It is thought that there is a great impact of pre-Islamic Central Asian Turkish culture and beliefs on the legends related to
petrifaction told in Turkey and in the Asian countries.
The slow and creeping
petrifaction that foregrounds insidious processes of geological change and through which reification is figured is replaced by images of war and sudden catastrophe.
One concern especially common among regionalists was the risk of reducing costume to mere museum piece, and giving sanction through exhibition and encouragement of traditional costume to contrivance, nostalgia or
petrifaction.
Each critic becomes a Pygmalion," (33) when in his/her Narcissistic
petrifaction, he/she gives life to a stony work of art in the chiastic structure of reading.
One quatrain read "Listen all who never felt / For fettered genius heretofore-- / Let hearts of
petrifaction melt / And bid the gifted Negro soar.
The phenomenology of stereotypes is exposed by studying their formation,
petrifaction and decomposition more broadly in culture, and more specifically in theatre.
Thereafter the structure survived and was the strongest factor in the gaining of Indian Independence, but it generated a
petrifaction of attitude, a compulsive return to the past which wouldn't serve the material needs of the new India or propel it out of poverty.
As one can conclude, what the authors of the book under scrutiny are aiming at, while claiming the rights to impose their own norms on the local culture, is nothing else but the
petrifaction of the mythical tribal condition.
For the
petrifaction or freeze of the applicable law, a specific clause to that effect is necessary.
If the color in the stained-glass construction rehearses all the chromatic options of color's archaic links to light and luminosity, to transparency and transcendentality, and to luminous or chromatic projections into space, then the painted complement, in its tightly organized accumulation of color squares in aleatory arrangements and multiple potential permutations, does exactly the opposite, emphasizing deep saturation and opacity, immaculate industrial perfection of production, and the perfect
petrifaction of color as an element of a lifeless, denatured culture of administration and design.
In his book on the face in cinema, Jacques Aumont sees film as being perhaps the largest denigrator of the face, as an agent of emptying and of
petrifaction, but also as a privileged site for its redemption.
It is also this sense of emptiness which allows the process of ideological identification to develop and to result into the
petrifaction of self.
