Man and his symbols

Cilj je članka ukazivanje na funkciju i značaj simbola, kako u povijesnom razvoju tako i u svakidašnjem životu. Simbol je povijesni likovni artefakt, riznica kolektivne emocije i oduvijek je magično privlačio u traganju i otkrivanju skrivenih suština. Simbol je slika, kip i arhitektura čije je značenje podsvjesno utemeljeno. Preko njega smisao je života bivao prisutan, a samim tim i kontinuitet zagarantiran. Čovjekova potreba da objasni tajne i nađe smisao života pronašla je svoj izraz i u simboličkim spomenicima zadivljujuće ljepote i moći. Simboli su također štitili integritet, integriranost i zdravlje prvobitnoga čovjeka. Diferencijacijom odgovornosti za povijesni opstanak, pridonijeli su i dignitetu medicinske struke. Prikaz geneze simbola na obrascu zvanom vesica piscis (lat. riblji mjehur) upoznaje nas s jednim od mogućih načina stvaranja i razlikovanja simboličkih struktura. Naravno, simboli su samo sredstva za identifikaciju i komunikaciju, a sve ostalo ovisi «o zrelosti» određene kulture.The aim of this paper is to identify the function and the meaning of symbols, both in historical and in everyday life. The symbol is a historical artefact of visual arts, the repository of collective emotions and has always had certain magical attraction for searching and revealing the hidden essence. The symbol is an image, statue or architecture whose meaning is established subconsciously. Through it, the meaning of life has become present thereby the continuity itself ensured. The human need to explain mysteries and reveal the meaning of life has also found its expression in monuments of remarkable beauty and power. The symbols have also protecte the integrity, the level of integration and the health of the ancient man. By differentiating the responsibility for historical survival, they have contributed to the dignity of medical profession. The presentation of symbol genesis based on the pattern of vesica piscis (lat. swimming-bladder) introduces one of the possible modalities of creating and distinguishing between symbolic structures. Nevertheless, the symbols are only means of identification and communication; everything else depends on “maturity” of certain culture

A study of the sea and the search for paradise regained in Typee , :Mardi , and Moby-Dick

In Typee, Mardi, and Moby-Dick by Herman Melville, the sea functions as a symbol which expresses Melville\u27s changing worldview. The most important characteristic of a symbol is that its referent is non-ostensive. That is, the symbol refers not only to an intangible concept but also one that can only be defined completely or comprehended fully. It may be that symbols are derived from man\u27s awareness of the absurdity of his existence. Man is not responsible for his birth, nor can he avoid his death. During his empirical existence he craves some kind of order, unity, reason, and meaning in this world. This desire leads to an attempt to define himself and to understand himself and his relationships with nature and with society. An irreducible something makes it impossible for him to know himself, another, or his situation fully. The symbol is also multi vocal in that it means different things to different people . Hence, man create symbols in an attempt to find his identity through an ordering of his experience. At this time the intangible and undefinable quality of the symbol reflects the impossibility of knowing and understanding it completely. (Man continues, through symbols, to find a somewhere to be and a reason to be there. For Melville the sea is the symbol for that human predicament.

The old drama and the new: conceptions of the nature of the theatrical experience in the work of William Archer, G.B. Shaw, W.B. Yeats, E.G. Craig and H. Granville-Barker.

PhDTwo opposing philosophical outlooks can be discerned in the thought of the men discussed in this dissertation.. The humanist view, associated with Archer and Barker, sees life as centred solely on man; the religious thinkers, Yeats and Craig, are concerned with man's relationship with a power beyond himself. Shaw is unique in his advocacy of contradictory elements from both philosophies. The humanist thinkers are concerned in art with the communication of information about man; those of the religious party value an indescribable experience communicated by artistic symbols. These two kinds of communication can perhaps be seen in the English theatre of the nineteenth century; the theatre of the early part of the century made use of a traditional language of theatrical symbols, while the later theatres of Irving and the Bancrofts abandoned tradition in favour of new "realistic" portrayals of society and human psychology. Archer illustrates the humanist approach to art in his concern for the moral and psychological information conveyed by the play. In his humanist guise, Shaw emphasizes the need for drama to convey new social and philosophical ideas. For Barker, drama conveys, through the medium of the actor, a special kind of "subjective" truth. Each of the religious theorists seeks symbolic value in a different facet of the theatrical performance;, for Yeats, the religious communication is achieved by the traditional symbols of poetry; for Shaw, in his religious guise, the performer is the prime source of symbolic value; for Craig, purely visual symbols of natural process provide a glimpse of a world untainted by man's egotism. The theories are open to criticism. The humanist theories seem to deny the value of artistic form, while the religious theories seem to seek form without content. All the theories seem to show insufficient respect for the laws of audience psychology

Vernacular Language in Tamil Literature

It is said that language appeared when man began to think. When primitive man was forced to communicate his feelings to others, he used sounds and sign languages as a means of communication. As time moves on language evolved from sound form to written form. Tamil language also appeared in this way and it excelled in literature. This literature remains as the cultural symbols of ancient Tamils. Our mother tongue, Tamil, which is so old and proud is a language that reflects the lifestyle of the people. This article aims to highlight the modern study of vernacular language which has been studied in literature over time

Inner Darkness: Images of the unconscious in Virgil\u27s Aeneid

Dark, dire images pervade the Aeneid, and the epic poem\u27s final lines are decidedly unsettling. Through his images and symbols, Virgil depicts a conflict within Aeneas, and he seems to deliberately resolve it in a way that leaves his reader disquieted. Aeneas\u27 conflict, like Achilles\u27 inner struggle in the Iliad, is as a semi-divine hero, born of a goddess and a mortal man, torn between his mortal and divine sides, and it can been seen as the human conflict between body and spirit. In resolving this heroic, and indeed human, conflict, Virgil shows his hero darkly acquiescing to his divine side in the Aeneid\u27s abrupt ending, whereas Homer chose to depict Achilles reconciling his divine and mortal nature, albeit with a sense of melancholy, in the closing books of the Iliad

Der ewige Jude [The Eternal Jew] Postcard

Front: A caricature of a Jewish man with his right hand full of gold coins and a cane in his left. Includes a picture of Germany with communist symbols at his right and a yellow background.Back: Includes a message written in pencil and a green stamp. Information Provided by Michael D. Bulmash: To further promote Nazi anti-Semitic objectives, a travelling exhibition named “Der Ewige Jude” ( The Eternal Jew ) was created in 1937. It appeared in five cities during the following eighteen months. The exhibition depicted Jews—their clothes, facial characteristics, cultural items and art- in every conceivable negative and unfavorable way, and markedly “degenerate” in contrast to the Nazi Aryan ideal. This postcard advertising the exhibition-in this case in Vienna- depicts a caricatured, unattractive image of a disheveled Jewish man against a yellow background clutching a knotted whip in his left hand with an inset map of the Soviet Union with red Communist hammer and sickle. In his outstretched right hand are gold coins. His eyes are closed against a secret he is hiding: the composite image represents a putative Jewish conspiracy for world domination. The two special cancellations on the back of the postcard commemorate the event.https://digital.kenyon.edu/bulmash/1352/thumbnail.jp

The Relationship of Certain Terms to the Doctrine of Original Sin

Mathematicians state that for one to comprehend the Einstein theory of relativity a good knowledge of mathematics and mathematical symbols is necessary. It is impossible to put into words many of the thoughts and concepts expressed, but Einstein communicated through the use of certain symbols and formulas. When a student in any field begins his study he is soon aware that the amount of mastery he will gain in the area will depend upon his grasp and comprehension of the terminology peculiar to that field of study. It must be discovered what certain terms and thought patterns mean to those who are expert in their use. In the study of the doctrine of original sin the student is soon confronted with such Biblical terms as, the body of sin, the old man, the carnal mind, and others of a similar nature. The present problem is to try to determine the meaning of these Biblical terms as they relate to the Christian doctrine of original sin as understood by Roman Catholics, John Calvin, James Arminius, Robert Barclay and John Wesley

Hazard

The novel is essentially an exploration of man's relationship to his environment, the emphasis being on his need to understand the land he lives on and his reactions to it. The central character's sympathy for the land and his desire to learn from it form the basic conflicts of the work. The knowledge stained is not only of the sympathetic power between man and the wild but its potential danger as well in the form of animal aggression. The major symbols of the story evolve from natural surroundings and myth, the horse and horseman being the primary motif, invested with an animal cunning and an animal savagery. The knife symbolism is more ambiguous, implying not only a link with the wilderness but also one with civilization. There is a sense of control over environment, and at the same time a latent violence and potential for killing