DOCSLIB.ORG

A Theological Foundation for the Use of Artistic Mediums and Technology in Preaching and Evangelism

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
A Theological Foundation for the Use of Artistic Mediums and Technology in Preaching and Evangelism Andrews University Digital Commons @ Andrews University Dissertation Projects DMin Graduate Research 2012 A Theological Foundation for the Use of Artistic Mediums and Technology in Preaching and Evangelism Jessica-Robyn Sarah Trevithick Andrews University Follow this and additional works at: https://digitalcommons.andrews.edu/dmin Recommended Citation Trevithick, Jessica-Robyn Sarah, "A Theological Foundation for the Use of Artistic Mediums and Technology in Preaching and Evangelism" (2012). Dissertation Projects DMin. 132. https://digitalcommons.andrews.edu/dmin/132 This Project Report is brought to you for free and open access by the Graduate Research at Digital Commons @ Andrews University. It has been accepted for inclusion in Dissertation Projects DMin by an authorized administrator of Digital Commons @ Andrews University. For more information, please contact [email protected]. Thank you for your interest in the Andrews University Digital Library of Dissertations and Theses. Please honor the copyright of this document by not duplicating or distributing additional copies in any form without the author’s express written permission. Thanks for your cooperation. ABSTRACT A THEOLOGICAL FOUNDATION FOR THE USE OF ARTISTIC MEDIUMS AND TECHNOLOGY IN PREACHING AND EVANGELISM by Jessica-Robyn S. Mayne Trevithick Adviser: Barry Gane ABSTRACT OF GRADUATE STUDENT RESEARCH Project Dissertation Andrews University Seventh-day Adventist Theological Seminary Title: A THEOLOGICAL FOUNDATION FOR THE USE OF ARTISTIC MEDIUMS AND TECHNOLOGY IN PREACHING AND EVANGELISM Name of researcher: Jessica-Robyn S. Mayne Trevithick Name and degree of faculty adviser: Barry Gane, PhD Date completed: December 2012 The Problem Can artistic forms and technology be utilized in making the biblical truth appear attractive in that it may attract the postmodern culture to Jesus? Postmodern preachers are cautious when it entails the use of interactive artistic mediums. Numerous Pastors choose to preach safe monologue sermons, resulting in bored congregants when it comes to many ineffectual three-point messages. Preaching isn’t just conveying God’s messages; instead it confronts listeners, in the same way Jesus used parables. God has already used these useful and operative techniques consequently; preachers of his word ought to use comparable effective methods in connecting their audiences to God, finishing the work of the Three Angels Message and the Great Commission. Method The diverse examples of art forms to humanity throughout the Bible conveyed by God exposes the preacher to a multitude of mediums, allowing them to move ahead boldly recognizing that art forms and technology are within God’s intention for preaching. Jesus dramatic narratives are not easily forgotten as he communicated the daily drama’s relating to his worldview. The message of redemption and love for the people surrounding him would have been lost without these artistic mediums. Therefore, a variety of technological and artistic mediums were presented to various congregations, including the non-use of artistic mediums to evaluate the effectiveness of art forms and technology by the preacher in preaching to the postmodern audience. Results Artistic genres and technological methods in preaching were shown to be more effective in connecting the audience to the sermon (p. 189), compared to the non-use of artistic genres and technology (p. 173). Art necessitates action; it is an instrumental element in how we communicate characterizing who the preacher is. The Bible is of itself art, enticing the reader from one artistic medium to the next, beneficially presenting Gods messages. Conclusions How should the preacher preach God’s words? Is it through the use of a stringed instrument, poetry or perhaps sculptures, carvings or architecture? Should it be through a song an eloquent speech or stain glass windows? Do we present it through drama, film or multimedia? “In the beginning God created the heavens and the earth” (Gen 1:1). These artistic expressions involved creative methods in the establishment of the world. “Out of the ground the Lord God caused to grow every tree that is pleasing to the sight and good for food…” (Gen 2:9 NIV). Not only did he make trees that were good for food, but they where pleasing to the eye. God’s messages to the world have included various art forms and natural technology (lightning, etc.) that are effective, powerful and memorable. Technology and artistic mediums have become reality in postmodern society. Without these mediums, preaching is far less effective, and fewer people are reached with God’s message, when these methods of communication cease to exist. Through artistic mediums and technological methods further successful preaching can be accomplished, reaching those in the twenty first century. Andrews University Seventh-day Adventist Theological Seminary A THEOLOGICAL FOUNDATION FOR THE USE OF ARTISTIC MEDIUMS AND TECHNOLOGY IN PREACHING AND EVANGELISM A Project Dissertation Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Ministry by Jessica-Robyn Sarah Mayne Trevithick December 2012 © Copyright by Jessica-Robyn Sarah Mayne Trevithick 2012 All Rights Reserved A THEOLOGICAL FOUNDATION FOR THE USE OF ARTISTIC MEDIUMS AND TECHNOLOGY IN PREACHING AND EVANGELISM A project dissertation presented in partial fulfillment of the requirements for the degree Doctor of Ministry by Jessica-Robyn S. Mayne Trevithick APPROVAL BY THE COMMITTEE: _________________________________ ______________________________ Adviser, Director, DMin Program Barry Gane Skip Bell ________________________________ ______________________________ Kenley Hall Dean, SDA Theological Seminary Denis Fortin ________________________________ ______________________________ Skip Bell Date approved Dedicated to Jesus—Yeshua who knew who I would be, before I was born. He chose me before the creation of the world; He knows my name. He demonstrated powerful preaching for me to follow, and showed how to love others. To my Heavenly Father, for loving me and giving me His all—Jesus, and the Holy Spirit for guiding me, in the passion of actively, and creatively, Preaching the Word. I hereby express my heartfelt indebtedness and sincere gratitude to the following people who provided consistent guidance, support and encouragement; Elizabeth Talbot who has been my superior, colleague, sister, friend, and mentor, all rolled into one, who believed in my calling and whose powerful support intrinsically directed me in becoming a Gospel Preacher. Barry Gane my Advisor who has given continual faithful support, encouragement, a resource and friend, who did not for a moment hesitate to assist and monitored this project. Ken Stout whose energetic, sparkling personality and encouragement, first taught me creativity in preaching. Kenley Hall who stepped in at the last minute and provided tools for completion of this project. My Parents, Anita and Richard who trained me in the ways of God and His word, and tearfully let me leave Australia to answer the call of God. My husband Eugene who provided love, and support while having the patience of Job. John Ennen who kept me healthy when I thought I was too sick to finish. Those, which are too many to name, who loved, believed, guided, financially assisted, and were emotionally there for me through its entirety, I love you all. ‘We preach not ourselves, but Jesus Christ as Lord.’ 2 Corinthians 4:5. iii TABLE OF CONTENTS LIST OF ILLUSTRATIONS ........................................................................................ viii LIST OF TABLES ........................................................................................................ x Chapter 1. INTRODUCTION ........................................................................................... 1 The Problem ............................................................................................. 1 The Purpose of the Dissertation ............................................................... 2 The Justification for the Dissertation ....................................................... 2 The Expectations for This Dissertation.................................................... 5 The Methodology of This Dissertation .................................................... 6 2. A REFLECTION OF THE USE OF ARTS IN SCRIPTURE AND CHURCH HISTORY ...................................................................................... 10 The Importance of Imagination ............................................................... 15 Creative Imagination ................................................................................ 17 Why Imagination Is Important ................................................................. 18 The Dramatic in Scriptural Narrative ...................................................... 22 The Use of Symbols ................................................................................. 26 Contemporary Challenges: The Mandate for Preaching .......................... 29 When Reason Is Not Enough ................................................................... 38 Philosophy of Preaching .......................................................................... 44 Implications for Contemporary Preachers ............................................... 48 Conclusion ............................................................................................... 49 3. A PROCLAMATION OF A HOLY GOD ...................................................... 51
Load more

Recommended publications
  • Script Symbology Sequence, Duality & Correspondence in Screenplays & Drama
    Script Symbology Sequence, Duality & Correspondence in Screenplays & Drama John Fraim John Fraim 189 Keswick Drive New Albany, OH 43054 760-844-2595 [email protected] www.midnightoilstudios.org www.symbolism.org www.desertscreenwritersgroup.com www.greathousestories.com © 2017 – John Fraim FRAIM / SS 1 “Eternal truth needs a human language that varies with the spirit of the times. The primordial images undergo ceaseless transformation and yet remain ever the same, but only in a new form can they be understood anew. Always they require a new interpretation if, as each formulation becomes obsolete, they are not to lose their spellbinding power.” Carl Jung The Psychology of Transference The endless cycle of idea and action, Endless invention, endless experiment, Brings knowledge of motion, but not of stillness; Knowledge of speech, but not of silence; Knowledge of words, and ignorance of the Word. T.S. Eliot The Rock “The essential problem is to know what is revealed to us not by any particular version of a symbol, but by the whole of symbolism.” Mercea Eliade The Rites and Symbols of Initiation “Francis Bacon never tired of contrasting hot and cool prose. Writing in ‘methods’ or complete packages, he contrasted with writing in aphorisms, or single observations such as ‘Revenge is a kind of wild justice. The passive consumer wants packages, but those, he suggested, who are concerned in pursuing knowledge and in seeking causes will resort to aphorisms, just because they are incomplete and require participation in depth.” Marshall McLuhan Understanding Media FRAIM / SS 2 To Eric McLuhan Relentless provocateur over the years FRAIM / SS 3 Contents Preface 8 Introduction 10 I.
    [Show full text]
  • UNITED STATES DISTRICT COURT NORTHERN DISTRICT of INDIANA SOUTH BEND DIVISION in Re FEDEX GROUND PACKAGE SYSTEM, INC., EMPLOYMEN
    USDC IN/ND case 3:05-md-00527-RLM-MGG document 3279 filed 03/22/19 page 1 of 354 UNITED STATES DISTRICT COURT NORTHERN DISTRICT OF INDIANA SOUTH BEND DIVISION ) Case No. 3:05-MD-527 RLM In re FEDEX GROUND PACKAGE ) (MDL 1700) SYSTEM, INC., EMPLOYMENT ) PRACTICES LITIGATION ) ) ) THIS DOCUMENT RELATES TO: ) ) Carlene Craig, et. al. v. FedEx Case No. 3:05-cv-530 RLM ) Ground Package Systems, Inc., ) ) PROPOSED FINAL APPROVAL ORDER This matter came before the Court for hearing on March 11, 2019, to consider final approval of the proposed ERISA Class Action Settlement reached by and between Plaintiffs Leo Rittenhouse, Jeff Bramlage, Lawrence Liable, Kent Whistler, Mike Moore, Keith Berry, Matthew Cook, Heidi Law, Sylvia O’Brien, Neal Bergkamp, and Dominic Lupo1 (collectively, “the Named Plaintiffs”), on behalf of themselves and the Certified Class, and Defendant FedEx Ground Package System, Inc. (“FXG”) (collectively, “the Parties”), the terms of which Settlement are set forth in the Class Action Settlement Agreement (the “Settlement Agreement”) attached as Exhibit A to the Joint Declaration of Co-Lead Counsel in support of Preliminary Approval of the Kansas Class Action 1 Carlene Craig withdrew as a Named Plaintiff on November 29, 2006. See MDL Doc. No. 409. Named Plaintiffs Ronald Perry and Alan Pacheco are not movants for final approval and filed an objection [MDL Doc. Nos. 3251/3261]. USDC IN/ND case 3:05-md-00527-RLM-MGG document 3279 filed 03/22/19 page 2 of 354 Settlement [MDL Doc. No. 3154-1]. Also before the Court is ERISA Plaintiffs’ Unopposed Motion for Attorney’s Fees and for Payment of Service Awards to the Named Plaintiffs, filed with the Court on October 19, 2018 [MDL Doc.
    [Show full text]
  • The Comprehensive LATEX Symbol List
    The Comprehensive LATEX Symbol List Scott Pakin <[email protected]>∗ 22 September 2005 Abstract This document lists 3300 symbols and the corresponding LATEX commands that produce them. Some of these symbols are guaranteed to be available in every LATEX 2ε system; others require fonts and packages that may not accompany a given distribution and that therefore need to be installed. All of the fonts and packages used to prepare this document—as well as this document itself—are freely available from the Comprehensive TEX Archive Network (http://www.ctan.org/). Contents 1 Introduction 7 1.1 Document Usage . 7 1.2 Frequently Requested Symbols . 7 2 Body-text symbols 8 Table 1: LATEX 2ε Escapable “Special” Characters . 8 Table 2: Predefined LATEX 2ε Text-mode Commands . 8 Table 3: LATEX 2ε Commands Defined to Work in Both Math and Text Mode . 8 Table 4: AMS Commands Defined to Work in Both Math and Text Mode . 9 Table 5: Non-ASCII Letters (Excluding Accented Letters) . 9 Table 6: Letters Used to Typeset African Languages . 9 Table 7: Letters Used to Typeset Vietnamese . 9 Table 8: Punctuation Marks Not Found in OT1 . 9 Table 9: pifont Decorative Punctuation Marks . 10 Table 10: tipa Phonetic Symbols . 10 Table 11: tipx Phonetic Symbols . 11 Table 13: wsuipa Phonetic Symbols . 12 Table 14: wasysym Phonetic Symbols . 12 Table 15: phonetic Phonetic Symbols . 12 Table 16: t4phonet Phonetic Symbols . 13 Table 17: semtrans Transliteration Symbols . 13 Table 18: Text-mode Accents . 13 Table 19: tipa Text-mode Accents . 14 Table 20: extraipa Text-mode Accents .
    [Show full text]
  • Iconographic Architecture As Signs and Symbols in Dubai
    ICONOGRAPHIC ARCHITECTURE AS SIGNS AND SYMBOLS IN DUBAI HARPREET SETH Ph.D. UNIVERSITY OF WOLVERHAMPTON 2013 i ICONOGRAPHIC ARCHITECTURE AS SIGNS AND SYMBOLS IN DUBAI By Harpreet Seth B.Arch., M.Arch. A thesis submitted in partial fulfillment of the requirements of the University of Wolverhmapton for the degree of Doctor of Philosophy School of Technology (STECH) Department of Architecture and Design University of Wolverhampton February 2013 This work or any part thereof has not previously been presented in any form to the University or to any other body whether for the purpose of assessment, publication or for any other purpose (unless otherwise indicated). Save for any express acknowledgements, references and/or bibliographies cited in the work, I confirm that the intellectual content of the work is the result of my own efforts and no other person. The right of Harpreet Seth to be identified as the author of this work is asserted in accordance with ss.77 and 78 of the Copyright, Designs and Patents Act 1988. At this date copyright is owned by the author. Signature (Harpreet Seth) Date 16 / 03/ 2013 Mrs. Harpreet Seth (M.Arch.) Iconic Architecture in Dubai as Signs and Symbols February 2013 ii Abstract This study seeks to investigate the impact of architectural icons on the cities that they are built in, especially those in Dubai to understand the perceptions and associations of ordinary people with these icons, thus analysing their impact on the quality of life in the city. This is an important study with the advent of ‘iconism’ in architecture that has a growing acceptance and demand, wherein the status of a piece of architecture is predetermined as an icon by the media and not necessarily by the people.
    [Show full text]
  • The Comprehensive LATEX Symbol List
    The Comprehensive LATEX Symbol List Scott Pakin <[email protected]>∗ 22 September 2005 Abstract This document lists 3300 symbols and the corresponding LATEX commands that produce them. Some of these symbols are guaranteed to be available in every LATEX 2ε system; others require fonts and packages that may not accompany a given distribution and that therefore need to be installed. All of the fonts and packages used to prepare this document—as well as this document itself—are freely available from the Comprehensive TEX Archive Network (http://www.ctan.org/). Contents 1 Introduction 6 1.1 Document Usage . 6 1.2 Frequently Requested Symbols . 6 2 Body-text symbols 7 Table 1: LATEX 2ε Escapable “Special” Characters . 7 Table 2: Predefined LATEX 2ε Text-mode Commands . 7 Table 3: LATEX 2ε Commands Defined to Work in Both Math and Text Mode . 7 Table 4: AMS Commands Defined to Work in Both Math and Text Mode . 7 Table 5: Non-ASCII Letters (Excluding Accented Letters) . 8 Table 6: Letters Used to Typeset African Languages . 8 Table 7: Letters Used to Typeset Vietnamese . 8 Table 8: Punctuation Marks Not Found in OT1 . 8 Table 9: pifont Decorative Punctuation Marks . 8 Table 10: tipa Phonetic Symbols . 9 Table 11: tipx Phonetic Symbols . 10 Table 13: wsuipa Phonetic Symbols . 10 Table 14: wasysym Phonetic Symbols . 11 Table 15: phonetic Phonetic Symbols . 11 Table 16: t4phonet Phonetic Symbols . 12 Table 17: semtrans Transliteration Symbols . 12 Table 18: Text-mode Accents . 12 Table 19: tipa Text-mode Accents . 12 Table 20: extraipa Text-mode Accents .
    [Show full text]
  • Mobius Strip and Recycling Symbol
    Mobius Strip and Recycling Symbol Grades: 3 – 4 Time Allotment: Teacher Preparation: 20 minutes (includes time for Internet research) Lesson and Activity: 1 or 2 45-minute class periods (depending on depth of content that teacher decides to pursue) Vocabulary: Recycling Integrated Curricular Areas and Corresponding Core Curriculum Content Standards: Science: 5.2: (G4) A1, B1 Social Studies: 6.2: (G4) A5 Language Arts: 3.1: (G3) A1, G13 (G4) G13 Mathematics: 4.2: (G3) B1 (G4) A1 Technology: 8.1: (G4) B5-7 Content Objectives: Students will be able to – 1. Identify the recycling symbol and describe what it represents; 2. Describe how the recycling symbol closely resembles a mobius strip; 3. Identify a mobius strip; and 4. Describe the history of the mobius strip and the recycling symbol in terms of who designed them, why and when. Process Objectives: Students will – 1. Read two short narratives and respond to questions about the readings; and 2. Create a mobius strip. Materials: For teacher’s presentation: - Chalkboard and chalk or large paper and markers - List of symbols (drawings) and what each represents - Index cards - Picture of the recycling symbol with cardboard to mount it on - Covering for recycling symbol (cloth or paper) with a “question mark” symbol on top - Scissors – 1 pair for each student - Glue or glue sticks – 1 per student or enough to share - Legal-size paper cut into three equal strips per page, one strip per student - Roll of tape - Blank paper – one sheet per student - Copies of “Mobius Strip and Recycling Symbol”
    [Show full text]
  • 12 Notation and List of Symbols
    12 Notation and List of Symbols Alphabetic ℵ0, ℵ1, ℵ2,... cardinality of infinite sets ,r,s,... lines are usually denoted by lowercase italics Latin letters A,B,C,... points are usually denoted by uppercase Latin letters π,ρ,σ,... planes and surfaces are usually denoted by lowercase Greek letters N positive integers; natural numbers R real numbers C complex numbers 5 real part of a complex number 6 imaginary part of a complex number R2 Euclidean 2-dimensional plane (or space) P2 projective 2-dimensional plane (or space) RN Euclidean N-dimensional space PN projective N-dimensional space Symbols General ∈ belongs to such that ∃ there exists ∀ for all ⊂ subset of ∪ set union ∩ set intersection A. Inselberg, Parallel Coordinates, DOI 10.1007/978-0-387-68628-8, © Springer Science+Business Media, LLC 2009 532 Notation and List of Symbols ∅ empty st (null set) 2A power set of A, the set of all subsets of A ip inflection point of a curve n principal normal vector to a space curve nˆ unit normal vector to a surface t vector tangent to a space curve b binormal vector τ torsion (measures “non-planarity” of a space curve) × cross product → mapping symbol A → B correspondence (also used for duality) ⇒ implies ⇔ if and only if <, > less than, greater than |a| absolute value of a |b| length of vector b norm, length L1 L1 norm L L norm, Euclidean distance 2 2 summation Jp set of integers modulo p with the operations + and × ≈ approximately equal = not equal parallel ⊥ perpendicular, orthogonal (,,) homogeneous coordinates — ordered triple representing
    [Show full text]
  • The Stargate Films
    Mr. Wydey’s TV Series Episode Guides Stargate SG-1 Seasons 1-10 The Stargate films This collection of notes offers a strictly personal take on the whole of the Stargate SG-1 universe, as seen on television. The reports were gathered over many years as the episodes unfolded on Sky TV as seen by a Virgin Media customer. Until the Great Disaster of 2007. As will be revealed in due course, Sky and Virgin had a falling out and they did not make up for several years. The last couple of episodes of series 10 were not made available to your reviewer until 2011!! Of course, other TV channels have picked up the torch, and although Sky continues to show SG-1 in dribs and drabs, the Pick channel allowed fans to see the whole thing right from the start on weekdays from Monday to Friday, and at the time of this edition’s publication, Pick was showing everything for a second time. As well as living on in digital TV heaven, the world of the Stargate is also available on DVD. And there are two complete fan-fiction novels in the RLC collection currently, and another is in preparation. Clyde E. Wydey, May 2018 F&F BOOKS www.FarragoBooks.co.uk All rights reserved. No part of this publication may be reproduced, stored in an archive or retrieval system or transmitted in any form or by any means, physical or otherwise, without written permission from the author. The author asserts his moral right of identification. This Edition published in 2018 as part of a collection created by Farrago & Farrago and featuring the work of members of Romiley Literary Circle Cover by HTSP Graphics Division Design & typesetting by HTSP Editorial Division, 10 SK6 4EG, Romiley, G.B.
    [Show full text]
  • List of Symbols
    Appendix A List of Symbols For convenience, many symbols frequently used in the text are listed below alphabetically. Some of the symbols may play a dual role, in which case the meaning should be obvious from the context. A number in parentheses refers to an Eq. number (or the text or footnote near that Eq. number) in which the symbol is defined or appears for the first time; in a few cases a page number, Table number, Sect. number, footnote (fn.) number, or Fig. number is given instead. Quantum number is abbreviated as q. n. Quantum numbers (atomic): Symbol Description Eq. No. j D l ˙ s Inner q. n. of an electron (3.13) J D L C S Inner (total angular momentum) q. n. of a state (5.51b) l P Azimuthal (orbital) q. n. of an electron (3.1) and (3.2) L D l Azimuthal (orbital) q. n. of a state (5.51c) ml Magnetic orbital q. n. of an electron (3.1) ms Magnetic spin q. n. of an electron (3.1) M Total magnetic q. n. (5.51d) n Principal q. n. of an electron (3.1) s P Spin q. n. of an electron (3.13) S D s Spin q. n. of a state (5.51e) Relativistic azimuthal q. n. of an electron (3.15a) and (3.15b) Relativistic magnetic q. n. of an electron (3.18a) and (3.18b) W.F. Huebner and W.D. Barfield, Opacity, Astrophysics and Space Science Library 402, 457 DOI 10.1007/978-1-4614-8797-5, © Springer Science+Business Media New York 2014 458 Appendix A: List of Symbols Quantum numbers (molecular)1: Symbol Description Eq.
    [Show full text]
  • Goa'uld Index
    Stargate SG-1 Role-playing Game: Goa’uld Index Compiled by Anita Schauer Copyright Information: Spycraft and all related marks are ™ and © 2004 Alderac entertainment Group, Inc. All rights reserved. All characters, names, places, and text herein relating to any AEG product is copyrighted by AEG. STARGATE SG-1 ™ and © 1997-2004 MGM Television Entertainment Inc./MGM Global Holdings Inc. STARGATE SG-1 is a trademark of Metro-Goldwyn-Mayer-Studios Inc. All Rights Reserved. Encyclopedia Mythica Articles are © 1995-2004 Encyclopedia Mythica. All rights reserved. Afa • Minor Goa’uld who brought several thousand humans to the planet of Avnil (P3X-513) to mine the naquadah and valuable minerals about 1,000 years ago • Avnil’s atmosphere is very thin with high levels of dangerous radiation, so Afa set up a radiation shield placed around the mining colony and constructed underground facilities to process the ores • The mineral wealth of Avnil only lasted 500 years and Afa abandoned the planet and the humans he brought there • In time, the Avnilians forgot how to maintain the radiation shield and the population retreated permanently into the caves making the abandoned mines their homes • Afa and his Jaffa servants became the “bogeymen” of Avnil society and the Stargate was viewed with fear Stargate Season One: Fantastic Frontiers pg. 22 Avnil pg. 21-23 Encyclopedia Mythica Article by Micha F. Lindemans: The Samoan storm-god. - 2 - Amaunet • Apophis’ newly matured Goa’uld queen • Took Daniel Jackson’s wife, Sha’re, as a host in the episode Children of the Gods • Conceived a Harsesis child with Apophis and returns to Abydos to have him during the episode Secrets .
    [Show full text]
  • Armenian Eternity Sign
    Armenian Eternity Sign SYMBOL NAME SHORT NAME, ASSUMED PLACE IN NICK UNICODE ISO 10646 Dingbats Range 2700-27BF ETERNITY SIGN armeternity No proposed position Reason: the range is filled up History Armenian Eternity Sign is the ancient national symbol and in Armenian reality it can be met in many variations. The appearance of the Sign resembles both clockwise and anti-clockwise rotating ornament, which is composed with curves running from center of the symbol. As a rule the Sign should have eight curves, as this number stands for revival, rebirth and recurrence. However, the symbol may be represented with four and more curves as well. Right and left rotations have accordingly active and passive meanings, as in case of Swastika, and are used in order to accentuate these meanings. For example, a cradle for а boy is decorated with the right whirling eternity sign and a cradle for а girl with the left whirling eternity sign. It can be performed both two-dimensionally and three-dimensionally. Eternity Sign opens the list of symbols included in ArmSCII . Armenian Standard Code for Information Interchange, in http://en.wikipedia.org/wiki/ArmSCII Armenian Symbol of Eternity is the direct descendent of the pre-historic Swastika and has clear Armenian interpretation. It symbolizes the identity of Armenian nation suchlike a David’s star for Hebrews. The earliest roots of round whirling sun-like symbols in the Armenian Highland are rock inscriptions from the Stone Age. Ancient Armenian stone pictures (Stone Age) In Armenia the eternity sign can be found everywhere, in architecture; on doors, walls and etc.
    [Show full text]
  • The Comprehensive Latex Symbol List
    The Comprehensive LATEXSymbolList Scott Pakin <[email protected]>∗ 29 September 2003 Abstract This document lists 2826 symbols and the corresponding LATEX commands that produce them. Some of these symbols are guaranteed to be available in every LATEX2ε system; others require fonts and packages that may not accompany a given distribution and that therefore need to be installed. All of the fonts and packages used to prepare this document—as well as this document itself—are freely available from the Comprehensive TEX Archive Network (http://www.ctan.org). Contents 1 Introduction 6 1.1DocumentUsage.............................................. 6 1.2FrequentlyRequestedSymbols...................................... 6 2 Body-text symbols 7 Table 1: LATEX2ε Escapable“Special”Characters............................. 7 Table 2: LATEX2ε CommandsDefinedtoWorkinBothMathandTextMode.............. 7 Table 3: Predefined LATEX2ε Text-modeCommands............................ 7 Table4: Non-ASCIILetters(ExcludingAccentedLetters)........................ 8 Table5: LettersUsedtoTypesetAfricanLanguages............................ 8 Table6: PunctuationMarksNotFoundinOT1.............................. 8 Table 7: pifont DecorativePunctuationMarks............................... 8 Table 8: wasysym PhoneticSymbols..................................... 8 Table 9: tipa PhoneticSymbols........................................ 9 Table 10: wsuipa PhoneticSymbols...................................... 10 Table 11: phonetic PhoneticSymbols..................................... 11 Table12:Text-modeAccents........................................
    [Show full text]