Eski çağda çift başli kartal sembolü üzerine kisa bir değerlendirme (Mezopotamya, Anadolu, Orta Asya)

Author(s): Fazıl Himmetoğlu / Language(s): Turkish Issue: 33/2017

It is obvious that the double-headed eagle phenomenon has a dualistic meaning. This dualism can be explained as east and west, sky and earth, or the world and beyond. However it is thought that this symbol is religious based. This bird motif appears in Mesopotamia, Anatolia and Central Asian (Turan) mythologies. It is probable that origin of this bird in Mesopotamia is lion-headed bird-bodied Anzu. This bird may be transformed to double-headed eagle in Assyrian culture after the Sumerians. This symbol is came by Assyrian merchants to Anatolia. The double-headed human-bodied an eagle figurines is found in the Central Asia. The eagle is İmportant in old Turkish culture. In fact, the legendary double headed eagle was believed to be the presence of Öksökö. Similarly it had respected to a legendary creatures called as Simurg in Iran geography. In this study, a short evaluation will be made about the double headed eagle symbol found in many cultures.

THE CATHARTIC FUNCTION OF COMMUNICATION

Author(s): Maria Pescaru,Mihaela Luminița Sandu / Language(s): English Issue: 1/2018

Often, communication is defined as a particular form of the exchange relationships between two or more persons, two or more groups. Iassessment or solving of problems, but sharing one's own feelings, the effort to know and understand the other and the cooperation in finding a mutually satisfactory solution. Communication is a dynamic act; it's the gateway between two interior worlds. Effective communication also means the public expression of feelings and emotions. Expressing an emotion allows us to acknowledge it and to recognize ourselves in it. This study proposes to identify the style of communication, to emphasize the intensity of the religious feeling of the participants in the study, as well as their opinion regarding the need to discharge their emotions in the challenging periods of life. This research is, therefore, a necessary step, a good argument in order to raise awareness for the need for communication, and a condition for mobilizing resources in view of this approach. The survey was carried out on a sample of 120 persons, using as instruments the S.C. questionnaire (Analysis of the style of communication), the questionnaire for the assessment of religious feeling (C.E.S.R.), the questionnaire of investigation of the need to discharge one's emotions. The action of listening is an element to which the approaches of the communication phenomenon can no longer only grant a place in the area of interaction, as it can moreover provide perspectives on the size of the relationship and of the interaction itself. One of the limits of this research can be found in the reduced number of participants in the study. Researches to this respect might continue by using a representative sample, by which we could be able to determine to what extent the results show a characteristic of our society by comparison with Western ones and to what extent can we speak about cultural and mentality differences in this respect.Often, communication is defined as a particular form of the exchange relationships between two or more persons, two or more groups. It does not mean assessment or solving of problems, but sharing one's own feelings, the effort to know and understand the other and the cooperation in finding a mutually satisfactory solution. Communication is a dynamic act; it's the gateway between two interior worlds. Effective communication also means the public expression of feelings and emotions. Expressing an emotion allows us to acknowledge it and to recognize ourselves in it. This study proposes to identify the style of communication, to emphasize the intensity of the religious feeling of the participants in the study, as well as their opinion regarding the need to discharge their emotions in the challenging periods of life. This research is, therefore, a necessary step, a good argument in order to raise awareness for the need for communication, and a condition for mobilizing resources in view of this approach. The survey was carried out on a sample of 120 persons, using as instruments the S.C. questionnaire (Analysis of the style of communication), the questionnaire for the assessment of religious feeling (C.E.S.R.), the questionnaire of investigation of the need to discharge one's emotions. The action of listening is an element to which the approaches of the communication phenomenon can no longer only grant a place in the area of interaction, as it can moreover provide perspectives on the size of the relationship and of the interaction itself. One of the limits of this research can be found in the reduced number of participants in the study. Researches to this respect might continue by using a representative sample, by which we could be able to determine to what extent the results show a characteristic of our society by comparison with Western ones and to what extent can we speak about cultural and mentality differences in this respect.

Ismétlés. Kép. Képi differencia

Author(s): Erika Fám / Language(s): Hungarian Issue: 4/2018

The repetition is a philosophical category, since Kierkegaard the term is present in the image theory. Gilles Deleuze in his work Différence et répétition (Difference and repetition) constructed the fundamentals of repetition theory. The difference at Deleuze (this is not the same term as the différance at Derrida) is defined in the context of the repetition. Gottfried Boehm in the seventies introduced the term of iconic difference (ikonische Differenz), parallel was Deleuze and Guattari who in their common work Mille plateaux talk about the term machine abstraite (abstrakte Maschine), in the context of definition of the face, as an image. In my study I analyse the relationship between the repeated images and the iconic difference and I talk about the nonverbal structure of the iconic difference.

Postcard from Istanbul: Digital reconstruction of the city as memory in Tasos boulmetis’s politiki kouzina / A touch of spice / Baharatin Tadi

Author(s): Giorgos Dimitradis / Language(s): English Issue: 1/2018

Reconstructing space with the use of computer generated imagery (CGI) is commonly used in moviemaking to enhance the depicted pro-filmic reality, creating virtual spaces in which layers of the narrative that are more difficult to represent via realistic mise-en-scene, such as emotional conditions, can become visually explicit. In the 2003 film Politiki Kouzina / A Touch of Spice / Baharatin Tadi, the Istanbul-born Greek filmmaker Tasos Boulmetis digitally combines heterogeneous elements to reconstruct a virtual experience of his own sense and memory of Istanbul: the urban landscape in the film is a hybrid of on-location scenes of the modern city, CGI and enhanced coloring, digitally fused into a mural of historical and personal memories. By deliberately conveying a strong emotional tone to the audience, the film equates the notion of place with the experience one has of it: as the memory of mid-Twentieth century Istanbul is digitally recomposed, the city dissolves under the pressure of its emotionally charged reflection, and the general concept of “location” is redefined through individual perception. Digital technology is used not simply to bring to life a past urban setting, but becomes a tool for affect, thus revealing invisible layers of the filmic narrative.

Cultural transformations of love and sex in the digital age

Author(s): Kristian Bankov / Language(s): English Issue: 1/2019

This second volume of our journal addresses an uneasy topic. It is uneasy exactly because it is too easy to speak about love and sex and yet say nothing. It is uneasy because there has not been tremendous academic interest in this topic within the field of humanities and social sciences, and contributions to the field have thus been sporadic and unsystematic. Moreover, it is uneasy because, compared to other aspects of our everyday life, love and sex concern our being in a way that it is difficult to observe in a neutral or scientific way.

I kissed an NPC, and I liked it: Love and sexuality in digital games

Author(s): Gianmarco Thierry Giuliana / Language(s): English Issue: 1/2019

In this paper we will discuss the presence of love and sexuality in digital games (from ‘80s amateur porn games to the newest released VR ludo-erotic entertainment), both as representation and as experienced simulation. By way of a semiotic framework, we will analyze the following key features that produce the meaning of love and sexuality (L&S from now on) in these texts: the possibility of semantic manipulation, intersubjective enunciation, a cognitive sensibility created through a ratio, and the presence of an economy of meaning. Furthermore, we will look not only at what these games represent and allow players to do, but also at players’ strategies and actions that give love and sex meaning in these games. Finally, this work will allow us to highlight not only the ideological and socio-cultural relevance of love and sex in digital games, but also the limits of a classical semiotic approach to this kind of problem, and consequently to make a general theoretical reflection in the conclusion.

Reflection of the Ancient Rituals Semiotics in Cultural Etiquette Forms of Politeness

Author(s): Roman Vasko / Language(s): English Issue: 100/2019

The article discusses modern patterns of expressing wishes which are transformations of ancient pagan rituals. With the adoption of Christianity, these models and, above all, their form, such as wishes, undergo changes under the influence of biblical symbols. The main attention is paid to the relationship between the functions of non-verbal and verbal semiotics in the rituals of wishes in the mythological, religious-Christian and secularised worldviews. In addition, the point that the ritual is a set of consecutive ritual actions is supported. An attempt is also made to reveal the inner form of wishes through the prism of the theory of gift-exchange. The characteristics of external and internal pragmatics of the remnants of an ancient ritual is represented in wishes as cultural etiquette forms of gift-exchange or, as is customary to say in modern discourse studies, forms of politeness. The need for experimental studies of different ethnocultures aiming at the remains of ancient rituals in modern consciousness is substantiated.

Мозаїка з імператором Костянтином IV Погонатом: ківорій та завіси

Author(s): Iuliia Gennadyevna Matveieiva / Language(s): Ukrainian Issue: 40/2018

Purpose of the article. Identify the role of architectural and textile framing around the portrait of Emperor Constantine IV as artistic, symbolic, and traditional cultural objects. To analyze whether the images of architectural details and fabrics had real prototypes in the ceremony of the emperor giving the gifts and the church life of that time, or the objects depicted on mosaics were only decorative objects that had no connection with the rite and the meaning of the image. The methodology of the study includes formal, comparative, historical, iconographic and semiotic methods. The scientific novelty of the work is a new disclosure of the role of architectural and textile objects as images that not only contributed to the stability and decorativeness of the ancient compositions but also reflected real historical artifacts of church life and the imperial ritual of bringing the gifts to the church. These objects also had a tremendous semiotic meaning as symbolic means, indicating: 1) a special sacred place where the action takes place - directly at the altar; 2) the highest social status of the imperial gift that takes place in the image; 3) the union of the work of secular authority with the priesthood’s service of God, through which the fullness of the Church as the Body of Christ formed in the sense of the Christian community of the priesthood and believers. Conclusions. Real objects are used as a composite frame on the portrait of Constantine IV Pogonatus - ciborium and curtains that give us information about the historical ritual and its image, as well as the symbols of bringing of the most critical imperial gift that was a symbol of the combination of the secular and priesthood parts of the church society into a single Christian community - the Church as the Body of Christ. The tradition was started at the Cathedral of St. Sophia of Constantinople.

Семіотика українського та польського авангарду в світлі ідей львівсько-варшавської філософської школи К. Малевич – В. Стшемінський і Г. Стажевський: пошуки супрематичної та конструктивістської мови авангардистського мистецтва (cтаття третя)

Author(s): Volodymyr Anatolyevich Lychkovakh / Language(s): Ukrainian Issue: 3/2018

Purpose of the article. In the first article on the semiotics of the Ukrainian and Polish avant-garde, his philosophical aesthetic and cultural context was considered, in particular, in light of the ideas of the Lviv-Warsaw Philosophical School. To continue this problem, the semiotic parallels (homology) in the works of the Ukrainian and Polish avantgardists of the first third of the twentieth century are being analyzed. On the basis of the unity of cultural, aesthetic semiotic and art-study analysis of artistic achievements of artistic avant-garde in Ukraine and Poland, an understanding of the cultural and historical peculiarities of the creative dialogue of artists working in similar ideological and aesthetic paradigms is achieved. Methodology. The research is based on the aesthetic-semiotic concepts of the representatives of the Lviv-Warsaw School of Philosophy (S. Baley, R. Ingardin, S. Lisse, L. Hvysteck) and the founders of the semantic philosophy of art (K. Bell, B. Croce, S. Langer, G. Rickert) and modern semiotics of culture (Y.Mukarzhovsky, Y.Loman, U.Eko). Interdisciplinary synthesis of philosophical and cultural, aesthetic and art-study approaches is used. Scientific novelty. From the standpoint of modern semiotics, for the first time, symbolic complexes and semantic contents in the works of the Ukrainian and Polish avant-garde are analyzed. Models of semiotic parallels (homologies) are created in the works of leading artists of Ukraine and Poland of the first third of the XX century. The method of extrapolation of the aesthetic-semiotic ideas of the Lviv-Warsaw School of Philosophy is used to understand the similarity and dialogism in the artistic imagery of individual artists. Conclusions. Phenomenological, intuitive, neo-positivist orientations of scientific and artistic and aesthetic thinking have caused cubistic, futuristic, abstract, and constructivist quests of avant-garde artists. The aesthetic principles of the semiosis of avant-guardism in Ukraine were laid by V. Kandinsky, K. Malevich, O. Bogomazov, in Poland - T. Piper, V. Steshinsky, G. Stazhevsky. The development of the Ukrainian and Polish avant-garde of these times is, in particular, a kind of "dialogue" between artistic groups and individual artists in Warsaw and Kiev, Krakow and Lviv. The intellectual atmosphere of these creative "competitions" is symptomatic of the scientific and philosophical positions of the Lviv-Warsaw School of Philosophy with its neo-positivist and phenomenological orientations, and especially - the semantic philosophy of art, which corresponded to the establishment of a new semiosphere of avantgarde imagery. The peculiarities of the dialogue of the artists are analyzed on the examples of aesthetic-semiotic and artistic parallels between V. Kandinsky and Y.T.Pyper (theoretical justification of the avant-garde in art), K. Malevich and V. Stshinsky and G. Stazhevsky (the search for suprematist and constructivist artistic language ), O. Bogomazov and artists of the "Krakow group" (the path from Cubism and Futurism to expressive and lyrical abstraction). I t is summarized that the semiotics of the Ukrainian and Polish avant-garde of the first third of the 20th century coincides in the sphere of "significant forms" of non-classics in fine arts.

Symbolic Transformation of the Widow`s Image in Biblical Cultural Tradition: Semantics, Analogies, Universal Features

Author(s): Oleh Mikhaylovich Shepetyak,Svitlana Anatoliyivna Khrypko / Language(s): English Issue: 3/2019

The purpose of the work is to analyze the specific features of a widow‘s image and status on the Bible pages, to consider semantic contexts of an image, to follow the parallels between the images of an orphan and a widow, to conceive a loneliness phenomenon and orphans‘ and widows‘ protection in Biblical tradition. Axiological variety and poly vector spiritual and semantic representation of Biblical women‘ images are the main focuses of the issue. Methodologically the issue is based on the original source of the Bible. The work is based on methodical description of the women‘ images, who are selected from the Old and New Testament in order to highlight valued features of each image. Moreover, the methods of semantic analysis and hermeneutics are applied to consider semantic differences. The principles of comparative analysis are applied in order to reveal the traits of a widow‘s image in the blocks of historical texts and compare Ukrainian context of widows‘ existence with biblical one. Scientific novelty is in the poly semantic analysis of the women‘ Biblical context and widows‘ images separation with further analysis of their fates, valued statuses, which allowed them to embody the problems of motherhood and marriage, future children birth and solitude, the problem of divine protection in different ways. The issue is devoted to the consideration of symbolic and axiological poly vector transformations of the mentioned problems. Conclusions. The social polarity and spiritual separation of a widow‘s place and role in ancient tradition, and poly vector semantics of a widow‘s Biblical context are conceived. The attention is drawn to the varied contexts of solitude, selectiveness, devoted life, vocation, divine protection of a widow. A widow‘s image is compared with orphans‘ statuses, levits, foreigners, etc. A widow‘s figure is shown as a symbolic one. The ideas of selectiveness, God blessing, obedience, and humility, a miracle of sacred and virgin life are embodied in a person, whose name is translated as ―tears of sea‖. Virgin Mary is a crown of a widow‘s image understanding in Biblical tradition.

Küberneetika ja semiootika: tõrksa taltsutamine ehk kokkupuuteid 1960. aastate nõukogude abstraktse kunstiga

Author(s): Virve Sarapik / Language(s): Estonian Issue: 01+02/2020

The following article will examine the formative years of the Tartu-Moscow school of cultural semiotics: its main influences and how semiotics jibed with the local cultural endeavours, both in the centres of the Soviet Union and in the Tartu-Moscow school’s peripherally situated stronghold in Estonia. The article’s central concern is the connection of early Soviet cultural semiotics to the aspirations of renewal in the visual arts in the first half of the 1960s.

Zwei franko-flämische Agraffen aus dem spätmittelalterlichen Reval als Beispiele für symbolische Kommunikation

Author(s): Kerttu Palginõmm / Language(s): German Issue: 01+02/2020

Goldschmiedekunst eignet sich besonders gut für die Untersuchung symbolischer Kommunikation, denn es war gängig, mit Hilfe von Schmuck seine persönlichen Eigenschaften, seine Ambitionen und dadurch auch den Status zur vermitteln. Der Aufsatz widmet sich zwei spätmittelalterlichen Revaler Agraffen aus dem franko-flämischen Zusammenhang und fragt nach ihren Besitzern, dem Kontext und ihrer Bedeutung.

Going Global with a Local Subaltern

Author(s): Gabriela Robeci / Language(s): English Issue: 1/2020

The notion of the Subaltern has come to have deep roots in understanding postcolonial history. Established by Gayatri Chakravorty Spivak, it has come to define the essence of global cultural relations, as we perceive them today. However, the origin of this theory could not have been less regional, with a starting point in Calcutta in the first half of the 20th century. The way in which it describes the relations of power between India and the British Empire gives place to a global understanding of a dominant culture took control of subjects in minority. This paper is going to seek to expose the roots of the notion of Subalterns, not refraining from touching upon disparities between genders, nations, and traditions.

Цветан Тодоров и Клод Леви-Строс

Author(s): Ivaylo Znepolski / Language(s): Bulgarian Issue: 1/2020

ÇOCUKLARIN KORONA SALGINI KONULU RESİMLERİNİN GÖSTERGEBİLİMSEL ANALİZİ

Author(s): Sezen Aksu / Language(s): Turkish Issue: 1/2021

Definitely, the most important event of 2020 has been the COVID-19 Pandemic, which has affected the whole world and created a change in all aspects socially, economically and psychologically. The way of life in this process, measures taken, practices, prohibitions have caused some effects on children as well as adults, and a number of restrictions have been made from educational life to social life. With this research, it is aimed to reveal the feelings and thoughts of the children, who are seen as the voice of the future, about how they perceive the pandemic through the pictures they made. For this purpose, the pictures of 25 students between the ages of 9-12 who attend Kastamonu Science and Art Center about corona pandemic were analyzed by semiotic method. In the analysis, the “sign, indicator and signage” classification used in Saussure's semiotics method, and the results were described by analyzing the indicators, signifiers, and signifiers that students use the most. As a result of the research, it was observed that the students showed a more egocentric approach, street-park display is at the forefront as a venue, in general, negative emotions, longing for the street, nature, and outdoors stand out.

OSMAN HAMDİ RESİMLERİNDE KADIN İMGESİNİN GÖSTERGEBİLİMSEL AÇIDAN İNCELENMESİ

Author(s): Emine Nur Yılmaz Arıkan / Language(s): Turkish Issue: 59/2021

Painter Osman Hamdi Bey, who lived in the last period of the Ottoman Empire, is a successful painter, sculptor, archaeologist, art historian, educator and statesman. He has taken the early modernization steps of Turkish painting. His contributions to Turkish art and culture cannot be denied. He was the first painter to do figüre and portrait works in his period. Osman Hamdi Bey tried to explain the East in the most accurate way with his Orientalist-style paintings on the subject of important historical structures in Turkey and tried to break the prejudices of the West over the East. In his Works, he included in particular the splendor of the East. Because he uses sections of historical sites one-on-one in some of his Works, these Works are document. In some of his Works, he also provides information about Turkish culture and life through fiction. The artist often included masques, shrines and mansions in his paintings. In his figüre studies, he glorified women in everyday and social life by using women. He tried to emphasize the place of women in society. In his female figures, he portrayed the woman as cultural, social and well- groomed, reading rather than being meta. He used his wife and daughter as models in the female figures he used. In this study, four paintings of Osman Hamdi Bey’s women- themed Works were examined through semiotic analysis and an attempt was made to determine the unity of language, suject and style used in the paintings.

Introduction – semiotics of digital gastromania

Author(s): Kristian Bankov,Francesco Mangiapane / Language(s): English Issue: 1/2021

Since the adoption of Web 2.0, the Internet has chosen food and nutrition as its favorite topic. The Chowhound boards, for example, have been active since ‘97, a fact which speaks volumes about how much we owe the “great conversation” of online social media for the culinary megatrend we call — according to Marrone (2014) — gastromania. Indeed, food and discussion on the Internet are intrinsically linked, a now inseparable combination.

Неизказаното, което ни свързва

Author(s): Constantin Yanakiev / Language(s): Bulgarian Issue: 1/2022

This paper presents ideas from a report held at a conference in honour of the 100th anniversary of Azarya Polikarov. The author shares Polikarov’s view that Thomas Kuhn’s exemplars introduce continuity between disciplinary matrices despite of Kuhn’s own conception of scientific revolutions as radical breaks with the past. Kuhn’s notion of a disciplinary matrix owes much to Carnap’s “linguistic framewoks”, and scientific revolutions are analogous to the solutions of Carnap’s “external questions”. But the unspoken suggestion of exemplars not only acts forwards on future scientific practice. It reaches back to a past tradition, thus connecting an old and a new disciplinary matrix. This tacit connection between disciplinary matrices is the same that binds us in love and faith.

Естетика на иконичното: рекламна комуникация чрез сливане на елементи от изящното и приложното изкуство

Author(s): Erina Krysteva / Language(s): Bulgarian Issue: 2/2022

The questions of our interest and high priority belong to the field of aesthetics in advertising design and communication. The answers could give a deeper understanding of the logic, function, and specifics of the meaning standing behind the visual and its ways of spreading information through icons. It can be “consumed” imperceptibly by the audience and at the same time produce a reaction. In other words, there are hidden messages beyond the two-dimensional print/digital images that could be sent more effectively adopting some methods of aesthetics. Our main goal is to discover how the entire process unfolds and how it is possible for this to happen. So, we will focus on the icon sign system and the visual rhetorical figures that are the base of some communicative strategies.

PERFORMATIVITY AND SELF-EXPLOITATION: BODY SIGNIFICANCE IN LATE CAPITALIST ERA

Author(s): Inna Yuliia Meliakova,Inna Igorivna Kovalenko,Eduard Anatoliyovych Kalnytskyi,Hanna Kovalenko / Language(s): English Issue: 4/2021

The paper represents a philosophical study of the social, political, legal, labour, cultural and anthropological status of a human in the contemporary environment of information technologies development, economic neoliberalism, limited employment, post-democracy, transhumanism, visual culture and pandemic. It attends to the performative practices of social activities, political will and human rights protection, which demonstrate the optimal opportunity of self-preservation and self-identity in the world of biopolitics and cognitive capitalism. The growth of the precariat is regarded as a catalyst of the opposite motion vectors: power activities and political subjects’ activities. The performative actionism is viewed as a relevant strategy of human self-realisation in arts, politics, legal, commercial and business activities, as well as a kind of compensation for the human online existence in these areas. For a late capitalism autonomous individual, his or her corporeal and mental self-exploitation is considered as an effective integrative tactics.