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(Selected motifs on Italian coins from 1922–1943 as an example of the reception of Roman numismatic motifs. Expressing new content through references to tradition): This text is devoted to the phenomenon of the reception of iconographic motifs appearing on Italian coins from 1922–1943, which have analogies in Roman coinage. Iconographic motifs from Italian coins, despite their stylistic similarity to motifs from Roman coins, contain new elements that change the symbolic content. References to Roman patterns on Italian coins were not accidental and served to create the desired image of the country, which was often different from historical reality.

Dreams and temptations: Unveiling the journey to self-discovery This thesis documents the long-term psychoanalytic therapy of an adolescent patient who developed a severe depressive episode and post-traumatic stress disorder following a serious traumatic event - an abduction and experience of sexual violence. Over a period of several years, the therapeutic work is described, which not only addresses the patient's individual symptoms, but also sheds light on profound family dynamics and the development of the therapist's psychoanalytical identity. The therapy focused on processing the traumatic experience and aimed to create corrective relational experiences, strengthen self-representation and promote the ability to self-care and build supportive social relationships. The case study illustrates the complexity and challenges of psychoanalytic work with traumatized adolescents and emphasizes the need for an individually tailored approach. [ABSTRACT FROM AUTHOR]

The shirt with „altiţă” is a basic piece of the traditional women’s dress from Romania and Moldova. The signs embroidered on them, represented by stylized or geometric symbols and color have deep roots in our historical past. The symbols embroidered on the front, back and sleeves of the shirt with „altita”represent a rich source of information about the locality and life of the women who sewed these shirts, but also shows the spiritual development of our ancestors expressed in this way. Knowledge of sewing techniques, materials, the meaning of symbols contributes to the completion of the professional vision of future clothing designers, serves as a rich source of inspiration for the creation of clothing collections. Teaching the art of the traditional shirt with „altiţă” is necessary for passing on this unique craft to future generations

The author of the history of flood would like to answer the old question of humanity about the connection between the natural catastrophe and God's will. He tries to give an answer by means of a narrative or by the help of symbols, respectively. The task of the interpreter consists in clarifying the truth that generated the symbols. Our starting point in our analysis is that one cannot study the story isolated from the whole biblical text. By visualizing the narrative the author intends to express the theological thinking that the natural catastrophe cannot be looked upon as a fateful happening, but as upon God's instrument to express his own creative will in Salvation History. [ABSTRACT FROM AUTHOR]

The article presents eight clay stamps from the Starčevo-Criş site of Tăşnad. Seven of them are unpublished (Pl. I/2; Pl. II), one published in an exhibition catalogue (Pl. I/1). This category of pieces originates in the Anatolian area and spread with the process of Neolithisation. Such pieces are rare and raise many discussions and hypotheses about their functionality. Various assumptions have been made about their functionality, some authors attributing a practical function to these pieces, like decorating ceramics, printing textiles and leather, tattooing human bodies, marking goods as a sign of ownership. Others give cultic values to these pieces like marking the food (i.e., the “sacred bread”), or the role as talismans or pendants with magical, protective values. The small variety of motifs present on these pieces as well as the presence of these motifs on cult pieces such as idols, altars, anthropomorphic vessels or vessels with anthropomorphic representations, are arguments for a magical-religious functionality.

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Christianity and Judaism seemingly share symbols and expressions, but, as Jacob Neusner (1932–2016) asserts, the religions share neither background nor are they continuous to one another; he exacerbates this argument to the point in which the mutual incomprehension between the religions disables even the conflict itself. In this article we will review the stances of this Jewish author of the 21st century regarding the area of Judaic and Christian encounter. Author originally problematises approaches of both confessions and points out the symbolic dissonance that arises. Insistence on similarities that seemingly connect both religions into brotherhood, author emphasises, creates an illusion of dialogue which serves as prevarication of taking up the task of forming (or at least conceptualising of) Christian theology of Judaism on one side and Jewish theology of Christianity on the other. Since Neusner factually negates the existence of possibility of dialogue, we are attesting to the start of forming concepts of other through empathic experience that the author suggests, and which are necessary presuppositions for fruitful dialogue where the statements about the other are not formed on the basis of political or social surroundings but with a mindful acknowledgement that theology as a science of faith can »form a theory of the other in such a way that within my own belief I can respect the other and accord to the outsider legitimacy within the structure of my own faith« (1991, 110). How can we place Neusner’s thought amongst some other important Jewish thinkers of dialogue in 21. century and what challenges does it bring to catholic theology? Pope Benedict XVI. reacted to it with a testimony in his book Jesus of Nazareth. Furthermore, the start of the task had been foreseen by Jesus to his disciples in his words: »No one uses a new piece of cloth to patch old clothes. The patch would shrink and make the hole even bigger. No one pours new wine into old wineskins. The new wine would swell and burst the old skins. Then the wine would be lost, and the skins would be ruined. New wine must be put only into new wineskins. No one wants new wine after drinking old wine. They say, ‘The old wine is better.’« (Lk 5,36‑39)

Comic Fable of Venice might seem like a simple story of Corto Maltese`s adventure in search of the lost emerald around this beautiful city. However, the analysis of symbols and characters in drawings and text leads to the conclusion that it is, actually, the story of the Mediterranean as an area where different cultures have not only been geographically but also culturally linked for centuries. Being close to each other, these cultures associate and change, influencing one another, but still managing to keep the authenticity. Although they are the heritage of the whole Mediterranean, the symbols, legends, and characters mentioned in this comic are all placed in Venice, so that within just one walk around the city, the author can easily help the reader understand the history of the whole area. This paper aims at proving that Pratt does not allow just simple, passive reading, but requires a reader to explore actively the topics mentioned in the Fable.

In 2008, a silver fitting from grave 39/XXXV at the Cemetery in Záluží u Čelákovic was subjected to analysis. In addition to the finding that it was a fitting from a wooden bowl, of which only tiny fragments have survived, a visual inspection of the object revealed that there was a suspicious group of scratches on its surface, the form of which resembled ancient Germanic runes. The aim of the contribution is not only to publish them, but also to draw attention to a so-far unknown group of monuments. [ABSTRACT FROM AUTHOR]

Cet article a pour objectif de décrire une démarche de didactisation de la notion de symbole dans un contexte de français langue étrangère (FLE). Dans le cadre d’un module de linguistique qui fait partie d’une formation en traduction, les enseignantes ont rencontré des difficultés à faire comprendre des notions telles que « le symbole » à leurs apprenantes arabophones. Il a donc fallu adapter l’enseignement du concept en mettant en oeuvre des activités sur les représentations culturelles. Cette méthode a aidé les étudiantes à assimiler le concept abstrait de symbole et à acquérir une méthodologie de travail pour l’appréhender. Nous y revenons ici en trois temps. Dans la première partie, nous présentons le cadre théorique qui replace la notion de symbole dans sa relation avec la culture. Nous explorons ensuite les spécificités socio-culturelles et pédagogiques du contexte d’étude, et les difficultés de l’enseignement de la notion en cours de linguistique. Dans la dernière partie, nous mettons en lumière les démarches didactiques mises en oeuvre par les enseignantes de français dans un cours de linguistique pour faciliter l’apprentissage de la notion de symbole. This article aims to analyze a didactic approach to teach the linguistic concept of symbol in a context of French as a foreign language (FFL). The teachers who taught the linguistics courses found it difficult to inculcate concepts such as symbol to Arabic-speaking learners enrolled in a translation specialization. Therefore, they had to change the way of teaching the concept through the implementation of activities about cultural representations in FFL classes. This method helped the students to assimilate the abstract concept of symbol and to acquire a method to apprehend them. Our article is divided into three parts. In the first part, we present the theoretical framework based on the concept of symbol and its relationship with culture. Then, we proceed to the description of the socio-cultural as well as pedagogical characteristics of our context of study and we analyze the difficulties of teaching symbols. In the last part, we highlight the didactic approaches implemented by French teachers in a linguistics course to facilitate the learning of the concept of symbol, through the learning of French symbols by giving concrete examples from French culture.

This article will take a close look at two books of Etel Adnan which are strongly tied to the representation of places. References to nature found in both books link the places she is physically present in to her inner-spaces. Additionally, the people she encounters in these locations also become elements with which she weaves different places together. In Of Cities & Women (Letters to Fawwaz), the notion of place is particularly enriched by the different qualities of the women she finds in each location, comparing the situation of women in the Orient and the Occident. The shadow of recent wars hangs heavy in the memories of Adnan as she travels between these different places in both books – the thought of which never abandons her.

For a long time there has been a strong link between flowers and sexuality. Flowers are complex symbols and they certainly did not always have salacious meanings; lilies, for example, are associated with the image of the Virgin Mary. There are stricter and more reserved symbols in East Asian and Islamic decorative arts, or in the Netherlands, where tulips had a higher price and value than paintings. The research of this paper will show the rich history of using flowers and its symbolic meaning related to female sexuality through many examples. The aim is to show how this symbolism has existed since ancient times and pervaded history all the way to our times.

Globalization includes the export and application of Western cultural and socio-economic models, representing a new situation of construction of a new global system described by an enormous capacity of communication and exchange of information. It is believed that globalization is triggering the diversification of national cultures. Mass-media is the main factor behind the spread of globalization. Informational technologies have reached a new peak in history: the internet, TV, the press make information accessible to everyone, reaching all parts of the planet with great speed. A new topic has become the existence of a media culture, in competition with the traditional form of culture. Keywords: culture, globalization, phenomenon, symbols, civilization

The theme of this paper deals with an interdisciplinary study of the structure, dynamics and meaning of the central religious service intended for the Eucharistic assembly of laity and all the fullness of the Church. The primary subject of the analysis is the function of the nave, with the Eucharist as the starting point and the final indication. As the church is one of the ecclesiological paradigms of the Christian Church, so the nave is ecclesiological icon of “people of God”. The paper therefore wants to summarize in a concise form a multitude of aspects from which this complex problem can be perceived, and among other things analyzes the dynamic devotion of worship in the nave, given the posture and position of the body, the orientation, the direction, and the way of the participants in the worship service. In order to decode the liturgical-theological function of this place, this research is particularly studying the purified mathematical-architectural symbolism of the nave, understood as the “new creation in Christ. The author concludes that the harmonious proportions, the boldness of the construction and the experience of the volume of the nave with their beauty and richness of meaning, just as the iconography does, creates the liturgical ambience of an adequate transcendence of the Eucharistic symbol.

The purpose of the present article is to identify and analyze some of the medieval symbols present in the novel The Name of the Rose, written by Umberto Eco, insisting on their importance. Combining elements of a historical romance, a thriller and a novel of ideas, Umberto Eco manages to create a vivid, intertextual book who is filled with mysteries, intriguing the reader from the beginning to the end.

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When I write the symbol Fe, all scientists know that I am talking about iron. Today's chemists use element symbols in formulae without thinking where they came from. This article looks at the history of element symbols and why we use the ones we do.

Eschatology is a theme that lies close to the heartbeat of the church. It is particularly true in terms of understanding and interpreting Revelation 20:1–10. This is said, because there is a tendency among many theologians and preachers to qualify eschatology in terms of the millennium as being displayed in this pericope of the Bible. A hermeneutical commentary on Revelation 20:1–10 wants to go to the text itself in order to comprehend and appreciate what is written. One should ask in terms of this pericope: What was John’s intent to say to the church of his time? In doing so, it became clear that John mediated the conflict between forces of light and darkness in mainly symbolic, figurative, visionary and descriptive ways that is prophetic-apocalyptic in manner. This accentuates that too much emphasis is placed on the millennium as a rather minor concept in the Bible. Eschatology should not be qualified by the millennium as such, but by Christ who, in the conflict between light and darkness, is conducting God’s plan of salvation to its final fulfilment. The focus therefore is not on debating a theological viewpoint in terms of the millennium (whether pre-, post- or a-millennial), but rather to get clarity on the redemptive message of this portion of the Bible. Its intention is to give hope and consolation in times of substantial persecution among the believers of the Early Church. It is a message that reaches to heaven without neglecting the earth.

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Traditional tattooing custom represents an important ethnological unit in the cultural history of BiH. Permanent puncturing of skin, mostly practiced with the female part of population, is an anthropological specific phenomenon of Catholics from Central Bosnia. According to historiographical notes it is a part of mysterious prehistoric Illyrian heritage. But it seems that with the Ottoman occupation of medieval Bosnia a more autonomous and rich, ornament phase came as far as tattooing culture of Catholic women is concerned. That is a phase of “cross tattooing”, which was symbolically changed, for the purpose of saving life and identity in front of the coming islamisation, into new confessional garment. The intention of the paper is to explore, describe and comment, consulting the relevant authors and publications, autonomous and significant but extinct tradition of Catholics’ tattooing in (Central) Bosnia.

The religious vein of poetry was interested in an essential figure in fact the Mouhamad prophet. This last gave birth to the poem-song: The Prophet or the heart with the breadhands of Amadou Lamine Sall where it is question primarily of praise and praises belonging to the epidictic one. It is by this title enough symbolic that the poet rents the size of the prophet through many figures of images, of symbols, magnifies its attributes, its works. The variations of the epidictic speech on the prophet of Islam are perceptible in the choice of the lexical items and their parabolic and allusive places.

This year, on the 12th of July, there are four years since the passing away of the painter Dimitrie Gavrilean who, ,”through the unique impresion of his originality, early became an emblem of the school of painting of Iasi.” Born in Voroneţ, in 1942, Dimitrie Gavrilean attended ”Nicolae Grigorescu” Academy of Arts of Bucharest, being an eminent disciple of the master Corneliu Baba. The work in the creation workshop was combined with the vocation of teacher at the Faculty of Visual Arts and Design within ”G. Enescu” University of Arts of Iaşi, being a rector of this institution in the period 2000-2004. In the contemporary plastic landscape, the artistic work of the painter Dimitrie Gavrilean (1942-2012) from Iaşi occupies a special place. It mirrors the utmost of the autochthonous rural imaginary, the Romanian fundamental myths, the ancestral myths as well as the recently Christianized ones. His vision is specific to the Romanian Christianity and the Byzantine iconography. The language of Gavrilean’s paintings is one of symbols, by excellence. As Emil Staco rightfully observed, the entire work of art of master Gavrilean is ”a work of art of the symbols, of the metaphors rooted in the spirituality of the Romanian village of Bukovina, in the frescoes of Voroneţ and Humor Monasteries.” On the one hand, the painter did not content himself with illustrating only the ancestral mythical world by means of symbols with universal valences, but he got actively involved in the Christian valorization of mythical symbols. On the other hand, by integrating sacred symbols (the dove, the cock, winged characters, the wise old man, the architecture-church, the sun, Voroneţ blue) of the Christian iconography of Byzantine tradition in paintings not necessarily religious, Dimitrie Gavrilean pushed his work of art to the border between sacred and profane, proving an extraordinary capacity of spiritualizing matter as well as of materializing the spirit through art.

Nāṭyaśāstra is one of the most challenging writing in the history of theatre. Not only because its age and complexity, but because the uniqueness of its vision in which the sacred underlies the art of theatre and interferes with it. This research is based on textual criticism to emphasise the role of the sacred and its avatars (deities, ceremonies of consecration, symbols with religious and performing functions...) in the economy of theatre art as it is seen by the ancient Indian treatise on drama. In a history of the sacred circumscribed to the theatre space, Nāṭyaśāstra represents maybe the most relevant creation.

The Universe of Byzantine music is a profound one, that is why every side should be analysed for getting to the essence of psaltical soul of the singing. Every sign has a certain meaning, every mode has a certain composition and every singing genre is interpreted in a certain way. It is important to search and analyse the historical evolution of every of the mentioned categories for being able to form a holistic image about what Byzantine music meant and means.

Amish education is one of the most researched subtopics in Amish studies. This article is a meta-analysis of the existing literature about Amish education, finding that most research discusses how the parochial school system functions to socialize students into the broader Amish social system. In particular, the school socializes students into (1) several major Amish-defining internalized dispositions, ideologies, and outlooks and (2) the meso- and micro-level Amish social structure. Several anomalies do exist, including their educational approach to special needs children, parochial school dysfunctions, and alternative schooling methods. The article concludes with suggestions for future research, including more rigorous ethnographic studies that better divulge latent functions and the utilization of other theories to unlock other implicit patterns.

Статья посвящена вопросам современной режиссуры оперного спектакля, а именно явлению Regietheater, которое активно прогрессирует на западных оперных сценах. Выявлены его основные тенденции, являющиеся репрезентантами режиссерской работы. Автор сосредоточил свое внимание на двух постановках оперы «Дон Жуан» В. А. Моцарта 2006 года - австрийского режиссера Мартина Кушея и российского Вячеслава Цюпы. На основе анализа данных постановок были выявлены тенденции режиссерского театра, активно действующие на красноярской оперной сцене.

Li Shangyin (813–858), one of the most respected, mysterious, ambiguous and provocative of Chinese poets, lived during the late Tang period, when the glorious Tang dynasty was beginning to decline. It was a time of social riots, political division and painful general insecurity. Li Shangyin is famous as a highly original and committed poet who developed a unique style full of vague allusions and unusual images derived from the literary past (the traditional canon, myths and legends) as well as from nature and personal experience. The second important feature of his poetry is a mysteriousness which finally leads to ambiguity. Ambiguity plays an essential role in most of his renowned poems, and he uses it to superbly connect present and past, reality and fantasy, and history and mythology. Thus, ambiguity and obscurity, respectively, often engender different interpretations among Chinese critics. These interpretations reflect the poems’ imaginative qualities, hypotheses and contradictions. Since each interpretive direction emphasizes but a single aspect of the poet’s character, it is more fitting to understand his ambiguous poems in symbolic terms. Such understanding entails that the meaning of the poem is not limited to one interpretation; rather, the poem’s poetic landscape opens itself up to various interpretations. Li Shangyin is actually most popular for his melancholic love poetry that reveals his ambiguous attitude to love. In this poetry, love is shrouded in a secret message. On the one hand, we can sense his moral disapproval of a secret but hopeless love; on the other, we can sense his passion. This leads to a paradox: the pleasing temptations of an illicit romance also exact a high price. In these love poems Li investigates various aspects of the worlds of passion which stoke in him feelings of rapture, satisfaction, joy and hope as well as feelings of doubt, frustration, despair and even thoughts of death.

One of the thinkers who intellectually consolidated deification and gave it a solid doctrinal basis, which has remained fundamentally important until today, was (Pseudo)-Dionysius the Areopagite. His entire thought was dedicated to the deification of all creation, and ultimate goal was "the cloud of unknowing", in which the soul, following the ascending path of apophatic theology, reaches mystical union with God. The ascending process starts with material objects, symbols, through which God manifests Himself to humanity. Given the reality of the human person, who is called upon to receive the revelation, the Divinity cannot be perceived without the help of mediators that, for Dionysius, were "sacred veils" beneath which the divine light is hidden. The aim of this article is to highlight the role of visual elements (material objects, symbols) as the starting point in the process of deification, and in the context of the aesthetic elements of Christianity and the Church’s doctrine of deification, which owes its foundation to the Areopagite.

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Copyright of Studii de Ştiintă şi Cultură is the property of Studii de Stiinta si Cultura 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.)

Towards a Semiotics of Musical Instruments. Outlines of the Problem. In spite of the promising recent development of comparative musicology (also including the study of musical instruments) and of semiotics (also including musical semiotics), there is no summarizing attempt to describe and analyze the "signs on musical instruments" phenomena, i.e. carved or painted parts of the instruments. The zoomorphic and anthropomorphic construction and forms of musical instruments, and of their parts, is a wide-ranging field of study. The paper shows some examples of ancient and folk music instruments, by using the common (Peircian) terminology in describing their signs in the proper sense of the word. Animal shells used as bodies of instruments, snake- and dragon-formed instruments, amorous heads on string instruments, human heads and devilish forms of bagpipes, paintings on piano's wooden cases, emblems or coats of arms of the builders of the instruments - just there are some cases of signs of musical instruments. There are further allusions to musical signs as well. [ABSTRACT FROM AUTHOR]

Príspevok sa venuje náhrobku zo zbierky Západoslovenského múzea v Trnave. Náhrobok má neistý pôvod. Spája sa so stredovekým kostolom v Piešťanoch alebo bližšie neznámou stavbou v Bzinciach pod Javorinou. Niektoré motívy v jeho výzdobe sa interpretujú ako odkaz na konkrétnu osobu (náhrobok slobodného rytiera s monogramom MM). Na náhrobku sú však vyobrazené len symboly: písmená gréckej abecedy (alfa, omega), ľalie a kríž. Schéma náhrobku má ranostredoveký pôvod.

Copyright of Sozialer Sinn is the property of De Gruyter 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.)