Soil and Soul: The Symbolic World of Russianness. By Elena Hellberg-Hirn. Brookfield, Vt: Ashgate, 1998. vi, 289 pp. Index. Notes. Bibliography. Illustrations. Photographs. $68.95, hard bound.

Slavic Review ◽  
1999 ◽  
Vol 58 (2) ◽  
pp. 496-497
Author(s):  
Joanna Hubbs
Keyword(s):  
Symbolic World

The Tibetan Symbolic World: Psychoanalytic Explorations

1984 ◽  
Vol 34 (2) ◽  
pp. 230
Author(s):  
George R. Elder ◽  
Robert A. Paul
Keyword(s):  
Symbolic World

Pottery with ramiform-anthropomorphic decoration from El Portalón de Cueva Mayor site (Sierra de Atapuerca, Burgos) and the globalized symbolic world of the first Neolithic

2019 ◽  
Vol 515 ◽  
pp. 125-137 ◽  
Author(s):  
Alfonso Alday ◽  
Amalia Pérez-Romero ◽  
Eneko Iriarte ◽  
Marta Francés-Negro ◽  
Juan-Luis Arsuaga ◽  
...  
Keyword(s):  
Symbolic World

scholarly journals A contribuição de Rubem Alves para o estudo da teologia na arte sequencial: anotações de um fragmento de mosaico misturadas com biografia

2015 ◽  
Vol 8 (12) ◽  
pp. 155
Author(s):  
Iuri Andréas Reblin
Keyword(s):  
Daily Life ◽  
Pop Culture ◽  
Human Dimension ◽  
Human Being ◽  
Sequential Art ◽  
Cultural Goods ◽  
Creation Process ◽  
The World ◽  
Theological Study ◽  
Symbolic World

Resumo: O estudo apresenta duas ideias cruciais de Rubem Alves para o estudo teológico dos bens artístico-culturais da cultura pop: as estórias como invocações da vida e a teologia como atividade inerente ao ser humano. A primeira ideia remete à centralidade da narrativa no processo de constituição do mundo humano e na manutenção e contínua reinvenção deste, influindo na própria identidade do ser humano, em sua interpretação do mundo e das relações, na partilha de um universo simbólico-cultural, enfim, em sua própria biografia. A segunda ideia remete à atividade teológica enquanto faculdade inerente ao ser humano. Nessa perspectiva, Rubem Alves amplia a compreensão de teologia – usualmente entendida como estudo (acadêmico) sobre a divindade, para a dimensão humana existencial profunda da busca por sentido. Ao final, o texto reitera a importância do pensamento de Rubem Alves para a teologia e seu papel particular nos estudos dos bens artístico-culturais da cultura pop. Palavras-chave: Rubem Alves. Estudos Culturais. Teologia do Cotidiano. Arte Sequencial. Cultura Pop. Abstract: The study presents Rubem Alves’ two central ideas for the theological study of artistic cultural goods of pop culture: stories as invocation of life and theology as an inherent activity of human being. The first idea refers to the centrality of storytelling in the creation process of the human symbolic world, its maintenance and its continuous reinvention, influencing in human’s identity, their interpretation of the world and the relations in it, the sharing of a symbolic cultural universe, finally, his own biography. The second idea refers to the theological activity while a faculty inherent to the human being. In this perspective, Rubem Alves expands his understanding of theology – usually understood as (academic) study on the deity, to a deeper existential human dimension of the seek for meaning. At the end, the text reiterates the importance of Rubem Alves’ thought to theology and his particular role in the study of artistic cultural goods of pop culture. Keywords: Rubem Alves. Cultural Studies. Theology of Daily Life. Sequential Art. Pop Culture.

The Election Campaign as a Liminal Stage — Negotiations over Meanings

1987 ◽  
Vol 35 (3) ◽  
pp. 559-574 ◽  
Author(s):  
Hanna Herzog
Keyword(s):  
Social Construction ◽  
Science Communication ◽  
Relevant Literature ◽  
Election Campaigns ◽  
Long Term Effects ◽  
Conceptual Frame ◽  
Social Meanings ◽  
Symbolic World ◽  
The Way

The paper deals with the role and significance of election campaigns through a consideration of the relevant literature in political science, communication and anthropology. The current interpretation of elections as ritual and drama is altered by focusing on V. Turner's concept of liminality. As liminal periods, it is claimed, election campaigns are an active arena for social construction of political worlds. They take an active part in moulding political cognition and thus produce long-term effects. Perceiving elections in this conceptual frame focuses the empirical concern on the different actors participating in moulding old or new social meanings, the way challenging alternatives are presented, negotiated, included or excluded, the way events as well as symbols become meaningful. It reveals the contested as well as the taken-for-granted, unquestioned and thus reinforced political symbolic world.

User-Driven Content Creation in Second Life A Source of Innovation?

2011 ◽  
pp. 1-15
Author(s):  
Sisse Siggaard Jensen
Keyword(s):  
New Media ◽  
Case Studies ◽  
Virtual Worlds ◽  
Second Life ◽  
Open Innovation ◽  
Open Space ◽  
Meaning Making ◽  
Content Creation ◽  
Service Project ◽  
Symbolic World

In this chapter, Second Life is conceived as an open space and symbolic world of user-driven co-creation of content. The questions asked concern the ways in which the actors of three case studies design, mediate, and remediate their Second Life projects and how the choices they make contribute to user-driven content creation and possibly to innovative practices. To answer these questions, concepts of innovation, in particular closed and open innovation are introduced and motivations for engaging in co-creation are identified. It is suggested that we understand user-driven innovation in a world like Second Life in terms of symbolic reorganization of conceptual frameworks and meaning-making. Subsequently, the concept of remediation is suggested as a way to conceive of mediation in the cases studied. It is shown how difficult it is for actors to co-create, mediate, and remediate thus to generate user-driven innovative practices in two Danish business projects (Wonder DK and Times) and in one public service project (Literary). To conclude the analysis of the case studies, it is suggested that methods of creative co-creation and innovative practices can build on the concept of remediation borrowed from research on new media and redefined in virtual worlds.

H. G. Wells

2021 ◽  
pp. 167-216
Author(s):  
Charlotte Jones
Keyword(s):  
Social Problem ◽  
Evolutionary Biology ◽  
Contemporary Society ◽  
The Social ◽  
The Future ◽  
Social Problem Novel ◽  
Symbolic World ◽  
Socialist Politics

This chapter shifts attention from reference in space to reference in time, in order to extend the argument about realism and metaphysics to a consideration of genres as ideological formations which must both engage with recognizable circumstances and possess an innate desire to defamiliarize, even contravene, the givens of the cultural symbolic world. The social problem novel highlights this paradox, because it can only imagine possible futures through extrapolation from present conditions. The future acts as another boundless context against which realist representation must be pivoted. Chapter 4 explores this temporal paradox in the novels of H. G. Wells, whose background in evolutionary biology and investment in performative socialist politics means he depicts contemporary society as already, in a sense, prescient. The conclusions drawn about the operation of temporality in Wells’s fiction—particularly his use of tenses and the odd, recurrent topos of metanarrative intrusion—are used to think through some of the implications for ‘condition of England’ writing as an oracular and dialectical tradition within realism.

Valentim, Rubem (1922–1991)

2018 ◽  
Author(s):  
Alice Heeren
Keyword(s):  
Visual Culture ◽  
Large Scale ◽  
The State ◽  
Small Scale ◽  
Brazilian Art ◽  
Double Edge ◽  
The 1960S ◽  
Symbolic World ◽  
Recurrent Theme ◽  
Afro Brazilian

Rubem Valentim was born in 1922 in Salvador in the state of Bahia. A self-taught artist, Valentim starts his career in the 1940s acting alongside artists like Mario Cravo Júnior and others in effervescent new artistic milieu of the state of Brahia. As art historian Roberto Conduru has noted, Valentim, similarly to other artists working in the 1940s and 1950s in Latin America, responded to Joaquín Torres-García’s Universalimso Constructivo. Nevertheless, Valentim also learned from artists such as Alfredo Volpi and Milton Dacosta carrying their geometric stylistic principles into his own symbolic world heavily influenced by Afro-Brazilian religions. From the 1960s onwards, besides small-scale objects and paintings, Valentim also began working in large-scale murals, installations, and public art pieces, the most famous being his marble mural for the NOVACAP building in Brasília. Valentim found a common thread between the modernist rationality of Constructivism and the geometric lines of Afro-Brazilian visual culture. His work manifested local values and themes, while acting in the process of building a Brazilian national identity, and also figuring into the universal debates central to modernism. Paulo Herkenhoff points to how the double axe of Xangô, a recurrent theme in Valentim’s work with its double edge blade acts as a metaphor for the artist’s endeavor, working between Constructivism and Afro-Brazilian mythology. Valentim has become an exponent of Brazilian art and is especially praised for shedding light into the visual world of Afro-Brazilian religions. He showed at the now iconic 1966 World Festival of Negro Arts in Dakar, Senegal and at the 16ª Bienal Internacional de São Paulo and in 1977. In 1998, the Museu de Arte Moderna da Bahia (MAM-BA) inaugurated a special room in his sculpture garden in the artist’s name.

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