He is wearing two pendants around his neck, one of them a large ankh, the ancient Egyptian hieroglyphic ideograph symbolizing the gift of an afterlife, granted to humans by Egyptian deities.
|
|
Participants were then exposed to an ideograph (e.g. a Chinese character) for two seconds and asked to rate the ideograph on a scale of liking. Researchers found that participants preferred the ideograph preceded with a smiling face as opposed to those preceded by a frowning face or neutral polygon despite the fact that the smiling face was only shown for of a second. The same experiment demonstrated the persistence of initial affect.
|
|
McGee uses the term in his seminal article “The ‘Ideograph’: A Link Between Rhetoric and Ideology” which appeared in the Quarterly Journal of Speech in 1980.McGee, M.C. (1980). The “ideograph”: A link between rhetoric and ideology. Quarterly Journal of Speech, 66, 1-16.
|
|
The name of a kanji can be arrived at by prepending the Unicode codepoint with "CJK UNIFIED IDEOGRAPH-". For example, row 16 cell 1 () corresponds to U+4E9C in UCS, so the name of it would be "CJK UNIFIED IDEOGRAPH-4E9C". Kanji are not given Japanese common names.
|
|
Perhaps for this reason 阝 (U+961D), listed as CJK UNIFIED IDEOGRAPH-961D, is usually used to represent both.
|
|
Moore, M. P. (1996). The cigarette as representative ideograph in the debate over environmental tobacco smoke. Communication Monographs, 64, 47-64.
|
|
Ideographic Description Characters is a Unicode block containing graphic characters used for describing CJK ideographs. They are used in Ideographic Description Sequences (IDS) to provide a description of an ideograph, in terms of what other ideographs make it up and how they are laid out relative to one another.IDS are described in chapter 18.2 of the Unicode Standard 9.0 on pages 689 through 692. An IDS provides the reader with a description of an ideograph that cannot be represented properly, usually because it is not encoded in Unicode; rendering systems are not intended to automatically compose the pieces into a complete ideograph, and the descriptions are not standardized.
|
|
At the end of his essay defining the ideograph, McGee says that > “A complete description of an ideology . . . will consist of (1) the > isolation of a society’s ideographs, (2) the exposure and analysis of the > diachronic structure of every ideography, and (3) characterization of > synchronic relationships among all the ideographs in a particular context.” Such an exhaustive study of any ideology has yet to materialize, but many scholars have made use of the ideograph as a tool of understanding both specific rhetorical situations as well as a broader scope of ideological history. As a teacher, McGee himself made use of the ideograph as a tool for structuring the study of the rise of liberalism in British public address, focusing on ideographs such as , , , .
|
|
An ideograph or virtue word is a word frequently used in political discourse that uses an abstract concept to develop support for political positions. Such words are usually terms that do not have a clear definition but are used to give the impression of a clear meaning. An ideograph in rhetoric often exists as a building block or simply one term or short phrase that summarizes the orientation or attitude of an ideology. Such examples notably include , , and .
|
|
Rhetorical critics use chevrons or angle brackets (<>) to mark off ideographs. The term ideograph was coined by rhetorical scholar and critic Michael Calvin McGee (1980) describing the use of particular words and phrases as political language in a way that captures (as well as creates or reinforces) particular ideological positions. McGee sees the ideograph as a way of understanding of how specific, concrete instances of political discourse relate to the more abstract idea of political ideology.Jasinski, J. (2001).
|
|
Edwards, J. L. & Winkler, C. K. (1997). Representative forms and the visual ideograph: The Iwo Jima image in editorial cartoons. Quarterly Journal of Speech, 83, 289-310. and objects represented in mass media.
|
|
CJK Radicals Supplement is a Unicode block containing alternative, often positional, forms of the Kangxi radicals. They are used as headers in dictionary indices and other CJK ideograph collections organized by radical- stroke.
|
|
Young Kakit, (1991), Landscape, New Arts, Volume 42/No.4, China. Lau Pui Yee, (1985), New Art, Ming Po Weekly, Hong Kong. Young Kakit, (1986), Ideograph: A Moment of Sub-Consciousness, The City Magazine, Hong Kong.
|
|
There are three primary ways in which the concept of the ideograph is important to rhetorical critics. First, it suggests a way of studying political ideology using concrete instances of language use. By showing how looking at specific uses of key words and phrases in political language reveal underlying ideological commitments, McGee offers a concrete method for understanding the highly abstract concept of ideology. Second, the definition of the ideograph makes clear that the rhetorical study of a term is different from a legal, historical, or etymological study of a term.
|
|
He begins his essay by defining the practice of ideology as practice of political language in specific contexts—actual discursive acts by individual speakers and writers. The question this raises is how does this practice of ideology create social control. McGee’s answer to this is to say that “political language which manifests ideology seems characterized by slogans, a vocabulary of ‘ideographs’ easily mistaken for the technical terminology of political philosophy.” He goes on to offer his definition of “ideograph”: “an ideograph is an ordinary-language term found in political discourse.
|
|
Condit, C. M. & Lucaites, J. L. (1993). Crafting quality: America’s Anglo-African word. Chicago: University of Chicago Press. Some critics have gone beyond the idea that an ideograph must be a verbal symbol and have expanded the notion to include photographs.
|
|
A unit of analysis in ideological criticism, or what Foss calls "traces of ideology in an artifact," is the ideograph. It is a symbol representing an ideological concept and is more than what the symbol itself depicts. Michael McGee, a renowned ideological critic, postulated that an “ideograph is an ordinary term found in political discourse” that “is a high-order abstraction representing collective commitment to a particular but equivocal and ill-defined normative goal”. Thus, McGee restricted ideographs to words, words that “constitute a vocabulary of public motives, which authorize and warrant public actions”. McGee encourages the study of ideographs (such as “liberty” and “freedom”) to help identify the ideological position of a society.
|
|
For example, ,Ideographic Description Sequence: an ideograph read in Japanese as , has a J-SourceThis is a column name in the Unihan database; ⟨J⟩ here is short for "Japanese glyph source". The full name of the column is . Under Han unification, there are nine such sources. See §3.1 of UAX#38 for a complete list and more information.
|
|
The ideographs for mean "blind" and "woman." The kanji are so because the individual ideograph for already existed. is most likely derived from , which also means "blind woman" ( is a formal second-person pronoun). Although the term can be found in medieval records, other terms such as , were also in use (especially in written records) until the modern era.
|
|
The block named CJK Compatibility Ideographs (F900–FAFF) was created to retain round-trip compatibility with other standards. Only twelve of its characters have the "Unified Ideograph" property: U+FA0E, FA0F, FA11, FA13, FA14, FA1F, FA21, FA23, FA24, FA27, FA28 and FA29. None of the other characters in this and other "Compatibility" blocks relate to CJK Unification.
|
|
Unlike other perspectives that focus on how a term has changed over time, a rhetorical study of a term focuses on the forces involved in the creation of these meanings. In short, a rhetorical study of a term is the study of the use of that term in practice. This leads to a third key aspect of what the concept of the ideograph offers to rhetorical critics. McGee notes that the study of a term must not, and should not, be limited to its use in “formal discourse.” Instead, the critic is much more likely to gain a better understanding of an ideograph by looking at how it is used and depicted in movies, plays, and songs, as well as how it is presented in educational texts aimed at children.
|
|
Lusona ideograph illustrating the story of the beginning of the world Sona () drawing is an ideographic tradition known across eastern Angola, northwestern Zambia and adjacent areas of the Democratic Republic of the Congo, and is mainly practiced by the Chokwe and Luchazi people. These ideographs function as mnemonic devices to record proverbs, fables, games, riddles and animals, and to transmit knowledge.
|
|
An ideogram or ideograph (from Greek "idea" and "to write") is a graphic symbol that represents an idea or concept, independent of any particular language, and specific words or phrases. Some ideograms are comprehensible only by familiarity with prior convention; others convey their meaning through pictorial resemblance to a physical object, and thus may also be referred to as pictograms.
|
|
The spelling Babylon is the Latin representation of Greek Babylṓn (), derived from the native (Babylonian) ', meaning "gate of the god(s)". The cuneiform spelling was KA2.DIG̃IR.RAKI. This would correspond to the Sumerian phrase kan diŋirak The 𒆍 KA2 is the ideograph for "gate", 𒀭 DIG̃IR is "god", and the 𒊏 ra is a genitive suffix. The final 𒆠 KI is the determinative for a place name.
|
|
Tangut is a Unicode block containing characters from the Tangut script, which was used for writing the Tangut language spoken by the Tangut people in the Western Xia Empire, and in China during the Yuan dynasty and early Ming dynasty. Tangut characters do not have descriptive character names, but have names derived algorithmically from their code point value (e.g. U+17000 is named TANGUT IDEOGRAPH-17000).
|
|
Graber, (1976). Considering the phrase "American Dream," the image that tends to come to mind is a successful, self-made American individual who has worked hard in order to obtain a life of financial security, with occasional luxury and minimal privilege, even if the sociological reality varies widely by region, class, place, and time. A closely related concept is the rhetorical concept of the ideograph.
|
|
A drawn love heart on paper The heart shape (❤, ♥️, <3) is an ideograph used to express the idea of the "heart" in its metaphorical or symbolic sense as the center of emotion, including affection and love, especially romantic love. The "wounded heart" indicating lovesickness came to be depicted as a heart symbol pierced with an arrow (Cupid's), or heart symbol "broken" in two or more pieces. heart symbol online.
|
|
Genjōkōan (現成公按The fourth ideograph in this expression, as originally written by Dōgen, is not the same as that in the term kōan, which is written 公案. For discussion of the possible significance of this difference, see ) sometimes translated as Actualizing the Fundamental Point is an influential essay written by Dōgen, the founder of Zen Buddhism's Sōtō school in Japan. It is considered one of the most popular essays in Shōbōgenzō.
|
|
Prefabricated rubber stamps are unacceptable for business purposes. Mitome-in and lesser seals are usually stored in inexpensive plastic cases, sometimes with small supplies of red paste or a stamp pad included. Most Japanese also have a far less formal seal used to sign personal letters or initial changes in documents; this is referred to by the broadly generic term hanko. They often display only a single hiragana, kanji ideograph, or katakana character carved in it.
|
|
The characters are generally printed on a square piece of paper or stitched in fabric. The practice is universal among Chinese people regardless of socioeconomic status, and dates to at least the Song Dynasty (AD 960 – 1279). When displayed as a Chinese ideograph, Fú is often displayed upside-down on diagonal red squares. The reasoning is based on a wordplay: in nearly all varieties of Chinese: the words for "upside-down" (, Pinyin: dào) and "to arrive" (, Pinyin: dào) are homophonous.
|
|
Transplantation of mo is called monaegi (), and rice fields are called non (). Since other fields are called bat (), the generic term for "agricultural field" in Korean is nonbat, which literally means "rice field and other fields". There is even a Korean-coined Chinese character for rice field: 畓 (pronounced dap() in Korean). Since the paddy fields for rice are irrigated lands, the character is a compound ideograph made of 水 ("water", pronounced su () in Korean) and 田 ("field", pronounced jeon () in Korean).
|
|
To do so would, ideographically speaking, be undemocratic. Citizens of a democratic state are “conditioned” to believe that liberty and freedom are so fundamentally important that society expects those citizens to simply unquestioningly accept actions claiming to be in defense of liberty and freedom. For example, even within the United States, the ideograph of freedom has changed. At the time of the American War of Independence (1775–1783), freedom meant breaking away from the tyrannical rule of the Kingdom of Great Britain.
|
|
Literally translating as "That Water", the name Tefnut has been linked to the verb 'tfn' meaning 'to spit' and versions of the creation myth say that Ra (or Atum) spat her out and her name was written as a mouth spitting in late texts.The Complete Gods and Goddesses of Ancient Egypt, Wilkinson, page. 183 Like most Egyptian deities, including her brother, Tefnut has no single ideograph or symbol. Her name in hieroglyphics consists of four single phonogram symbols t-f-n-t.
|
|
In theory, most Chinese characters as encoded by Han unification and similar schemes could be treated as precomposed characters, since they can be reduced (decomposed) to their constituent strokes and ideograph descriptions with Chinese character description languages. Such an approach could reduce the number of characters in the character set from tens of thousands to just a few hundred. On the other hand, such a highly decomposed character set would introduce challenges for searching and editing software and require more bytes of encoding per document.
|
|
One illiterate servant inadvertently placed the characters upside-down. The prince was said to have been furious upon seeing the characters, but a quick-thinking servant humbly calmed the prince by saying that the occurrence must have been a sign of prosperity "arriving" upon his household by using the above wordplay. Bats () are the most ubiquitous of all Chinese symbols with the same symbolic meaning as the ideograph "fortune" ().Welch, Patricia Bjaaland, Chinese Art: A Guide to Motifs and Visual Imagery, Tuttle Publishing, 2008, pp. 112–3.
|
|
Today, freedom means many things including the freedom to pursue one's dreams and the freedom to be left alone. People disagree about the freedoms that are most important: freedom to possess guns, freedom to make decisions that affect one's body, freedom from fear or violence, and freedom of movement. Depending on one's ideological orientation, the ideograph of freedom represents many things, which is why it can be so powerfully used by politicians. Ideographs succeed in political discourse because of their inability to be concretely understood.
|
|
Illustration of the Thorsberg chape showing the runic inscriptions on both sides. The o-rune is attested early, in inscriptions from the 3rd century, such as the Thorsberg chape (DR7) and the Vimose planer (Vimose-Høvelen, DR 206). The letter is derived from a Raetian variant of the letter O. The corresponding Gothic letter is (derived from Greek Ω), which had the name oþal. Wolfgang Krause (1964) has speculated that the o rune is used as an ideograph denoting possession in the Thorsberg chape inscription.
|
|
It is a high order abstraction representing commitment to a particular but equivocal and ill- defined normative goal.” An ideograph, then, is not just any particular word or phrase used in political discourse, but one of a particular subset of terms that are often invoked in political discourse but which does not have a clear, univocal definition. Despite this, in their use, ideographs are often invoked precisely to give the sense of a clearly understood and shared meaning. This potency makes them the primary tools for shaping public decisions.
|
|
Line art emphasizes form and drawings), of several (few) constant widths (as in technical illustrations), or of freely varying widths (as in brush work or engraving). Line art may tend towards realism (as in much of Gustave Doré's work), or it may be a caricature, cartoon, ideograph, or glyph. Before the development of photography and of halftones, line art was the standard format for illustrations to be used in print publications, using black ink on white paper. Using either stippling or hatching, shades of gray could also be simulated.
|
|
A papercut showing the character Fú written in 100 different ways (11 × 9 plus 1)Welch, Chinese Art, p. 4, by permission of the author The character Fú (, Unicode U+798F) meaning "fortune" or "good luck" is represented both as a Chinese ideograph and, at times, pictorially, in one of its homophonous forms. It is often found on a figurine of the male god of the same name, one of the trio of "star gods" Fú, Lù, Shòu. Mounted Fú are a widespread Chinese tradition associated with Chinese New Year and can be seen on the entrances of many Chinese homes worldwide.
|
|
Ideographs need not be verbal only; they can be visual too. In 1997, Janis Edwards and Carol Winkler expanded the idea of the ideograph to include visual images as well as written words. They argue images can act as “a Visual reference point that forms the basis of arguments about a variety of themes and subjects” that are used by both “elites and non-elites” alike. Like McGee's textual ideographs, visual ideographs depict common values and goals in a given culture, recur in different contexts over time, and are used to validate arguments and social practices.
|
|
Condit and Lucaites depict the racial facet of equality as the dominant meaning in an American context of political discourse, since 1865. Another important ideograph used specifically by U.S. presidents Barack Obama and George W. Bush after the 9/11 attacks is . The term does not have a clear or specific definition, but when applied to the context in the fear-stricken country after the devastating attacks in 2001, this term held significant weight and meaning to Americans all across the country. Kelly Long explores Obama’s discourse on the and states that “by developing an ideological justification for the conflicts that the United States was involved in at the time, Obama remedied much of the damage done by the Bush administration”.
|
|