Symbolization

На примере анализа содержания фильмов-лидеров кассовых сборов кинопроката раскрывается ценностная динамика символов успеха как объективно проистекающий в кинокоммуникации социокультурный процесс. Культурное производство и потребление
переосмысливается в качестве автокоммуникации общества, которая имеет устойчивые тенденции. Изучены связи социокультурного процесса символизации успеха с коммуникативными, семантическими и семиотическими процессами. Описана специфика диалектического противоречия социоцентричных и персоноцентричных символов
успеха. Изложены теоретические положения, раскрывающие структурную и функциональную сторону социокультурного процесса символизации успеха, на примере анализа массива кинофильмов доказана его объективность, определены доминирующие тенденции в
ореоле культурного пространства общего кинорынка.
Книга адресована ученым, студентам и преподавателям, интересующимся культурной динамикой, социальной коммуникацией, ролью кинематографа в современном обществе.
On the example of the analysis of the content of films-leaders of the box office box office, the value dynamics of the symbols of success is revealed as an objectively occurring sociocultural process in film communication. Cultural production and consumption are being rethought as the self-communication of society, which has sustainable trends. The connections of the socio-cultural process of symbolizing success with communicative, semantic and semiotic processes have been studied. The specificity of the dialectical contradiction between sociocentric and personocentric symbols
of success is described. The theoretical provisions that reveal the structural and functional side of the socio-cultural process of symbolizing success are presented, its objectivity is proved on the example of the analysis of an array of films, the dominant tendencies in the halo of the cultural space of the
general film market are determined.
The book is addressed to scientists, students and teachers interested in cultural dynamics, social communication, the role of cinema in modern society.

The article is about the interpretation of the Chaos mythologeme in its interrelation with the artistic aspect of the Snake
imagery. The Chaos mythologeme in the epoch of mythopoeic creativity acquires the zoomorphic personification that with the course
of time starts functioning as the sign or emblem, still retaining in the considerable extent its semantics of the Chaos symbolism,
closely related to the elements such as water, fire, earth, and other natural forces, that have been seen by humans both as the cradle of
all existing things, and at the same time – as the threat to the society’s prosperity, considering the unpredictable and destructive character
of the natural forces. But even today the images related to the Snake or Dragon symbolism is common in the contemporary
culture, proving the deep meaning of the Snake symbol for the human unconscious and its cultural manifestations.

This paper compares the analytic and experiential approaches to dreams in order to illuminate the intrinsic and necessary relationships between the two understandings. It describes how dream work reflects the bimodalness of symbolism, thought and ultimately human consciousness. An extended example of dream work reflecting both analytic and experiential modalities is presented.

Building on Alfred Schütz’s work, this essay conceptually scrutinizes virtual worlds with an aim to clarify what is at stake with the virtualization of the late modern society. The diffusion of technological artifacts, devices of commu- nication and the Internet in particular, have transformed the life-world of essentially everyone. In the past few years our everyday life, including its livelihoods, has seen a proliferation of activities within virtual worlds, such as games and virtual social networks. We can now live and experience actively in different virtual realms, as compared to being mere passive receivers in the era of television and radio. This has direct implications for what is inherently relevant for people and, in consequence, we have to take such transformation into account also in conceptual terms. This article makes a major contribution to the conceptual understanding of phe- nomenological sociology that due to the virtualization, we can no more equate the paramount reality as the zone of primary relevance. The paramount reality as conceived as the sensorily perceivable, physical world of concrete objects is increasingly far from being equated to that part of the world within our reach which we can immediately observe and also at least partially dominate, that is, the zone of primary relevance. It is furthermore argued that the ongoing virtualization of societies urges us to conceive of virtual worlds as transforming the chief finite province of meaning, that of the world of working, instead of seeing virtual worlds merely as other sub-universes of reality.

NARRATIVE MODES: NARRATIVE FORM
A Psychoanalytic Exploration of Stories Presented, Represented, Shown and Told

Anna Aragno

Abstract and Introduction

All people, everywhere, have a story to tell. Narrative is one of the clearest expressions of the synthesizing, sense-making tendencies of the human mind. People make moral judgments, remember, believe, and anticipate, from the confidence of narrative. Each of us is constantly carving out structures of value, morals, and meaning, out of daily occurrences that make up the time-bound fabric of human experience.  Stories provide paradigms for how to think about the phases in life’s crises’ and stages in natural events: the ordinary becomes extraordinary by means of a storied account. The psychosocial functions of recounting play a key role in human psychical stability: in fact, psychoanalysis was born in Anna O’s compelling evening story-tellings to Breuer. 

However, not every telling is a narrative, and not every narrative tells a story.                           
                           
This metatheoretical paper examines an emergent mental phenomenon that is both a human universal and an integral aspect of the psychoanalytic process. The approach is interdisciplinary insofar as our methodology subsumes subjects that have been investigated in greater depth by other disciplines. However, given our interpretive focus on unconscious repetitions and affective communications, our method is unique in what it can reveal about narrative processes, and we benefit from a synthesis of current knowledge.

The paper begins by carefully differentiating between Narrative, Narration, Narrativization, and Story. It then explores what can be learned about narrative modes and narrative form through a study of the ways psychoanalytic dialogues expose constitutive speech acts through interactional exchanges and interpretive sequences that gradually yield complete verbal, newly narratized versions of whole psychical tales. By integrating and narrativizing (working-through) a ‘shadow tale’ that has appeared fragmentally spread over long periods of time in partly enacted, partly remembered, and partly told modes, psychoanalytic constructions produce integrated personal histories that bring coherence and cohesion to identity, while producing cognitive shifts through the very narratizing activities that generate the new story.

The central idea is that narrative is a ‘way-of-knowing’, a gnosis, a mode of ordering and crystallizing events emerging from action, reaction, and sequence, embedded in the ways we think and live our lives. Psychoanalytic dialogues uncover early, often fateful, fantastical tales – carrying underlying personal myths and life-motifs -- and helps re-work them in the service of psychical wholeness by re-harnessing the integrative, sense-making, cognitive impulse that underlies this form symbolization

Drawing on case material from rural Kyrgyzstan, I , I argue in this article that symbolization theory enables a shift in focus within legal anthropological reasoning, in which analyses of symbolic statements are mostly concerned with the effects of legal symbolism, and not with the practice of legal symbolization. I will argue that symbolization is not a straightforward matter that can be easily typified, but a practice that requires context and the co-constitution of interpretable knowledge for symbols to (do their) ‘work’.

The "squiggle game" is, above all, a method for relating and encouraging mutual exchange between the analyst and the patient (no matter if child, adolescent, or adult), enabling him to experience holding and freely explore different communication possibilities. After having explored the "technique" as it has been developed by Winnicott, this study also exposes some theoretical considerations, and some variations in the basic technique, brought together by the crucial role played by reciprocity: "Me a little and you a little." The paper is a clinical case with a Chinese adolescent.

The article is a synthesis of the final thesis of the degree program in social services at the University of Padua. Starting from a reflection on the recognition of the person as the primary need of the subject, as theorized by Eric Berne, come develop the hypothesis of the Social Assistant as a facilitator in building new meanings for the individual. This hypothesis finds a parallelism in the anthropological studies where the shaman, the sorcerer in a tribe, is a healing figure that "heals with symbols" and connect again the individual to the collectivity.

The “squiggle game” is, above all, a method for relating and encouraging mutual exchange between the analyst and the patient (no matter if child, adolescent, or adult), enabling him to experience holding and freely explore different communication possibilities. After having explored the “technique” as it has been developed by Winnicott, this study also exposes some theoretical considerations, and some variations in the basic technique, brought together by the crucial role played by reciprocity: “Me a little and you a little.” The paper is a clinical case with a Chinese adolescent. Le jeu du squiggle est avant tout une méthode favorisant la relation et l'échange mutuel entre l'analyste et le patient (qu'il s'agisse d'un enfant, d'un adolescent ou d'un adulte) et permettant à ce dernier de faire ;'expérience du holding et d'explorer librement différentes modalités de communication. Après avoir examiné la “technique” développée par Winnicott, l'a...

This tutorial, according to the title, will explain how to create maps with lego style. The data used is the area of each regency in Central Kalimantan Province, Indonesia. And the software used to make lego maps is QGIS3.

watch video : https://www.youtube.com/watch?v=YrFatyXDMLU

The “squiggle game” is, above all, a method for relating and encouraging mutual exchange between the analyst and the patient (no matter if child, adolescent, or adult), enabling him to experience holding and freely explore different communication possibilities. After having explored the “technique” as it has been developed by Winnicott, this study also exposes some theoretical considerations, and some variations in the basic technique, brought together by the crucial role played by reciprocity: “Me a little and you a little.” The paper is a clinical case with a Chinese adolescent. Le jeu du squiggle est avant tout une méthode favorisant la relation et l'échange mutuel entre l'analyste et le patient (qu'il s'agisse d'un enfant, d'un adolescent ou d'un adulte) et permettant à ce dernier de faire ;'expérience du holding et d'explorer librement différentes modalités de communication. Après avoir examiné la “technique” développée par Winnicott, l'a...

One of the distinctive manifestations of odes at Age of is Jahelid is depiction and description of ridding animal for the Jahelid Arabic man in general and camel in particular, that is friend, attendant and associate for the poet and apparently by allusive borrowing from limbs of symbolic animals like zebra, ox and ostrich etc he/ she has sparsely illustrated it. Unlike the technique adapted by prior critics and some of contemporary orators, this paper is intended to interpret variously seemingly- diffusive descriptions from Jahelid Arabic poet from his/ her ridding animal in order to reveal depth of links among concepts and their different themes by analysis based on symbolic deciphering and decoding and such symbolic elements to be embodied within a mythical nature. Accordingly, it does not seem probable that in Jahelid ode, camel to be symbol of an ideal poet or human that was linked to camel and it is symbol of power, agility, wisedome, keenness, prudence, sense of responsibility, rigidness and stability etc

The article dwells on the historical process of the transformations of Chaos symbolism as the esthetic interpretation of this ontological category. The comparative-historical research of the Chaos symbols from Neolith to contemporary culture, showed its global character. It can be seen especially well on the example of the universally spread spiral ornaments and the image of serpent- or dragon-like being. Symbols at large and particularly symbols of Chaos has the Cosmos-creating character in the archaic cultures. In the different national mythological traditions Chaos is seen differently, depending upon the correlations between the cultural connections, territory and epoch of the emergence of the motifs. Still, in spite of the difference between the concrete interpretations, the mythological Chaos is related not only to destruction, but to creation as well. Very close ideas are manifested in the culture of ХХ – early ХХІ ct.; it is especially notable that they emerge practically simultaneously and independently in such different spheres as the fantasy literature and the scientific theories, which, in its turn, gave an impulse to the development of the science art.