This paper consists of the following elements:
A - Introduction: includes an overview of symbolism, and the most important patrons, and common goals
among them.
B - The symbol and symbolism in Western culture: the researcher reviews the multiple p
erspectives in the
definition of the symbol and its uses, and provides a definition of the code as mentioned in some
dictionaries and encyclopedias as well as to the point of view of some philosophers.
C - The objectives of symbolism: It is beyond reality and the achievement of other hidden meanings in
addition to their quest for the convergence of art with other cultural activities, literary, musical, scientific
and philosophical.
D - Symbolism in plastic art: the researcher shows the history of its inception, its currents and the most
important artists who have used the symbol and did not belong to it. In addition, it shows the artists who
have paved the way for it. Finally it describes artists who influenced this concept and developed it.
Syrian narrative writers have used a number of symbols in
their narrative works, one of which is fire, which has been used very
flexibly. Fire stood for punishment, catharsis, fear, and desire both in
relation to the theme of the relevant story an
d its title.
The paper leaves it open for new significations for this symbol
that might appear in new meanings and forms by other narrative
writers not dealt with here.
The study deals with the aesthetics of poetic language as the most
prominent object of the literary interplay in the prose text of the
writers, preachers and apostles of the Umayyad period.
The plurality of symbols forms in consciousness current
story and their repetition form the most important goals that the
research seek through to keep up with thoughts movement and
their pandemonium deep inside the human mind
This research studies the process of symbol transition from psychoanalysis to other
scientific and philosophical fields, especially hermeneutics and Paul Ricoeur's
interpretation theory. In fact, this research studies what the interpretation theory
has done
to the concept of symbolism. The latter migrates to it from psychoanalysis which forms for
Freud an essential basis in his study of the kinds of neurosis and psychopathy. Actually, his
goal is to make symbolism contributes to get scientific results. Thus, this symbolism
should be put in an attire of what the interpretive has called the concept of mythologization
to reach the work which the interpretation will do and consider too as an essential activity
to eliminate mythologization from the domain of the symbol.
Paul Ricoeur, based on the interpretive, has taken upon himself to discuss directly Freud's
works. He tries in these discussions to understand the techniques of psychoanalysis to
handle the basic Freudian conceptions to enable the interpretive to reread Freud through
symbolism and mythology. Thus, this research illustrates how Ricoeur depends on the
inquisitive thought, i.e. through questioning deeds and words. The research clarifies this
point through discussions we try to make as critical as possible in order to understand the
results of the interpretation theory that brings out the symbol and myth, in terms of the
psychoanalytic experimental exercise, in order to create the interpretive theory itself. This
takes place after the symbol becomes an important part of the displacement-andcompensation
processes within the texts which are subjected to interpretation after the
interpretive has managed demythologization.
