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This article suggests that much of the use of the Navajo language in contemporary Navajo written poetry, especially English dominant poetry, serves as an icon of proper Navajo usage. It is a purist view of the Navajo language. Navajo poetry is implicated, even if tacitly, in a discourse of linguistic purism that is tied to an oppositional linguistic ideology that sees Navajo and English as discrete and distinct “objects.” Navajo poetry erases the contemporary sociolinguistic diversity - including bilingual Navajo - on the Navajo Nation. And in so doing, it closes off parts of Navajo sociolinguistic realities and in its stead creates an imagined Navajo language community.

Margaret Holford (1778-1852) was an English poet, translator, and novelist who continuously published her works between the years 1809 and 1838. Although Holford can be considered as a prolific writer in the early nineteenth century, her works do not find a place in today’s canon and she has become one of the forgotten women poets of the Pre-Victorian period. In The Wallace; or, the Fight of Falkirk, she recounted the last days of William Wallace who was a Scottish patriot and a Guardian of Scotland. This article aims to analyze Holford’s poem as an example of an epic poem since she employs the characteristics of the epic genre in her work. The analysis of Holford’s work provides an important insight into the issue of women’s participation in the male-dominated epic genre. Although it was believed that women were not capable of writing epic poems in terms of their lack of formal education and intellectual capacity, there was a small group of women poets who produced long heroic poems in the early nineteenth century and Holford was one of them. From this vantage point, the fundamental purpose of this study is to show to what extent Margaret Holford’s poem epitomizes the epic genre. In a broader perspective, the paper aims to underline the contributions of Holford, who has been pushed to the margins for more than two centuries, to women’s writing.

It is often claimed that pre-attentive vision has an ‘iconic’ format. This is seen to explain pre-attentive vision's characteristically high processing capacity and to make sense of an overlap in the mechanisms of early vision and mental imagery. But what does the iconicity of pre-attentive vision amount to? This paper considers two prominent ways of characterising pre-attentive visual icons and argues that neither is adequate: one approach renders the claim ‘pre-attentive vision is iconic’ empirically false while the other obscures its ability to do the explanatory work, which motivates positing pre-attentive visual icons in the first place. With this noted, I introduce the (heretofore unarticulated) notion of an ‘Analogue Map’ and argue that it provides a superior characterisation of pre-attentive vision's iconicity. I then argue that this forces a reassessment of debates which have traditionally presupposed the iconicity of pre-attentive vision, emphasising ramifications for the viability of a format-based perception-thought border.

This article is aimed at an analysis of a review of discourses of tradition and modernity in literature for children and youth in the situation of political entanglement in the communist system in post-war Poland (1945–1960). The analysis is based on a review of widely represented research described in texts focusing on history and literary criticism, in particular by scholars, who are concentrated on socialist realism – the period that was most painful to the Polish children’s literature and education. Three unique and clearly distinct sub-periods identified during this time are used to describe the political tackling of tradition and modernity in books for children and youth in the period and sub-periods in question. These are: “hard beginnings” (1944–1949), “centrally-controlled books” (1950–1955), and “following the Thaw” (1956–1960). Simultaneously with this issue, a self-telling example of the convoluted fate of one of the best- known protagonists of Polish classical book for the youngest children, an icon – Matolek the Billy Goat – is depicted.

K-pop is one of the most popular music genres around the world nowadays. This paper aims to use K-pop music, specifically “Aurora” song for Song Mino, as a new type of auditory inspiration to design a creative fashion line and then measure the aesthetic aspect of the designs from fashion specialists’ perspective. Also, the correlation between the use of the inspiration source and the level of creativity was measured. This research will play role in encouraging designers to use digital drawing alongside hand drawing in fashion design, and to expand their horizons about auditory inspiration source to increase creativity. The research followed the applied research approach, through which four designs were made, inspired by "Aurora" song by Song Mino. To evaluate the designs, questionnaires were distributed to a sample that included a group of 53 specialists in the field of fashion design. After that, descriptive statistical analysis was used to analyze the data using Google Forms and Microsoft Excel. The results showed that most specialists' opinions were positive about the aesthetic aspect of the designs and found them strongly related to the inspiration source and have high level of creativity. The researcher also conducted a correlation coefficient test to test the relationship between using the K-pop art as a new auditory inspiration source and the level of creativity in designs. The correlation test was used to measure three aspects of creativity (fluency, flexibility, and originality) separately. The average of the three correlation coefficient values showed a rather strong relationship between creativity and the use of K-pop art as an auditory inspiration source. This research recommends further studies of other auditory inspirations and their role in enhancing creativity in designers.

Based upon the empirical background of professional and folk baroque icons represented in the Radomysl Castle Museum’s exhibitions, this article reveals the compositional, artistic and ideological characteristics of the Ukrainian baroque icon painting. The coincidence of its images and ideals with the national character and public aspirations of Ukrainians is also described. It is due to this that the Ukrainian baroque icon painting (both professional and folk) in the time of long statelessness and cultural decentralization became the main means of rendering collective reminiscences that are basic for the preservation of ethnic and cultural identity, and social ideals with them. The latter transformed over time into mental models that unconsciously determined the ideological and value priorities of Ukrainians. They, as evidenced by the compositional specification of the baroque icons presented in the Radomysl Castle Museum’s collection, were much influenced by the ideas of the world’s transformation and achieving the Kingdom of Heaven on earth through the ascetic activity of heroes, which was basic for the baroque worldview. For a man of the “Baroque era,” such heroes were not only Orthodox saints, but also religious and political figures. Moreover, it was assumed that they could even ignore the demands of Christian moralists for the sake of promoting the specific vital interests of the people. Their ascetic activity was considered one of the main prerequisites for the transformation of the world, the prototype of which was the Mother of God. For Ukrainians, she was not only a tireless patron for disadvantaged and suffering ones, but also a prototype of the selfless love that would rule the world (“the holy Ukrainian land”), as the result of its transformation. The sincere hope of Ukrainians for the protection of saints, combined with an unshakable faith in the divine “omnipresence” and the fullness of the whole world with God’s wisdom led to the establishment of ontological optimism in the Ukrainian consciousness. This means the belief in the ultimate overcoming of all life obstacles without personal efforts. Ideas and mental models formed and transmitted by Ukrainian baroque icon painting, due to the spiritual leaders of the 19th century’s national revival (with the absolute primacy of Taras Shevchenko and his both literature and art heritage) acquired secular features. They continued to determine the way of thinking and behavior of Ukrainians. Even today, they sincerely believe that the renewal of the world and the formation of new and just order does not require any personal effort and is to be achieved by the forces of some heroes they would call., На емпіричному тлі представленої в експозиціях Замку-музеї Радомисль колекції професійних та народних барокових ікон, у статті розкрито композиційну, художню та ідейну своєрідність українського барокового іконопису та показано суголосність трансльованих ним образів та ідеалів національному характерові та суспільним сподіванням українців. Саме завдяки цьому, український бароковий іконопис (професійний та народний) у часи довготривалої бездержавності та культурної децентралізації став головним засобом трансляції засадничих для збереження етнокультурної ідентичності колективних споминів, а з ними – й суспільних ідеалів. Останні, з плином часу трансформувалися в ментальні моделі, які несвідомим чином визначали світоглядно-ціннісні пріоритети українців. Вони, як свідчить композиційна своєрідність представлених у Замку-музеї Радомисль барокових ікон, оберталися навколо засадничих для барокового світогляду ідей преображення світу та досягнення Царства Божого на землі завдяки подвижницькій діяльності героїв. Для людини «епохи бароко» ними були не тільки православні святі, а й релігійні та політичні діячі, котрі могли ігнорувати вимоги християнських моралістів заради реалізації конкретних життєвих інтересів народу. Їхня подвижницька діяльність вважалася однією з головних передумов преображення світу прообразом якого поставала Богородиця. Для українців вона була не лише невтомною заступницею знедолених та страждаючих, а й прообразом тієї самовідданої й безкорисної любові, що запанує в світі (на святій українській землі) у процесі його преображення. Щире сподівання українців на захист святих у єдності з непохитною вірою у «всеприсутність» Господню та софійність світу, призвела до утвердження в українській свідомості онтологічного оптимізму, тобто віри у кінцеве подолання всіх життєвих перешкод без жодних особистих зусиль.Сформовані та трансльовані українським бароковим іконописом ідеали та ментальні моделі, завдяки духовним лідерам національного відродження, серед яких безумовний пріоритет належить творчій спадщині Т. Шевченка, набули світського звучання та продовжили визначати спосіб думання та поведінку українців.Навіть сьогодні, вони щиро вірять, що оновлення світу та формування нового справедливого ладу не потребує ніяких особистих зусиль і буде реалізоване силами призваних ними героїв у підсумку мажорного звершення українського історичного поступу.

The Lausanne Movement famously organizes Evangelicals around the need for “the whole Church to take the whole gospel to the whole world.” Years of reflection on what this means has led the movement to make more and more explicit statements about who is included in mission, what that mission looks like, and whom that mission is directed toward. In its most recent statement, the Cape Town Commitment expressly calls for us to “think not only of mission among those with a disability but to recognize, affirm and facilitate the missional calling of believers with disabilities themselves as part of the Body of Christ.” This is the first time that people with disabilities are explicitly included in this evangelical conversation and yet, though it has been over 10 years since Cape Town, scholarship on what this means in terms of theology, ecclesiology, and missiology remains underdeveloped. This article explains why disability must be part of our understanding of whole church, whole gospel, and whole world, and will suggest that when it is, we will change the ways in which we talk about and do mission.

Architecture is becoming an extraordinary method to save memories. This paper aims to show the relationship between traumatic events and architecture. This paper indicates that the positive side of memorial architecture from traumatic incidents on strengthening national identity, cultivate patriotism in the educational field, and becoming the city’s icon. It also presents the building architecture drawbacks on emotion and mentality of people and occupies much city’s area. Indeed, giving depth research on typical cases to analyse the influence for people. The findings clearly show that building is common use in remembering traumatic events.

This study aims to review the totality of love in Rabia'ah Al Adawiyah's poetry based on the semiotic perspective of Charles Sanders Peirce, namely icon, index, and symbol. The research process was carried out using a descriptive-qualitative method. The results found that there were two forms of icons, eight forms of indexes, and three forms of symbols which were analyzed from the seven poems mentioned in the study. The form of totality of love by Rabi'ah's love is described by of index and symbol. The author concludes that from the eight indexes, the totality of love described by sacrifice, willingness, a sense of closeness, fear of making mistakes, unwillingness to rewards, and unwillingness to another. The totality of love in symbols form is described by word "drunk" which sometimes makes self forgetting and also “prayer” as an effort to completely surrender to God. Keywords: Poetry, Semiotics, Totally of Love, Penelitian ini bertujuan untuk mengulas bentuk totalitas cinta dalam sya’ir Rabi’ah Al-Adawiyah berdasarkan perspektif semiotika Charles Sanders Peirce, yaitu ikon, indeks, dan simbol. Proses penelitian ini dijalankan dengan metode deskriptif-kualitatif. Adapun hasil yang ditemukan bahwa terdapat dua bentuk ikon, delapan bentuk indeks, dan tiga bentuk simbol yang dianalisis dari tujuh syair yang disebutkan dalam penelitian. Adapun bentuk totalitas cinta Rabi’ah tergambarkan melalui bentuk indeks dan simbol. Penulis menyimpulkan bahwa dari delapan indeks, tergambarkan totalitas cinta berupa pengorbanan, kerelaan, rasa kemelekatan, ketakutan untuk berbuat salah, ketidakpedulian terhadap imbalan, dan ketidakinginan untuk beralih kepada yang lain. Adapun totalitas cinta dalam bentuk simbol ditandai dengan adanya kata “mabuk” yang kadang kala membuat lupa akan diri sendiri dan juga ibadah sebagai upaya berserah seutuhnya kepada Allah. Kata Kunci: Syair, Semiotika, Totalitas Cinta

In establishing an excellent corporation's reputation, PR Indonesia, an Indonesian public relations magazine company, holds an award event every year, the Jambore PR Indonesia. This jamboree event is for all Indonesian public relations figures, both public relations who work for the government and private companies. However, during Covid-19, this event's euphoria could not be felt entirely even though PR Indonesia had tried to establish its reputation by innovating the event virtually online. Therefore, this study aimed to explore PR Indonesia's strategy in establishing corporate reputation from a virtual event, Jambore PR Indonesia (JAMPIRO), by using corporate reputation theory, event theory, and virtual event. The qualitative method was applied to this research. Interpretative research paradigm and cases study approach were also used. The data collections were obtained by using observation, interview and documentation. The research results showed that PR Indonesia had several strategies to build corporate reputation. They conducted city tours, researched public relations’ issues, and discussed with public relations specialists to find new ideas and used PR's Icon as brand reputation. Those corporate reputation strategies created the JAMPIRO event, which was promoted in offline and online media. Looking for event references, keeping participants' trust, and holding JAMPIRO events in various cities were also the other strategies. Hence, during the Covid-19 pandemic, PR Indonesia invented many innovations by creating virtual events to maintain its reputation. The maneuverings were to run online promotions, find virtual event references, create innovative events, determine the virtual event's criteria and hold the low-cost event.

This study aims to describe the shape of the sign relations on character characters in the form of icons, indexes, and symbols as well as the contribution of novel Rara Mendut analysis to literature learning in high school. This research is a qualitative research using a literary semiotic approach with C.S. Peirce’s sign theory. The data source in this study is the novel Rara Mendut by Y.B. Mangunwijaya. The data of this research is written data in the form of words, clauses and sentences contained in the text of the novel. Data collection techniques used in this study is documentation, reading, and note-taking techniques. Data analysis techniques in this study is data reduction, data presentation, conclusions and data verification. The results of this study found that the figure of Rara Mendut as an icon of a brave and steadfast woman, the Pranacitra figure as a clever human icon, and the figure of Tumenggung Wiraguna as an icon of arbitrary ruler. The index found in this study includes the rejection of the of Rara Mendut character againts the proposal of the Tumenggung Wiraguna character and the true love story of the character Rara Mendut and Pranacitra. The symbols in this study is a symbols of Javanese culture that is thickly used by the characters in the novel. The results of this study can contribute as an alternative teaching material for learning literature in high school.

This article is the first critical study of a small panel painting of St. Katherine of Alexandria, discovered sixty years ago on the reverse of the well-known micromosaic icon of the Man of...

A new cover has been created for Sibbaldia the International Journal of Botanic Garden Horticulture to commemorate the 350 Anniversary of the Royal Botanic Garden Edinburgh (RBGE) in 2020. The Sibbald Trust, which supports the work of the Garden, agreed to fund the commissioning of a botanical drawing of the alpine species Sibbaldia procumbens L. to be used as the cover image for volume 20 and subsequent volumes. The drawing and accompanying colour wash overlay will become part of the RBGE Florilegium - a collection of botanical drawings that form a visual record of the Living Collection and a reflection of the scientific and horticultural interests of the institute. This article describes the process of creating a painting of a small plant with minute details. Colour images of the plant and the drawings are also reproduced.

The article is dedicated to the icon “The Mother of God Tikhvinskaya with the Tale of its Image” of the last quarter of the 17th century from the collection of the Historical Museum. It discusses its history, clarifies the literary source, as well as presents the analysis of the iconographic program, compositional features and artistic uniqueness. The work ended up in the museum collection due to global changes in post-revolutionary Russia, which triggered a large-scale movement of cultural properties. The icon originates from the Tikhvin Lands and belongs to the poorly studied culture of the Russian province. Recent research has unveiled a whole set of works linked to the icon painters of the Tikhvin Posad. The icon “The Mother of God Tikhvinskaya with the Tale of its Image” represents a vivid example of the art of Tikhvin masters of the second half of the 17th century.

The paper focuses on the issue of iconicity of (printed) literary narrative and proposes the idea of iconic reading (or iconicity of reading). It discusses Peircean notion of iconic sign, examines its use within the field of iconicity studies in language and literature (Olga Fischer, Christina Ljungberg, Winfried Nöth, etc.), and considers the differences of paradigms in iconicity research: (1) iconicity as a permanent property of a sign; imitation pattern – form mimes meaning; (2) iconicity as a variable quality of a sign, actualized by the speaker; imitation pattern – form miming form; (3) iconicity as the ground of human thought and a function of a sign, actualized by the reader / reading. Consideration of the differences within the field of iconicity research helps to reveal the underestimated textual aspects that actualize iconic dimension of literary narrative, and inspires to examine their role in the analysis of Lolita by Vladimir Nabokov, precisely, its “Foreword” (both original English and Russian versions). The analysis of the fictional “Foreword”, which establishes the pattern of iconization of the novel as a whole, and inevitably includes the references to its “main” part, shows how the novel iconizes writing. Withal, the analysis demonstrates how this iconization configures the particular model of reading, which becomes the representamen of the specific cognitive icon. The mental representamen of this icon “stands for” the specific object – the text as the tangible media product, marked by the structural and discursive traits of its own. Respectively, such (cognitive) icon represents the pattern of mimetic relationship between form and meaning, introduced by Lars Elleström (2010), – meaning mimes form, worthy of further consideration.

This article documents and analyzes the ways in which mass-produced imagery, frequently intended for secular functions, is creatively repurposed at Buddhist shrines in Ladakh, India. I argue that t...

Eight years after the publication of the first edition of Malibongwe: Poems from the Struggle by ANC Women, the Langa1-born musician and cultural icon Brenda Nokuzola Fassie released the critically...

The article is devoted to the icon of Our Lady of Lady from the Basilian monastery in Malyia Lady located not far from Minsk (Belarus). The cult of the icon was local and existed from the first half of the 18th century till the first half of the 20th century. The icon was a copy of the icon of Our Lady of Žyrovicy and its cult was closely related to that of the icon of Our Lady of Žyrovicy that strengthened after the coronation in 1730 and occasional discovery of its copy in the Santi Sergio e Bacco church in Rome during the renovation in 1718. These both motives were reflected in the history of icon from Lady. The earliest legendary reference on the origin of the icon cult are contained in two poems dating back to 1744 which have preserved in a hand-written set of religious texts and attached to the article.

The aim of this article is to present an innovative concept of the ‘icon in sound’ created by the English composer John Tavener. The first part of the article presents the intermedial and intertextual features of Tavener's work, the second shows the genesis of the concept of ‘icon in sound’, to which three factors have contributed: 1) the composer’s interest in religious topics in his pieces, 2) the composer’s conversion to Orthodoxy, 3) collaboration with Mother Tekla, the author of the texts of many Tavener’s works. The last, third part of the article describes issues related to the formal structure and musical symbolism present in Tavener’s musical icons. The composer refers to painted icons by composing works characterised by static form and the expression of spirituality, mysticism and inner peace. These features result from the juxtaposing of melismatic structures, inspired by Byzantine music, with repetitive technique and dynamics often characterised by a low intensity. One characteristic of Tavener’s sound icons is a ‘luminous’ sound, achieved through the use of high registers of voices and instruments, which are combined with contemplative and lyrical expression. An important feature of John Tavener’s musical icons was the introduction of archaic elements, resulting primarily from the inspiration that the composer drew from the musical culture of the Orthodox Church (eg the use of Byzantine scales in Mary of Egypt, the introduction of instruments such as simantron in Mary of Egypt).

The rapidly evolving motion capture technology has made it possible to solve online identity problems with the medium of moving character design known as Virtual YouTuber. Spontaneous reaction in Livestream media can make fictional character feels real through a virtual avatar. As such, anthropomorphism representation can be used and Anya Melfissa is a Virtual Youtuber whose moe anthropomorphism of Indonesia Keris. However, the visual identity of Indonesia Kris is hard to find by most people and the problem is interesting to study using the theory of semiotics, anthropomorphism, and kris visual identity. The method used to analyze Anya Melfissa’s character design will use visual text analysis to identify its visual elements such as icon, index, and symbol. The results of the analysis show that Anya Melfissa’s character design has a kris visual identity which is at the level of thirdness in Peirce’s semiotics theory. The conclusion obtained from the kris representation in Anya Melfissa’s character design is proven to exist and requires a deeper level of understanding of Indonesian kris itself.

"Resources available for Byzantine scholarship in general and for studying Psellos in particular have improved greatly in recent years. Electronic databases assist editors of texts in isolating an author’s stylistic habits and in identifying parallel and source texts, while increasingly sensitive search engines provide wide access to scholarly articles, online manuscript catalogues, online publications of texts and translations and great potential for further expansion. Teubner has published Psellos’ extensive writings in genre-defined volumes such as poetry, philosophy, forensic orations and hagiographic orations that represent modern categories of literature but do not capture Byzantine conceptualizations. Two examples illustrate this observation. (1) Although the oration on the Miracle at Blachernae is among Psellos’ hagiographic writings, it contains a brief ecphrasis of a “living icon” prominent in art-historical discussions; however, the oration chiefly focuses upon the Byzantine court system and Psellos’ suggestion for designating a miracle to resolve a vexed legal case. (2) Psellos’ Encomion on Symeon Metaphrastes resembles a saint’s vita and his hymn/canon for Metaphrastes represents a step towards honoring a “new” Byzantine saint. This process continued for 400 years. The 14th-century Hesychast movement used Metaphrastes’ writings to validate their own views and expedited his inclusion in the Synaxarion of Constantinople in the 15th Century. Keywords: Blachernae Oration, Byzantine courts, Hesychasm, hagiographical resources, “new” Byzantine Saints, Mark Eugenikos, Psellos’ hagiography, Symeon Metaphrastes, Synaxarion of Constantinople, Teubner Psellos. "

Cognitive scientists who study poetry and aesthetics often write with great craftmanship (e.g. Gibbs, 2017, p. 14; or Young, 2014). In her recent book, The Poem as Icon (2020), Margaret Freeman doe...

The Unilabor furniture factory operated in the city of Sao Paulo, from 1954 to 1967, in Vila Brasilio Machado, and it was an icon of the relationship between religious community activity, based on the humanization of work and the sharing experience in the company management, with Modern Art and furniture design. In this atypical relationship, Unilabor used different strategies and visual materials in its advertising, which, in addition to the main objective of the ads (which was the furniture sale), also communicated to potential consumers some ideas of taste, related to a project of modernity for the domestic space.

The purpose of the article is to identify the artistic features of the Hutsul region memorials over the heyday of stonecraft and woodcraft of the second half of the 19th and the first third of the 20th centuries. The research methodology is the general scientific principles of historicism and a systematic approach. There are research methods. The source criticism is to analyse the thematic and ideological features of the memorials. The author used a complex method to define the artistic features of the memorials. The method of analysis was used to study the proportional features of the components of the memorial site. The scientific novelty of the study is that for the first time in Art Studies the Hutsul region memorials are under study. During the Soviet period, many of them were destroyed. Almost all of the reviewed objects were introduced into scientific use by the author of the article for the first time. All material is collected during the site visits. Conclusions. The article analyses the artistic features of the Hutsul region memorials. The article proves that the stylistic and theme of the sculptural decor are connected with the traditions of Ukrainian icon painting and sacral architecture. There are inscriptions in the traditional Eastern Rite Church lettering. The article reviews a variety of themes and dedications as a memorial dedicated to the Abolition of the Corvee in 1848, grave memorials with crosses, with images of Jesus Christ, Saints of the Christian cult, etc. The author overviews the value of the memorials for religious life and sacral culture of the Hutsul Ukrainians. Memorials of the second part of the 19th and the first third of the 20th centuries need restoration, cataloguing and preservation. After all, they are made mainly of the Yamna sandstone, a soft and weather-sensitive material. Research materials can be used in the creation of tourist routes, in the modern memorials’ development, and for the restoration of old monuments.

The paper discusses the correlation of the traditional mode of life and religious beliefs and analyses the social interactions in connection to the sacred sites and holy objects. The case of “Shaliani” displaying the evidence of inportance of traditional value systems. “Shaliani“ is an icon of Kala St Kvirike Monastery, in Svaneti Georgia. The icon is considered to have a power, which is admired till nowadays. The belief is symbolically focused on the “Shaliani” icon and it is the driving force of the social life. This power is constructed through the narratives spread among the local population. The historical and ethnographic sources and data are displaying interesting facts and legends bound together and legitimasing the perceptions regarding “Shaliani”

The article regards the phenomenon of the icon in the interpretation of Greek theologian and philosopher Christos Yannaras. His work Personality and Eros is taken as a basis, where the author describes this phenomenon, based on a thorough body of works of Orthodox thought.The icon is primarily considered not only as a model of reality, reflection or image of events and objects, or allegory-allegory; attention is focused on the icon as a category of cognition. The study traces the conditions of functioning of the iconological language, as well as its connection with apophatic and cataphatic theological thought. The specifics of the poetics of the iconological language are also revealed, aiming at both concealment and elucidation of the truth.An attempt is also made to transfer the theory of the icon to the anthropological plane, in accordance with the erotic gesture of self-denial. The focus is on the aesthetic component of the iconic perception not only of icons but also of other phenomena of art or the surrounding world. Thus, owing to the derivatives of the theory of the icon, the analysis of art in the anthropological plane is carried out.Possible types of reduction of the iconological language according to the function of the icon as a means of cognition are also revealed. In this regard, the significance of the so-called ‘theology of assimilation’ and its possible connection with the moralistic reduction in the interpretation of Ch. Yannaras are analyzed. On the other hand, aesthetic reduction is also described, which, in turn, has the ability to provoke iconoclastic resistance.Thus, the aim of the work is to study the phenomenon of the icon as a category of knowledge in the works of Ch. Yannaras, as well as to consider the icon and the iconological language in their connection with issues of the aesthetic and anthropological nature.

While mainly addressing the masses and the simpler tastes of his time, Shakespeare’s plays have long been considered emblematic for high culture, which calls into question whether their author should still be regarded as representative for the elites or whether his life and personality should be demystified and brought back to the people. An attempt in this respect, showcased by this paper, seems to be Kenneth Branagh’s biopic All Is True (2018), which portrays Shakespeare as an ordinary man rather than as an illustrious playwright, allowing the public to see the human being behind his almost god-like façade. The film, however, reasserts the Renaissance dramatist’s position as the greatest poet and playwright by interrogating some of the most persistent theories on his biography and authorship.

The appeal to the artistic traditions of different eras – peculiar perception of the techniques of post-impressionism, the heritage of the Russian avantgarde, the search of the Soviet painters of the 1920s–1930s, as well as the art of Proto-Renaissance and Ancient Rus, became an important impetus to the creativity of the severe style artists. With artistic experiments and active use of various graphic lines, they skillfully combined the experience of ancient Russian art in their works; they used the icon and fresco painting traditions and primitivism painting together with modern patterns. Ancient Russian art and its primary embodiment – the icon, became the latent, not obvious dominant of the art of the severe style masters. The works of outstanding icon painters of the past (Theophanes the Greek, Andrei Rublev, Dionisius), who embodied a new, sublime understanding of man’s spiritual beauty and moral strength in their works, were the pinnacle of skill for representatives of this art movement. In Russian icons, the severe style artists were attracted by local colours, simplified composition and forms, and a “frozen” plot. They were even more attracted by their colour saturation, joyful power or harshness of pure colours. However, the connection with icon painting is not only in the technical aspects of painting. In the works of the severe style artists, as in the icon, emotional stress is focused on the inner life and is not expressed by external exaltation. The appeal to icon painting was not accidental: the artists felt the sad disappearance of the connection between generations, the tragic breakdown of age-old foundations, godlessness and… desperate longing for some other, unearthly Truth. All the complexity of the internal self-determination of the generation of the 1960s‑1970s is seen in these voices of the era. The severe style representatives tried to reveal the theme of Light and Meaning, as much as possible in the conditions of Soviet times. Their paintings showed the truth of this search. The severe style, a phenomenon that was so categorically assigned the status of something episodic, even fleeting, turned out to be compatible in different versions with philosophical and religious postulates that have been relevant at all times, with the national idea, with an attraction to eternity.

This article discusses how urban life is represented through the Barsa City, Uttara the Icon, and The Palace apartment advertisements and promotional videos. Applying Guy Debord's idea of spectacle to examine how urban life is transformed into visualization and commodification, also George Ritzer’s idea of re-enchantment of the disenchanted world and the new means of consumption. This article is aimed to analyze the position of apartments in the urban space of Yogyakarta that is discursively constructed through apartment promotional media. The conclusion of this research shows that apartments are functionalized to create the spectacle of the city. Urban space and life are aestheticized and spectacularized, in which apartments are displayed as part of dramatic and extravagant urban arts. Presented as one-stop-serving buildings, the apartments also promote the fusion of living space, urban style experience, and consumption which lead to the difficulty in distinguishing spatial boundaries. The advertisements and promotional videos of the apartment in Yogyakarta also promote temporal paradox. On the one hand, it promotes time compression and speed, meanwhile, on the other hand it promotes prolonged and extended time to foster consumption in the urban space.

En el imaginario de los crímenes de las dictaduras sudamericanas la primera imagen es la de los desaparecidos. Desde esta experiencia represiva de los años setenta y ochenta, esta imagen ha circulado y devenido consigna global para la representación política de los crímenes de Estado. A partir del caso chileno, y tomando elementos del enfoque medial, los estudios de la visualidad y la teoría e historia del arte, este artículo aborda la condición específica de esta fotografía como un eslabón de la historia de la representación del rostro humano y como una imagen cuya eficacia retórica también descansa en procesos de editorialización, circulación, selección y enmarcamiento que no han sido tomados en cuenta en los estudios sobre memoria. El trabajo sugiere este contenido invisible que se actualiza cuando la imagen funciona como ícono trasnacional de violaciones a los derechos humanos.

In the context of the flagrant mistakes that are encountered in ecclesiastical painting and the lack of basic knowledge in this field, this study comes to present how Hermeneia has evolved throughout history. Starting from the Byzantine period, passing through the post-Byzantine period and reaching to the present day, Hermeneia and her predecessors, manuscripts and sketchbooks, aimed to help and maintain a canonical-artistic-ecclesial unity throughout the Orthodox Christian area. Another aspect of the article presents some ways of approaching Hermeneia from various points of view: technical, iconographic-illustrative, compositional, academic and theological. Throughout history, Hermeneia has been synthesized and structured in such a way as to provide a maximum of information but its volume should not be difficult to use by iconographers.

I was in the midst of teaching a “Politics, Policies, Pop Culture,” course at Cal Poly Pomona when I learned of Kobe Bryant’s tragic death. Every single one of my 46 students were fans of all things, Los Angeles. And, there was no one that symbolized and reflected the spirit of Los Angeles more than did Kobe Bryant. His flair, flash, and brilliance on the court, his winning spirit, and his million-dollar smile were all Hollywood. Although his death was mourned worldwide, the trauma of this tragedy was most intensely felt in the city of angels. As a Kobe fan, a Laker fan, and a fan of greatness, I mourned Bryant’s death with the same deep despair as his most ardent fans. In my search to highlight his uniqueness as an icon that transcended basketball, my students were assigned a paper that required them to examine Kobe’s life and legacy. They were asked to respond to the following questions: (1) How did Kobe Bryant become one of the greatest basketball players in NBA history? (2) How was he able to transcend basketball and become a cultural icon? (3) Why was he loved globally—especially in Italy and China? (4) What is the Mamba Mentality? (5) What is his legacy? Their responses capture the essence of Kobe’s transcendent profile. This essay examines the life and legacy of Kobe Bryant from a Los Angeles-based professor’s perspective and the perspective of his Cal Poly Pomona students.

The comic strip “Fluffy Ruffles” is little known today, but in 1907 it generated a national and transatlantic icon of the working New Woman in America. The hybrid narrative follows the protagonist's search for employment, which always concludes in failure due to the attention she receives from men in the vicinity. This paper asks how the comic situated motion, both in activity and restriction, as fundamental to female embodiment and spectacular subjectivity in the urban environment. The influence of “Fluffy Ruffles” is examined in the emulation and resistance it produced from the female reading community of The New York Herald.

The purpose of this article is to introduce information on the Buddhist icon discovered by A.D. Grach in the south-eastern part of the rock mass of Kyzyl-Tei (Tuva) in 1953 into academic circulation. The relic itself is now kept in the Peter the Great Museum of Anthropology and Ethnography (the Kunstkamera) of the Russian Academy of Sciences. The field records of the archaeologist were lost, but we managed to reconstruct the history of the icon’s discovery from other sources — archival materials and museum documentation of the Kunstkamera. It is noted that the finding is related to one of the stories of the saving of the Buddhist relics by individual believers during the period when religion and religious acolytes were suffering reprisals in the region in the 1930s. A.D. Grach learned about the cache from a Tuvan informant and took the discovered icon to Leningrad (St. Petersburg). It has been found out that the Buddhist icon depicts the White Tara in the “vajra pose”. The icon was painted on a primed canvas. The image on the canvas is outlined with a red border. The canvas is placed in a wooden frame with glass front. On the inside of the frame, there are three lines of a prayer in Mongolian, which are transliterated and translated.

How do Russian Orthodox Christians frame their understanding of semiotic ideologies of worship? That is to say, how do worshippers interpret liturgical language ‘signs’ and how do these interpretations colour their views as to which language is ‘right’ for the Church? There are to be found two semiotic ideologies of worship in Moscow. There are traditionalists for whom the liturgical language is embodied; it becomes the language of God through its vocalisation and enactment. Then, there are those who believe that Church Slavonic is not an indelible part of Russian Orthodox life and that in terms of its semiotic status its relation to the world it represents is an arbitrary one. Those who invoke the former, folk understandings of semiotic praxis perceive the Holy language as an icon or experiential portal that makes the presence of God more presupposable. Conceptions of language and linguistic register vary intra-culturally. Fieldwork showed how different perceptions of form map onto consciousness, raising questions of intentionality as assumptions about who is speaking (God or the priest) are bound up with the form that is used. Keywords: liturgical language, embodiment, semiotic ideology, worship, icon

Purpose of the study: This study contextualizes within the border of psychoanalytical perspective specifically focusing on Freud's theory of personality and Lacan’s module of the psyche to evaluate an artist’s mental state that how his/her mental state fluctuates. Methodology: Bali Jatti is taken as an exemplary character to project the reality of being an artist. This analysis presents her three-dimensional world, real, theatrical, and psychological, to represent the challenges she faces as she opts to embrace the life of folk theatre. It explores her psychological life and the chaos in which she spends the rest of her life. It probes into social taboos and stigmas that are associated with her life that makes her a stereotypical icon. Main Findings: This research concludes that the psychological world of folk theatre Bali is under the hegemonic supremacy of the other two worlds, real and theatrical. This diligent inquiry leads the reader through a steady stream of events of Bali's life which is taken as an exemplary character to project the reality of being an artist. Applications of this study: This study provides guidelines to academia and probes into an exploration of the novel concept of Pakistan folk theatre and its artist's three-dimensional world. Novelty/Originality of this study: From a theoretical perspective, this study provides important insights into literature by exploring the most demanding skills in folk theatre artists and their three-dimensional world that formulates their destiny and takes their journey of life from glory to demise.

The aim of this article is to present a personal reflection regarding the theoretical/philosophical relation between the generally accepted theological grounding of icon painting and other contemporary artistical endeavours to integrate the religious feeling – of Christian-Orthodox inspiration. This reflection is based on a mixture of ideas from different thought-frameworks which have as common ground the need for speculating on issues such as ‘tradition understanding’, ‘personal expression’, ‘art and religiousness’, exactly those key-themes that are constituting the fundamental threads of my argumentation. Hence, my appeal to authors like Lucian Blaga, Leonid Uspensky, Martin Heidegger, Paul Evdochimov, and Christos Yannaras. The point of departure for my study is the powerful and unavoidable conflict between the need for personal artistic interpretations of religious themes – expressed through contemporary artistic techniques and the application of contemporary metaphysical modelings – and the need for attaching oneself to an ‘authentic’ tradition of religious experience and to a community with deep roots in history. My all-round thesis is that this conflict cannot be, at least, clarified by choosing, from the artistic point of view, between two extremes: contemporary secular art on the one hand, and sacred, canonical art on the other hand, but by finding conceptual common pathways. Keywords: tradition; face-image; person; contemporary art; transgression; music; body; dance.

After several mystical visions of the nun, Pelagia, the holy icon of the Annunciation of the Panagia (“the All-Holy One”, or the Virgin Mary) was found on the island of Tinos in 1823. According to tradition, Pelagia repeatedly witnessed the Panagia in her visions and received orders from her to find the icon and also to build her church. The icon was unearthed in the field where it had remained since the church, built on the ruins of a pagan temple, was destroyed in the tenth century. Two years before the icon was found, the Greek War of Independence broke out. The finding of the icon, the construction of the Church of the Annunciation of the Panagia, the enormous crowds of pilgrims, and the miracles worked by the icon, contributed to the outcome that the island was declared a sacred island, and Pelagia became sanctified. The ritual year of the miraculous icon on Tinos starts on 30 January with the festival dedicated to the Finding of the Holy Icon when the finding is ritually re-enacted, before it is carried in a procession repeating the first procession after the finding. After worshipping the tombs of the builders of the church, the celebration terminates with a popular ritual called the Phanarakia (lanterns), in which children are the main participants, running around in the streets of Tinos town while holding multicoloured lighted lamps, and singing hymns commemorating the finding of the holy icon. This article presents the festival and delves into its meaning and importance for the Greek people.

Examining the numerous meanings and symbolic incarnations of Vladimir Ilich Lenin after his death in 1924, this chapter examines how icons may be used to articulate political positions, and how in processes of contesting and re-negotiating history, icons function in relation to collective remembrance. It will do so by examining artistic representations of Lenin in film and art, as well as how the fall and destruction of icons does not stop them from re-emerging as spectral, haunting presences. It is argued that in order to study the icon as a material site of both projection and collective fantasy, the complex functioning of the icon within a specific historical and political context needs to be considered, as well as the way its manifestation transcends the spatial and the psychical.

This article looks closely at the report of a miracle that occurred in eleventh-century Constantinople in which the veil covering an icon of the Theotokos (Virgin) at the Blachernae church lifted itself miraculously. The report, scripted by the Byzantine polymath Michael Psellos, focuses in intriguing ways on the actions and nonactions of the veil when the icon presided over a judicial trial. The article contends that Psellos insists on the theme of timing (with regard to the lifting and otherwise of the veil) and the Blachernae icon's role in determining a critical, decisive moment in the arbitration of human affairs. This emphasis, in turn, bespeaks a broader concern over the timing of sacred icons during significant moments in Byzantine history as understood by contemporary chroniclers: namely, their failure to act in appropriate ways at critical moments when the empire itself was at stake.

The aim of this study was to reveal the modern succession and reinterpretation of brand identity through the case of Balenciaga design presented by Demna Gvasalia through a review of the literature, design collection, and design review analysis. The design collection analysis was conducted from 2016 F/W to 2020 F/W, when Demna Gvasalia commenced responsibility for the Balenciaga collection. A total of 12 articles from overseas fashion magazines and newspapers were analyzed. A modern reinterpretation of Demna Gvasalia’s Balenciaga design is as follows. First, he introduced luxury mode to reflect a sense of the times and introduced luxury street looks based on street and sports sensibilities, showing various styles without specific concepts. Second, by sharing universal sensibilities based on pragmatism, he proposed an easy-to-wear outfit for daily life to demonstrate the everydayness of fashion. Third, as a new exploration of traditional structural beauty, the design of Cristobal Balenciaga was reinterpreted through the conversion of items, overlapping outfits, and the introduction of high-tech technologies. Fourth, by taking a conceptual approach to fashion, he has renewed the spirit of experimentation and modernity shown by Cristobal Balenciaga. Fifth, with the presentation of a new icon, new styles of sneakers such as Triple S and Speed Runner are presented as new icons. He inherited the original mindset and creative approach of the house's founder, Cristobal Balenciaga, and reinterpreted it from a contemporary street sensibility and pragmatic perspective.

This article examines the iconography of a type of Caracalla tetradrachm that has been newly attributed to Neapolis in Roman Palestine and whose reverse depicts a monumental altar decorated with statues of Tyche, Ephesian Artemis, and Kore Persephone. The study contextualizes these deities in the religious life of Neapolis and identifies the monument as an altar often depicted as a miniscule element in panoramic views of Mount Gerizim on the bronze coins of Neapolis. The tetradrachms provide, for the first time, a close-up view of this long-lost civic monument.