Mixed Cultural Representation of Stuart's Character in Minions As a Symbol of Strength and Protection Mixed Cultural Representation of Stuart's Character in Minions As a Symbol of Strength and Protection (original) (raw)
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Journal Of History School , 2014
It is observed that several symbols from the mythology still survive in today’s modern world, just as they do in Ancient History, in the same or in the modified versions. One of these symbols is the symbol of Eye. The symbol of Eye has a strong functionality in the lives of the individuals and the society of today as it had in those of the past. In this study, three points are discussed regarding their relationships with one another. First, the Eye Symbol from Ancient History to present is presented. Second, the Evil Eye Bead, which is the reflected version of Eye Symbol on Turkish Society, is evaluated from an intercultural point of view. Finally, the similarities and the differences of both the Eye Symbol and the Evil Eye Bead, as its reflected version on Turkish Society, from the superstitious believes and the irrational thought structures are assessed from a psycho-social point of view.
Asian and African studies, 2017
The evil eye in ancient Mesopotamia has received surprisingly little attention in recent research. It has been suggested that the belief in the malefic gaze was much less prevalent in ancient Mesopotamia than initially thought by earlier generations of scholars. Unfortunately, though, recent scholarship has focused exclusively on the relatively small corpus of evil eye incantations from ancient Mesopotamia. This study attempts to add to the understanding of this ancient belief system by analysing the conceptual content of linguistic expressions for the evil eye of gods and goddesses in Sumerian literature.
The Evil Eye of Sumerian deities
African and Asian Studies, 2017
The evil eye in ancient Mesopotamia has received surprisingly little attention in recent research. It has been suggested that the belief in the malefic gaze was much less prevalent in ancient Mesopotamia than initially thought by earlier generations of scholars. Unfortunately, though, recent scholarship has focused exclusively on the relatively small corpus of evil eye incantations from ancient Mesopotamia. This study attempts to add to the understanding of this ancient belief system by analysing the conceptual content of linguistic expressions for the evil eye of gods and goddesses in Sumerian literature.
Bagh-e Nazar Journal, 2022
Problem statement: Embroidery with different applications has been common since ancient Iran in decorating fabrics with a wide variety of patterns, colors, and types of sewing according to their production area. The embroideries with the motif of “Lady Sun” (Khorshid Khanum in Persian) are used in some Iran areas to avoid the Evil eye, such as Sahebqaraniyeh Palace’s Embroideries. Research objectives: There are some questions about the reasons why the “Lady Sun” motif has been used in Iranian embroideries, such as why do the sun illustrations have female faces? What are the cultural and functional meanings of this motif in these embroideries, and what is the relationship between this motif and the Evil eye? An iconographic approach was used to answer those questions.The purpose is to identify the iconography of “Lady Sun” motives in embroideries of the Sahebqaraniyeh treasure and its relationship with the Evil eye both descriptively and analytically. Research method: This research is qualitative and descriptive-analytical, and the data was collected in the field and library based on the iconographic approach of the Ervin Panofsky school. Conclusion: In ancient culture, the sun was closely associated with the eye and the Evil eye. A woman’s face in the sun can be considered a symbol of Anahita and the sun as a symbol of Myhr, who both were protectors against the devil. The sun resembles the eye of the sky and is both destructive and protective. In many cases, the sun is described with a female face in literature. In the folklore of some regions of Iran, a beautiful female face was painted on a Sabu (pottery jar), called “Cheshmaro”, to avoid the Evil eye. In some other parts, it is called “Chesh Cheshi” or “Cheshouk” and is used to stay away from the Evil eye, which can be considered the use of Sahebqaraniyeh samples for this purpose.
The Eye of Power. An Example of How Social Conditions Shape Rituals: The Case of Eye İdols
Mobility in the Ancient Near East Images in Context - 11. ICAANE, 2020
The idols with emphasized eye parts which emerged in the Late Chalcolithic Period are known as ‘Eye idols’. According to archaeological records, these idols are known from a wide geographical area in ‘Greater Mesopotamia’. Thousands of idols made of terracotta, bone, alabaster, limestone and steatite were found in the ‘Eye Temple’ at Tell Brak. In this study, firstly, geographical distributions, typological features and chronological sequences of the idols are investigated. Then, various researchers‘ suggestions concerning symbolic meanings of this objects will be dicsussed. Finally, the use of eye idols is reinterpreted from different points of view regarding the functions and meanings of the idols by considering the dynamics of the period. The following questions will be addressed: Can we regard the idols as a ritual object of the institutionalized belief system of the Late Chalcolithic Period and is it possible to think that these ‘sacralized’ idols were produced for the sense of surveillance?
The symbolism of the Eye of Horus in the Pyramid Texts
1996
The 5th and 6th Dynasty Pyramid Texts are the earliest extensive Egyptian religious texts from a royal mortuary context. This is our earliest evidence for the Eye of Horus; the aim of this study is to establish exactly what can be learned about its early usage as a symbol and to seek any hints about its origins. The spells mentioning the Eye of Horus are grouped by theme in the sections in Part One (eg. offering spells, ascension spells); references to the eyes of the king and other divine eyes are included for comparative purposes. There is a translation and commentary for each text; the grammar and context are evaluated. The chapters in Part Two contain discussions of the Eye of Horus' symbolism in the thematic groups. The Eye of Horus is supreme as a ritual, symbol for offerings presented to the läng by his son, Horus. The powers that the king gains from the Eye are the restoration of his faculties, transfiguration to a blessed spirit (3b) and a god; these are the general aims of the whole mortuary scenario. The king is also involved in the mythical fate of the Eye of Horus, namely its injury and restoration, as part of his ascension and integration into the afterlife. The role of other divine eyes in the PT and the significance attached to the king's eyes suggest strongly that the symbolic singular Eye of a god could be a succinct and transferable expression of his power. The many cross-cultural parallels of the eye as a source of power support this origin of divine eye symbolism in Egypt. The royal stature of Horus suggests why his Eye, in particular, achieved such prominence.
Logos, Signs and Symbols of Religious beliefs
The theory of Logos gradually developed in its meaning. As the audible or perceptible sound of a word is the expression of an imperceptible thought or idea, so the visible universe is the expression of the ideal universe or the universe in. a thought form existing in the Divine mind. This ideal Creation or concept of the universe, or type of the universe in the Divine mind, was the Logos, The identity of the Logos with educator and culture, whereas the Jewish, Greek, Hindu, and Buddhist philosophers met and interchanged thoughts and philosophical religious ideas. Greek philosophers called the divine Word Logos. The theory of Logos first originated with Heraclitus, one of the earliest Greek philosophers, who lived from 500 to 440 BC he believed that fire was the primitive element of the phenomenal universe, he postulated some power, force, or Jaw, which controlled the material element fire. He called that power Logos which is reason or order. Hinduism has adopted several iconic symbols, forming part of Hindu iconography, that are imbued with spiritual meaning based on either the scriptures or cultural traditions. The exact significance accorded to any of the icons varies with the followers' region, period, and denomination. Over time some of the symbols for instance the Swastika have come to have wider associations while others like Aum [OM] are recognized as unique representations of Hinduism. Other aspects of Hindu iconography are covered by the terms murti, for icons and mudra for gestures and positions of the hands and body. Om (Aum) ; Om (or Aum, ॐ) is the sacred sound symbol that represents the Universe; the ultimate reality (Brahman). It is prefixed and sometimes suffixed to all Vedic mantras and prayers. Aum is often said to represent God in the three aspects of Brahman (A), Vishnu (U) and Shiva (M). As the Divine primordial vibration, it represents the one ultimate reality, underlying and encompassing all of nature and all of existence. The written syllable ॐ called Omkara serves as a deeply significant and distinctly recognizable symbol for Hindu dharma. The pronunciation of Aum moves through all possible human linguistic vowel sounds and is different from the pronunciation of Om. Both are often symbolically equated, although they are sonically distinct. Indeed "OM" is this sound that was realized by the Vedic Rishis (the ancient seers, sages and yogis) through their peer search (by the inner eye) of the sublime world and which is now being conceived (with the help of high-tech Vedic Symbols telescopes and supercomputers) by the modern researchers as the 'music of creation'. It is further mentioned in the science of yoga that the sound 'a' starts in our chests at the heart centre (Anahata Chakra), moves upward with the 'o' sound in the throat centre (Vishuddha Chakra), and ends with the sound 'OM' (mmmm), which vibrates the higher centres in the head. Thus, it represents and enhances the upward movement of prañic energy along the spine that occurs as we progress in our practice. Meanings of "OM" the letter 'a' symbolizes the conscious or waking state, 'u' the dream state, and the letter 'OM' the dreamless deep sleep (trance like) state of the mind and spirit. The entire symbol stands for the "realization of man's divinity within himself." Analogous desperation is also applied to the geometric shape of Omkara. Spectral analysis of the gross sound of OM and its decompositions and simultaneous analysis of the brain impulses and bio-energy waves while meditating upon this sacred sound would give new dimensions to modern scientific research, thus unfolding the annals of the secret knowledge of the Vedas. Swastika; The swastika is a symbol connoting general auspiciousness. It may represent the purity of soul, truth, and stability or Surya, the sun. Its rotation in four directions has been used to represent many ideas, but primarily describes the four directions, the four Vedas and their harmonious whole. Its use in Hinduism dates back to ancient times. the Vedic symbol of the swastika. The term swastika emanates from the Sanskrit