Symbolic meanings in the architecture of Keraton Yogyakarta: a transformation study

2018 ◽  
Vol 8 (5) ◽  
Author(s):  
Ibrahim Tohar ◽  
Gagoek Hardiman ◽  
Suzanna Ratih Sari
Keyword(s):  
Symbolic Meanings ◽  
Transformation Study

Das Einhüllen und Fesseln des Körpers in den indoeuropäischen Kulturen: Zu einigen Metaphern des magischen Schutzes vor Toten und Wiedergeborenen

2015 ◽  
Vol 6 (2) ◽  
pp. 45-60
Author(s):  
Carmen Alfaro Giner
Keyword(s):  
Everyday Life ◽  
Technical Level ◽  
Human History ◽  
Symbolic Meanings ◽  
Forms Of Knowledge

Fäden, Seile und Textilien sind Elemente des Alltagslebens, die bereits früh in der Menschheitsgeschichte einen hohen technischen Entwicklungsstand erreicht haben. Das Spinnen des Fadens, eine der ältesten Formen des Wissens, scheint wie der Ursprung jeder Form der Technik untrennbar mit einer besonderen Mythologie verbunden zu sein. So müssen sich auch Fäden, Knoten und Gewebe, neben ihrer praktischen Anwendung, rasch mit symbolischen Bedeutungen aufgeladen haben. In diesem Beitrag sollen die Symboliken des Fadens, des Knotens und des Gewebes als Metaphern analysiert werden, die bisweilen mit dem Leben, bisweilen mit dem Tod in Verbindung stehen. </br></br>Threads, ropes and textiles are elements of everyday life, which have reached a high technical level of development early in human history. The spinning of the yarn, one of the oldest forms of knowledge, seems to be, like the origin of every form of art, inseparable from a particular mythology. Besides their practical use, threads, nodes and tissues must have been quickly charged with symbolic meanings. This article examines the symbolism of the thread, the node and the tissue as metaphors that are sometimes connected with life and sometimes with death.

STUDY OF DECORATIVE VARIETY IN GORONTALO KARAWO FABRIC IN AESTHETIC AND SYMBOLIC ELEMENTS

ARTic ◽  
2019 ◽  
Vol 3 ◽  
pp. 121-134
Author(s):  
Apsari Dj Hasan
Keyword(s):  
Manufacturing Process ◽  
The Philippines ◽  
Aesthetic Theory ◽  
Cultural Meanings ◽  
Aesthetic Value ◽  
Aesthetic Form ◽  
Decorative Motifs ◽  
Symbolic Meanings ◽  
The Aesthetic

This study aims to examine the decorative types of Gorontalo karawo fabrics in aesthetic and symbolic elements. Researchers want to know as made in the research design, aspects that are present in the decoration of fabrics in aesthetic and symbolic elements. This study uses a number of related theories to get results, and as a determinant, the authors use aesthetic theory, as well as historical approaches. With this theoretical basis, the author seeks to describe the aesthetic aspects and symbolic meanings that exist in Gorontalo karawo fabric. Through the data collection of the chosen motif and provide a classification of motives, the part is used as a reference for research material. The results showed that Gorontalo filigree had an aesthetic value consisting of unity formed from the overall decorative motifs displayed, complexity formed by complexity in the manufacturing process, and intensity of seriousness in the manufacturing process or the impression displayed on the filigree motif. The aesthetic form also reflects the diversity of meanings for communication, such as the symbol of a leader with his noble instincts, a symbol of cultural cooperation, which is worth maintaining, and ideas about nature conservation. This research proves that the decoration in Gorontalo filigree cloth (karawo) does not only act as a visual value, but also as a communication of cultural meanings and social status. Of all these distinctive motifs show a relationship between humans and humans and humans with nature. The influence of culture from the Philippines is also known to have a strong influence on the emergence of the Gorontalo filigree namely manila filigree.

Designs

2018 ◽  
Author(s):  
Vijaya Nagarajan
Keyword(s):  
20Th Century ◽  
Historical Perspective ◽  
Central Position ◽  
Symbolic Meanings

This chapter focuses on types of kōlam designs. The basic categories are katta (squares) and pulli (dots). The highly ritualized forms are the navagraha (nine heavenly bodies, including the five planets) and yantras. The symbolic meanings of geometric, figurative, and landscape kōlams, whether they are itheegam (traditional) and nagareegam (modern), are discussed. Kōlam-making tools are explained, such as the traditional personal notebooks and printed pamphlets and more modern stencils and plastic stick-on decals. A discussion of an 1884 kōlam chapbook and other chapbooks from the 20th century gives a historical perspective. The 20th-century Indian choreographer Chandralekha gave kōlam designs a central position in her work.

Phase Transformation Study in Nb-Mo Microalloyed Steels Using Dilatometry and EBSD Quantification

2013 ◽  
Vol 44 (8) ◽  
pp. 3552-3563 ◽  
Author(s):  
Nerea Isasti ◽  
Denis Jorge-Badiola ◽  
Mitra L. Taheri ◽  
Pello Uranga
Keyword(s):  
Phase Transformation ◽  
Microalloyed Steels ◽  
Transformation Study

Symbolic Macroconcept of the Universe in the Aspect of the First Cognitive Sign in Russian Linguoculture

2021 ◽  
Vol 16 (1) ◽  
pp. 92-101
Author(s):  
Marina V. Pimenova ◽  
◽  
Aigul A. Bakirova ◽  
Keyword(s):  
Middle Part ◽  
Russian Language ◽  
The World ◽  
Symbolic Meanings ◽  
New Type ◽  
Human World ◽  
Internal Volume ◽  
Definition Of ◽  
Universe Structure ◽  
The Universe

The article analyzes the cognitive signs of the macroconcept universe in Russian linguoculture. The relevance of the research is determined by the prospect of studying a new type of mental structures - symbolic macroconcepts. The purpose of the article is to describe the specifics of the macroconcept universe structure formation from the standpoint of the definition of syncretic primordial signs. The main methods in the work are the historical and etymological analysis of the studied macroconcept representative, descriptive and interpretive methods. During the study, seven motivating signs of the macroconcept universe were noted: 'earth', 'live', ‘world’，‘inhabit’，‘inhabited’，‘settlement’，‘light’. All identified motivating signs are syncretic symbolic primordial signs 'house' (conceptum, according to V. V. Kolesov). Motivating signs express two main symbolic meanings of Russian linguoculture: home is a place where people live, settle; home is the world of people and all living beings, this world-light (unlike that world-light where the souls of the dead go: that world-light is located in the sky), it is built on earth. The macroconcept universe is objectified by erased metaphors of a closed space (in particular, the metaphor of a key), which has an internal volume, center-middle, limits, parts, edges, corners, people live in this house, they live and exist in it, it is inhabited and settle down in Russian linguoculture. The model of the universe in the Russian language picture of the world is three-parted: the middle part in it represents the human world, in which the principle of anthropocentrism is manifested - a person measures space and chooses himself as a reference point. The syncretic primary sign ‘house’ unites in itself all the motivating signs of the studied macroconcept, keeping their relevance to our days. Keywords: macroconcept, motivating signs, first sign, language picture of the world, linguoculture, comparative studies

The Politics and Symbolism of the #ThisFlag in Zimbabwe

2020 ◽  
Vol 42 (1) ◽  
Author(s):  
Tinashe Mawere
Keyword(s):  
State Power ◽  
The State ◽  
The Other ◽  
Productive Capacity ◽  
Discursive Analysis ◽  
Other Hand ◽  
Symbolic Meanings ◽  
Dominant Discourses ◽  
National Flag ◽  
Cultural Tools

In the context of the hashtag movement #ThisFlag, this paper examines the sensual affects drawn from flag symbolism and why the Zimbabwean flag is policed by the state. It uses the symbolism and politics of the hashtag movements by focusing on Evan Mawarire’s national lament and the Zimbabwean flag. It employs a literary and discursive analysis of Mawarire’s lament using desktop research on the contestations surrounding the flag. It shows that in dominant nationalist discourses, the flag is imaged as the land/nation and feminised to warrant it utmost respect, protection, sanctity and re/productive capacity. On the other hand, the #ThisFlag has made use of the flag to resist and subvert grand and naturalised dominant discourses of nationalism and citizenship to foster new imagi/nations of the nation. The use of the flag by the movement provoked ZANU-PF’s ownership of the national flag, which is quite similar to and has been drawn from the flag of the party, hence the movement was challenging the identity of the party, its ownership and its relevance. The paper shows the fluidity of symbols and symbolic meanings and why #ThisFlag had symbolic radical power and the possibilities of using the state’s and ZANU-PF’s cultural tools to challenge ZANU-PF’s hold on national knowledge and power. It contributes to our understanding of both state-power retention and how subaltern voices can uncover the agency of subjects within the very instruments of control incessantly used by dominant regimes.

Phase transformation study of Cu2S

1983 ◽  
Vol 16 (1-4) ◽  
pp. 849-852 ◽  
Author(s):  
John A. Gardner ◽  
D. K. Gaskill ◽  
M. Hirscher ◽  
H. Jaeger ◽  
K. S. Krane ◽  
...  
Keyword(s):  
Phase Transformation ◽  
Transformation Study
Sign in / Sign up

Export Citation Format

Share Document