SACRIFICE AT THE MAIZE TREE

1999 ◽  
Vol 10 (2) ◽  
pp. 281-295 ◽  
Author(s):  
Ruud van Akkeren
Keyword(s):  
Comparative Study ◽  
Tree Of Life ◽  
Symbolic Meaning ◽  
Human Sacrifice ◽  
Main Subject ◽  
Prisoner Of War ◽  
The Earth ◽  
The World ◽  
Late Postclassic

In pre-Columbian times the famous dance drama, known as the Rab'inal Achi, but whose indigenous name is Xajoj Tun, ended in a human sacrifice. A comparative study of the native documents shows that the victim, an important prisoner of war, died by being shot with arrows. The tun dance was part of a larger festival, which served propagandistic aims. The ritual of the arrow sacrifice highlighted crucial political moments, for example, when new lords were installed, titles were handed out, or glorious battles that led to the power and hegemony of one or more ruling lineages were commemorated. In the case of the Rab'inal Achi, it is the heroic past of the Toj lineage, rulers in Late Postclassic Rab'inal, that proves to be the main subject. Interestingly, when focusing on the language used to describe the arrow sacrifice, we see that the victim, who was tied to a scaffold, a stake, or a column, was considered game, and the archers as hunters. The stake had a symbolic meaning, as well. It represented a tree of life, a tree we have come to know as the World Tree growing in the center of the earth and holding up the sky. In the Rab'inal Achi, that tree, the place where the Warrior of K'iche' is shot, is named the Maize Tree, the same fictitious tree that is depicted on the Tablet of the Foliated Cross of Palenque.

Khrystyyansʹki sakralʹni symvoly u prostorovo-chasovomu kontynuumi poetychnoho movlennya ukrayinsʹkoho pysʹmennyka Yuriya Andrukhovycha

2020 ◽  
pp. 29-39
Author(s):  
Veronika Horodets’ka
Keyword(s):  
East Asia ◽  
Cultural Context ◽  
Symbolic Meaning ◽  
River Nile ◽  
World Culture ◽  
The Earth ◽  
The World ◽  
Spatio Temporal ◽  
Life Philosophy

This article explores the linguistic worldview of a Ukrainian poet – postmodernist Yuriy Andrukhovytch – realized through the concept of “Christian sacred symbols” analyzed from the perspective of anthropological and cognitive aspects of lingual and cultural studies. It defines the essence and the ways of implementing the concept in the spatio-temporal continuum of poetry collection “India” as well as highlights the role of man in the poet’s imaginary world through the archetypes of the world culture and decodes symbolic meaning of cultural context of the author’s works. Contrary to a generally accepted view that the earth is round, spatial reality for the author turns out to be a planet which resembles a cake, a fl at surface, a desert, a kingdom and a bridge. The sky is seven crystal hemispheres, out lining the heavenly space with stars and planets fixed at each level. The space is represented by such geographical notions as East Asia, India, China, the river Nile. The author of the article supposes that India becomes for the writer the embodiment of our civilization at all times of mankind, another way to present man in the space of eternity, and a kind of life philosophy. The synthesis of pagan, Jewish, Hindu, Muslim and Christian ideas about man’s place in the world and his moral peace, happiness and overall love is represented by such symbols as angels, harpes, gehennr hell hrifony, dragons, percale books, lilies, honey, pythons, fl ags, birds, reptiles, saints, timpani, newts, tulips, furies, devils, Yuri’s sword, Yasmin and others.

The ‘Tree of Life’ or Pohon-Budi: An International Exhibition Celebrates a Global Heritage

2021 ◽  
pp. 245592962110509
Author(s):  
Jasleen Dhamija ◽  
Manjari Nirula ◽  
Edric Ong
Keyword(s):  
International Exhibition ◽  
Tree Of Life ◽  
Kuala Lumpur ◽  
The Earth ◽  
The World ◽  
The Usa ◽  
Political Borders ◽  
The Uk ◽  
Creativity And Innovation

This article by a team of scholars, activists and a designer describes an effort to understand a heritage shared across many cultures—the Tree of Life is a symbol that appears in the myths, crafts and arts of civilizations on every continent—and to bring that heritage alive through exhibits featuring present-day artisans and artists. After overcoming major administrative barriers, an exhibition on this sacred theme premiered in Kuala Lumpur in 2015, curated by a Malaysian–Indian team. Expressions brought together from 35 countries blended natural and cultural ecologies with the sensitivity of each creator, working with a range of materials. After Malaysia, the exhibition travelled to India, the USA, Canada, Taiwan and Thailand. It is expected to move to Bhutan, China, the UK and elsewhere once the pandemic condition allows. Meanwhile, documentation and publication have helped share a breathtaking resource of knowledge and design. Described as ‘a thread that links the world’, this Tree of Life celebration demonstrates the importance of investing in research to build a foundation of scholarship upon which heritage can be brought to life for new generations. Here, the creativity and innovation of those who are repositories of ancient wisdom make tradition relevant to new times, revealing heritage as a timeless process that can be managed and shared by bringing old and contemporary disciplines together in new and uniting partnerships that extend far beyond political borders. New opportunities have opened for participants, inspiring other efforts. Here, heritage not only identifies the identity of each participating culture. These identities also combine as a shared heritage of all humankind, with the Tree of Life as a symbol of caring for the earth and for each other.

scholarly journals FLORISTIC SYMBOLICS OF LINA KOSTENKO POETRY

2021 ◽  
pp. 21-23
Author(s):  
Olena Mykhailova
Keyword(s):  
Floristic Composition ◽  
Symbolic Meaning ◽  
Modern Times ◽  
The Earth ◽  
The People ◽  
The World ◽  
Different Types ◽  
Poetic Text ◽  
Magic Traits ◽  
Poetry Collection

The article considers floristic vocabulary of Lina Kostenko poetry in the linguocultulorogical aspect; mythological semantics and symbolic of floristic names were determined in the poetry collection "Three hundred verses"; the link between symbolic meaning of flowers with totemic beliefs, between chthonic semantics of vegetation, solar myths were studied, peculiar traits of poetic arrangement were analyzed. Conclusions were drawn on the original poetic model of the mythic space that unites the worlds of heavens and the earth, rich in floristic images, enrooted in ancient totemic beliefs. The harmonic synergy of a man and the nature envisages the author's interpretation of universal floristic symbols in the limits of paradigm "flowers" – "myth" – "poet", wherein the flowers acquire symbolic meaning of the eternity of life born in the cosmogony depths of mythological archaic. In the poetry of Lina Kostenko an amazing unification of the internal world of a man with the realities of the world of nature takes place, the natural elements turn into cosmogony forces that create the renewed mythical space, wherein the flowers are the symbols of time, live signs of times of year, and the color symbolizes life milestones of the poetess herself. Archaic mythological symbolic as an integral part of poetic text obtains a new meaning due to which an ancient past unites with modern times, floristic names are transformed into universal poetic symbols, disclose figurative world of poetry. The origins of floristic symbolic are enrooted into vegetation totemism, when the people respected different types of flowers and animals as prime ancestors, bestowed them with magic traits, chthonic semantics, considered them amulets and used separate types of plants as medicines or bloodless sacrifices in the gods' cults. A particular type of solar-floristic metaphor can be considered as a revelation of totemism, built on the grounds of metonymy, the majority of "floristic" lexemes, used by Lina Kostenko, stand as names for typical Ukrainian decorative plants, but the author's poetic arrangement makes every floristic composition of the poetess unparalleled.

scholarly journals Wayang Jawa Timuran Lakon Gandamana Luweng (Kajian Struktur Dan Makna)

2018 ◽  
Vol 33 (1) ◽  
pp. 9
Author(s):  
Andini Shinta Kurniawati
Keyword(s):  
Qualitative Research ◽  
Data Analysis ◽  
Phenomenological Approach ◽  
Symbolic Meaning ◽  
Main Subject ◽  
Qualitative Research Design ◽  
Art Form ◽  
The World ◽  
Symbolic Meanings ◽  
Data Source

Wayang, sebagai salah satu bentuk kesenian klasik tradisional yang oleh pecintanya dikatakan mempunyai nilai adiluhung, banyak mempengaruhi tata nilai kehidupan Jawa khususnya dan masyarakat pada umumnya.Orang Jawa begitu percaya adanya perlambang, simbolisasi ataupun filsafat hidup yang berupa mitos pada satu lakon wayang.Salah satu lakon wayang yang cukup menarik perhatian adalah lakon wayang dengan judul “Gandamana Luweng”. Pokok permasalahan yang dikaji dalam penulisan ini adalah (1) Bagaimana struktur lakon Gandamana Luweng, (2) Bagaimana makna simbolik lakon Gandamana Luweng. Tujuan penulisan ini yaitu menganalisa dan mendeskripsikan struktur lakon dan makna simbolik lakon Gandamana Luweng. Penelitian ini menggunakan desain penelitian kualitatif dengan pendekatan fenomnologis empiris. Subjek utama dalam penelitian ini adalah Ki Pringgo Jati Rahmanu, sedangkan pengumpulan data diperoleh dengan pengamatan, wawancara, studi dokumen, dokumentasi. Analisis data dilakukan melalui reduksi data, penyajian data, dan penarikan kesimpulan. Pemerksaan keabsahan data menggunakan informan review dan triangulasi data (sumber dan teknik). Hasil penelitian ini menunjukkan bahwa struktur lakon Gandamana Luweng terdiri atas sinopsis, penjabaran lakon, penokohan, alur, setting, dan tema cerita.Lakon Gandamana Luweng ini memiliki makna bahwa jika dalam suatu Negara para rakyatnya bermoral lemah tidak mempunyai kekuatan dan keberanian apalagi kesadaran apa arti hidup ini maka hancurlah Negara itu. Dari data tersebut dapat disimpulkan bahwa Lakon Gandamana Luweng memiliki struktur lakon cukup menarik yang dikemas dalam durasi tampilan 60 menit, sedangkan dengan adanya makna simbolik yang terkandung diharapkan para pelaku hidup ini akan sadar tentang pentingnya saling mengerti, menyadari tentang hidup dan kehidupan di dunia.Shadow Puppettry, as one of the traditional classical art form that by the lover is said to hold in high value, hold much affect to the values of life of Java in particular and its society in general. The Javanese are very confident in the use of symbols. Symbols and philosophies of life that are manifest in one myth in one puppet play. One of the puppet plays that attract attention is the wayang play entitled "Gandamana Luweng". The main issues studied in this book are (1) How Gandamana Luweng play is structured, (2) The symbolic meaning of Gadamana Luweng play. The purpose of this paper is to analyze and describe the structure of the play and the symbolic implications of the play Gandamana Luweng. This research uses qualitative research design with empirical phenomenological approach. The main subject in this study is Ki Pringgo Jati Rahmanu, while data collection is obtained with observation, interview, document study, documentation. Data analysis is done through by data reduction, presentation data, and conclusion. The validity of data is checked using using informant review and triangulation of data (source and technique). The results of this study indicate the structure of the Gandamana Luweng play consists of synopsis, description of the play, characterization, plot, setting, and theme of the story. This Gandamana Luweng play has the meaning if country’s people possess weak moral, no strength and courage let alone awareness as to what this life means, then the country is destroyed. From these data can be concluded Gandamana Luweng shadow puppet play holdss a fascinating  structure that comprises a 60 minute view duration, where the symbolic meanings intentions are expected that these actors will be aware of understanding each other, conscious about life and life in the world.

Exiting Socialism Challenges

2006 ◽  
pp. 114-125 ◽  
Author(s):  
G. Popov
Keyword(s):  
Social Challenges ◽  
The Earth ◽  
The World ◽  
Science And Culture ◽  
Municipal Economy

Exiting socialism by almost a third of the earth population appears to be the most prominent event of the late XX century. The author makes an attempt to formulate some challenges of this process and thus a theory of exiting socialism. First, he inquires into the concept of exiting socialism as it exists in the world. Then he analyzes real experiences in this field. The research enables the author to outline the main economic, governmental and social challenges of such exit - from municipal economy to science and culture.

Slavery and the Trumpocene: It's Not the End of the World

2019 ◽  
Vol 41 (1) ◽  
pp. 40-50
Author(s):  
Claire Colebrook
Keyword(s):  
Living System ◽  
Racial Violence ◽  
First Century ◽  
The West ◽  
The Earth ◽  
The World ◽  
End Of The World ◽  
Twenty First Century ◽  
Geological Period

There is something more catastrophic than the end of the world, especially when ‘world’ is understood as the horizon of meaning and expectation that has composed the West. If the Anthropocene is the geological period marking the point at which the earth as a living system has been altered by ‘anthropos,’ the Trumpocene marks the twenty-first-century recognition that the destruction of the planet has occurred by way of racial violence, slavery and annihilation. Rather than saving the world, recognizing the Trumpocene demands that we think about destroying the barbarism that has marked the earth.

‘A pinch of unseen, unguarded dust’: The World and Self in Thomas Hardy's Poems

2018 ◽  
Vol 8 (1) ◽  
pp. 49-66
Author(s):  
Monika Szuba
Keyword(s):  
The Body ◽  
The Self ◽  
Phenomenological Philosophy ◽  
The Earth ◽  
The World ◽  
The Universe ◽  
Recurrent Theme ◽  
Body Subject

The essay discusses selected poems from Thomas Hardy's vast body of poetry, focusing on representations of the self and the world. Employing Maurice Merleau-Ponty's concepts such as the body-subject, wild being, flesh, and reversibility, the essay offers an analysis of Hardy's poems in the light of phenomenological philosophy. It argues that far from demonstrating ‘cosmic indifference’, Hardy's poetry offers a sympathetic vision of interrelations governing the universe. The attunement with voices of the Earth foregrounded in the poems enables the self's entanglement in the flesh of the world, a chiasmatic intertwining of beings inserted between the leaves of the world. The relation of the self with the world is established through the act of perception, mainly visual and aural, when the body becomes intertwined with the world, thus resulting in a powerful welding. Such moments of vision are brief and elusive, which enhances a sense of transitoriness, and, yet, they are also timeless as the self becomes immersed in the experience. As time is a recurrent theme in Hardy's poetry, this essay discusses it in the context of dwelling, the provisionality of which is demonstrated in the prevalent sense of temporality, marked by seasons and birdsong, which underline the rhythms of the world.

DHAMMONG : A RAIN RITUAL IN MADURA (A STUDY ON ITS HISTORY, FUNCTION, AND HISTOR ORY SIMBOLIC MEANING)

2020 ◽  
Vol 18 (2) ◽  
pp. 205-227
Author(s):  
Nor Hasan ◽  
Edi Susanto
Keyword(s):  
Human Life ◽  
Phenomenological Analysis ◽  
Dry Season ◽  
Time Sequence ◽  
Symbolic Meaning ◽  
Human Relations ◽  
The Earth ◽  
Younger Generation

This article attempted to trace the existence of Dhâmmong tradition in the following scopes, namely: (1) Madurese perception against Dhâmmong , (2) the function and symbolic meaning of Dhâmmong in human life, and (3) the efforts of the Madurese community to preserve the Dhâmmong tradition. Through a descriptive phenomenological analysis, this study revealed that Dhâmmong is a hereditary tradition carried out by the Madurese community, it is urged by the community’s anxiety caused by the long dry season (némor lanjheng). Dhâmmong functionsas a means for salametan, paying respect for the ancestors, strengthening human relations (silaturrahim ), Bhek Rembhek, and nguri berkah (the fertility of the earth). The offerings and mouth-music by imitating the sounds of animals represent a strong desire and wishof the community for the immediate rainfall that could pour out blessings for the community. Hence, the community’s efforts to preserve Dhâmmong are: (1) introducing and involving the younger generation in the ritual, and (2) setting and changing the time sequence of Dhâmmong implementation from night to daytime.

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