scholarly journals Abo Tbileli. Arabic Perfumer – St. Protector of Tiflis

2020 ◽  
Vol 38 (2) ◽  
pp. 286-301
Author(s):  
Ye. G. Margaryan

The article provides a semiotic analysis of the modern Georgian Orthodox icon depicting the Georgian Saint, the patron Saint of the city of Abo Tbileli. A Georgian Saint of Arab origin is depicted standing on the Metekh bridge against the background of the city itself. Every detail in the icon has a symbolic meaning and is subject to semiotic analysis. This applies to the Georgian cross in the hands of St. great Martyr, the Golden halo above his head, his robe (turban, chiton and himatiy), the landscape (river, mountains and gardens) and the city itself and its buildings (churches, towers, bridge), the sky above his head. The features of the iconographic style are considered. The main source is the hagiographic work of the medieval Georgian author Ioane Sabanisdze “Martyrdom of Abo”.

Author(s):  
Veronica West-Harling

This chapter shows the exercising of power in action in the public space. It looks at who ‘owns’ this, the Christianization of it in Rome, and the increasing role of the papacy in appropriating and in running it, revalorizing it as part of Rome’s Christian past and present, expressed through pilgrimage. This appropriation is contested by the secular aristocracy, which in turn appropriates the public space and rewrites the topography of the city in the tenth century. The use of the public space as an area of either social cohesion or conflict is studied, through the ceremonies, elections, oaths, processions, assemblies, justice and defence meetings; but also riots, conspiracies, and contested elections. This space of cohesion or conflict is fundamental to the creation of the unity and sense of identity of the city, especially around the patron saint or, sometimes, around or indeed against an imperial ruler


Semiotica ◽  
2019 ◽  
Vol 2019 (230) ◽  
pp. 447-473
Author(s):  
Philippe Taupin

Abstract Innovating new experiences is an innovation strategy that increases product differentiation and the perceived value of offers for future autonomous cars. Young Chinese customers are a relevant target group of lead users to co-create those experiences. We address the co-creation of memorable and engaging experiences with targeted potential users and the building of the meaning of experiential imaginary that results from innovations (based on digital media) echoing the need for sensory atmospherics while strolling in the city. We aim at understanding how customers can co-create meaningful experiences. We analyze the narrative structures of the experiential imaginaries, considering the narratives as a major component of ambiance experiences and imaginary. With an empirical approach that associates projective techniques to semiotic analysis of the corresponding narratives, we describe the structural system of the experiential imaginary of young Chinese customers when imagining driving in the city in tomorrow’s cars. Semiotics offers a novel contribution to innovation marketing and idea generation of experiential innovations. This theoretical stance valorizes the outside-in paradigm of future lead-users as co-creators of innovative experiences, whose imaginary narratives are raw materials for creativity. This approach is an alternative to brainstorming and its limits for creating disruptive innovations.


2018 ◽  
Vol 10 (6) ◽  
pp. 44
Author(s):  
Yinyan Yao ◽  
Manxu Zhao

This study conducts a social semiotic analysis of the online city guide of Guangzhou. Drawing on Martin’s Appraisal theory with a particular focus on the semantic systems of attitude and graduation, this paper investigates the attitudinal meanings adjusted by graduation in both modes of language and visual images. It is revealed that positive appreciation resources are dominant among the three subsystems of attitude, with the pervasive use of reaction and valuation resources to stimulate tourist desires and promote unique identity of the city. Graduation resources, especially force, couple with attitude resources to upscale the positivity of the attitude and strongly align the readers into the same value position. The language and images in most cases coordinate with each other, with the evaluative meanings of visual images elaborating or extending those of verbal texts, whereas complementary intermodal relation exists in some cases, with the evaluative meanings conveyed by visual images and the verbal texts merely offering factual information. The findings may help to better understand the way online city guides achieve the communicative purposes through multimodal evaluative devices.


Author(s):  
Mairita Folkmane ◽  
Ilva Skulte

Daugavpils historically was the place where different ethnic groups are living together, interacting on the public spaces. The mixture of cultures is represented in the city landscape - home to every inhabitant, still having differents accents, figures and symbolical meanings. The following paper is based on the semiotic analysis of the pictures made by the pupils of different (ethnic) schools of Daugavpils, in order to understand what and how cildren "see" their city - what are the signs they use to construct the message about their city together and what do they mean - how different is a pictorial message. To do the analysis collection of the children drawings was made for an exhibition in the hall of the city munipality of Daugavpils - a material for our research. The findings show that besides of expected reference to different cultural traditions and some aestetical preferences, no difference exists between the way children represent their city. Diversity of cultural footprints in the landscape of the city and the pride for their city is present in the works of children coming from different ethnic, linguistic and cultural environments.


Author(s):  
Andriy Zayats

The article is based on city books of Lutsk, Vyzhva, Milyanovich, Kovel, Olyka, Rivne and Grodno and Zemsky books of Volodymyr, Lutsk, Kremenets. The author attempts to establish the composition, personnel and powers of Volyn landvogt. He states that the landvogt government, like the Vogt government, was borrowed from the German lands to the Polish and Lithuanian lands, and from there it got to the Ukrainian ones. Landvogt was influential in the cities of Volyn, as he was often the patron saint of wight. He received his government as a fee for serving the Vogt or rented or secured it. Typically, each new Vogt assigned his own landvogt. As a part of taking the position, the landvogt had to take the oath. The governments of the Lentwites were at different times - from several months to many years. Going through their rule could change them. In addition to performing their primary function as a court, the tapeworms took part in governing the city, guarded the order, monitored Christian morality, and were sometimes charged with collecting arrears. The analysis of the sources allowed the author to draw some conclusions about the social and national origin of the Volyn landvogt. Among Lutsk landvogts in the XVI century, the nobles dominated, in the first half of the XVII century - burghers; by nationality, most were Ukrainians, the rest were mainly Poles. Among the Volodymyr landvogts, there were nobles, about a quarter of them were Poles, the rest were local. Of the nine well-known Kremenets landvogts, only two were burghers, almost equally Ukrainians and Poles. Among the twelve landvogts of Milianovich, only one was a nobleman and a Pole, and the rest were local townspeople. Of the six Kovel landvogts, two were gentry, and the others were bourgeois Ukrainians. The author provides data on the cases of the combination of the Lentwite government with the Rhei / Burmistrovsky. Many of the Lentwiths, before or after their rule, were found to be occupied by other city governments - they were listed as raitsi, city or vogt clerks, hunters, boomers, city fighters and trustees. It was noted that having considerable power, the tapeworms sometimes abused her (such as extortions, handshakes).


Koneksi ◽  
2020 ◽  
Vol 4 (1) ◽  
pp. 7
Author(s):  
Nada Salsabila ◽  
Diah Ayu Candraningrum

This research examines the representation of Middle Eastern culture local wisdom contained in the film "Aladdin 2019" produced by Walt Disney Pictures. This study aims to examine the cultural symbols of the Middle East. The research method used in this study is a qualitative method with Charles Sanders Peirce's semiotic analysis which divides the sign into three elements namely sign, object and interpretant. Semiotics is the science that discusses or examines the meaning of a sign. The results showed that Middle Eastern cultural symbols in the film "Aladdin 2019" were displayed through 10 scenes selected in the film. Cultural symbols of the Middle East are shown through the habits of the people kissing the right and left cheeks every time they meet relatives, riding camels to travel, livelihoods of people who trade, princess clothes Jasmine and Sultan, building architecture made of bricks and domes as decoration and art that displays traditional Middle Eastern musical instrument namely Gambus. Some interesting facts in the film one of which is the making of the city "Agrabah" as a shooting setting which is a fictitious city in England and property made of authentic jewelry.  Penelitian ini mengkaji mengenai representasi kearifan lokal budaya Timur Tengah yang terdapat dalam Film “Aladdin 2019” Produksi Walt Disney Pictures. Penelitian ini bertujuan untuk mengkaji simbol-simbol budaya Timur Tengah. Metode penelitian yang digunakan dalam penelitian ini adalah metode kualitatif dengan analisis semiotika Charles Sanders Peirce yang membagi tanda menjadi tiga elemen yaitu tanda, objek dan interpretan. Semiotika adalah ilmu yang membahas atau mengkaji mengenai pemaknaan dari sebuah tanda. Hasil penelitian menunjukkan bahwa simbol-simbol budaya Timur Tengah dalam Film “Aladdin 2019” ditampilkan melalui 10 scene yang dipilih dalam film tersebut. Simbol-simbol Budaya Timur Tengah ditunjukkan melalui kebiasaan masyarakat cium pipi kanan dan kiri setiap bertemu kerabat, menunggangi unta untuk bepergian, mata pencaharian masyarakat yang berdagang, pakaian putri Jasmine dan Sultan, arsitektur bangunan berasal dari batu bata dan kubah sebagai hiasan serta kesenian yang menampilkan alat musik tradisional Timur Tengah yaitu Gambus. Beberapa fakta menarik dalam film tersebut salah satunya adalah pembuatan kota “Agrabah” sebagai latar syuting yang merupakan kota fiktif di Inggris dan properti yang terbuat dari perhiasan asli.


2008 ◽  
Vol 4 (1-2 (5)) ◽  
pp. 48-56
Author(s):  
Tetyana Lunyova

Churches possess symbolic meaning for people and hence, are of great importance. The article presents the interpretation of the images of churches in the novel Hawksmoor by Peter Ackroyd to find out how these images are created and what they stand for. The churches in London are described in the novel as embodiment of mystic knowledge.


2010 ◽  
Vol 4 (1) ◽  
Author(s):  
Tomislav Marasović

The temple of Jupiter at Diocletian’s palace in Split, which at the same time was also the mausoleum of the emperor, was transformed in the early medieval period into a cathedral dedicated to the Virgin Mary, otherwise much better known under the name of St. Domnius, the patron saint of the city. Changes in the function of the structure were reflected in the following:


2019 ◽  
Vol 7 (3) ◽  
pp. 6 ◽  
Author(s):  
Jing Ge

Tourism firms using visual social media marketing are struggling with its implementation, specifically in formulating engagement-based visual message strategies. Yet, creating such appealing posts can lead to positive brand and financial outcomes. Humour has been identified as a potent tool for social media communication, given its capability to develop social interactions. Yet, how humour works on social media is not well understood – specifically its visual form. Treating humour as a symbolic resource, this study adopted a compound content analysis-semiotic analysis to identify visual content and its symbolic meaning embedded in destination marketing organization (DMO)’s social media posts. 200 Sina Weibo posts containing humour images initiated by 5 Chinese provincial DMOs were collected. The results show 6 types of humour content and6 types of symbolic meaning – none of which are product-related. This study advances the tourism literature and humour theory, and offers tourism firms a holistic view of how to fully leverage social media-based visual humour to achieve consumer reach and engagement.


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