Rebecca (Re), the child kissed by the Snow Queen: lifeline and perspective as symbolic forms

2018 ◽  
pp. 145-172
Author(s):  
Roberto Bertolini
Keyword(s):  
Symbolic Forms

ART COMMUNICATION LANGUAGE AND THE ANALYSİS OF MUHSİN KUT’S WORKS

2021 ◽  
Vol 7 (28) ◽  
pp. 1-17
Author(s):  
Gonca YAYAN ◽  
Vildan EVSEL
Keyword(s):  
Qualitative Research ◽  
Effective Communication ◽  
Document Analysis ◽  
Active Role ◽  
Future Generations ◽  
Social Consequence ◽  
Human Beings ◽  
Symbolic Forms ◽  
Universal Language ◽  
Research Types

In every geography where people live, besides their efforts to meet their mandatory needs, people also put forward their first artistic products. While carving the rocks, the first humans expressed their feelings, what they thought, saw, and lived, and made various descriptions. Thus, the foundations of the art of painting were laid and the colors discovered. In fact, human beings, who are innately creative, have searched for permanent ways to express their feelings, thoughts and wishes as well as their battles and successes, and transfer them to the future generations. In this way, various artistic works that developed from simple pictures to symbolic forms and letter sequences were created. The communication established in this way with art also started a process of exchange of messages between individuals and groups. This exchange, which plays an active role in the interaction of people with each other, has appeared in every situation as a social consequence of being a receiver and a giver. Because the most important elements of communication are formed with these forms of expression, which are realized in written, verbal, visual and auditory terms between the receiver and the transmitter. Today, many artists create works by using the universal language of symbols, by attributing their own meanings to many contents with commonsymbolism, objects and colors. Effective communication between societies with art is also ensured through the symbolic forms used. With this research, it is aimed to examine and evaluate the works of artist Muhsin Kut, who presents different thematic perspectives with his paintings with and without figures containing social themes, in terms of their technical and aesthetic features. The research was carried out with document analysis (literature review) method, which is one of the qualitative research types. Today, many artists create works by using the universal language of symbols by attributing their own meanings to many content with common symbolism, objects and colors. Through the symbolic forms used, an effective communication between societies with art is also ensured. With this research, it is aimed to examine and evaluate the works of the artist Muhsin Kut, who presents different thematic perspectives with his social paintings with and without figures, in terms of their technical and aesthetic features.

City’s Cultural Memory: Modern Practices of Symbolizing the Past

2021 ◽  
Vol 18 (4) ◽  
pp. 352-364
Author(s):  
Natalia G. Fedotova
Keyword(s):  
Cultural Memory ◽  
Point Of View ◽  
Fundamental Aspect ◽  
Modern World ◽  
Cultural Meanings ◽  
Urban Identity ◽  
Symbolic Forms ◽  
The Past ◽  
Symbolic Resource ◽  
The City

The article is devoted to the discourse of the city’s cultural memory. The relevance of studying this topic is determined not only by the fundamental aspect associated with the episodicity of existing studies of this phenomenon. From an applied point of view, the city’s cultural memory is a symbolic resource that can be used to create an appealing image, form a sustainable urban identity, and strengthen the citizen’s sense of belonging to the city. The accumulation and objectification of cultural memory take place in symbolic forms, which makes it important to study the practices of symbolizing the urban past, the essence of which is to generate the significance of the relevant or latent layers of cultural memory for the citizens.The article presents the results of the final stage of research related to the study of the process of constructing the cultural memory of the city. The purpose of the article is to analyze modern practices of symbolizing fragments of the urban past, which mean their significance for contemporaries. Basing on the culturological cross-section of the issue, the author integrates different research contexts. The methodological basis of the article is the communicative approach that focuses on the processes of meaning formation, and the constructivist method that considers memory as a multi-layered and dynamic construct. Analyzing the practices of symbolizing the urban past by the example of Russian cities, the author of the article demonstrates how the episodes of the city’s memory are updated in the modern world, how cultural meanings become memorable for citizens. The author uses the results of previous studies and identifies the following elements of the symbolization of the urban past: a) ways of encoding fragments of the past; b) communicative trajectories of memory symbolization; c) factors of producing meanings about the collective past of the city. The obtained results open up new frontiers in understanding the processes of formation of the collective ideas about the city, and prospects for empirical research, forecasting and constructing the cultural memory of Russian cities, giving them the opportunity to change their present and future.

scholarly journals Reflections on social and religious pluralism based on the philosophy of Ernst Cassirer

2013 ◽  
Vol 24 (1) ◽  
pp. 338-358
Author(s):  
Drazen Volk
Keyword(s):  
Religious Pluralism ◽  
Former Yugoslavia ◽  
Main Theme ◽  
Central Section ◽  
Ernst Cassirer ◽  
Symbolic Forms ◽  
The Relationship ◽  
Philosophy Of Symbolic Forms

The analysis of possibilities of dialogue as the prerequisite for social and religious pluralism based on Ernst Cassirer?s philosophy of symbolic forms is the main theme of this article. In the central section, the basic elements of the philosophy of symbolic forms are briefly introduced and are followed by a portrayal of the relationship between consciousness, symbolic forms and freedom. The essay then focuses on Cassirer?s general premises for his analysis of myth and also his description of the techniques of modern political myths. These elements of Cassirer?s philosophy are put forth so as to demonstrate the relevancy of his thought with regard to the issue of dialogue and pluralism, and also to indicate the applicability of his analysis concerning the presence of mythical consciousness in modern societies, including also the societies on the territory of the former Yugoslavia. The conclusion endeavors to gather the wealth of Cassirer?s analyses and to apply these in a condensed manner to an analysis of the situation in the regions indicated and also to point out directions to be taken in the search for possible solutions.

scholarly journals Spatial Imaginings in the Age of Colonial Cartographic Reason: Maps, Landscapes, Travelogues in Britain and India by Nilanjana Mukherjee

2021 ◽  
Vol 13 (4) ◽  
Author(s):  
Sutapa Dutta ◽  
Keyword(s):  
Eighteenth Century ◽  
National Identity ◽  
Nation Building ◽  
East India Company ◽  
British History ◽  
National State ◽  
Symbolic Forms ◽  
British East India Company ◽  
Complex Phenomena

Nilanjana Mukherjee’s book looks at construction of space, leading from imaginative to concrete contours, within the context of the British imperial enterprise in India. Fundamental to her argument is that colonial definitions of sovereignty were defined in terms of control over space and not just over people, and hence it was first necessary to map the space and inscribe symbols into it. In the latter half of the eighteenth century, imperialism and colonization were complex phenomena that involved new and imminent strategies of nation building. No other period of British history, as Linda Colley has noted, has seen such a conscious attempt to construct a national state and national identity (Colley 1992). Although the physical occupation of India by the British East India Company could be said to have begun with the battle of Plassey (1757), nevertheless the process of conquest through mediation of symbolic forms indicate the time and manner in which the ‘conquest’ was conscripted

scholarly journals Managing individuality: myths versus art

2011 ◽  
Vol 1 (2) ◽  
pp. 35-44
Author(s):  
Hanne Nørreklit
Keyword(s):  
Basic Function ◽  
Human Existence ◽  
Art And Science ◽  
Symbolic Form ◽  
Symbolic Forms ◽  
Management Models ◽  
Starting Point ◽  
Management Discourse ◽  
The Individual ◽  
Insight Into

The purpose of this article is to establish the symbolic forms that are presently used in selected mainstream management models and to assess whether the connection between leadership and individual human reality would be improved if the management models were fundamentally inspired by those used by a successful manager and artist.The theoretical starting point of this article is Cassirer’s (Cassirer 1999) philosophy of symbolic forms. A symbolic form is “a way of having a life world” (own translation) (Cassirer 1999). In a symbolic form, a person discovers and unfolds an ability to build his own universe as an ideal universe which enables the person to “understand and interpret, to articulate and organize, synthesize and universalize his human experience” (Cassirer 1962: 221). Symbolic forms such as art, science, myth and religion thus have common features and structures in their basic function of creating common human existence. When the symbolic form is science, ideals of objectivity and precision in the description of phenomena and their relations dominate man’s formation of his universe. In art, man unfolds an ability to be subjective and create empathetic insight into matters and their diversity (Cassirer 1962). Where science as symbolic form conceptualizes objects, art teaches us empathetic insight. The symbolic forms of art and science perceive a phenomenon differently. For example, science will perhaps see a constellation as a trigonometric function, whereas it may be considered by art as a “Hogarthian shape of beauty” (own translation) (Cassirer 1999: 62). Like the symbolic form of art, the symbolic form of myth builds on emotional sympathy, but differs by believing in the existence of the constellation. It is used to create a natural or magical unity of life. Monotheistic religions also include ideas of striving for a sense of unity, but here the idea is to achieve a universal, ethical sense of unity in an individualized society. Thus the symbolic form of religion helps the individual to choose between right and wrong.With this in mind, we examine the use of symbolic forms embedded in selected mainstream management models. Subsequently, we study the symbolic forms embedded in the management discourse as the concept is unfolded by the successful Artistic Director of the Royal Danish Opera, Kasper Holten, when he talks about management, with a view to determining the extent to which this practice differs from the symbolic forms embedded in the mainstream management models. The analysis shows that mainstream management models are primarily rooted in the symbolic form of science, although they tend to gradually include the symbolic form of religion or the symbolic form of myth. Generally speaking, the mainstream management models tend to exercise power over the individual’s emphatic insight and autonomous reflection and thereby constrain the scope for human creativity and individuality. Distinctively, Kasper Holten’s management discourse integrates the symbolic forms of art and science. With art as the dominant symbolic form, Kasper rejects new public management’s perception about opera and the management of art while at the same time – through discourses that bind to the individuality of the network of players – forming personal and social identities which come together to realize a world of existential ideas about operas in general as well as opera in particular.The article is relevant because it provides insight into the ways in which management models, through the use of myth and science as symbolic forms, exercise influence on human existence and interaction and thereby influence the scope for human freedom and exercise of power and also because it provides insight into the features and structures concerning human existence and co-existence from which mainstream management models cut themselves off by not using art as a form of consciousness. The constructive aspect is a parallel outline of features and structures in a new management discourse which are better suited for postmodern society.

scholarly journals Litteratur og politik

2007 ◽  
Vol 35 (104) ◽  
pp. 148-165
Author(s):  
Frederik Tygstrup ◽  
Isak Winkel Holm
Keyword(s):  
The Political ◽  
Form And Function ◽  
Symbolic Forms ◽  
Representational Practices ◽  
The World ◽  
Cultural Poetics ◽  
The Common ◽  
And Function ◽  
The Way

Literature and PoliticsLiterature is political by representing the world. The production of literature is a contribution to a general cultural poetics where images of reality are constructed and circulated. At the same time, the practice of literature is institutionalized in such a way that the form and function of the images of reality it produces are conceived and used in a distinctive way. In this article, we suggest distinguishing between a general cultural poetics and a specific literary poetics by using Ernst Cassirer’s neo-Kantian concept of »symbolic forms«. We argue that according to this view, the political significance of literary representational practices resides in the way they activate a common cultural repertoire of historical symbolic forms while at the same time deviating from the common ways of treating these forms.

scholarly journals Photographs by Guilherme Glück: a methodology for analyzing the photographic image of the cultural landscape of Lapa, PR, Brazil

Terr Plural ◽  
2021 ◽  
Vol 15 ◽  
pp. e2116706
Author(s):  
Caroline Ganzert Afonso ◽  
Keyword(s):  
Electric Power ◽  
Urban Environment ◽  
Cultural Landscape ◽  
Photographic Images ◽  
Photographic Image ◽  
Symbolic Forms ◽  
Piped Water ◽  
The City

To read photographic images through Iconography and Iconology can be an interesting way to help describe landscapes. Which is the intention that corroborates the sense of “landscape as a way of seeing” proposed by Denis Cosgrove. In proposing this research aims to understand how the urban and cultural landscape was portrayed in Glück´s photographs. This study object is delimited by Glück's records about 1940, in the urban environment of the city of Lapa. These spaces were registered through the eyes of an immigrant, presenting the temporal transformations, in the yearnings to change and update Lapa as a republican city and adapted to new urban infrastructures, such as piped water, paved streets, electric power, new means of transportation, and communication. Through the systematization of the photographic methodological analysis, from iconographic investigation proposed by Panofsky, observing Cassirer's symbolic forms, through which he presented the advances in Cosgrove's research, it is intended to analyze Glück's images in a context of a city eager to incorporate republican and “modernity” standards.

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