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Using children's art works as examples, explores the role of form of expression in art education and therapy. Outlines research approaches that see self-development symbolisms operating in these forms. Presents results from a West German intercultural study on the development and structure of art expression that ties artistic expression to an individual adolescent's experiences. (CH)

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This article studies intervisuality (Michael Camille, 1991) in the context of iconographic studies by the example of a Russian religious painting created at the turn of the 21st century. Our analysis of intervisuality is based on Derrida’s approach which makes use of the concept ‘parergon’. This is something that does not belong to the work (ergon) but is connected to it. The ergon without parergon lacks self-sufficiency. In the case of intervisuality, the interaction of the work (ergon) with its visual and verbal frames and sources (parerga), accompanied with the gaps and incongruities of perception, or “frame friction” in the words of Simone Heller-Andrist (2012), bring us to solutions of research problems of iconological interpretation and attribution. Thus, the impression of “fake” produced by parergon, such as the design of the reverse side of a painting, mimicking an icon board (if there is a confidence in intentionality), indicates author’s manifestation in which parergon and ergon interchange similarly to the “manneristic inversion” noted by Max Dvořák (1922), while unintentional imperfection due to failures, lack of skill or limited resources would rather indicate the inept stylization or a plain imitation. Thus, the parergonality of intervisuality enriches the problem field of iconographic and visual research with meaning. The work is based on an art historical study of a painting by an unknown author, a visualization of thoughts on national and religious themes and visual exegesis of historical symbolism appreciated by the audience of the period of the work’s creation. It is rich in allusions to texts on the religious philosophy of freedom by Nikolai Berdyaev (1911) about the crucified truth of Christianity and to the historiosophical lectures and poems by Maximilian Voloshin (1920) thematizing the crucified Russia – a metaphorical image which was popular during periods of social upheavals in national history. Статья посвящена изучению интервизуальности (Майкл Камиль, 1991) в контексте иконографических исследований на примере картины рубежа XX–XXI веков на национально-религиозную тематику. Цель работы – продемонстрировать плодотворность применения концепта парергональности при анализе интервизуальности. Названный концепт основан на тезисе Жака Деррида (1978) о парергоне (мн. ч. парерга), то есть о том, что не принадлежит произведению (эргону), но связано с ним, и без чего отсутствует самодостаточность эргона. В случае интервизуальности сопоставление произведения (эргон) и визуальных и вербальных источников (парерга) и выявление несоответствий, или пробелов, или «трения фрейма» в терминах Симоны Хеллер-Андрист (2012) позволяют делать выводы, дающие возможность осуществлять направленный поиск решений исследовательских задач иконологической интерпретации и атрибуции. Так, впечатление «подделки», производимое парергоном, например, оформлением обратной стороны картины, имитирующей иконную доску, при уверенности в преднамеренности свидетельствует об авторской манифестации мастера, в которой парергон и эргон могут поменяться местами, подобно «маньеристической инверсии», отмеченной ещё Максом Дворжаком (1922), тогда как непреднамеренное несовершенство из-за неудач, отсутствия мастерства или ресурсных ограничений свидетельствовало бы скорее о неумелой стилизации заурядного имитатора иконописи. Таким образом, парергональность интервизуальности обогащает проблемную область иконографических и визуальных исследований новыми смыслами. Работа основана на искусствоведческом изучении картины неизвестного автора, являющейся визуализацией размышлений на национально-религиозную тематику, которые могли бы у аудитории, современной периоду создания произведения, ассоциироваться с визуальной экзегетикой в духе исторического символизма в контексте возможных аллюзий на опубликованные тексты религиозной философии свободы Николая Бердяева (1911) о распятой истине христианства и историософские лекции и стихи Максимилиана Волошина (1920) о распятой России – метафорический образ, характерный для периодов общественных потрясений в национальной истории.

This paper explores the life and art of Svyatoslav Voinov (1890–1920), a modernist painter and a drawing artist from St. Petersburg, barely remembered today but nevertheless a remarkable example of both art and spirituality of his time. Both paintings and drawings of Voinov lay bare a distinctive character of the period when symbolism and modernism crossed ways. His art offers a glimpse on a unique creative atmosphere of the period of the Russian Revolution and the Civil War (1917–1922), the time when his most significant work was done. Voinov’s art is typical for religious currents in the Russian art of early 20th century. It is closely linked to their preceding formative period but was also influenced by the modernist discovery of the aesthetic value of Russian icons. Voinov’s art is rooted in a complex synthesis of traditional icon-painting and symbolism grafted with newer expressionistic and futuristic trends, such a synthesis being typical for quite a few Russian artists of the period. What makes Voinov and his art unique is that he aspired to cross the boundaries of purely secular spirituality and offered an original and effective example of how modern visuality can work together with ancient tradition of icon painting. Voinov transcends the contours of narrative formulas of religious themes and boldly moves towards the theology in paint. The drawings and compositional sketches of Svyatoslav Voinov were examined by the author in the collections of the State Russian Museum (St. Petersburg, Russia). Some of the drawings are published here for the first time. Статья посвящена творчеству Святослава Владимировича Воинова (1890–1920), петербургского живописца и графика, малоизвестного сегодня, но яркого представителя искусства 1910‑х годов. Цель статьи – вернуть забытое имя оригинального религиозного художника эпохи модернизма, на основе архивных материалов реконструировать его художественное мировоззрение и рассмотреть ряд наиболее значительных произведений с помощью комплекса традиционных искусствоведческих методик в контексте религиозного направления конца XIX – первой трети XX веков. Задачи статьи – проанализировать живопись и графику Святослава Воинова, выявить специфику художественных процессов, которые на рубеже XIX–XX вв. шли в русском искусстве на пересечении символизма и модернизма, наметить специфическую ситуацию в искусстве эпохи Гражданской войны (1917–1922), в период которой были созданы наиболее значительные произведения художника. Святослав Воинов является представителем религиозного направления в отечественном искусстве начала ХХ века и продолжает традиции предшествующего периода его развития. Но он и прокладывает новые пути, связанные с модернизмом и произошедшим во второй половине XIX – начале XX веков открытием эстетической ценности древнерусской иконы. В статье рассматриваются факты биографии художника, культурный и общественный контекст его творчества, живописные и графические произведения, хранящиеся в Государственном Русском музее. Искусство Воинова основано на сложном синтезе искусства иконы, символизма и новейших направлений: футуризма, экспрессионизма, что в целом характерно для ряда отечественных мастеров рубежа XIX–XX вв. Уникальность творчества Святослава Воинова в том, что оно выходит за рамки сугубо светского религиозного искусства. Предлагая оригинальный и актуальный на тот момент пример синтеза древних церковных традиций и современной визуальности, выработанной к началу ХХ века, Воинов преодолевает границы сюжетного решения религиозной темы и устремлён к богословствованию в красках.

The paper analyzes gardens and landscapes of the Renaissance, Mannerism and Baroque with particular attention to moral themes and Christian symbols. I follow the development of moral topography in the gardens by examples of Villa Hadriana, Villa d’Este in Tivoli, Versailles, Tsarskoye Selo, Désert de Retz, Sanspareil, Regaleira. The two types of gardens are identified: architectural (Castelo Branco, Bom Jesus do Monte in Braga) and landscaping (Bomarzo, Cetinale, Esztergom, Buçaco, Kuks, Valsanzibio). The paper then turns to “sacred mountains” created in the foothills of Italian Alps as a symbolic barrier at the border of Protestant lands. The interplay of gardens themselves and their descriptions, such as in “The Path of Purification”, the treatise by Francesco de’ Vieri on Pratolino, 1587 and in the inscriptions in Valsanzibio, is also discussed. Further in the paper I wonder about how moral programs of gardens can be studied and incorporated in the history of ideas and religiosity. The work is based on the materials of author’s travels and is illustrated with his photographs. Translations into Russian are by B. Sokolov. В работе анализируются садовые и ландшафтные памятники Ренессанса, маньеризма и барокко, программа восприятия которых основана на моральной тематике и христианских символах. Прослежено сложение моральной топографии в саду (вилла Адриана, вилла д’Эсте в Тиволи, Версаль, Царское Село, Дезер де Ретц, Санпарей, Регалейра), описаны ансамбли двух типов – архитектурные (Каштелу Бранку, Бон Жезуш ду Монте в Браге) и ландшафтные (Бомарцо, Четинале, Эстергом, Бусаку, Кукс, Вальсанзибио). Рассмотрена идеология создания «священных гор» в предгорьях итальянских Альп как символического барьера на границе протестантских земель, показано взаимодействие сада и текста о нём (трактат Франческо де Вьери «О чудесных устройствах в Пратолино», 1587; «путь очищения» и надписи в Вальсанзибио). Поднимается вопрос о способах изучения моральных садовых программ и включения их в контекст истории идей и религиозной жизни. Работа выполнена по материалам путешествий автора и иллюстрирована его фотографиями. Переводы текстов сделаны автором.

The purpose of the article is to study the semantics and role of color symbols in the verbal description of national heraldry, and its relevance is due to the current trend towards an increase in the number of independent states with their own national symbols. The objectives of the research include determining the semiotic specificity of the color symbol, establishing the object prototypes motivating this symbol and identifying new concepts and ideals symbolized in modern national heraldry with the help of color. The study was carried out on the material of the state emblems of countries united by a common language of blazoning, using the technique of analyzing color images. It has been established that in color symbolism there are two types of semiotic units: symbols in which the image refers to some natural standard of color that motivates color, and symbols in which the connection between the expression and the content planes of the semiotic formation turns out to be conventional and conditioned exclusively by cultural tradition. In most cases, the appearance in national heraldry of a particular color or shade of the latter is determined by the taste preferences of the compiler of the coat of arms, but sometimes the symbolic meaning of the color in the blazon is explicitly stated. The content plane of color symbols, which receive an explicit interpretation in state heraldry, is represented both by specific objects, which act here as prototypes motivating the symbol, and by concepts of one or another level of abstraction, and the connection of these concepts with color is not figuratively motivated in any way and is determined exclusively by cultural traditions. The medieval list of secular and Christian virtues, to which the main heraldic colors refer, is supplemented by modern concepts and ideals in the state heraldry of today. At the same time, the black color as a symbol of sadness and mourning does not appear in state heraldry, and there is no purple color in the studied national heraldry. The results of the study lead to the conclusion that the color symbolism reflects the national, cultural and linguistic specificity of the countries that own the state emblem.

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Copyright of Litera: Journal of Language, Literature & Culture Research is the property of Litera: Journal of Language, Literature & Culture Research and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article provides a corpus-assisted analysis of colour terms in Bram Stoker’s novel Dracula. The aim of the analysis is to establish whether colours contribute to the novel’s Gothic mood. Colours can be used to evoke specific atmospheres; they also bear symbolic meanings. This makes them a powerful option for enhancing the mood of a Gothic horror novel. The analysis indicates that white, red and black are the most important colours in Dracula, appearing in distinct patterns and contexts.

This paper delves into AI development’s historical and philosophical dimensions while highlighting the symbiotic relationship between philosophy and AI from a technological perspective: philosophy furnishes foundational concepts, and AI supplies practical tools. The paper posits neurosymbolic AI as a solution to present challenges, sparking discussions encompassing both technical and philosophical considerations. Advocating a multidisciplinary approach calls for merging empirical AI insights with philosophy and cognition science to enrich our comprehension of intelligence and propel AI forward.

In August 1890, the then very young Maurice Denis published a short essay in the pages of the Parisian magazine «Art et Critique» entitled Définition du Néo-traditionnisme. With this text, the future co-founder of the Nabis group laid the ideological foundations for the Symbolist movement ahead of his friend and colleague Gabriel Albert Aurier, the author of what is still considered the “official” manifesto of this movement: Le Symbolisme en peinture: Paul Gauguin (1892). In his text, the Granville-born painter provides his own definition of the famous five points drawn up by Aurier only two years later (ideism, symbolism, synthetism, subjectivism and decorativism), thus demonstrating that he was not only an avant-garde artist but also a keen theoretician attentive to the critical debates of his time.

Şiirler, içerisinde doğdukları dönemin düşünce ve duygu dünyasından ‘edebî akım’lar marifetiyle etkilenir. Şiirin hem içeriğini hem tekniğini etkileyen akımlardan biri olan sembolizm XIX. asrın sonunda Avrupa’da ortaya çıkar. Bu akımın ortaya çıkışı hisleri yok sayan ve insanı meta noktasına indirgeyen realizme bir tepki olarak değerlendirilebilir. Modern Kazak edebiyatının kurucularından Mağcan Cumabayulı Rus edebiyatı üzerinden tanıdığı sembolizm akımını şiirlerinde yaygın olarak kullanır. Rus sembolistlerinden etkilenen Cumabayulı, sembolizmi gerçeğe sırtını dönmek için kullanmaz. Bu edebî akım onda kuru bir taklit seviyesinde kalmaz. Şair, sembolizme Kazak edebiyatının karakterine uygun özgün bir hâl kazandırarak gelecek nesillere model olur. Zengin telkin ve çağrışım imkânlarıyla semboller, onun şiirinde gerçeğin okuyucu tarafından tüm boyutlarıyla hissedilmesini sağlar. Şairin ‘Ot/Ateş, Payğambar/Peygamber, Künşığıs/Doğu’ başlıklı şiirlerinin merkezinde yer alan ‘Doğu’ sadece bir yön adı olarak kullanılmaz. Bu kavram, şair tarafından özgün bir içerikle yeniden inşa edilerek sembolleştirilir. Doğu; şiirlerde kişileştirilerek bir tutumun, duruşun, kültürün, düşüncenin temsilcisi hâline getirilir. Şiirlerde Batı ile temsil edilen ve dünyayı kana bulayan kötülük odaklarına karşılık Doğu, bu kötülük odaklarının bile iyiliği için çaba gösteren bir kültüre sahiptir. Bu kültürün sahipleri, yaşadıkları ataletin sonrasında yeniden dünyaya hizmet etmek için bir merhamet ve aydınlık mücadelesine girişir. Mağcan, dünyayı kasıp kavuran sömürgeci anlayışı Batı sembolü ile gözler önüne sererken çarenin de tarihi ve kültürü bakımından zulüm ve sömürüye hiç tevessül etmeyen Doğu’da olduğuna işaret eder. Onun şiirlerinde Doğu ile kastedilen yeni kültür coğrafyası daha çok Türk coğrafyasıdır. Tekniği ve içeriği yönüyle Kazak şiirinin modern örneklerinden biri olan üç şiirinde şair, çevresinde olup bitenlere karşı insanî ve millî bir tutum içerisindedir.

The paper introduces the concept of mnemopoetics, i.e., how songs are composed to be remembered, how they are shaped by oral memory as only the songs worth remembering were preserved by the community. After a brief discussion of ‘memory of the body’ (cf. Saussy 2016), the author introduces the formal mnemopoetic features (role of incipit, genre, rhythm, dialogue, incremental repetition, strophic arrangement, etc.). In the second part, he focuses on the semantic mnemopoetic role of incipit parallelism, which announces what will happen next in the song-story (cf. Andersen 1985; Marčok 1980; Bartmiński 2016). He then analyzes the first part of Jan Poláček’s song-collection from Moravian Slovakia (Slovácké pěsničky, 1936) and distinguishes nine main groups of songs with the incipit parallelism variously announcing: 1. erotic desire, 2. courtship, 3. longing for marriage, 4. an obstacle in the way of love, 5. a sinister omen leading to a bad outcome, 6. disappointment, 7. parting, 8. death; and 9. joyousness. For example, the image of ‘running water’ in the first verse suggests an unhappy development in the love affair portrayed by the song. The study further verifies the validity of six most prominent identified announcements on the broader material of František Sušil’s (1860) classical collection of Moravian folksongs. As suggested by fieldwork introduced in the study, traditional singers from Moravia and western Slovakia are typically aware of the ‘second’ meaning in songs, and this awareness of song symbolism helps singers — and readers — not only to remember songs better, but to do them justice when interpreting them. More broadly, the study represents a contribution to the methodological analysis of symbolism in traditional song lyrics.

The present article analyzes the spring, development and consecration as an autonomous painting genre of natural landscape in European painting, bringing examples from the works of the most representative masters of landscape. The seeds of the appearance of natural landscape are identified in the religious, philosophical and aesthetic thinking of the Early Middle Ages. Up to the moment of amalgamation with the humanist current, Christian symbolism included various directions of capitalization of the natural world through artistic language, thus generating conceptual and representational models in the field of visual arts. Starting with the Renaissance period, once painting techniques and representation methods started to develop, being oriented towards naturalism, the philosophy of nature generated in the European space pays its tribute to the general orientation - towards the knowledge and mastering of nature having as immediate usage the realization of progress. In this respect, nature has started to be regarded, in time, as a distinct reality, distant from the civilized world, thus the acute feelings of alienation and nostalgia towards the world of nature appear. The aim of this article is to underline these trends and the way they are reflected in the natural landscape up to the appearance of Impressionism.

The article aims to present historical ethnosymbolism as a theoretical alternative to the dominant modernist theories of nationalism. While the latter mainly focus on social factors and associate the emergence of nationalism with the industrialization of the 19th century, ethnosymbolists suggest evaluating cultural factors and interpreting the emergence of the modern nation as a chronological, continuous, and gradual process. The emergence of ethnosymbolism in the 1980s can be associated with a broader cultural turn in historiography and history studies: scholars shifted their focus to foundational myths and myths of descent, analyzing symbols that helped establish and cultivate the cultural memory of communities. Ethnosymbolist John Armstrong introduced concepts such as ‘mythomotheur’ and ‘myth-symbol complex,’ while Anthony D. Smith contributed to establishing the category of communal affiliation termed ‘ethnie’ – a culturally coherent political community with a sense of solidarity among the higher strata of society. This community leverages ethnicity in a broader sense, including common history and name, myth of descent, and association with a certain territory, to maintain and strengthen their dominant position and independence. Examples from the literature of the 16th-century Grand Duchy of Lithuania (GDL) suggest that the myth of Roman descent, efforts to turn historical battles with Moscow and Ottomans into an epic, etymologization of Lithuania’s name, importance of the Jagiellonian dynasty, and other symbols helped cultivate historical subjectivity and a sense of identity among the nobility and intellectuals. While these insights should not imply proactive construction of nationhood, as Caspar Hirschi suggests in his study on the contemporary Holy Roman Empire, they indicate that the commonly employed term ‘political nation’ of the GDL can be further refined by reconsidering the contents of ethnicity, primarily dealing with the sense of historical identity and memory. This article argues that such a reading strategy can be used to uncover new layers in Early Modern literary texts, especially those related to cultural memory and political identity.

The article is devoted to the analysis of the mechanisms of color nominations semiotization in the representation of archetypal concepts in their dynamics. The analysis of the epic text as a specific space for interpreting the events of objective reality makes it possible to identify determinants in the hierarchy of the achromatic and chromatic subsystems of symbolic color designations. For the first time the dynamic characteristics of the development of the explicatory and semi-generative potential of coloremes are determined as special signs of marking textual positions for changing the interpretive code from the individual to the general cultural one. Based on a multi-aspect approach, including the techniques of interpretive, semiotic, conceptual and hermeneutic-noematic analysis, the authors explore the determination mechanisms of color representatives of meta-concepts in archaic and modern linguistic cultures (English, French and Karachay-Balkarian) by a vertical sociocultural context. The material of the study was the texts of the Old French epic, represented by its most representative form – chanson de geste, as well as the text of Nart sagas and Beowulf, in which the hierarchical organization of the achromatic-chromatic semiotic space is revealed. The authors identify the achromatic two-element code “white/black” as the dominant coloristic symbols in the epics. As a result of the study, the following coloratives marking the primary discretion of the world and the prototypical opposition of “friend or foe” were identified: in positive space – blanche, blican, акъ; within the derogation area – noir, hárne, къара. The authors refer contextually polar and perceptually close colorems ou, golde, алтын; rougez, reód, къызыл to the key verbalizers of the gradual scale of chromatic space in the semiotization process of the opposition “good – bad” in the epic text. On the interpretation of cultural noematics define two basic subsystems of the color naming semiotization – generalized personalized images and environmental codes. The semiotic space of color meanings structures the recipient’s noesis and introduces it into the general semiosis.

In this paper, I explore the iconographical relationship between the letters and the support on fol. 157r of the Morgan Gospels, written and illuminated in Westphalia, Germany during the mid-tenth century. On the basis of its formal properties and the iconographic meaning it takes, I will give particular attention to the materiality of the Latin text and its cultural and symbolic significance. The folio under study develops a form of ‘agency’. With this perspective, I hope not only to contribute to the important line of argument Joshua O’Driscoll develops in his iconic article, but also to explore the meaning of Latin as an iconological statement and hence to contribute with new methodological developments in the field of art history.

At the imperial court of Byzantium, the two-headed eagle waswell known as a graceful and memorable motive of oriental origin. It appeared on silken robes but was not used on garments worn by the emperor himself. Coats of arms did not exist there back then. However, from the 13th century on, people in present-day Greece were familiar with this heraldic animal of Latin Europe origin, which represented universal power. This was due to the existence of Latin principalities there. Around 1420, it became a symbol of power in the despotate of the Morea, which was governed by the House of Palaiologos. It was also used in Albania and Montenegro to openly show one's resistance against the Ottoman Empire. In 1472, Sophia Palaiologina, a niece of the last Byzantine emperor, got married to Ivan III, Grand Prince of Muscovy. However, the two-headed eagle did not appear in the Muscovy yet. This presumably happened only later when Ivan III formed an alliance with King Maximilian I against the Kingdom of Poland and the Grand Duchy of Lithuania in 1491. The first negotiations between Muscovy and the Holy Roman Empire were meticulously recorded because the Russians felt a deep need to appear on a par with the last remaining Empire. It was not until the 16th century that Tsar Vasilij III took the golden two-headed eagle in red colour -- the sign of Palaeologus -- as his coat of arms. This happened in the context of the independency from the Tartars and the prospective reign over Russia and the reclamation of Kiev. Only after this event, a word for coat of arms came into existence in the Russian language. The orthodox clergy most likely supported the idea of transferring the symbol because of its endorsement of a "Third Rome".Latin Europe accepted it and integrated it into its conception of history. Subsequently as a sign of irredentism, the two-headed eagle was attributed a false anciennity. It was seen as a symbol of the perished Byzantine Empire by the Orthodox Church and it is still perceived this way in present-day Greece. In 1993, the two-headed eagle was revived as the Russian symbol of state. [ABSTRACT FROM AUTHOR]

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Tatyana Anatolyevna Romashkevich is an employee of the Moscow Special Scientific and Restoration Department, an artist-restorer with extensive experience in the field of conservation and restoration of monumental painting. Tatyana Romashkevich carried out restoration work in ancient Moscow churches (including the cathedrals of the Moscow Kremlin), in Yaroslavl, Tver. Most of all, she invested in the noble cause of saving the cultural monuments of Veliky Novgorod. In an interview recorded in November 2022, T. A. Romashkevich shares her ideas and feelings regarding the current state of historical monuments, from the position of personal experience she determines the significance and purpose of the artistic and architectural heritage for the preservation of the national cultural code, for the enlightenment and personal growth of Russian citizens. Татьяна Анатольевна Ромашкевич – сотрудник Московского специального научно-реставрационного управления, художник-реставратор с огромным опытом деятельности в сфере сохранения и восстановления монументальной живописи. Татьяна Анатольевна проводила реставрационные работы в древних московских храмах (в том числе в соборах Московского Кремля), в Ярославле, Твери, но больше всего сил вложено ею в благородное дело спасения памятников культуры Великого Новгорода. В интервью, записанном в ноябре 2022 года, Т. А. Ромашкевич делится своими идеями и чувствами в отношении текущего состояния исторических памятников, с позиции личного опыта определяет значение и назначение художественно-архитектурного наследия для сохранения отечественного культурного кода, для просвещения и воспитания граждан России.

This is the second article in a series devoted to the canonical image of the armed saints in Early Christian, Early Byzantine, Late Byzantine and post-Byzantine iconography. The most representative and distinctive iconographic images, from the point of view of Christian theology, are the faces of soldiers-confessors who became victims of persecution and suffered a painful death in the era of early Christianity. Their image is conceptually different from the bloodless faces of hermits: the soldiers of Christ were among people, relocating from place to place, they knew the world around them well. In appearance, they were not different from the rest of the military, because on frescoes, icons and bas-reliefs they were depicted as physically strong, well-groomed, firm in their intentions men, with noble facial features, dressed in beautiful clothes and having expensive armor. The icon painters seemed to deliberately seek to emphasize the physicality of their image and the close connection with the mortal existence of this world. However, when the dilemma of choosing between a painful confessional death and renunciation of faith for the sake of preserving life or a high social position arose, the love of life of these noble young people did not prevent them from making a choice in favor of the immortality of the soul, to sacrifice the values of the world below for the glory of the throne Above. Over time, the image of soldiers-confessors was transformed: from victims of permanent persecution, religious intolerance and arbitrariness of the Roman authorities, they turned into incarnate soldiers of Christ, defenders of the faith, who joined the ranks of the Heavenly host under the command of Archangel Michael. This explains the iconographic similarity of the images of the earthly Christian warriors and the Heavenly Host. Это вторая статья из серии, посвящённой каноническому образу святых-порубежников в раннехристианской, ранневизантийской, поздневизантийской и поствизантийской иконографии. Наиболее репрезентативными и своеобычными иконографическими образами, с точки зрения христианской теологии, являются лики воинов-исповедников, ставших жертвами гонений и подвергшихся мучительной смерти в эпоху раннего христианства. Их образ концептуально отличается от бескровных ликов отшельников: воины Христа обретались в гуще людской массы, передислоцируясь с места на место, хорошо знали окружающий мир. С виду они ничем не отличались от остальных военнослужащих, потому на фресках, иконах и барельефах изображались телесно крепкими, ухоженными, твёрдыми в своих намерениях мужами, с благородными чертами лица, облачёнными в красивые одежды и дорогие доспехи. Иконописцы словно намеренно стремились подчеркнуть телесность их образа и тесную связь с бренным бытием этого мира. Однако когда вставала дилемма выбора между мучительной исповеднической смертью и отказом от веры ради сохранения жизни или высокого социального положения, жизнелюбие этих знатных молодых людей не препятствовало им сделать выбор в пользу бессмертия души, поступиться ценностями дольнего мира ради славы Горнего престола. Со временем произошла трансформация образа воинов-исповедников: из жертв перманентных гонений, религиозной нетерпимости и произвола римских властей они превратились в воплощённых воинов Христа, защитников веры, пополнивших ряды Небесного воинства под командованием Архистратига Михаила. Этим объясняется иконографическое сходство образов земных воинов-христиан и воинства небесного.

This article examines the visual strategies employed in the early modern period by a dynasty ruling a smaller state, the Duchy of Lorraine, to survive in the face of expansion by larger neighbours (notably France). The central argument posits that in order to be treated as fully royal (and therefore with inherent rights to exist independently, as full members of the society of princes), princes like the dukes of Lorraine had to appear as royal in their visual representation. The article therefore looks at different examples of selfrepresentation produced by the dynasty over time, including genealogical treatises, coins, portraits, and printed material, in order to see how this was achieved and what symbols were used. What emerges is a sense that this strategy was more closely tied to dynasticism, not necessarily state-building, and while it can be said to have failed for the Duchy of Lorraine as a state, it proved successful, even beyond what had been imagined, for the dynasty itself. This idea repositions our conceptions of “sovereignty” in this period, to see it, at least in some cases, as a quality pertaining to dynasties rather than more rigidly to the states they governed. Their hereditary estates in Lorraine were lost in 1737 but the dynasty survived, as grand dukes of Tuscany, and was deemed worthy of transformation into a fully royal—even imperial—dynasty through marriage to the Habsburg heiress Maria Theresa and the election of Francis Stephen of Lorraine as Holy Roman Emperor in 1745.

Martyrologies are often associated with Jihadi propaganda. From Al-Qaeda to the Islamic State, Islamist groups have been widely spreading their cult of martyrs through e-magazines, online blogs, and social media to convey extremist messages and radicalise individuals. Nonetheless, such a trend has recently come to characterise the far right as well. Far-right groups have developed online martyrologies, diffusing images parsing far-right terrorists and extremists who conducted deadly attacks as saints and martyrs. This emerging trend in far-right online propaganda has led to a revived interest in comparative research addressing Jihadi and far-right online activity. By applying critical discourse analysis (CDA) to the study of Jihadi and far-right martyrdom propaganda images, this research compares Islamist and far-right martyrologies, explores their commonalities and differences, and provides theoretical insight into the use of martyrologies in online content. Both ideologies convey complex symbolism to effectively spread their messages and aim to radicalise online users. Diverse symbols operate on multiple levels and impact group dynamics. Although similarities between Jihadi and far-right symbolism are numerous, differences must not be overlooked as they show the complexity and diversity of online martyrologies and radicalisation strategies. Indeed, while adopting similar rhetoric, Jihadi and far-right martyrologies draw upon different traditions and cultures which target different audiences and appeal to individuals with different backgrounds.

This paper aims to consider a series of politico-symbolic aspects in a specific politicized dystopia of the twentieth century: Lord of the Flies (1954) by William Golding (1911–1993). This analysis is paired with a brief overview of the relationship between utopian fictions and politics.

The article explores the significance and historical context of the equestrian statues of Emperor Frederick I Barbarossa, Emperor Wilhelm I, and the Braunschweig Lions at the imperial palace of Goslar, Germany, shedding light on their symbolic representations and placements. It delves into the narrative surrounding the Braunschweig Lions, tracing their origins from the commissioning by Duke Heinrich the Lion to their subsequent replicas and their temporary sheltering during World War II.

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The occasion of the 100th anniversary of I. Kant’s death was a colossal impulse for many researchers of Immanuel Kant’s legacy. One of the goals of the paper is to introduce one of the less known anniversary critical texts, which appeared in the Russian intellectual milieu. It attempts to disrupt the usual approach regarding the interpretation of Bely’s comprehension of Kant’s legacy, i.e., Kant as a skeleton of philosophy or a police officer of thinking. The paper points to a more systematically conceived scale of Bely’s reflections of Kant. From Bely’s point of view, Kant is the author of firm grounds for the shaping of thought. On the unstable background of philosophy, which during the historical development of thought succumbed to erosion, it is Kant’s philosophy that serves as the stabilizing base. Bely tries to highlight that Kant’s epistemology forms distinctively outlined the foundations of a knowledge of the world and philosophical comprehension not only of history but also of symbolism. The symbolism of Andrei Bely.

The article "The Early Neolithic Cultural Transformation in the Targowisko Settlement Region, SE Poland" deals with the cultural change in the early Neolithic settlement region of Targowisko in southeastern Poland. The study examines various aspects such as settlement phases, the function of "pseudo-ditches," and the organization of the settlement space. Fundamental cultural changes have been identified, particularly in terms of symbolism, while continuity mainly concerns everyday objects. The results suggest a connection between the late Linearbandkeramik (LBK) and the Middle Culture (MC). The study shows that there was continuity of settlement in the region, although sociocultural and genetic aspects changed. Remains of cereal crops were also found, indicating continued agricultural activity. The results demonstrate that the cultural change in the Targowisko settlement region was complex and requires further investigation. [Extracted from the article]

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The current paper presents an overview of phonostylistic devices (alliteration, assonance, rhyme, onomatopoeia) most commonly used in slogans and taglines of the modern car industry. The advertising slogan, being limited by space and time, is viewed as an important part of any marketing campaign. In a similar manner to previous studies, this paper confirms that a slogan is an effective type of storytelling for brands. However, it differs from the tagline, which is supposed to be long lasting. In an endeavour to convey some characteristics or information about the product and make it memorable for the consumer, brand designers resort to various linguistic devices that make the advertising language effective. The analysis of commercial advertising slogans and taglines demonstrated that such phonological devices as assonance and rhyme are infrequent, while alliteration is the most productive sound technique. As for onomatopoeia, it appeared to be the rarest device in the analysed bulk of slogans and taglines. The obtained results show the capacity of these sound techniques to enhance brand image. Numerous examples provided in the paper are tailored to support this statement. Moreover, the paper addresses the issue of sound symbolism, since the interest in its manifestation in marketing is on the rise. Thus, from a phonosemantic vantage point, the most productive phonemes are sibilants, plosives and sonorants. Their recurrent character contributes to the creation of a brand image. The overall results may have significant implications for marketing teams that seek to create ear-catching and memorable slogans and taglines as well as shed light on the consumer’s psychology.

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The oral biblical exegesis and oral transmission, or the unwritten tradition, represent pillars in the circulation of texts and ideas since the very dawn of Christianity, both in orthodox and heterodox circles. Namely, this vast topic encompasses the concepts related to the concepts of the written sources and the spoken word, and their interrelation, and, furthermore, to the symbolism of the ear, Logos, and secret teachings (arcana). The role and impact of the oral transmission will be examined on the example of the Bogomils, and this paper will re-assess the importance and function of the oral transmission of the Bogomil doctrine. Therefore, the Biblical exegesis will also be analyzed in that key, and the question of the Bogomil preachers will be addressed. More broadly, the oral transmission of the Bogomil teachings can be observed as one of the modi operandi that the Bogomils resorted to in the aim of propagating their ideas, as well as possibly their interpretative manner to approach the Scriptural material and parables.

As Zen took root in the West over the past century, there emerged a number of differing interpretations of one of its key facets, namely the question of the relationship between language and enlightenment. The two camps which came to garner the most attention in philosophical circles are eliminativism, which understands enlightenment as the cutting off of linguistic and socio-cultural categories, accomplished by arbitrary means, and constructivism, which identifies satori with the exercise of certain linguistic and cultural conventions. In the present paper, we first lay out some of the most important criticisms of these two positions, arguing that the two accounts fall into the error of either demonizing or fetishizing language, respectively, before outlining a different approach to the relationship between practice and realization, drawing on the largely neglected work of perennialist thinkers and a phenomenologically informed notion of symbolism. By taking the idea of the symbol in its double meaning, namely as that which “casts together” the culturally conditioned particularities of Zen into a unified tradition, and yet points beyond them as a “sign” of something that itself transcends all description, we propose an interpretation that can do justice both to the crucial role played by concrete practices and to the transcendent nature of their soteriological “end”.

The subject of the article “Wine, Opium, Hashish in Georgian and European Symbolism” is the identification of the cultural links between Georgian and European (primarily French and, German) symbolism. Our goal is to determine the role and place of Georgian symbolism in the world literature context and study the cultural-aesthetic ties that have influenced the art of the Georgian symbolist group, the process of forming their aesthetic taste and worldview. In this article, we focus on the genesis of the symbolist theory of the myth, its specific nature and the motivation for the creation of a new mythology. In addition, we consider the theme of wine, opium and hashish in Georgian and European cultural areas, and analyse the conceptual sense and function of this new mythology.

In the literary and theatrical critique of his time (second half of the 20th century), Miodrag Žalica was recognized as a representative of symbolist poetics in Bosnian-Herzegovinian drama. The features of Žalica’s dramatic symbolism have, however, rarely been observed through analyzing the technique of his dramatic works in concreto. The Piece Mirišu li jorgovani u Njujorku, written in 1988, certainly represents the culmination of Žalica’s poetics, and is, in that sense, suitable for an analysis of the symbolic network as a specific trademark of his authorship with regards to the poetics of symbolism in European modern drama at the turn of the 19th to 20th century.

In the seven sonnets that form the section Mysticisme included in the volume Petits Châteaux de Bohême (1852), Gérard de Nerval possibly deals for the first time with a spiritual theme in an organic and structured way. It is a poetic project that anticipates the depth of the Chimères, as well as the fascination of the Filles du feu and Aurélia. The analysis of this sonnet sequence allows us to address the foundational themes and spiritual inspirations informing Nerval’s subsequent works. Through a ‘geometric conjecture’ based on three symbols – the cross, the circle, and the triangle – this article aims at providing a personal interpretation of Mysticisme.