Abstract

Cultural background plays a significant role in the sphere of visual art. Semiotics as a discipline is recognized as a useful tool in gauging cultural background and identifying signs that might represent the message of a certain work. Given the rich cultural context of Mamluk architecture, this form of art can be used in studying semiotics. Semiotic tools were employed to interpret the expression of architectural forms and to formulate a subsequent understanding of these architectural forms by turning each element into a communication tool that elucidates meaning. The Sufie tradition was the dominant Islamic practice during the Mamluk period, during which metaphysics, numbers, and geometry were regarded as indispensable tools in manifesting the nature of divinity and the order of being. A semiotic reading of the Funerary Complex of Sultan Qaitbay in Cairo, regarded as one of the perfect works of this era, was proposed to study the reflections of these notions on architectural works. Several messages were embodied in the building, such as functional or technical messages. The semiotic reading in this study is solely concerned with the spiritual message of the building.

Abstract

«The passion for order» that characterizes the Caledonian works can be seen in the optics capacity of the dramatist to produce auto sacramentales that maintain a direct correlation with the preceding pictorial works. In this line of analysis, this study presents the convergence between the allegorical linealismo visibly present in the Roman mural paintings of the region of Castile and León in Two Angels and a Holy Archbishop of anonymous artist found in the Hermitage of the Vera Cruz de Maderuelo, Segovia, of the twelfth century Spain, and the implied significance of the symbolism represented in the scenic sketches of the auto sacramental The Immunity of Consecrated Ground by Pedro Calderón de la Barca written in the early modern Spain.

Abstract

In this paper we try to investigate the value of cosmic calderonian perspectives in La vida es sueño, showing how from the beginning of this work and through to completion of the whole of it, it is conceived as a dialectic of verticality, establishing the paradigm «down-up» as a dramatic technique in which both the symbolic dimensions of the scenery and its reflection in the moral world play a fundamental role

Abstract

The aim of this investigation is the study of publicity from the point of view of the archetypes, following a hermeneutic model of analysis of the content; through this we have studied the presence of the Greek mythological figures in comparison with the characters that appear in the advertising messages of perfumes, which at first allows us to observe the analogy of the gods of the old Greek Mythology with real human archetypes; secondly, it allows us to dig deeper into these advertising contents to know if these stories are purely commercial or if they could be interpreted with other meanings. The results of this analysis show a high participation of the female archetype of the woman as a wife, related to the goddess Hera, and followed by the archetype of the sensuality represented by the Aphrodite goddess and that of the goddess Artemisia or goddess of liberty; in perfume commercials aimed at men, the biggest frequency in the myth of Zeus and of Narcissus is emphasized, as archetypes of power and success, continued by the presence of the myth of Odysseus, the hero’s archetype, known as a model of strategist and intelligence; in commercials aimed at both sexes the myth of Dionysus as archetype of the party and transformation is the most relevant, followed by the myth of the brothers Hera-Zeus that become husbands and fathers of the Greek Panteon of Mithological Gods.