics in ‘Bombay1 cinema talk’

ABSTRACTBollywood popular culture creates a feeling and talking interpretive community2 that produces a shared symbolic and cultural language for diasporic South Asians. Combining feminist cultural studies with empirical interviews and ethnographic observation, this article offers the analytical tool of Bombay cinema talk as a reflexive linguistic repertoire created by British South Asian women interviewees3 as a site of comparison and making sense of one’s own experiences in relation to Bollywood cinema’s feminine representations. The interviewees criticize misogynistic representations, articulating an alternative understanding of the feminine symbol as a survivor of everyday patriarchy. In their engagement with diverse South Asian femininities, they remake their own cultural identities. For some, the adulation of female stars and characters reveals intimate homoerotic desires, which further deepens this engagement. I argue that feminist interpretations emerge as the interviewees appropriate specific scenes which reflect the pleasures and struggles in their own lives.

Irony and Inspiration: Homer as the Test of Plato’s Philosophical Coherence in the Sixth Essay of Proclus’ Commentary on the Republic

AbstractEven among sympathetic readers, there abides a sense that Proclus’ attachment to his authorities at least partially blinds him to Socratic irony. This has serious implications for his conciliation of Homer and Plato in the Sixth Essay of his Commentary on the Republic. A significant number of the passages in Plato’s dialogues, which Proclus takes as necessitating their agreement, appear to be examples of Socrates’ ironic mode. If this apparent necessity exists only through a failure to recognize the ironic character of these statements, it would seem to indicate the truth of E.R. Dodds’ famous judgement of Proclus, that he is properly philosophical only insofar as his thought is not subject to the irrationalisms of his pagan piety. The contention of this essay is that Proclus’ project of conciliation is not, in fact, driven by a refusal to recognize Socratic irony, but by his nuanced interpretation of it, an interpretation that is clarified through a consideration of the striking parallels it has with his understanding of poetic symbol. In following this path of inquiry, it will become evident that Proclus’ position on Socratic irony, and the theological conciliation it necessitates, is not an irrational interruption of his otherwise rational system, but an integral feature of its philosophical coherence.

Students' confusions with reciprocal and inverse functions

ABSTRACTThese classroom notes are focused on undergraduate students' understanding of the polysemous symbol of superscript (−1), which can be interpreted as a reciprocal or an inverse function. Examination of 240 scripts in a mid-term test identified that some first-year students struggle with choosing the contextually correct interpretation and there are students who use both interpretations in their solutions. Several students also confuse between composition and multiplication of functions denoted by resembling symbols of ‘°’ and ‘⋅’.

Book Review: Caring Liturgies: The Pastoral Power of Christian Ritual

Caring Liturgies: The Pastoral Power of Christian Ritual. By Susan Marie Smith. Minneapolis, Minn.: Fortress Press, 2012. viii + 152 pp. $18.00 (paper).How does one bring theological and liturgical resources of church into situations of transition, celebration, and loss that are not clearly described in official denominational worship resources? This is question that Susan Marie Smith addresses in Caring Liturgies: The Pastoral Power of Christian Ritual. Smith offers principles drawn from fields of ritual studies and liturgical theology that will give lay people and clergy confidence to create of transition and healing that may be one-time events particular to a person, a congregation, or a situation (p. 2).Smith begins by observing that ritual has often been construed as compulsive or manipulative at worst and arid at best. This ritual myopia has led to lost opportunities for pastoral care due to a lack of confidence and imagination on part of lay and clergy leadership. Smith urges readers to practice ritual resourcefulness, but only with ritual competence, which requires the ability to know when and how to ask for, plan, lead, or support rituals that mediate healing, transition, and life (p. 17).As a counterpoint to common misunderstandings of ritual, Smith argues that ritual can be creative and generative, and that church needs to reclaim its role in encouraging new rites for specific occasions that are essential to process of conversion in faith and growth in (p. 14). Caring Liturgies draws upon scholarship within discipline of ritual studies, particularly using work of Catherine Bell and Ronald Grimes, to describe how to create rites that speak to situations in which an appropriate liturgical response is unclear. The book progresses from and describing nature of a creative rite (chapter 1), to suggesting who should take part in shaping and executing them (chapter 2). Chapters 3, 4, and 5 describe how to create actual rites, and chapter 6 concludes with bigger picture of why creative rites are important, grounding them in paschal mystery of Christ as the lens through which to look at focal persons life (p. 124).A particularly helpful insight is Smiths proposal that creative rites be shaped around one central, defining (p. 74). Smith employs a Ricoeurean understanding of metaphor and symbol to make distinction that metaphors are a product of language, while symbols are expressed through things, people, and actions (p. …

The enigma of the male sex symbol

When Daniel Craig emerged from the sea as the new James Bond in Casino Royale (Martin Campbell, 2006), his appearance (and his physique) created a media furore. For the first time since the days of Sean Connery, James Bond was once again a sex symbol. Starting with the many examples offered by the James Bond franchise, this essay identifies the sex symbol as a ubiquitous but essentially ill-defined category of celebrity status. Challenging a ‘common-sense’ understanding of the sex symbol, this essay emphasises the importance of the sex symbol as a way into understanding the complexity and mutability of attitudes towards sex and sexuality. The intention of this article is to bring the category of sex symbol into critical view, to make some provisional suggestions as to the ways in which this phenomenon might be interrogated and to consider what the specific issues might be in relation to an understanding of the male sex symbol in particular.

Theo‐Drama as Liberative Praxis

Theo‐Drama as Liberative Praxis Roberto S. Goizueta In Latin American liberation theology, the God of the poor is a Dios Compañero, a God who accompanies us in our everyday struggles. The religiosity of the poor, or “popular religion,” is a privileged locus for experiencing this divine nearness; the rituals and symbols of the people's lived faith are places of divine–human encounter. Yet such an encounter presupposes that God is indeed revealed and made present in the rituals and symbols of popular religion, that is, that these are not merely human constructs that express human needs and longings but are, in fact, revelations of a divine reality that is given to us in and through symbol and ritual. For the poor, God is not a concept that persons and groups conjure in order to express human needs and ideals; God is a self‐communicating reality made present in the world around us and thus received by us as pure gift. If this is not true, then neither is the possibility of hope and liberation. Consequently, I will submit, the lived faith of the poor gives rise to a theological aesthetics of liberation that subverts modern and post‐modern notions of the symbol as an arbitrary, interchangeable sign with no intrinsic connection to its referent. While some European theologians such as the Swiss scholar Hans Urs von Balthasar have effected a retrieval of a premodern understanding of symbol in order to articulate a Christian theological aesthetics, they have not paid due attention to the sociopolitical, liberative import of such a retrieval. Balthasar, for instance, fails to appreciate how the lived faith of the poor gives expression to a theological aesthetics of liberation which resists both the reduction of liberation to sociopolitical praxis and the reduction of theological aesthetics to an apolitical, merely affective experience of the Beautiful. As the retrieval of a premodern symbolic realism which posits that God is really made present and available to us in the cosmos and in history, Balthasar's intellectual project represents an attempt to retrieve both the embodied and the receptive character of Christian faith; God is “the Beautiful” and, as such, can be known only insofar as we surrender ourselves to its intrinsic power, a power utterly gratuitous and beyond our control. “What is here called an ‘aesthetic’,” writes Balthasar, “is therefore characterized as something properly theological, namely, as the reception, perceived with the eyes of faith, of the self‐interpreting glory of the sovereignly free love of God.” Yet Balthasar's aesthetics remains socially and politically ambiguous. In this essay, I will argue for the importance of Balthasar's project. At the same time, I will suggest that only when undertaken in the context of a preferential option for the poor can a methodological attentiveness to the aesthetic character of Christian faith make possible a retrieval of both the normative character of religious faith, as a response to “the True,” and the liberative character of faith, as response to “the Good.” To make this argument, I will draw not only on Balthasar's work, therefore, but also on the insights of Latin American liberation theology, as represented especially by the Peruvian theologian Gustavo Gutiérrez (the so‐called father of liberation theology). More specifically, I will contend that, while theological aesthetics represents a necessary corrective to modern and postmodern theologies, liberation theology represents an equally necessary safeguard against the opposite danger, a reduction of aesthetics to an apolitical religious experience wherein the Beautiful does not irrupt in the world, transforming it, but is simply a legitimating reflection of that world. For an authentically Christian theological aesthetics, the fundamental criterion of beauty will be the body of a tortured, scarred criminal hanging from a cross—and, therefore, the bodies of those whom Jon Sobrino calls the crucified people of history. Such an expression of the Beautiful can only subvert all merely human preconceptions of beauty, pre‐conceptions that legitimate the exclusion and exploitation of those persons whom the dominant culture considers “ugly.” Christian faith as lived faith For Christians, the act of faith is a lived response of the whole person to a God who, as Love, freely gives Godself...

Symbol as cognitive tool of mental activity

There is no unanimous definition of the term symbol. Researchers note that in scientific studies on signs and symbols the latter are often defined in terms of their types, such as indexes, images, schemes, allegories, metaphors and so on (Losev, 1976, De Loache, 1991, Zinchenko, 2010) and the widespread use of the tools expression disregards the distinction between sign and symbols. At the same time there is long-established philosophic and psychological tradition of viewing symbol as separate cognitive tool, with which we concur in our consideration of the distinction between sign and symbol to be effective.The notion of symbolIn the works of Gadamer (1975), Hegel (1977, 1969), Schelling (1936) and other researchers sign and symbol were set in opposition. Our research focuses on the cognitive aspect of symbol usage, which we find in the classic discrimination between sign and symbol by Hegel (1977, 1969). Hegel pointed out that symbol is a certain viewing with an essence and meaning that is more or less corresponding to the essence and meaning of the object it refers to; on the other hand, when it comes to the sign and its nature, the essence and the meaning of viewing and the ones of the object it refers to have nothing in (Hegel, 1977, p. 294-295).The nature of the sign representation is such that it directs one immediately to the meaning of the signified, not taking, in sense, the of the into consideration. In contrast, orientation with respect to symbol is happening within the boundaries of the external features of situation, and those features, including the connections between its elements, when manipulated with, become meanings.Another characteristic feature of symbol is the way in which it appears -- symbolic mediation occurs in of uncertainty, when the objective and the ways of reaching it are unknown: has external features, but its internal structural interrelations are hidden. Therefore sign refers to the signified meaning or set of meanings directly, whereas symbolic image has no connection to certain meanings. We believe that of uncertainty is structural element of symbol, and understanding the latter implies operation with or movement within its external features (Mamardashvili, Pyatigorsky, 1997). According to Mamardashvili, Pyatigorsky, symbol indicates something unknown at the present moment, in other words -- it performs signal function.As Eliade (1991) points out, myths and ritual forms of actions (which according to Losev (1976) and other researchers are the most vivid examples of symbolical cognition) make border situations conceivable for human and for humanity. A border is situation in which humans recognize their place in the world, in other words -- the need for orientation. This viewpoint is also expressed in the works of Jung (1998) who discovered peculiarity of symbol actualization -- it happens when one's customary means of orientation cease to be effective.Symbolization development in ontogenesisAccording to Piaget (1969, 1971), who in his works paid special attention to the development of symbolic (semiotic) function, symbol becomes part of children's cognitive activity at the age of two years. Piaget's understanding of symbol is that symbol is the signifier, though having similarities with, essentially stands apart from the signified. Therefore in Piaget's opinion, the figurative (related to external features) element of thinking appears to be symbolic when an image is used for assimilation of some content. Piaget considered symbolic representation to be common in situations characterized by gap between speech and action. That is why some researchers (Schmid-Kitsikis, 1987) note that symbolization is employed only in situations where children manifest it.To exemplify symbolization, let's consider the when child sees their father shaving and then, in manner of their father, runs their own hand up and down their face to understand the meaning of their father's actions through their own movements. …

АКВАТИЧНА ТОПІКА ВНУТРІШНЬОГО ПЕЙЗАЖУ ДУШІ В ПОЕЗІЇ ПОЛЬСЬКОГО ТА УКРАЇНСЬКОГО РАННЬОГО МОДЕРНІЗМУ

The article deals with a symbolic interpretation of the landscape in modernist poetry as a refl ection of the soul condition, with special attention focused on aguatic topik. Also understanding of the conventional symbol мare tenebrarum in the creative works by P. Karmanski, A. Lange, S. Przybyszewski, L. Staff is analyzed. The author explores a water topic using as a refl ection of the unconscious part of the human psyche.

Nicholas Halmi, The Genealogy of the Romantic SymbolThe Genealogy of the Romantic Symbol. Nicholas Halmi. Oxford: Oxford University Press, 2007. Pp. viii+206.

<i>Nicholas Halmi</i>, The Genealogy of the Romantic Symbol<i>The Genealogy of the Romantic Symbol</i>. Nicholas Halmi. Oxford: Oxford University Press, 2007. Pp. viii+206.

Accezioni e rifocalizzazioni del simbolismo musicale tra suono, numero e segno durante il medioevo

Aim of this paper is an approach to the problems surrounding the interpretation of musical symbolism in relation with medieval musical theory and the sources of thought that influenced its evolution. Harking back to a level of musical speculation focussed exclusively on the sonic event, as a factor of a not mere emotional influence on the psyche and independent of all numerological and cosmological readings that patristic and medieval music theorists recovered from Antiquity in order to illustrate the concept of harmonia , a reconstruction is attempted, through textual sources, of a conception marked by an understanding of musical symbol as an ontological nexus bringing to bear on the dimension of listening, rather than on hermeneutical superstructures, either numerical or semiotical, that have been superimposed during the Middle Ages on the purely sonorous and musical fact.

SACRED SYMBOL AS THEOLOGICAL TEXT

SACRED SYMBOL AS THEOLOGICAL TEXT

Jung and Kabbalah: imaginal and noetic aspects

Jung made use of kabbalistic images and motifs in various parts of his opus, including in his alchemical studies, in Aion, and extensively in Mysterium Coniunctionis. He also recorded an important dream after his heart attack which made use of kabbalistic symbolism in Memories, Dreams, Reflections. In this paper I explore Jung's ideas in relation to Kabbalah, first, by differentiating between Jung's imaginal approach to kabbalistic symbolism and the noetic intention of the Kabbalah itself in its use of imaginal material. Second, I present a number of typical examples of how Jung understands (and sometimes misunderstands) kabbalistic material that he cites. Third, I briefly survey the development of the Kabbalah as an imaginal noetic system, and present a core self-understanding of kabbalists--as engaged in inner 'self-work' which intends to 'sweeten the harsh judgments of existence in their very roots'. Finally, I differentiate Jung's understanding of the psychical living symbol from the kabbalistic understanding of the mystical symbol. In this fourth section of the paper, I conclude by presenting a basic Hasidic/kabbalistic teaching on the nature and function of verbal contemplative prayer--as an illustration of the difference between the two understandings of symbolism. The four sections of the paper are framed by a 'Prelude' and a 'Coda'.

Ancient, Postmodern, and Prophetic: How Haight's Symbol Theory (Almost) Does It All

ABSTRACTThe achievements of Roger Haight's provocative book Jesus Symbol of God rise and fall according to the strengths—and weaknesses—of Haight's symbol theory as applied to his christological project. While this essay expresses a largely positive view of Haight's overall project, it focuses on two key shortcomings pertaining to Haight's symbol theory as it shapes his Christology: first, that his notion of symbol is too low to serve traditional Christology; second, that Haight strips religious symbols of their prophetic power by conceding too much to his audience. Drawing on the symbol theories of Karl Rahner and Paul Ricoeur, to whom Haight is deeply indebted for his understanding of symbol, a path is indicated by which Haight's model could more adequately wed symbol theory and Christology in yielding a more fruitful understanding of Jesus as symbol of God.

The Symbolic Realism of U.S. Latino/A Popular Catholicism

[The author argues that Latino/a popular Catholicism in the United States embodies important aspects of a non-modern Catholic worldview that have been obscured, or even lost in modern, rationalist forms of Catholicism. Specifically, U.S. Latino/a popular religious practices reflect an understanding of symbol that is heir to the intrinsically symbolic cosmology of medieval and baroque Christianity. Its pre-Tridentine roots distinguish the Catholicism of Latin American and U.S. Latino/a communities from the post-Reformation Catholicism that initially came to North America. An appreciation of these differences could contribute to a retrieval of “lost” aspects of our common Catholic heritage as well as the development of a more fully “American” Catholicism.]

Flannery O'connor's Use of Symbol, Roger Haight's Christology, and the Religious Writer

[The author argues that Flannery O'Connor's fiction and critical prose are informed by a theological understanding of symbol, a narrative Christology from below, and a consciousness of her task as a religious writer of modernity. This places her work in mutually constructive conversation with the writing of postmodern Christology, represented, for instance, by Roger Haight's Jesus Symbol of God.]

“To Teach Them to See”: Teaching Christian Theology in Material Things

Teachers of theology or religious studies readily seek to open their students to the interpretation of theological texts. Do they share a similar readiness to open students to the interpretation of religious symbols and artifacts, the material cultures of religious faiths? Although theological studies have preferred the abstract concept over the material object, any proper understanding of religious faith must admit some form of direct encounter with the constellation of material symbols surrounding that faith. Teaching students to “read” the material symbols of faith does not do away with the need to help them read and interpret the written word, but supplements and deepens humane, scholarly reflection on religious faith. Helping students to see, to interpret what they see, and to re‐view their understanding of the religious symbol or artifact amounts to teaching a visual theology; a helpful and necessary challenge for the teacher of theology or religious studies.