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Symbolic Images (symbolic + image)

Distribution by Scientific Domains
Medical Sciences40%

Selected Abstracts

PHOTOGRAPHS, SYMBOLIC IMAGES, AND THE HOLOCAUST: ON THE (IM)POSSIBILITY OF DEPICTING HISTORICAL TRUTH

HISTORY AND THEORY, Issue 2 2009
JUDITH KEILBACH
ABSTRACT Photography has often been scrutinized regarding its relationship to reality or historical truth. This includes not only the indexicality of photography, but also the question of how structures and processes that comprise history and historical events can be depicted. In this context, the Holocaust provides a particular challenge to photography. As has been discussed in numerous publications, this historic event marks the "limits of representation." Nevertheless there are many photographs "showing" the Holocaust that have been produced in different contexts that bespeak the photographers' gaze and the circumstances of the photographs' production. Some of the pictures have become very well known due to their frequent reproduction, even though they often do not show the annihilation itself, but situations different from that; their interpretation as Holocaust pictures results rather from a metonymic deferral. When these pictures are frequently reproduced they are transformed into symbolic images, that is, images that can be removed from their specific context, and in this way they come to signify abstract concepts such as "evil." Despite being removed from their specific context these images can, as this essay argues, refer to historical truth. First, I explore the arguments of some key theorists of photography (Benjamin, Kracauer, Sontag, Barthes) to investigate the relationship between photography and reality in general, looking at their different concepts of reality, history, and historical truth, as well as the question of the meaning of images. Second, I describe the individual circumstances in which some famous Holocaust pictures were taken in order to analyze, by means of three examples, the question what makes these specific pictures so particularly suitable to becoming symbolic images and why they may,despite their abstract meaning,be able to depict historical truth. [source]

Organizational Attractiveness of Foreign-Based Companies: A country of origin perspective

INTERNATIONAL JOURNAL OF SELECTION AND ASSESSMENT, Issue 3 2010
Fabian Jintae Froese
Attracting high-quality applicants is a crucial activity for the success of an organization. In today's globalized world, multinational enterprises need to attract talent not only in the domestic market but also in overseas markets. This exploratory study introduces the country of origin image framework from marketing literature to the context of recruitment in order to examine why foreign companies are (not) attractive to local job seekers, exemplified by the case of Japanese and US companies in Vietnam. Survey results of more than 300 participants confirmed the robustness of our postulated framework. Symbolic images such as the technological development and images of people of a country predicted the attractiveness of foreign companies above and beyond instrumental images of job characteristics. Detailed explanations and practical implications are provided. [source]

The Living Tree of Nursing Theories

NURSING FORUM, Issue 3 2003
Charlotte Tourville RN
TOPIC Three behavioral theories have been used to develop major nursing theories: interactive, systems, and developmental. PURPOSE To provide a symbolic image as a framework for nurses to visualize the multitude of nursing theories starting with the first nurse theorist, Florence Nightingale. SOURCES Published research articles, authors' experience, educational classes and workshops. CONCLUSIONS The Living Tree helps organize various nursing theories so a nurse can apply the theories to practice. [source]

PHOTOGRAPHS, SYMBOLIC IMAGES, AND THE HOLOCAUST: ON THE (IM)POSSIBILITY OF DEPICTING HISTORICAL TRUTH

HISTORY AND THEORY, Issue 2 2009
JUDITH KEILBACH
ABSTRACT Photography has often been scrutinized regarding its relationship to reality or historical truth. This includes not only the indexicality of photography, but also the question of how structures and processes that comprise history and historical events can be depicted. In this context, the Holocaust provides a particular challenge to photography. As has been discussed in numerous publications, this historic event marks the "limits of representation." Nevertheless there are many photographs "showing" the Holocaust that have been produced in different contexts that bespeak the photographers' gaze and the circumstances of the photographs' production. Some of the pictures have become very well known due to their frequent reproduction, even though they often do not show the annihilation itself, but situations different from that; their interpretation as Holocaust pictures results rather from a metonymic deferral. When these pictures are frequently reproduced they are transformed into symbolic images, that is, images that can be removed from their specific context, and in this way they come to signify abstract concepts such as "evil." Despite being removed from their specific context these images can, as this essay argues, refer to historical truth. First, I explore the arguments of some key theorists of photography (Benjamin, Kracauer, Sontag, Barthes) to investigate the relationship between photography and reality in general, looking at their different concepts of reality, history, and historical truth, as well as the question of the meaning of images. Second, I describe the individual circumstances in which some famous Holocaust pictures were taken in order to analyze, by means of three examples, the question what makes these specific pictures so particularly suitable to becoming symbolic images and why they may,despite their abstract meaning,be able to depict historical truth. [source]

Changes in breast cancer patients after psychosocial intervention as indicated in drawings,

PSYCHO-ONCOLOGY, Issue 4 2010
R. T. H. Ho
Abstract Objective: The present study attempts to understand the experience of breast cancer patients who had participated in an Eastern-based body,mind,spirit (BMS) psychosocial intervention program by observing changes in the images made by the patients. Methods: Pre- and post-intervention drawings on the theme of ,my cancer' were collected from 67 primary breast cancer patients. Two creative art therapists compared the drawings according to the structural and formal art elements (body), the symbols used (mind), and the emotions and feelings presented in the drawings (spirit). Numbers of pre- and post-intervention drawings, showing the presence of each element in these three dimensions, were also counted and compared. Results: There were several changes noted between pre- and post-intervention drawings. The use of color, space, and multiplicity increased from 12 to 17%. Images of breasts decreased from 13 to 0%. Representations of cancer decreased from 15 to 7%. There was a slight increase in symbolic representations of natural, landscapes, and social support in post-drawings (3,6%). The portrayal of negative emotions was greatly reduced from 52 to 3%, while positive emotions increased from 28 to 93% in post-drawings. Conclusions: The comparison of pre- and post-intervention drawings revealed changes in subject matter and accompanying emotions. Overall, there was a trend in changes toward a more peaceful and hopeful attitude. Through the use of realistic and symbolic images, participants depicted a range of emotions. Limitations and recommendations for using art,making, as an assessment tool and intervention, are addressed. Copyright © 2009 John Wiley & Sons, Ltd. [source]