Symbols

Occorre oggi allargare il nostro paradigma antropologico di riferimento, passando da un paradigma che dice una parte di verità sull'essere umano, a un paradigma più accogliente e più rispettoso, più confortevole per noi e per le esigenze della nostra libertà: un paradigma più adeguato alla nostra umanità. Un paradigma che riconosca come la nostra interiorità è sempre esteriormente mediata e come, al contempo, l’esteriorità si presenta alla nostra esperienza sempre interiormente mediata. È un paradigma che riconosce che l’essere umano è, prima di tutto ed essenzialmente, un animale simbolico.

With dragons, dogs, wolves, ravens, and so many more, animal symbolism is endlessly significant in Game of Thrones. Discover their meanings in heraldry, in Celtic myth, and other clever correspondences. What do red, green, black, and grey symbolize, in heraldry and fiction? Why does Daenerys wear so much blue? What about golden roses? As George R.R. Martin’s characters chomp on bloody beef, blood oranges, red wine, beets, and pomegranates, they foreshadow the inevitable bloodbaths. Thus the intricately crafted world of books and show has endless depth, revealed in this spoiler-free talk for fans of every flavor. (This is a free powerpoint of a presentation I've done--this is also a book, written by me, with this title).

Because young children lack reading skills, traditional text-based warnings can be rendered ineffective. Pictorials might be an alternative for text to conveying safety-related information. Surprisingly, very little research has been conducted to explore the comprehensibility of safety symbols by young children. In the current study, 15 young children, aged 3-6 years (M = 4.7 years, SD = 1.2) were asked to: (a) identify the hazards associated with five common household items, (b) interpret the meaning of five associated warning symbols, and then (c) play a matching game where household items were paired with appropriate warning symbols. Results indicated that successful hazard identification varied considerably between household items. All children were able to identify the fall or crush hazard associated with an open window but almost none of them identified the strangulation hazard associated with window-blind cords. When symbol comprehensibility was initially assessed, fewer than half exceeded 50% correct identification but training provided by the experimenter benefited the children in understanding their meaning. Performance on the matching game illustrated that children were able to successfully acquire the safety information after being provided with definitions of the symbols and were able to pair them with the appropriate household items.

Niniejsza praca ma na celu przedstawienie teorii mitotwórczej J. R. R. Tolkiena, z perspektywy jej wymiaru duchowego. Od czasów antycznych teorie, tudzież filozofie, opierały się na myśleniu abstrakcyjnym i miały za zadanie wyjaśnienie ówczesnemu człowiekowi otaczającej go rzeczywistości. Nie inaczej było z Tolkienowską teorią, na potrzebę której ukuł swój termin Mitopoeia. „Duchowy wymiar Tolkienowskiej Teorii Mitotwórczej” – tłumacząc tytuł tej pracy na język Polski – przekłada się na wiele sfer życia Tolkiena. Pierwsza z tych płaszczyzn, to przypisywany mu przez niektórych krytyków program filozoficzny. Na tym wymiarze skupia się pierwszy rozdział tej pracy: „The Philosophical Disenchantment.” Jednak jak sugeruje tytuł, stanowi on zaledwie tło wszelkich dalszych poszukiwań, gdyż oferuje badaczom Tolkienowskiej myśli jedynie jej racjonalizację i demitologizację. Życiowa pasja Tolkiena, filologia komparatywna, daje wystarczające zrozumienie jego fenomenu, a przynajmniej zdaniem kilku krytyków. Niezaprzeczalnie stanowiła ona inspirację, a zarazem była narzędziem, którego Tolkien użył podług swej ogromnej wiedzy z zakresu językoznawstwa. Pomimo, iż w tej pracy „Comparative Philology” jest omawiana w drugiej kolejności, to właśnie ta dyscyplina była źródłem znajomości filozofii u Tolkiena. Podążając krokami Tolkieniany nie można jednak na tym poprzestać. Trzeci wymiar, jakże metafizyczny i filozoficzny w swych założeniach i implikacjach to odkrycie Owena Barfielda, znajomego Tolkiena. Barfield odkrył Teorię „Jedności Semantycznej,” co Tolkienowi przyszło łatwo przyjąć do wiadomości: język jako narzędzie może również być transcendentny, ze względu na swe początki. Dla Tolkiena była to jedna z tych rzeczy, która pozwoliła mu uwierzyć w smoki. „Philological Philosophy: Let There Be Dragons” – jest zatem łącznikiem między dwoma światami. Jednakże Tolkien nie był byle fantastą, oderwanym od ziemi. Teoria Barfielda, obudziła w nim nadzieję. Pomimo to, tak jak każdy rozsądny i racjonalny człowiek Tolkien musiał dowiedzieć się, „czy to prawda.” Potrzebował czegoś, aby idee odnieść do nie tyle rzeczywistego doświadczenia, ile prawdy. Prawda, bowiem wyzwala. Mimo nieustannego negowania jego wiary, to właśnie ona umożliwiła mu dalsze rozważanie tych teorii. I nie da się inaczej wytłumaczyć jego mitotwórstwa, jak przez uznanie jego wiary. Miłości do Boga, która była tak głęboka, że aż sięgała wiedzy teologicznej. Tego, między innymi, tyczy ostatni rozdział tej pracy: „Myth Becomes Truth.”
Liczba stron: 51

Rjabchikov, Sergei V., 1999. Utrachenny klyuch k pis’mennosti ostrova Paskhi. In: Y.A. Sorokin and A.M. Kholod (eds.) Versii antropotsentrizma (materialy III mezhdunarodnogo simpoziuma “Chelovek: yazyk, kul’tura, poznanie”, 27-28 aprelya 1999 goda, g. Krivoi Rog, Ukraina).  Moscow – Krivoy  Rog: The Institute of Linguistics of the Russian Academy of Sciences; the Saksagani Library, pp. 89-91.

Keywords: Easter Island, Rapanui, Rapa Nui, Polynesia, rongorongo, script, writing, hieroglyphic script, folklore, Austronesian

V članku je predstavljen kratek povzetek predavanja. V prostoru okoli nas se prepletajo vidni del (narava, prostor), nevidni del (energije, kačje črte) ter naša preteklost. Prostor je sestavljen tudi iz svetih mest v naravi, megalitov, tičnic, tročanov, staroselske arhitekture in nesnovne dediščina. Vse to potrjuje, da živimo na enem izmed najbolj čarobnih delov sveta, imenovanem Slovenija.

Individuals with autism spectrum disorders (ASD) are severely challenged by their difficulties with language and communication. Some research suggests that augmented language input, whereby a speaking communication partner adopts and uses an augmentative or alternative communication (AAC) system for both expressive and receptive language, can be effective with these individuals. The Pragmatic Organization Dynamic Display (PODD) system is both a method and tool for developing and utilizing augmented language input. As a promising practice, PODD provides strategies to support the design, production, and implementation of communication systems that enable genuine communication for a variety of functions in all daily environments. PODD includes strategies to minimize some of the common difficulties associated with the use of multi-level communication books. Specifically, PODD: (a) supports the individual who relies on AAC and his/her communication partners to move efficiently between pa...

Resumen: En el presente estudio analizamos la vestimenta de la pintora mexicana Frida Kahlo (1907-1954), enfatizando en la ornamentación de sus vestidos y blusas bordadas, centradas en los rasgos propios de la mujer mexicana. A través de este trabajo reflexionamos sobre las relaciones de la artista y las influencias en la moda. Así, revisamos esta nueva idea de la mujer indígena como modelo de distinción y originalidad en Europa y América, tanto de principios del siglo XX hasta la actualidad. De este modo, Frida es una de las primeras precursoras de una moda propiamente mesoamericana.

A iluminação de espaços sagrados não é devidamente observada como elemento relevante para a eficácia de tais ambientes. Todavia, a contínua construção e manutenção de igrejas cristãs ao longo de milênios tem manifestado a luz como dotada de força simbólica excepcional e primordial para a percepção do espaço sagrado como lugar de encontro com o divino. O presente artigo trata da luz, manifestadora do transcendente, a partir de abordagem simples, para divulgação em site da empresa D’Falco Vitrais, solicitante do trabalho. São elencados alguns princípios conceituais e diretrizes para o planejamento da luz no espaço sagrado, a partir da análise do vitral como técnica que alia luz e cor, que diz do visível e do invisível.

ABSTRACT
The lighting of sacred spaces is not properly observed as a relevant element for the effectiveness of such environments. However, the continuous construction and maintenance of Christian churches over millennia has manifested the light such as endowed with exceptional and primordial symbolic strength for the perception of the sacred space as a place of encounter with the divine. This article deals with light, a manifestator of the transcendent, from a simple approach, for dissemination on the website of the company D’Falco Vitrais, who requested the work. Some conceptual principles and guidelines for the planning of light in the sacred space are listed, based on the analysis of stained glass as a technique that combines light and color, which speaks of the visible and the invisible.

Man employs a variety of methods to communicate his ideas and intentions. When he trusts that his audiences are competent enough to comprehend his oral or written message, and when he feels assured that no prejudice or misunderstanding exists on the part of the audience; he speaks directly and avoids figurative or ambiguous language. In contrast, if he feels or predicts otherwise, he tends to apply another strategy, expressing meanings implicitly under the guise of allusion, symbolism, and/or allegories. Some researchers believe that symbolic mysterious language (ramz) is exclusively employed in mathematics and mysticism to express topical objectives, but in this article, we will attempt to explain the application of this language in philosophy, and demonstrate why Muslim philosophers leaned toward using this encoded language. The author of the present study believes, to the best of his knowledge, that this research study is the first of its kind that seeks to explore the motives and considerations behind the use of this encoded language by philosophers.
Man employs a variety of methods to communicate his ideas and intentions. When he trusts that his audiences are competent enough to comprehend his oral or written message, and when he feels assured that no prejudice or misunderstanding exists on the part of the audience; he speaks directly and avoids figurative or ambiguous language. In contrast, if he feels or predicts otherwise, he tends to apply another strategy, expressing meanings implicitly under the guise of allusion, symbolism, and/or allegories. Some researchers believe that symbolic mysterious language (ramz) is exclusively employed in mathematics and mysticism to express topical objectives, but in this article, we will attempt to explain the application of this language in philosophy, and demonstrate why Muslim philosophers leaned toward using this encoded language. The author of the present study believes, to the best of his knowledge, that this research study is the first of its kind that seeks to explore the motives and considerations behind the use of this encoded language by philosophers.

Quel est le secret de Pythagore ? On pourrait avancer que, par définition, s’il y a secret, il est caché et n’est pas dévoilable, ou ne sera pas dévoilé. Le vrai secret est celui dont on ne soupçonne même pas l’existence. On peut toutefois approcher tangentiellement le cœur du pythagorisme à partir d’un idéal qui a traversé les âges : celui qui est juste et parfait devient digne d’entrer en commerce avec les dieux et de bénéficier de leurs enseignements. Une double harmonie est pour ce faire requise : être juste géométriquement, et intègre moralement, c’est-à-dire, d’une part, faire preuve de droiture et d’équité, et, d’autre part, de sagesse et d’équilibre. En conséquence, on examine ici la métaphysique numérique de Pythagore, sa religion gnostique, et sa morale ascétique.

Pythagore juste et parfait. Philosophie ou ésotérisme ?, Louvain-la-Neuve, Éditions Chromatika, 2018. (ISBN 978-2-930517-58-2)

The famous philosopher Friedrich Nietzsche (1844-1900) and the brilliant Russian painter Nicholas Roerich (1874-1947) have broadly reflected on the
topic of the mountain, conceived by them as a symbolical and hermeneutical figure. Roerich’s pictorial opus magnum is for the most part devoted to the representation of Asian mountains nature as long as Nietzsche’s poetical and philosophical perspective passes through the mountains, especially Alps, understanding them as pivotal figures of a philosophical thought. The essay will underline the “poetics of the mountains” in Nietzsche’s and Roerich’s work, showing that mountain represents the symbolical answer to the philosophical research of Nietzsche and to the artistic and metaphysical quest of Roerich.

Straipsnyje ikonografijos ir stiliaus požiūriu analizuojama Lietuvos kapinėse esan-čių XIX a. antkapinių ketaus kryžių puošyba: ornamento motyvai, religiniai bei sepulkraliniai simboliai, stiliaus požymiai. Lietuvos kapinėse iš likusių ketaus kryžių dekorą pirmą kartą bandoma susieti su atitinkama ketaus liejybos tradicija: vokiečių (prūsų), prancūzų ir rusų.

The article discusses the decor of cast-iron tombstone crosses in Lithuanian cemeteries: motifs of ornaments, style characteristics and religious and sepulchral symbols. The article identifies three cast iron "schools", to which the crosses or their designs that spread in Lithuania may be attributed, i.e. German (Prussian), French and Russian.

Като повод за настоящата статия послужи публикацията на И. Лазаренко "Средновековна хералдична апликация от Варна". [1] Според нас натрупаният археологически материал, макар и относително ограничен като количество, позволява да се направи един опит за систематизация и цялостен анализ на данните, свързани с хералдическите метални изделия, открити на територията на България. Според нас въпросите за произхода и предназначението на част от находките все още не са получили задоволителен отговор. През 1976 г. М. Ваклинова въвежда в научно обръщение медальон с изображение на лъвове, открит от Ж. Сьор при разкопки на хълма Трапезица (обр. 2). [2] Тя свързва медальона с работата на Лиможките ателиета в Аквитания през XII-XIV в. и го датира в XIV в. В по-късни свои изследвания М. Ваклинова доразвива тезата си, като я подкрепя с други паметници на металопластиката, свидетелстващи според нея за разпространението на западноевропейската мода

The Grolier Codex (Codice Maya de Mexico, CMM) is discussed in the context of the archaeoastronomy of the ancient Americas on pages 98-99 of the March 1990 National Geographic Magazine article "America's Ancient Skywatchers" by John B. Carlson. One of four known ancient Maya books, the Grolier Codex depicts different manifestations of the planet Venus; the column of glyphs on the left of each panel records days in a 104-year Venus almanac. These plaster-coated bark-paper pages, carbon-dated to the 13th century, represent only half of the 20-page original. A numbered photographic arrangement of the Grolier Codex depictes the author's discovery that Codex pages 10 and 11 are actually two parts of the same "page 10".  Carlson clarifies the identities of Venus deities depicted in the Grolier Codex from a comparison of images from the Cacaxtla murals and links the images of the Grolier Codex with ancient Maya astronomically timed ritual warfare and sacrifice. (Grolier Codex photographs: Enrico Ferorelli; Other photos: Bob Sacha)

This article has been posted on Academia.edu as part of the Grolier Codex Project of the Center for Archaeoastronomy under the directorship of John B. Carlson, Ph.D.  The Grolier Codex Project seeks to further advance the study of the Maya Grolier Codex.

This investigation on the Corpus Dionysiacum focuses on the study of some of the fundamental concepts in the theology of the Pseudo-Dionysius (v. gr. beauty, light, symbol, hierarchy, liturgy, apophatic theology, mysticism, divinization) in order to answer the question: How is the ontologic hierarchy of creation both valued and defined by the aesthetic theology of the Pseudo-Dionysius? The Areopagite arrives to the idea of hierarchy from the notion of the universe as ordered by the criteria of sacrality. “The common goal of every hierarchy —he tells us— consists of wishing, aspiring, loving the Goodness-Beauty and His Sacred Mysteries; a love infused by Him, perfected in His Union” (EH I, 3, 376 A). Thus, in the goodness of this hierarchical order, “thanks to Him and by Him, the inferior beings trustingly love superiors, equals communicate with their kindred and superiors care for inferiors” (DN IV, 10, 708 A). It is proper of the celestial hierarchy to manifest the beauty of light, based on the immediate nature of its relations and to the inherent transparency of its immaterial subjects; in the same manner, it is proper to the human hierarchy to reflect the beauty of the symbolized, due to the nature of our human limitations. On the other hand, Dionysius describes hierarchy as a salvific liturgy, structured in virtue of its ontological unity with God. The liturgy, turns, undoubtedly, into a deeply aestetical experience, seen as the dynamic by which one ascends in love and community by means of light and symbols. Therefore, we reach to the conclusion that Dionysius values and defines the ontological hierarchy of creation as liturgy: a liturgy encompassing the metaphysics of light and the mysticism of ascension, based on the anagogic strength of symbols. In this way, the thought of the Areopagite turns into a surprisingly modern topic, in light of the contemporary necessity to revive mysticism, as well as focusing theology in aesthetical terms and perspectives.

En esta investigación del Corpus Dionysiacum se aborda el estudio de algunos conceptos fundamentales de la teología del Pseudo Dionisio (v. gr., belleza, luz, símbolo, jerarquía, liturgia, apofatismo, mística, divinización) para tratar de dar respuesta a la pregunta: ¿cómo la estética teológica del Pseudo Dionisio define y valora la jerarquía ontológica de la creación? El Areopagita llega a la idea de jerarquía partiendo de la noción del universo en cuanto ordenado por el criterio de sacralidad. “Toda jerarquía —nos dirá— tiene como fin común desear, anhelar, amar al Bien-Hermosura y sus sagrados misterios; amor que Él infunde y en la unión con Él se perfecciona” (EH I, 3, 376 A). En la bondad del orden jerárquico, “gracias a Él y por Él, los seres inferiores aman confiadamente a los superiores, los iguales se comunican con sus semejantes, los superiores velan por los inferiores” (DN IV, 10, 708 A). Es propio de la jerarquía celeste manifestar la hermosura de la luz, dada la inmediatez de sus relaciones y la transparencia de sus sujetos inmateriales, en cuanto que es propio de la jerarquía humana lucir la belleza del símbolo, por causa de la necesidad de nuestras limitaciones naturales. Por otro lado, Dionisio describe la jerarquía como aquella liturgia salvífica que se estructura en virtud de la unidad que ontológicamente tiene con Dios. La liturgia, como la dinámica por la que se asciende comunitariamente a través de la luz y los símbolos, en el amor, es sin duda una vivencia profundamente estética. Por consiguiente, llegamos a la conclusión que Dionisio define y valora la jerarquía ontológica de la creación como liturgia: una liturgia que engloba una metafísica de la luz con una mística del ascenso, garantizada por la fuerza anagógica del símbolo. El pensamiento del Areopagita es tremendamente actual, debido a la necesidad que tenemos hoy en día de revitalizar la mística y a la pertinencia de abordar la teología en términos estéticos.