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L'articolo offre un'introduzione generale all'evento del concilio di Nicea del 325, cercando di rispondere in maniera essenziale alle domande sulle motivazioni che l'hanno provocato, i suoi protagonisti, le modalità di svolgimento e gli esiti finali. Si ribadisce la priorità della motivazione teologica, di cui si cerca di delineare gli argomenti generali, evitando schematizzazioni in una situazione che si presenta frastagliata e diversificata in entrambi gli schieramenti. Si sottolinea l'importanza della figura dell'imperatore Costantino, che per la prima volta indisse e guidò un'assise di vescovi e che fu determinante nell'appoggiare il gruppo che si impose poi al concilio. Infine, si cerca di seguire le discussioni che portarono alla scelta di redigere un Simbolo di fede capace di raccogliere sensibilità diverse proprio attraverso la scelta di alcuni termini, in primis homoousios, che indica l'uguaglianza di sostanza tra Padre e Figlio, diventando dalla metà del secolo IV in poi la nota distintiva del credo niceno. Le fonti antiche, che rimangono sempre determinanti, lasciano molte incertezze interpretative, ma sono anche uno stimolo a continuare un percorso di approfondimento per comprendere meglio un avvenimento che presenta molti elementi di novità nella storia della chiesa e della fede. [ABSTRACT FROM AUTHOR]

Nuestra realidad física sería un modelo ideal análogo al mundo de las Ideas que el arte en general a través de los distintos periodos de la historia habría reflejado mediante sus formas creativas que se traducirían en una variadísima relación de figuras geométricas como los cinco sólidos geométricos cuyo significado simbólico enlazaría con nuestros procesos mentales que serían análogos al orden del universo. En este artículo veremos cómo a través de los sólidos platónicos obtenemos una visión más amplia de la creación de la forma en el arte, siendo este acto creador original del universo material equivalente a las leyes que rigen la actividad artística donde estos volúmenes cósmicos adquieren un gran protagonismo como símbolos que establecen un lenguaje visual que contendría conexiones matemáticas capaces de manifestar la organización de la materia además de los elementos vitales y sutiles de la naturaleza. De esta manera el arte puede convertirse en un medio para el desarrollo de nuestra intuición despertando así nuestras capacidades todavía latentes y abriendo nuestras puertas hacía otras formas de concebir la realidad.

With the title Patientiae Triumphus, the Dutch engraver Dirck Volckertsz Coornhert composed a series of eight prints inspired by the designs of Maarten van Heemskerck. The collection is composed following the style of Petrarch's Trionfi. The first plate in the series is The Triumph of Patience, and the remaining engravings utilize biblical characters as exempla of this virtue: Isaac, Joseph, David, Job, Tobias, Saint Stephen and finally, Christ. Similar to emblems, each engraving is accompanied by a Latin epigram. [ABSTRACT FROM AUTHOR]

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Este artículo busca caracterizar el uso del lenguaje algebraico por estudiantes de noveno grado, en cuanto a estrategias, significados y dificultades. Discutimos producciones resultantes de la realización de una tarea algebraica por parte de seis alumnos. Los resultados muestran el uso de estrategias simbólicas y estrategias basadas en la reflexión informal y la atribución de significados apropiados a los símbolos, más una disposición limitada para buscar y revisar los significados de las expresiones. Se destacan como principales dificultades de los estudiantes el uso de paréntesis, la multiplicación de monomios y la expresión de relaciones presentes en el contexto del problema.

We seek to understand the sociation processes produced from the manifestations of Arrastão do Pavulagem as a collective creation and manifestation of popular culture in Pará. The investigation considered the scenario of denial, emptying and dismantling of the cultural apparatus of the Brazilian State in the Bolsonaro government and the implications that occurred due to the Covid19 pandemic. Thus, we seek to understand, how this phenomenon-object, the Arrastão do Pavulagem, became one of the great symbols of Pará culture by fostering relationships and identification processes present in the urban Amazon, Belém do Pará. The methodology adopted for understanding the phenomenon was participant observation, from an ethnographically inspired stance, complemented by interviews and dense description (Geertz, 1989). [ABSTRACT FROM AUTHOR]

The contribution summarizes the contents, method and perspectives of the conference «Nicea andata e ritorno. Traiettorie di un Concilio» [Nicea round trip. Trajectories of a Council] organized by the Patristic Area of the Theological Faculty of the Triveneto in Treviso on October 14th, 2023. The Conference saw the engagement of all the teachers of the Area not only at the planning and organizational level, but also through the contributions offered during the study day. After agreeing on the historical-theological framework, the perspective chosen, among the many possible, was to privilege three areas of particular interest in view of a contextualized and effective transmission of the faith, that is: language used, attention to the characteristics of the territory and protagonists engaged in preaching who, in our case, are the bishops of the ecclesiastical province of Aquileia. [ABSTRACT FROM AUTHOR]

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Copyright of Index: Revista de Arte Contemporaneo is the property of Pontificia Universidad Catolica del Ecuador 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.)

Copyright of MATRIZes is the property of Universidade de Sao Paulo, Programa de Pos Graduacao em Ciencias da Comunicacao 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 explores the twentieth-century transformations of the 'heroic personality', focusing on modern challenges to human self-identification. By analyzing the interaction between the heroic category and the sublime, the authors reveal fundamental concepts of human existence and their manifestations in twentieth-century literature, encompassing linguistic, philosophical, and cultural dimensions. Aesthetic considerations serve as a vehicle for understanding the linguistic semantics underlying the transformations of heroism. The article also explores the role of educational policy as a linguistic cornerstone in contemplating the heroic category, highlighting its influence on societal reflections. The polyvector nature of interpretations surrounding heroism across linguistic, cultural, analytical, sacral, and philosophical domains is underscored, emphasizing the multifaceted exploration of this phenomenon within humanity's heritage. Furthermore, the article emphasizes the profound impact of literary heritage as a catalyst for shaping the consciousness of the heroic personality, emphasizing its role as a sensory and emotional architect. The conclusions drawn from this analysis encapsulate the cultural and historical dimensions of the evolution of the heroic personality, encompassing signs, imagery, accents, and semantic nuances. [ABSTRACT FROM AUTHOR]

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Este artigo é resultado parcial de pesquisa desenvolvida no CNPq, em que se investiga a conceituação e as lógicas que operam a memória do futuro na cultura. Com base nas concepções de Iúri Lotman, o artigo objetiva compreender a memória do futuro como fenômeno de imprevisibilidade. A fundamentação teórico-metodológica contempla: pesquisa bibliográfica em escritos do pensador russo e, pontualmente, em outros autores das Ciências Humanas e Sociais; pesquisa documental e análise empírica das traduções semióticas da fotografia produzida por Régis Bossu, O Beijo. Espera-se demonstrar que, como fenômeno imprevisível, a memória se faz no ir e vir de símbolos, reminiscências e de textos culturais capazes de criar futuros.

Este artigo se dedica a uma discussão teórica em relação à imaginação como um elemento lúdico intrínseco ao imaginário. Para isso, explora os conceitos de símbolo, imagem e imaginação, situando o ato imaginativo em um contexto mais amplo e destacando suas dimensões poéticas e fantásticas. Além disso, reflete sobre a importância da atividade lúdica nos estudos do imaginário, enfatizando a ligação do jogo e da criatividade à imaginação, promovendo a exploração de novas perspectivas, a experimentação de diferentes realidades e a expansão de mundos ficcionais. Essa abordagem não só enriquece o entendimento lúdico do imaginário, mas ressalta seu papel fundamental na promoção de uma retórica focada na brincadeira, fornecendo novos significados à vida humana.

Este artículo analiza la obra "Disease Thrower #2" de Guadalupe Maravilla a través de los conceptos de juego, símbolo y fiesta de Hans-Georg Gadamer. Maravilla, un artista salvadoreño, fusiona sus experiencias migratorias y de padecimiento corporal, especialmente su batalla contra el cáncer, en una expresión artística interactiva y terapéutica. La obra, centrada en un santuario con gongs y objetos rituales, busca la participación del espectador, convirtiéndolo en co-creador. Gadamer argumenta que el juego es esencial en la experiencia artística, y la fiesta representa la comunidad en su forma más completa. La función simbólica de la obra, la interactividad lúdica y la creación de una temporalidad plena destacan su carácter como evento social y transformador. En conjunto, la obra desafía las categorías tradicionales del arte al fusionar lo simbólico, lúdico y festivo en una experiencia multisensorial.

La presencia de símbolos de huella modernista es una constante en la obra F. G. Lorca. En este artículo se analizan dichas representaciones vinculadas al agua recogidas en su primer poemario publicado, Libro de poemas (1921). Se parte en esta investigación de que los símbolos asociados al agua translucen sentimientos del poeta que, a su vez, responden a sentidos universales de la existencia humana. Para abordar el estudio, se aplica la metodología interpretativa basada en la Poética del Imaginario (Durand, Bachelard) cuyo sistema de catalogación simbólica universal relaciona los significados con una perspectiva más amplia que responde a la búsqueda del sentido de la vida. El análisis efectuado revela, efectivamente, que los valores de los diversos símbolos (mar, río, lluvia…) ofrecen un sistema de relaciones que vinculan el sentir del poeta al más general de la realidad antropológica. Se concluye que el mundo simbólico que recrea -nutrido principalmente en fuentes folklóricas y en el simbolismo- coadyuva a la expresión de tristeza que recorre el poemario.

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This article explores the concept of symbol from the perspective of liberation. It applies the notion of symbol to the people who participate in the processes of liberation of those who are poor and excluded from society. They are symbols of God the liberator. In this sense, our study understands the person of Oscar Romero as someone who represents the people who struggle for their liberation, and therefore, as someone who is a symbol of God the liberator. Methodologically, as a first step, this article defines what a symbol is, especially from the perspective of Karl Rahner. Hence, this study understands a symbol as a reality that represents or makes present another reality. As a second step, this article applies the concept of symbol to the figure of Romero in three ways. Firstly, Romero is a symbol of the crucified people, which includes, on one hand, those who are passive and innocent victims of social injustice, and on the other hand, those who actively give their lives and are killed for defending the rights of the poor. Secondly, Romero symbolizes the spirituality of liberation. Having the option for the poor as a basic principle, this spirituality includes love for the poor, the integration between prayer and praxis, the discernment of the signs of the times, and the work for justice and reconciliation. Finally, Romero is a symbol of God’s self-communication in grace. God reveals God’s self in and through symbols. Thus, Romero is a symbol of God the liberator, that is, a God who loves and cares for the poor. However, Romero is a symbol of his people. Therefore, the crucified people represented by Romero are also symbols of God. This analysis concludes that God the liberator, in and through the symbolic figure of Romero, invites all men and women to be symbols of liberating grace. [ABSTRACT FROM AUTHOR]

The symbol of the stone has been a constant in the Peruvian poetic tradition of the 20th century, with a development in which different symbolic constructions can be appreciated. Among them, the identification or relationship of the stone with the mother is found in several authors with different formulations and derivations: from the stone as a constant symbol in the work of César Vallejo, identified with the grave and the cradle and therefore linked to the mother (with birth and death), mother stone and stone-pillow on which to lay the head that also appears, with a different formulation, in César Moro, to the new stone-pillow by José Watanabe, in whose work we can find the image of the winged stone that receives life and turns it into a grave. This article analyzes these symbolic constructions of the stone in order to outline a common thread and a reflection on the relationship of the three authors around the symbol. [ABSTRACT FROM AUTHOR]

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The ambiguity of traditional sexual roles would have burst into the art of the beginning of the twentieth century, passing it down to our days through changed and confusing roles that are interpreted numerous times by creative men capable of interpreting their female counterpart through the symbols of the unconscious. This new approach to the male sexual role would constitute an important part of its nature, while at the social level it would constitute a transformative force where the feminine begins to have renewed power, putting an entrenched patriarchy in crisis. In this article, we will see how in the art of male artists the union of opposites would condense into unity presenting itself as a bisexual and totalizing being that reveals to us a new man, capable of manifesting his feminine side as a critical alternative that breaks with conventions social, linking with our evolutionary past, but also with our future. [ABSTRACT FROM AUTHOR]

This article analyzes the construction of childhood in the novels El mercurio (1968), El río de la luna (1981) and Esta pared de hielo (2005), by José María Guelbenzu, in the light of the mythical-symbolic concepts of Bachelard and Durand to demonstrate that it functions as a primitive absolute to which it is sought to return constantly, since it protects the characters until the imminent clash with adult reality. This to conclude that in their adulthood the characters observe childhood with the desire to return there, this has a palliative function through memory and word, therefore, Guelbenzu's narrative proposes the return to the child environment trough literary images to preserve that world of fantasy. [ABSTRACT FROM AUTHOR]

The article analyzes the differences and similarities in the concepts of symbol and symbolization between Freud, Durkheim, and Mauss. While Freud focuses on the individual unconscious and sexual desire as the basis for unconscious representation activity, Durkheim and Mauss emphasize the collective and social dimension of symbolism. Although there are differences between them, there are also points of convergence, such as the universality of the symbol. The article highlights the complexity of human reality and the need to consider different perspectives. [Extracted from the article]

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El presente artículo trata de reflexionar acerca de algunas formas de aproximarse a la fotografía. Así como sucede con el texto, la fotografía es también un medio que favorece la creación, el descubrimiento de mundos o situaciones imaginadas. El acto de fotografiar conduce a distintas formas de pensar, de observar, de mirar y también de expresar simbólicamente. Su realización no debería centrarse únicamente en el resultado final, es decir, la imagen deseada, sino también en el proceso, los pasos previos que permiten descubrir otras representaciones, nuevos pensamientos que favorecen la selección de unas u otras imágenes de formas diversas. También las repeticiones, eliminaciones, búsquedas o hallazgos a veces imprevistos son sustancias del pensamiento fotográfico. Se destaca la importancia de descubrir en la fotografía aquello que queda implícito, aquello que no se aprecia visualmente, no sólo para quien realiza la fotografía sino también para quien la contempla. Finalmente se presentan cuatro pares de fotografías sin título alguno, cuya posible relación dos a dos invita a ser contempladas de forma simbólica.

La narrativa de Grazia Deledda (1871-1936), caracterizada por un psicologismo de fuerte impronta romántico-idealista en el que la cultura sarda y el paisaje cobran un protagonismo especial, se construye en torno a dos componentes esenciales: el sustrato de las civilizaciones primitivas y la función expresiva del medio natural, que se plasman mediante una poderosa estructura simbólica. En el presente artículo se analiza el valor significante del viento en la novela La madre (1920), lo que nos permite profundizar en el conocimiento de los procedimientos compositivos que la autora utiliza habitualmente. Nuestro estudio recurre a las herramientas que tanto la filosofía del lenguaje como la lingüística ―y, de forma más concreta, la semántica― ofrecen al investigador con el fin de acercarnos al conocimiento del símbolo, así como a su valor referencial y dinamizador.

La escisión que presenta la "filosofía del límite" de Eugenio Trías nos remite a un movimiento triádico de influencia hegeliana, en el que el hombre aparece como un ser en la frontera (realidad límite) exiliado de su fundamento espiritual. La manifestación del Misterio del Espíritu en la realidad sensible e histórica se realiza a través de la mediación de la razón simbólica de dos maneras: en la configuración estética del mundo, realizada por el arte; en la revelación de lo sagrado, realizada por la religión.

Resumo Este artigo reflete sobre o impacto que o mundo digital tem no quotidiano dos indivíduos, procurando identificar caminhos que promovam a capacidade de viver com sabedoria, pensar em profundidade e amar com generosidade (cf. Laudato Si’, 47). Parte de uma reflexão epistemológica que permita abordar este assunto na perspetiva teológica, vendo até que ponto o discurso religioso pode contribuir para uma ecologia sustentável. A resposta a este desafio é possibilitada pela abordagem simbólica da mediasfera digital, refletida a partir do pensamento de Marshal McLuhan e Roland Barthes, onde o “meio” e o “mito” são vistos como o suporte da comunicação. Resumen Este artículo reflexiona sobre el impacto que el mundo digital tiene en la vida cotidiana de las personas, tratando de identificar formas de promover la capacidad de vivir con sabiduría, pensar profundamente y amar con generosidad (cf. Laudato Si', 47). Parte de una reflexión epistemológica que permite abordar este tema desde una perspectiva teológica, viendo en qué medida el discurso religioso puede contribuir a una ecología sostenible. La respuesta a este reto es posible gracias al enfoque simbólico de la mediateca digital, reflejado en el pensamiento de Marshal McLuhan y Roland Barthes, donde el "medio" y el "mito" se consideran el soporte de la comunicación.

The meme is an everyday metaphorical realization. Although its virtual presence is currently inescapable, its creation requires astuteness and poetic skill. The objective of the following article is to explore the metaphorical property of the meme and its existence as poetics of the 21st century through a documentary methodology and from a philosophical-sociological perspective. It begins with the importance of similarity in metaphorical composition. The unreflective copula (implicit as if) and its role in the existential generation of experiences and objects are explored. Next, the representative power of the meme is addressed through the philosophy of Nelson Goodman in The Languages of Art. The relationship of the meme with the reference, the denotation and the possibility of informing and communicating through emotion are examined. Lastly, and by the hand of Paul Ricoeur in The living metaphor and Hermeneutics and action, the semantic innovation that the meme entails is proposed: A way of carrying out the adaptation of language to a world in constant expansion. [ABSTRACT FROM AUTHOR]

This article aims to analyze tasks developed by multipurpose teachers within the scope of a study that involved continuing education, to work on elementary algebraic concepts. The study is located at the intersection of Early Algebra, Blended Learning and Teacher Education. A continuing education course was developed for nine teachers who teach Mathematics, in the Elementary School, enrolled in a discipline of a Master's course in Education at a public university in the state of Bahia. For the purpose of this article, the discussion focused on a fundamental concept for the study of Algebra: the symbol. Data were produced in two environments (AVA REPARE and classroom) and consisted of: forums, discussion in the elaboration of problem situations and expositions of situations. The results point to the reflections carried out by the course-teachers, which led to a (trans)formation in their pedagogical practices. The interactivity of AVA REPARE provided a plurality of data, exchanges of experiences and rich information among the course-professors. Also, the study shows that the course carried out proved to be a rich and innovative model for in-service training of teachers who work at this level of education.

The study of religion from a Jungian perspective has been expanding in Brazil. The Jungian hermeneutic method is still little known. Thus, the article is characterized as theoretical, gathering important concepts in Jungian psychology, explaining how the symbolic hermeneutic method works, and discussing new methodological perspectives in Jungian research in dialogue with the contemporary world. The study also deals with the theme of religion, providing key concepts about the sacred. The results/analysis are related to the method of symbolic amplification of the narratives of São João do Guarani, a popular saint of the forest, worshipped in the Chico Mendes extractive reserve in Xapuri, Acre state. Mythical and symbolic metaphors are then applied to the narratives, considering the conceptual issue of archetype and collective unconscious, evoking the primary analogies and images that the tales produce. [ABSTRACT FROM AUTHOR]

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Nada ha vuelto a ser igual desde que, en 1934, Marcel Mauss pronunció la conferencia Les techniques du corps ante la Société de Psychologie y dos años más tarde se publicó en el Journal de Psychologie. Desde entonces, el cuerpo signo no cesa de expresar, traducir y de constituirse en vehículo de cambio e intercambio. Este número de Alteridades Pensar los cuerpos se pregunta ¿Qué clase de categoría es hoy el cuerpo? El cuerpo como lenguaje, el cuerpo como medida a través de la cual se ubica la presencia del ser humano en el espacio, el cuerpo locus, esquema, modelo, interfaz, pantalla, superficie operatoria… ¿Qué recorridos ha debido transitar?

El artículo quiere avistar líneas fecundas de desarrollo de la sacramentología. Para ello comienza mostrando cómo nuestra época busca lo transcendente en el espacio del cuerpo y en el interrogante sobre la configuración del tiempo de la vida, temas muy cercanos a la lógica sacramental. Se analiza entonces la reflexión reciente sobre los sacramentos y las respuestas que ofrece a estas inquietudes. Se pueden describir, a esta luz, varias trayectorias de investigación: el nexo del septenario con la Eucaristía; el desarrollo de una cristología eucarística; la relación entre lógica sacramental y lenguaje del cuerpo; la capacidad del septenario para configurar el tiempo y la historia; la mirada sacramental sobre la Iglesia y su misión. Se concluye, en fin, que a más de un objeto de la teología por cuyo futuro nos preguntamos, los sacramentos son el lugar donde emplazarnos para descubrir y generar las posibilidades de futuro de toda cuestión teológica.

Este artículo examina la serie de animación (Des)encanto, de Matt Groening para Netflix en 2018, realizando su análisis cultural a partir del modelo cultural establecido para la generación milénica en la tesis doctoral de Carolina Delamorclaz (Universidad de Castilla-La Mancha, 2020). El acercamiento teórico a este producto permite percibir la complejidad del mundo contemporáneo, en cuanto a la otredad, el racismo, los debates sobre el género, el sexo y la deconstrucción de los metarrelatos, como lo son los cuentos de hadas.

Copyright of Revista Hidalguía is the property of Revista Hidalguia 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.)

Copyright of Cuadernos del Centro de Estudios de Diseño y Comunicación is the property of Cuadernos del Centro de Estudios de Diseno y Comunicacion 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.)