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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)

The article is devoted to revealing the main characteristics of Magical Realism as a central feature of postmodern text in the novels by Hermann Kasack “The City Beyond the River” and Max Kidruk “Don’t Look Back and Stay Quiet”. The intertextual connection between both texts is noted, encompassing mutual references and links to ancient Greek mythology. The main symbolism of the works is analysed, and the ideological content of the text is revealed. The aim of the article is to identify the main postmodern features of Magical Realism in the novels by H. Kasack “The City Beyond the River” and M. Kidruk “Don’t Look Back and Stay Quiet”. The primary objectives are to trace the main textual connections between the works of German and Ukrainian authors H. Kasack and M. Kidruk at the intertextual level and at the same time to reveal individual authorial expressions of Magical Realism as one of the main characteristics of the works of postmodern literature. To achieve the stated aim and solve the set tasks, historical-literary, hermeneutic, mythopoetic methods, as well as the method of intertextual analysis, were used. As a result of a study, a consonance between Magical Realism and Postmodernism was identified, which is present at the ideological level: the aesthetics of magical realism and postmodern aesthetics are based on an epistemological crisis caused by a doubt about the legitimacy of “classical” knowledge and the process of cognition. While Postmodernism expresses doubt about the reliability of classical knowledge, magical realism confirms the legitimacy of alternative – non-empirical cognitive experience alongside the classical experience, vividly reflecting this in the strong connection between two realities (empirical and magical), which interact and coexist on equal terms within the work. At the same time, it can be noted that during the postmodern era, the aesthetics of magical realism undergoes transformations. In its traditional principles, which are defined by the use of irresistible element of magic, the presence of realism in magical realism, the violation of conventional notions of time, space and identity, and the attempt to reconcile two contradictory understandings of events (according to V. Faris), the existential idea is realized. Within this framework, philosophical questions about human existence and the experience of one’s way of being, the issues of loneliness and death, the meaning of life, personal freedom, knowledge, and self-awareness are explored. The works of H. Kasack and M. Kidruk serve as vivid examples of German and Ukrainian Magical Realism. The magical and realistic dimension of existential issues is emphasized by intertextuality, in which the text of the German writer’s novel becomes a palimpsest of Ukrainian postmodern literature: through H. Kasack’s novel “The City Beyond the River” in M. Kidruk’s novel “Don’t Look Back and Stay Quiet”, an allusive connection to ancient texts is established and is reinterpreted on a national basis – through folklore motifs and images. The principle of intertextuality is key to the artistic construction of both works and is manifested across several levels in both novels: 1) existential themes and issues, particularly in exploration of death, understanding the problems of experiencing one’s way of being and the problems of cognition / self-knowledge; 2) at the level of the plot, where the key to both novels is the transformation of the myth about Orpheus and Eurydice with a reinterpreting of the motif of breaking the taboo; 3) at the motif level, through the meaning-making and plot-shaping functions of the motifs of numbers, journeys, and mirrors; 4) at the chronotopic level, through the symbolic representation of time and space in magical realism; 5) at character level, through the creation of a new type of hero who possesses sacred knowledge; 6) finally, at the level of ideological transformation and the external return to oneself, through the exploration of the problem of life and death, and the idea of inability of scientific knowledge for the complete understanding of both the human being and the world. Through symbolic markers, the works depict the author’s contemporary reality, and the events that take place do not obey everyday life. The postmodern means of magical realism used by the writers H. Kasack and M. Kidruk form the literary space of the text, interact with other literary movements and styles, such as surrealism, existentialism, etc.

In the Bible and in various religions in general, odour appears in connection with ritual scents, offerings to God, devotion to God, the body odour of anointed bodies, and as a protective agent in the ritual fumigation of rooms. In religious texts, the deities are also described as having a pleasant smell. Incenses, which produce and spread a pleasantly fragrant smoke when burned and are used in religious ceremonies, can be divided into those of plant origin (frankincense, myrrh) and those of animal origin (ambergris), depending on the source of production. Frankincense and myrrh are the fragrances most frequently mentioned in the Bible, but they were also used in cosmetics and medicine due to their pleasant odour and disinfectant effect. Ambergris is not mentioned in the Bible, but its occasional ritual use in Christianity can be deduced from other sources. In addition to frankincense, the Bible also mentions other fragrant substances, mainly of plant origin (galbanum, mastic, cassia, cinnamon, aloe, cypress, sweet flag, saffron), various plant mixtures (nard, balsam), and mineral fragrances. On the other hand, the sacred texts also mention the stench, which is always associated with impurity and immorality. In the article, the author uses examples from the Bible to show the binary nature of odours according to their function.

The first Palaeolithic female figurine in Romania was discovered in 2019. It was found near a hearth, in a level assigned to the Early Epigravettian, in the Piatra Neamț 1 settlement. 14 C dates have provided the age of 17,200 BP. The figurine was carved on a sandstone pebble collected from the alluviums of the Bistrița River near the settlement. The flat shape of the pebble required certain stylistic restrictions specific to figurines of this age. In particular, those anatomical parts suggesting obesity, such as breasts and buttocks, could not be volumetrically represented at revealing dimensions

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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.

Bu makale hayvanların ölümü üzerine söylenmiş, mers̱iye niteliğindeki Arapça şiirleri ele almaktadır. Mers̱iye Arap şiirinin en eski konularından biridir. Ölenin kaybından duyulan derin üzüntünün terennüm edildiği ve onun iyi hasletlerinin methedildiği, genellikle samimi bir üslupla yazılan bu tür şiirler sadece insanlarla sınırlı kalmamış; yaşanılan şehirlere, dostluk ve ünsiyet kurulan hayvanlara kadar uzanmıştır. Hayvanlar için söylenen ilk mers̱iye örneklerine Cāhiliye Dönemi’nde rastlanmakla birlikte Abbāsīler Dönemi bu konuda yazılmış şiirlerin hem nitelik hem de nicelik olarak zenginleştiği bir dönem olarak temeyyüz etmiştir. Bu bağlamda Cāhiliye Dönemi, Osmanlı Dönemi ve Modern Dönem’e ait birer, Abbāsīler Dönemi’ne ait üç kaside olmak üzere temsil gücü yüksek toplam 6 şiirin muhteva incelemesi yapılmıştır. Bu çerçevede karşılaştırmalı yöntemle hayvanlar için yazılmış mers̱iyelerle insanlar için yazılan mers̱iyelerin benzer ve farklı yönleri belirlenmeye çalışılmıştır. Dönemsel farklılıkların hayvan mers̱iyelerine ne şekilde yansıdığının tespiti de bu çalışmanın amaçları arasında zikredilebilir.

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.

The text aims to examine the two phases of the reception of Al. Philippide’s debut volume, the one from 1922–1923 (after his appearance) and the one from 1939, which occurred when the poet’s third volume of verse, Dreams in the Roar of Time, was published. Thus, the predominance of negative judgments in the first phase is highlighted, which raises the question whether this fact did not determine the “silence” of the poet for 6-7 years and, then, the departure from the poetic ways of the volume Barren Gold and the return to romanticism and to “a classicism of essences” (G. Călinescu). In the second phase, occasioned by the appearance of the volume Dreams in the Roar of Time, the critics who welcomed him (Vladimir Streinu, G. Călinescu, Șerban Cioculescu, Pompiliu Constantinescu, etc.) noted a major “evolution” in Philippide’s poetry, but at the same time, assigned a certain value to the debut volume, a position that all exegetes dealing with the writer’s work after 1965 will also have.

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.

This study explores the thematic and symbolic meanings of colours in selected prose texts by Stanislav Struhar, an Austrian author of Czech origin. A detailed analysis of the selected works - the short story volumes Farben der Vergangenheit (2016) and Farben der Zukunft (2021) - reveals how Struhar employs colours as narrative tools to evoke moods, develop characters, and deepen leitmotif themes. The colours white, black, red, blue, and green hold particular significance in Struhar's work. This article investigates the roles these colours play in the overall structure of his prose texts and questions whether Struhar adheres to or consciously deviates from traditional colour symbolism. [ABSTRACT FROM AUTHOR]

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.)

Copyright of Archaeologia Austriaca is the property of Oesterreichische Akademie der Wissenschaften Verlag 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 Mainfränkisches Jahrbuch für Geschichte und Kunst is the property of Freunde Mainfraenkischer Kunst und Geschichte e.V. 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 Werkstatt Geschichte (Transcript Verlag) is the property of Transcript Verlag 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 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 Young Estonia group (1905–1919) was at the centre of Estonian literature at the beginning of the 20th century, when Estonian poetry was both experimental and imitative. Gustav Suits was officially the creator of modern Estonian poetry. At the same time there were poets who wrote original poems that did not imitate previous work. Juhan Liiv was one of these, and Villem Grünthal Ridala and Ernst Enno continue in the same vein. Enno’s nature poetry is pantheistic and symbolic, emotional and sensitive to nature, at times suggesting transcendental cognition. He was interested in Oriental religion, which influenced his poetry to become less rational and more mystical. Ridala and Enno also used visual effects, and their texts have been set to music as well as becoming part of the visual arts in films and serials. The paper analyses the verbal texts of Enno and Ridala, and the interaction between visual and verbal texts.

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.

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.

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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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 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.

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]

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.

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.

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”.

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.

This short article by Vladimir Ilyin, published in the first issue of Orthodox Thought (1928), is devoted to a conceptual analysis of the symbolic and liturgical aspects of the veneration of the cross in the Eastern Christian tradition. The cross is presented as a quintessence of the Gospel, the central image of the Word of God. The author divides the semantic levels of the functioning of the cross in the space of religious experience: the saving cross, on which the Lord Jesus Christ was crucified, and a cross as an iconic image, and the sign of the cross as a symbolic action, and the cross as the most accurate semantic formula of life subject to final salvation through the acceptance of suffering and victory over death. Thus, this brief discussion contains a lot of fundamental ideas directly related to the visual theology of Eastern Christianity. Vladimir Nikolaevich Ilyin was born in 1891 in the town of Vladovka, Radomyslsky district, Kiev province, died in 1974 in Paris. He was a famous Russian philosopher, theologian, literary and music critic, composer. Ilyin graduated from the Kiev Imperial University (1917) and the University of Berlin (1925). He taught at the Orthodox Theological Institute named after St. Sergius of Radonezh in Paris, at the higher educational institutions of Belgrade, as well as at the Paris Conservatory. For some time he joined the Eurasian movement among the Russian emigration. He developed the ideas of Father Sergey Bulgakov in the field of sophiology. He dealt with the problems of the philosophy of religion, defining religion as a trinity of dogma, myth and cult. In his opinion, myth is antinomically fixed in dogma and is expressed in cult practice. In this regard, V. Ilyin gave a great value to the issues of liturgics and theological symbolism in the structure of religious experience. He devoted several major works to the study of the liturgical tradition of the Orthodox Church, as well as Eastern Christian iconography. In general cultural studies, Ilyin developed the doctrine about morphology as the foundation of a human way of being, about “universal iconology” as the universal logic of culture and (following Father Pavel Florensky) defended the principle of iconicity of all knowledge. V. N. Ilyin’s text is published in modern orthography, but keeping author’s punctuation and manner of writing. The form of references is also reproduced, with one exception: references to the Greek section of J. P. Migne’s Patrology are indicated with the abbreviation “PG” which is more familiar to modern reader, instead of the abbreviation “Migr.” used by the author. Also, the identified typos in Greek words and quotes have been corrected. For technical reasons, the end-to-end numbering of references is used, in contrast to the text of the original source. Небольшая статья Владимира Ильина, напечатанная в первом номере «Православной мысли» за 1928 год, посвящена концептуальному анализу символических и литургических аспектов почитания креста в восточнохристианской традиции. Крест утверждается в качестве квинтэссенции евангельского благовествования, центрального образа Слова Божия. Различаются семантические уровни функционирования креста в пространстве религиозного опыта: это и тот спасительный для человечества крест, на котором был распят Господь Иисус Христос; и крест как иконическое изображение; и крестное знамение как символическое действие; и крест как точнейшая смысловая формула жизни, подлежащей конечному спасению через принятие страданий и победу над смертью. Таким образом, это краткое рассуждение содержит в себе массу фундаментальных идей, напрямую связанных с визуальной теологией восточного христианства. Владимир Николаевич Ильин родился в 1891 году местечке Владовка Радомысльского уезда Киевской губернии, скончался в 1974 году в Париже. Известный русский философ, богослов, литературный и музыкальный критик, композитор. Выпускник Императорского Киевского университета (1917) и Берлинского университета (1925). Преподавал в Православном богословском институте им. прп. Сергия Радонежского в Париже, в высших учебных заведениях Белграда, а также в Парижской консерватории. Некоторое время примыкал к евразийскому движению в среде русской эмиграции. Развивал идеи о. Сергия Булгакова в сфере софиологии. Занимался проблемами философии религии, определяя религию как триединство догмата, мифа и культа. Миф, по его убеждению, антиномически закрепляется в догмате и выражается в культовой практике. В этой связи В. Ильин придавал огромное значение вопросам литургики и богослужебной символики в структуре религиозного опыта. Несколько крупных работ он посвятил изучению литургической традиции православной церкви, а также восточнохристианской иконографии. В общей культурологии Ильин развивал учение о морфологии как фундаменте собственно человеческого способа бытия, о «всеобщей иконологии» как универсальной логике культуры и (вслед за о. Павлом Флоренским) отстаивал принцип иконичности всякого познания. Текст В. Н. Ильина публикуется в современной орфографии, но с сохранением авторской пунктуации и манеры письма. Воспроизводится также форма ссылок на источники, за одним исключением: ссылки на греческий раздел Патрологии Миня всюду обозначены более понятной современному читателю аббревиатурой «PG» вместо употреблённого у автора сокращения «Migr.». Также исправлены выявленные опечатки в греческих словах и цитатах. По техническим причинам применена, в отличие от текста первоисточника, сквозная нумерация ссылок.

The peacock is considered one of the most beautiful animals in nature. This beauty, concerning the imaginary, becomes a key element in the narratives and arts that associate the peacock with the Hindu and Buddhist deities, but also with the pride and the vanity. This article tries to show how the symbolism of the peacock was transmitted and adapted from Ancient India to Medieval Europe, where the bird figured in the Christian creativity as an emblem of the immortality of Christ and the preachers of the Church, along with hagiographical narratives and biblical images.

This article is about divine animals in Egypt; of the comments they deserved from renowned Greco-Latin authors; of the reasons for its use. It also deals with some divine animals in Christianity and the survival of certain Egyptian iconographic motifs in the Middle Ages.

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This paper aims to analyze the pictorial and literary versions of the medieval vergier and its main figure, the lady from courtly love, a locus frequently used by Maurice Denis, a postimpressionist painter, in his paintings and texts. The image of the lady from courtly literature dominates his work, without being a simple and anachronical transposition of a medieval ideal at the end of the XIXth century. On the contrary, Maurice Denis gives new meanings to this locus and its main feminine figure, adapting them to the symbolist sensibility of his time. The paper traces three versions of the vergier and hortus conclusus; two of them have a dominantly religious dimension – the hermitage orchard and the virginal orchard – whilst the third one is mainly profane, infused by courtly love.