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The approach developed by Gottfried Semper in the mid-19th century seems to be quite productive for studying the evolution of forms and decoration of objects of material culture. Based on the relationship between the properties of materials and technologies, it formed the basis of modern design practices. The use of this approach makes it possible to explain many phenomena, particularly, the emergence of skeuomorphic forms of ornament (so-called 'technical ornament'), and also to expand our understanding of materials and technologies that have not reached our time. The reconstruction of non-preserved elements of culture can be complemented by studies on their visual representation in fine art. The principle of development of material culture can also be represented as a movement from the archetype to the material embodiment of ideas, which is possible at the corresponding level of technological development. [ABSTRACT FROM AUTHOR]

The crises of climate change and biodiversity loss have pushed the aim for increasing the resilience of forest ecosystems high on the agenda of foresters and policymakers. At the same time, synergistic opportunities for restoring forests and biodiversity are emerging to safeguard these ecosystems. Naturalness is a key characteristic of forest ecosystems, which should be considered when estimating benchmarks for resilience and biodiversity conservation. The naturalness of forest ecosystems is highly dependent on the intensity of human activity, as different levels of management intensity can change the original traits of forest ecosystems. This paper presents an archetypal typology of forest ecosystems, describing the association between management and naturalness. Both features are represented as gradients covering the full spectrum observed in European forests. The array of forest ecosystem archetypes was verified using case studies across Europe. The typology provides useful information for setting targets for resilience and restoration of forest ecosystems. [ABSTRACT FROM AUTHOR]

The numbness to human loss becomes ordinary. Indifference to human affairs seems normal after experiencing the global lockdown. Bringing up empathy becomes the most challenging task in architectural design studios after the COVID-19 pandemic. Examining otherness solidified after a global pandemic would be a way to revive empathy and to engage more in architectural design studios. The physiological disparity between the modern and the vernacular environments narrows down with the revival of Najdi architecture, the Salmani architecture style, and the Diriyah Gate Project in Riyadh, KSA. The disparity is caused by intangible factors such as speed, density, and tension but the revival focuses heavily on the tangible, formal expression. The architectural elements in the vernacular Najdi architecture have different meanings and roles beyond being a decorative motif. The feeble values of the vernacular undermined by touristic images are challenged by a series of radical design projects not to be generalized again by picturesque replicas of the past. Seeing the lost, the ecological sensibility of a community or collective that embraced the harshest land with full respect, might not be visual but is instead radically experiential, like a serendipitous breeze in Riyadh. This paper introduces a series of studio works that challenge how to bring back the living structure, in the harshest environment, to daily life through experimental and speculative design processes. It proposes how a community is called on to guard the environmental landscape, again defying the visual interpretation of Najdi architecture in a political landscape dominated by high fence walls. [ABSTRACT FROM AUTHOR]

This book review contextualizes Jung and Aging: Possibilities and Potential for the Second Half of Life within feminist considerations while discussing the stage of life and its spiritual and depth psychological possibilities as they apply to women in their 80s and 90s. Included is the Crone archetype and how it contributes to both the book's themes and the theme of this special issue around aging, living, and work. [ABSTRACT FROM AUTHOR]

The public persona of the 8th PM of Malaysia, Muhyiddin Yassin, was derived from the metaphorical framing of the Good Father archetype. Archetypes do not always lead to logical conclusions because issues are framed by focusing on specific aspects while avoiding those that are inconsistent with the metaphor. Metaphorical structures influence the way we perceive, think or act. Muhyiddin's abah persona can be described as monolithic. It normalizes the conservative Malay value that upholds the patriarchal role while marginalizing other ethnic or religious representations and their cultural and parenting practices. Muhyiddin had exploited this privileged position so as to further the asymmetrical power relation. The Malaysian collective fantasy of a Good Father is not uniform and Muhyiddin's abah was challenged by a Shadow Father counternarrative. This exploratory study is limited in achieving depth of understanding of gender roles representation but explores instead the strategic actors, namely Muhyiddin and his supporters, how they tried to build the image of a Good Abah, and how the narrative was negotiated and contested, as well as the ideologies that were promoted or reinforced by the father archetype. Findings include readers' polarized views of good father, low-key misogyny, the traditional and stereotyped expectation of men. [ABSTRACT FROM AUTHOR]

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Copyright of Cuadernos del Centro de Estudios de Diseño y Comunicación is the property of Cuadernos del Centro de Estudios de Diseno y Comunicacion and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The trend of media consumption in recent years has been the sharp interest of the mass audience in communication and entertainment. This practice can also be traced in the dynamics of the development of cultural industries, where the emergence of new words (“blog”, “podcast”, “hashtag”, etc.) is noted. This indicates that the media continues to play a huge role in the production and preferences of certain cultural products. Under the influence of mediatization, there is a steady demand for behavioral models that, based on humor, irony or deception, contribute to changing the existing order. One of these models is trickster behavior. Such actions in the society of impressions are perceived as a form of entertainment. The purpose of this article is to attempt a philosophical understanding of such transformations in public consciousness and media consumption in the context of cultural and economic dynamics. My thesis is that the trickster, who is a universal archetypal figure immersed in a socio-cultural context, plays an important role both in mythology and in religion, culture, media, economics, and politics. It serves as a unifying principle in the process of forming the social memory of peoples, exposing the negative qualities of man and society, showing the level of existing values and morality. Sociocultural, semiotic, historiosophical, communicative and psychoanalytic approaches have been applied to the study of trickster behavior. As a result of the research, manipulative tactics used by tricksters in the media space have been identified, which make it possible to implement a strategy of theatricality: in behavior and speech on the verge of “norm – outrageousness”, an unconventional vision of the situation, a reaction to the challenges of social reality, the introduction of new cultural mythologies into public consciousness. The influence of their actions on the formation of sociocultural stereotypes is noted. The study expands the understanding of trickster behavior through the prism of established trends in media consumption and reproduction of cultural products (movies, games, blogs, performances by media personalities, etc.). The relevance of the trickster model of behavior is justified by the digitalization and mediatization of the space of human existence.

As part of comparative studies of the works of F.M. Dostoevsky and W. Faulkner, the implementation of the archetypal pattern of “underground” thinking and behaving (most completely embodied in the narrator of Dostoevsky’s novella “Notes from Underground”) in the character of Thomas Sutpen, the main character of Faulkner’s novel “Absalom, Absalom!”, is considered. The mere appearance of a stable association of Faulkner’s works with Dostoevsky’s novels by the early 1940s which subsequently gave impetus to a number of comparative studies not only in Western literary criticism but also (later on) in national literary studies is noted. The traits of the Underground Man (non-acceptance of God-created world, Man-god consciousness, awareness of inconsistency with Man-god ideal, cruel self-punishment and aesthetization of it, moral alienation, and spiritual decay) are realized in many characters of Dostoevsky and Faulkner (Raskolnikov, Svidrigailov, Ippolit Terentyev, Stavrogin, Arkady Dolgoruky, Ivan Karamazov; young Bayard Sartoris, Quentin Compson, Joe Christmas). As for Thomas Sutpen, the opinion has long been established in criticism that considering such characters of Dostoevsky as Raskolnikov and Arkady Dolgoruky, one can discover a portrait, which prefigures his character in almost every detail. In this study, given that Thomas Sutpen is the bearer of the “underground” of the “Stavrogin” type (without self-punishment for inconsistency with the ideal), a comparison between Stavrogin and Sutpen is made. Nikolai Stavrogin committed monstrous crimes for the sake of anesthetization of his immoral existence. Thomas Sutpen who sought to establish his dynasty at any cost went to any crime to achieve his goal. But both of them, trampling on the feelings of people, fell out of the human race and suffered a crushing defeat.

The article raises the question of the folklorism of V.V. Mayakovsky, whose artistic heritage in literary criticism from these positions has been little studied. The latent forms of penetration of the folk tradition into the poetics of the author of the beginning of the 20th century are considered. Folklore in the study is understood comprehensively, culturally and philologically expanded, taking into account the forms of myth, ritual, that is pre-genre formations. The material for the hermeneutic analysis was the poem "An extraordinary adventure that happened with Vladimir Mayakovsky in the summer at the dacha", which is especially distinguished by literary critics in the poet's work. Much attention is paid to the problem of national topics, the archetype of the World Mountain in the verbal culture of modernism, whose representatives were acutely aware of the problem of feeling space and time, "top" and "bottom", "day" and "night". The folklore commentary on the poem also allows rethinking many issues of the poet's work from ontological and metaphysical positions. This poem has a great cultural potential for the study of solar images in the Russian poetry of the Silver Age, artistic anthropocosmism, which was associated with the philosophy of cosmism. The results of the work can also be used in teaching courses on Russian literature of the XX century, folklore, philosophy.

This research revisits the iconic film Victor/Victoria (Edwards, 1982), in order to illuminate how the comedic humiliation of archetypal women characters reinstates patriarchal dominance. By highlighting archetypes that I have labeled the "legitimate" woman, fat lady, scolding mother, and sexy ditz, this interdisciplinary research contributes to critical feminist scholarship and communication study that rarely engages the rhetorical significance of women who perform drag. The specific aim of this research is to reexamine the regressive effects of seemingly progressive films like Victor/Victoria in order to foment meaningful discourse about the subversive, and conversely, anxiety-inducing effects of drag in this precarious political moment, when many conservative lawmakers identify drag as a cultural threat. [ABSTRACT FROM AUTHOR]

Since he first proposed it, Carl Jung's "archetype" theory has faced resistance from a pervasive but seldom examined set of underlying Cartesian assumptions embedded in mainstream psychology. This paradigm assumed a physical universe (and hence body) free of psyche that coincided with an essentially disembodied mind largely concerned with abstract symbol manipulation. This situation led archetype theory to remain largely within insulated psychoanalytic circles for decades. Since the 1980s, however, cognitive psychology has increasingly become embodied from a variety of standpoints. This article shows how the results of embodied cognition and spontaneous thought "demystify" many of the attributes Jung described in his archetype theory, making archetype theory not only more comprehensible but clinically applicable. Combining approaches suggests new avenues of inquiry for experimental research and enriches the psychoanalytic perspective. [ABSTRACT FROM AUTHOR]

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Copyright of Turkish Studies - Language & Literature is the property of Electronic Turkish Studies and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Studia Universitatis Babes-Bolyai, Philologia is the property of Babes-Bolyai University, Cluj-Napoca, Romania and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

A suitable platform for paradigmatic criticism would be the paintings of Iran Darroudi, a contemporary Iranian female painter, which are created in the surrealist and symbolism style. For instance, paintings are one of the domains in which archetypes are manifested. Archetypes are abstract concepts that are common, repeated, and abstract in various human societies. They are rooted in the collective unconscious, the deeper part of the psyche, and are reflected in the individual's consciousness and unconsciousness through fantasies, legends, dreams, delusions, and artworks in the form of symbols and myths, according to the perspective of analytical psychology. In fact, these symbols and mythologies are containers that convey archetypes, and by interpreting them, one can gain a deeper layer of the human psyche. In this research, we will examine the symbols of archetypes in three instances of Iran-Darroudi's paintings to determine the role of the collective unconscious effect through the reflection of archetypes in Darroudi's paintings. The purpose of this research is to develop a novel analytical method that employs a distinct approach to facilitate a more profound comprehension of the inner layers of Darroudi's paintings. The research performed qualitatively on descriptive-analytical method. The collection of topics would be based on observation and the library. The findings indicate that the primary bold elements in Darroudi's art are the manifested symbols of sky, earth, ruins, flowers, pearls, and light. These symbols represent the archetypes of mother/woman, sky/father, ascension, and marriage. [ABSTRACT FROM AUTHOR]

Since the systematization of geographic science, certain aspects of human life were no longer incorporated into its conception. The soul is one of them. The current of humanist geography, using a phenomenological philosophy, intends to overcome a Cartesian logic, for this purpose it appropriates subjective aspects that were previously disregarded. In this sense, authors such as Dardel and Tuan will be exemplified. Still, there is no connection between geography and the soul. Therefore, starting from the contributions of archetypal psychology conceptualized by James Hillman, based on Jung's analytical psychology, we will reflect on the contribution of this thought to geography. In this little explored interconnection, it is possible to construct a geography of the soul. This would be a perspective on communicating with an animated world. Its objective would be the deformation and construction of images, making all contact with the world an imaginative archetypal experience. [ABSTRACT FROM AUTHOR]

Surface albedo measures the proportion of incoming solar radiation reflected by the Earth's surface. Accurate albedo retrieval from remote sensing data usually requires sufficient multi-angular observations to account for the surface reflectance anisotropy. However, most middle and high-resolution remote sensing satellites lack the capability to acquire sufficient multi-angular observations. Existing algorithms for retrieving surface albedo from single-direction reflectance typically rely on land cover types and vegetation indices to extract the corresponding prior knowledge of surface anisotropic reflectance from coarse-resolution Bidirectional Reflectance Distribution Function (BRDF) products. This study introduces an algorithm for retrieving albedo from directional reflectance based on a 3 × 3 BRDF archetype database established using the 2015 global time-series Moderate Resolution Imaging Spectro-radiometer (MODIS) BRDF product. For different directions, BRDF archetypes are applied to the simulated MODIS directional reflectance to retrieve albedo. By comparing the retrieved albedos with the MODIS albedo, the BRDF archetype that yields the smallest Root Mean Squared Error (RMSE) is selected as the prior BRDF for the direction. A lookup table (LUT) that contains the optimal BRDF archetypes for albedo retrieval under various observational geometries is established. The impact of the number of BRDF archetypes on the accuracy of albedo is analyzed according to the 2020 MODIS BRDF. The LUT is applied to the MODIS BRDF within specific BRDF archetype classes to validate its applicability under different anisotropic reflectance characteristics. The applicability of the LUT across different data types is further evaluated using simulated reflectance or real multi-angular measurements. The results indicate that (1) for any direction, a specific BRDF archetype can retrieve a high-accuracy albedo from directional reflectance. The optimal BRDF archetype varies with the observation direction. (2) Compared to the prior BRDF knowledge obtained through averaging method, the BRDF archetype LUT based on the 3 × 3 BRDF archetype database can more accurately retrieve the surface albedo. (3) The BRDF archetype LUT effectively eliminates the influence of surface anisotropic reflectance characteristics in albedo retrieval across different scales and types of data. [ABSTRACT FROM AUTHOR]

Copyright of Eurasian Journal of Philology: Science & Education is the property of Al-Farabi Kazakh National University and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Nigeria’s residential buildings consume a substantial amount of the country’s energy, so achieving a net-zero building sector with a rapidly growing population is a key challenge. To bridge the gap in research at a national level and support Nigeria’s commitment to an unconditional 20% reduction in emissions by 2030, this study develops bottom-up archetype models of different residential building typologies to estimate the energy and material use of Nigerian residential buildings. This creates an overview of the residential stock and how different archetypes perform. The study calculates a baseline energy and material use of Nigeria’s residential building stock using the BuildME tool and converts these data into CO2 emissions using a life-cycle assessment. Scenarios are modelled for 2020. Nigeria’s residential dwellings use approximately 0.3 kt of material per dwelling over a lifetime of 50 years and 2404 kWh/yr of energy per dwelling. Annualised, dwellings emit 2500 kgCO2-eq per dwelling due to material and energy use. Scenarios proposed for meeting Nigeria’s emissions targets will require improved energy efficiency, decarbonising the building envelope through a shift in construction materials and decarbonising grid electricity. Policy relevance This study provides a comprehensive analysis of the energy and material use of residential buildings in Nigeria, focusing on achieving the country’s commitment to a 20% reduction in emissions by 2030. It employs a bottom-up approach to model energy and material use, revealing the peculiarities of the dwelling stock across Nigeria’s four climatic zones. The study explores the implications of different policy scenarios on sustainable housing. The research suggests that meeting Nigeria’s emissions targets requires improved energy efficiency, a shift in construction materials and decarbonisation of grid electricity. It also highlights the potential benefits of a policy switch to materials such as timber, earthen blocks, adobe bricks and clay, which could significantly reduce construction-related emissions. These changes could improve the quality of life of households in Nigeria, combat climate change on a global scale and bring economic advantages to Nigeria.

The article aims to study the poetic means of reproducing models of intergenerational dialogue in the parameters of “conflict/solidarity”. The material of the study is the novel “Bonjour tristesse” (“Hello Sadness”) by Françoise Sagan, which demonstrates models of intergenerational relations within and around one family. The objective of the research is to study the existential model of “friend or foe” in intergenerational relations, the peculiarities of generational identification and self-identification, to clarify the mythopoetic interpretation of the archetype of Mother, Eros and Thanatos, and the gender focus of intergenerational relations. The study uses the methodology of literary gerontology, existential interpretation of a literary text, mythocriticism, psychoanalysis, sociological and psychoanalytic works related to age anthropology. Historical, cultural, comparative historical and typological methods are used to study the embodiment of age-related aspects, as well as to establish thematic, figurative, and compositional features of the functioning of intergenerational dialogue in a literary text. The result of the study shows that the intergenerational dialogue in the novel takes place within the framework of the models of “solidarity” and “conflict”. The figurative and motivational complex “solidarity” is characteristic of Cécile and Raymond’s relationship with elements of the idealisation of the father. The model of “solidarity” with elements of manipulation prevails in the relationships of Cécile-Elsa and Cécile-Cyril. During the story, these relationships do not have a deep emotional connection. The “conflict” model is expressed in the Cécile-Anne interaction. Anne makes the mistake of taking her role as a mother to Cécile to heart. Thus, she breaks the established ties in the family, trying to impose “foe” roles on the father and daughter, and on the other hand, she attempts to try on the sacred image of a mother, which leads to Anne’s death. The novel presents an artistic interpretation of the Mother archetype in several projections. First of all, in the variation “patronage as a maternal function”, the Mother archetype is characteristic of Anne. However, if Anne’s patronage as a “foe” is acceptable to Cécile, she does not plan to see her as her father’s wife, or her mother (stepmother). The Cécile-Anne conflict can also be seen in the mythological tradition of the stepmother-stepdaughter. Another variation of the Mother archetype, the “sacrificing mother”, is characteristic of Cyril’s mother, but Cécile negatively perceives the type of “woman in the family kinkeeper role”. The mythopoetics of the conflictual parallel of Eros and Thanatos in the novel is closely related to the motif of the intergenerational relationship between Raymond and Elsa. Here, the connection between an older man and a young lover is a necessary confirmation of a man’s physical and emotional state. The line of mutual love between 40-year-old Anne and Raymond provides an example of harmonious ageing. However, the destructive conflict between Cécile and Anne becomes a modulated energy aimed at eliminating the threat (Anne). In this way, the author’s intention reveals the ontological problem of playing with death, the unconscious realisation of the primordial instinct of destructiveness. The motif of Thanatos is immanently present in the novel because of the death of Cécile’s mother. The relationship between Raymond and Anne causes Cécile’s rejection and ends in Anne’s suicide. Anne’s attempt to take her mother’s sacred place ends in death.

Over the last decade, a significant vector of Ukrainian literature was the reception of the traumatic stress caused by the Russian-Ukrainian war. The works of Kateryna Kalytko, representing intensive metamodern explorations in contemporary poetry, occupy a significant place in this trend. The article interprets the poet’s idiostyle based on the collection People with Verbs (2022). This study focuses on the analysis of folklore archetypes in the author’s poetry, motifs, and verbal structures, whose origins are rooted in ancient Ukrainian incantational traditions. It also covers the interpretation of the poet’s meditative experience with the magic of language, its role in strengthening the spiritual axiology of a person suffering from terrorist aggression, and the establishment of a stoical worldview despite the fragility of life. This article aims to establish the concept of ‘incantation’ as a unifying system within the metaphorical world of the poetry collection People with Verbs. The term ‘incantation’ is interpreted as the functioning of verbal constructions aimed at healing from trauma, and the composition of incantatory metaphorical texts, inspired by the belief in the magical power of words. The paper applies such methods as comparative, structural, semiotic, anthropological, and hermeneutical analysis, as well as elements of the psychological school of literary studies. The study proves the actualization of the sacred worldview pre-system in the artistic thinking of contemporary Ukrainian poets, as illustrated by Kateryna Kalytko’s collection People with Verbs. It focuses on the author’s reflections and meditations during the war, appeals to suggestive speech preserved by genetic memory, and the use of its structures as a form of defence and resistance. The binary time-spatial model of the poet is marked by the cult of night, which corresponds to the ritual and spiritual practice in the field of the mystical. Kateryna Kalytko intensively operates with pagan archetypes and signs, and resorts to the use of proper names, emphasizing that even their pronunciation has a protective energy. The figurative system of corporeality, which is in line with the tradition of incantations, is indicative of the poetics of the collection. It concerns the specific markings (eyes, head, lips, muscles, lungs, heart, spine, knees, joints, throat, intestines, entrails, veins, etc.) that are part of the metaphorical structures of the incantatory nature. There are parallels with the healing modus of folk spells, firstly, the poetess tries to stop the bloodshed and protect the defenders with her words. In the spirit of the ethnocultural tradition, Kateryna Kalytko endows certain lexical signs with the function of verbal amulets (earth, roots, river, boat, stones, wood, forest, house, fire, wind, bird, feather, beast, iron, ash, crystal, etc.) At the same time, the poet’s metaphor is an objectification of the extrasensory perception of the act of speaking. The focus of Kateryna Kalytko’s artistic studio is the articulatory apparatus, the miracle of the birth of sound and voice, as evidenced by a number of tropes, whose centre is the word “throat”. The poet also tries to comprehend the changes in phonetics, vocabulary, morphology, and stylistics caused by the war. Kateryna Kalytko’s poetic search is correlated with the philosophical interpretation of the phenomenon of language by M. Heidegger, H.-G. Gadamer, and K. Jasperas. For the author, in accordance with the realities of war, the well-known statement “language is home” is transformed into the metaphor “language is a shelter”. Thus, in Kateryna Kalytko’s idiostyle, one can guess the pathos of whisperers, fortune tellers, healers, and molfars who resist evil with words. At the same time, the image of the author-medium is complemented by the hypostases of a witness of the Russian-Ukrainian war and a philologist.

Since the early 20th century, cinema has become a means of depicting the mind for psychoanalysis, providing a platform to discuss mental phenomena. Over time, both disciplines have enriched each other, becoming significant tools for perceiving and understanding the world. One such analytical method is Carl Gustav Jung's analytical psychology, which revolves around the archetypal theory as a central tenet. Jung's analytical psychology focuses on archetypal patterns and the dynamics of the unconscious. He founded his theoretical framework on the intent to heal humanity, relying on archetypal forces in his proposed methods. Archetypal behaviors are activated through thought processes or the assimilation of experiences. Moments of transformation, such as the development of the Self or shifts due to age and experience, involve archetypal processes. Within the archetypes, which serve as crucial references in an individual's long and arduous journey toward self-realization, the "shadow," according to Jung, is a primary element that individuals must first encounter, confront, and integrate. Jung argues that there is a parallel relationship between the shadow and the Ego, asserting that strengthening the Ego occurs as the shadow becomes conscious. As a significant component of the collective unconscious, the shadow archetype plays a vital role in an individual's self-realization. Recognizing and accepting the shadow archetype is a critical stage in achieving psychological balance and individuation. Jung discusses two distinct types of shadow archetypes: the "personal shadow" and the "collective shadow." This paper analyzes the main character, Yalın Eşref, from the 2023 film Boğa Boğa directed by Onur Saylak, using the archetype theory within a Jungian framework, specifically focusing on the personal shadow archetype. Furthermore, Yalın's psyche and individuation process are explored through the lens of the shadow archetype within this psychoanalytic context. [ABSTRACT FROM AUTHOR]

The author examines the archetype of the uroboros as it appears in the opening ceremony of a bush doof music festival. Within this rite, a womb-like state is created for participants through the use of darkness, bodily stillness, and the sonic dominance of low-end frequencies. This state is symbolically associated with the archetype of the uroboros as described by Jungian psychoanalyst Erich Neumann. It is then posited that both music and human consciousness emerge from this state. [ABSTRACT FROM AUTHOR]

After Evangelos Christou (1923–1956) studied philosophy at King's College, Cambridge, with Wittgenstein and others, he earned a doctorate at the Jung Institute in Zürich. He then returned home to Alexandria, near which he died in a car crash. The Logos of the Soul, published posthumously, argued for a psychology that would be neither a natural scientific psychology, devoted to causal analyses, nor a philosophical discipline that analysed mental events. Psychology would be an autonomous science of the soul, an unknown distinct from body and mind. Science deals with bodies and behaviours; philosophy with the mental concepts and acts. Psychology deals with "psychological experience". Dreams and fantasies can be sources of psychological experience, but so can perceptual acts and mental acts. Meaning occurs when something encounters an ego or self in a psychological experience. Observation in psychology is participant observation, akin to witnessing of a drama. Psychological methods, such as psychotherapy, are both means of discovery and means of becoming. Christou's work brought together Jung's analytical psychology and mid‐century British philosophy in order to stake out the ground for psychology that would be an empirical analysis of psychological experience and a logical analysis of the concepts used in that psychology. [ABSTRACT FROM AUTHOR]

For a significant part of its history, archetype theory has been undermined by criticisms containing unexamined Cartesian assumptions. Such assumptions treat all cognition as disembodied, consisting of mere manipulation of abstract, inherently meaningless signs mimicked from verbal instruction or cultural learning. Since the 1980s, due to the results of many independent disciplines, however, this view is being replaced with one of embodied cognition. This shift has important consequences for archetype theory, allowing us to provide a non‐reductive biological anchor that explains many characteristics of the archetypal image. [ABSTRACT FROM AUTHOR]

Copyright of Studia Universitatis Babes-Bolyai, Philologia is the property of Babes-Bolyai University, Cluj-Napoca, Romania and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Countless articles and books have been written about transformational leadership theory since the late 1970s when it first appeared in the literature. The purpose of this conceptual paper is to illustrate that transformational leadership contains both logical and psychological problems when explaining the nature of leadership and as an empirically supportable and verifiable construct. It aims to show that its failure to garner evidence from a scientific methodological analysis may not invalidate its efficacy if it is viewed from an alternative lens, such as aesthetics. An aesthetic frame is one that recognizes sensuous ways of knowing since feelings and emotions are just as important as reason and logic. An aesthetic approach to leadership would see leadership as more of an art than a science. This paper is not arguing for the abandonment of transformational leadership theory; rather it is saying that an aesthetic lens is likely to yield a richer, more artistic, and more nuanced account of what is understood and enacted as transformational leadership. This way, the manifestations of transformational leadership may live on in the arts and continue to inspire and motivate us. [ABSTRACT FROM AUTHOR]

Purpose: The amazing, miraculous and unconventional birth of the hero is a very important element in the beginning of folk stories, which starts the story with a prophecy about the fate of the character or the description of his characteristics, which is a sign of the presence of the hero in the story. This research shows that the birth of the hero in a number of legends of Khur and Biabank has a mythological aspect. Method and Research: The present research examines and analyzes the archetype of the miraculous birth of the hero in some folk legends of Khur and Biabank in a descriptive-analytical way. Finding and Conclusion: In these stories, the hero is usually born to prominent parents, sometimes the hero is a prince. Often, the birth of a hero and the process of his growth and development are accompanied by many problems, difficulties and obstacles. In general, among the various forms of the miraculous birth of the hero in the legends of Khur and Biabank, we can mention birth with plant origin, birth without parents, birth with one origin, incomplete birth, birth from a non-human, birth in the form of an animal-human, and birth with a child's vow. The tree pointed. [ABSTRACT FROM AUTHOR]

This study investigated the adjustment behaviour of hearing aid (HA) users participating in a semi-supervised self-adjustment fine-tuning procedure for HAs. The aim was to link behaviour with the reproducibility and duration of the adjustments. Participants used a two-dimensional user interface to identify their HA gain preferences while listening to realistic sound scenes presented in a laboratory environment. The interface allowed participants to adjust amplitude (vertical axis) and spectral slope (horizontal axis) simultaneously. Participants were clustered according to their interaction with the user interface, and their search directions were analysed. Twenty older experienced HA users were invited to participate in this study. We identified four different archetypes of adjustment behaviour (curious, cautious, semi-browsing, and full-on browsing) by analysing the trace points of all measurements for each participant. Furthermore, participants used predominantly horizontal or vertical paths when searching for their preference. Neither the archetype, nor the search directions, nor the participants' technology commitment was predictive of the reproducibility or the adjustment duration. The findings suggest that enforcement of a specific adjustment behaviour or search direction is not necessary to obtain fast, reliable self-adjustments. Furthermore, no strict requirements with respect to technology commitment are necessary. [ABSTRACT FROM AUTHOR]

Normative approaches have dominated research on collaborative innovation arrangements in the public sector, but actual practices remain underexplored and uncategorized. We conducted an inductive, in-depth study of 35 collaborative innovation arrangements originating from the public sector and categorized them into overarching archetypes. In creating this empirically grounded typology of collaborative innovation archetypes, we found that public organizations prefer project- and programme-based development archetypes, and focus primarily on co-exploration activities. Moreover, such organizations lack experience using the collaborative arrangements suggested in the recent theoretical literature, but they actively use effectual reasoning, which previous studies largely have overlooked. [ABSTRACT FROM AUTHOR]

The purpose of the article is to reveal the peculiarities of the use of twelve archetypes (K. Pearson's concept) in modern visual content of social media using the example of advertising videos. Research methodology. The analytical method, the method of systemic, typological and structural-functional analysis, as well as the semiotic and phenomenological method were applied. Scientific novelty. The peculiarities of the use of archetypes (K. Pearson's concept) in modern visual content of social media are considered using the example of advertising videos; the archetypes of the Rebel, the Explorer, the Hero and the Ruler are analyzed as cultural universals and typical images of the visual content of social media at the current stage; the peculiarities of the use of archetypes in the process of influencing users - potential recipients are revealed. Conclusions. The cultural practice of the digital society is implemented within the innovatively organized semiosphere, which is characterized by the blurring of internal boundaries, which in turn leads to new forms of interaction between elite and mass culture. The specificity of the use of archetypal images, in accordance with the transculturality of the vocabulary of the visual Internet context, involves the creation of a visual text using coding, which can be equally easily deciphered by users belonging to different ethnic, linguistic and cultural groups. The fundamental influence on the features of visual Internet content is exerted by the environment of new media, which is dominated by the spectacular presentation of information, bright visual vocabulary and dynamic presentation. Speed, efficiency, demonstrability, the predominance of the latest technical effects in digital visual content cause the user's dependence on new images, effects and elements of the visualization vocabulary. Accordingly, visual archetypal images are created based on the principle of attracting and retaining the user's attention. The role of archetypes as cultural universals in the process of advertising influence on the viewer is fundamental, since on their basis an appeal to certain aspects of human consciousness and being is formed with the aim of effective influence on a potential recipient. Thus, appealing to one or several archetypes and creating a visual series based on them is the basis of the influence of the advertising video as a tool of "cultural management". The video's appeal to a specific archetype can be seen as a definition of the cultural theme on the basis of which the advertising message is built. [ABSTRACT FROM AUTHOR]

Cinema has been influenced by mythology since the first years of its invention. Mythological elements, which are frequently used in today's cinema, are used as an important reference. Cinema strengthens the narrative language by reproducing myths and creating new myths. Cinema, which has a strong and effective aspect in this respect, reflects the unconscious of the masses in human history. Considering the similarities of cinema with mythology, dream and reality are intertwined while cinema reshapes reality. Both cinema and mythology use experiences that are constantly repeated throughout generations through archetypes that have been in our collective unconscious since ancient times. Therefore, today, cinema appears as a reshaped form of mythology. In this process, film directors have almost become myth-tellers. At this point, cinema, just like myths, has changing and even transformative effects on society. Especially with the studies of writer Joseph Campbell in the field of mythology, the "monomyth" theory - the hero's journey - was adapted to the filmmaking process in cinema. An example of the work that offers a different cinematic experience is the movie "Dark City" (1998), directed by Alex Proyas, which deals with sociopolitical, scientific and philosophical themes as well as mythological elements. Functionally, the film makes one think about the questioning of human nature and the concepts of identity and memory. The journey of John Murdoch, the protagonist of the film, is designed in accordance with Joseph Campbell's theory of the hero's journey. The hero's journey is a fictional structure frequently used in mythological stories. The hero's journey in the movie "Dark City" follows the outline of Joseph Campbell's hero's journey scheme. The hero breaks away from his normal life and finds himself in an adventure where reality is questioned. This adventure provides opportunities for his personal growth and transformation, and eventually the hero discovers his true identity and power. "Dark City" is a science fiction film inspired by ancient mythological stories and Jungian psychology. In this regard, the study aims to look at various aspects of the film from a psychoanalytic perspective. It is aimed to examine the symbols and cinematographic techniques used in the film, the archetypal characteristics of the characters in the film and mythological references. [ABSTRACT FROM AUTHOR]

The present study focuses on the semiotic profile of a literary character acting as a villain/antagonist (Propp) as one of the central factors of the existential problem situation (the de facto "originator" of problems), which represents a general theme in the folk fairy tales and/or culture-forming stories. The aim of this paper is neither to cover all the principles and manifestations of antagonists exhaustively, nor to present a complete typological description of antagonistic characters, but to cover those basic forms and most frequent or otherwise essential attributes that canonically standardize and significantly universalize the archetype of an antagonist in the selected range of narratives. The issue is approached from the perspective of literary theory (with an emphasis on the morphological, structural, and thematic analysis of the literary characters), and it is materially and argumentatively based on the representative sets of folklore and culture-forming narratives (Aarne-Thompson-Uther's international catalog of fairy tale types, world myths, canonical texts, etc.), as well as on their national (Slovak) variants. [ABSTRACT FROM AUTHOR]

Copyright of Iranian Studies / Pizhūhish/hā-yi Īrānshināsī is the property of University of Tehran and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

1. Introduction By the year the Islamic revolution in Iran overthrew the former regime, a Marxist system in Afghanistan took the power, the anti)religious nature of which caused many mass uprising against it. The civilian resistance continued till the complete withdrawal of the Russian military and overthrow of Marxist system in 1993. The conquest of Mujahedin ended up with civil war, which in turn caused the appearance of Taliban, and consequently their complete conquest of the country. Playing a savior role, the US and the NATO established the Islamic republic of Afghanistan in 2001. This government, again, was brought down by Taliban. But throughout all these periods, what kept the nation of Afghanistan on their feet was their indomitable spirit. The role of poetry of resistance in the history of Afghanistan is something remarkable. Widely calling the national and religious figures, and using the old patterns of poetry and mythological elements, contemporary poetry of Afghanistan traveled a long way of resistance, and strengthened the morale of resistance of the people. Mythological sources, in addition to enforcing the aspects of the poetry, have been used as the tool for the poets to scandal the invading and intervening strangers, their puppet governments, and the traitors. This study aims at criticizing and evaluating the mother archetype as the strongest, and most substantial archetype which is deeply affecting the unconscious mind, as the most important, and the key archetype of Afghanistan resistance poetry. After recognition of these manifestations, it aims at investigating the relation between them and the resistance thought in resistance poetry. 2. Methodology Jung considers the surface layer of the unconscious to be the personal psyche (Jung, 2020:55); deep in this layer, however, there is the deep area of the psyche that is the collective nature which Jung calls the collective unconscious (Jung, 1995a: 14). “The content of collective unconscious is called the archetype (Jung, 1990: 14)”. Archetypes are a collection of inherent tendencies that always tend to create parallel images and ideals according to Plato. Archetypes are always present in the unconscious mind, and pave the ground for human actions by their creative power. The birth, death, hero, shadow, exemplary mother, mask, colors, idealism, etc. are particular concepts of human mind. Dreams, myths and literature are among the flourishing fields of these psychological products. Resistance poetry comprises the works that are created under the tough circumstances such as lack of freedom, domestic tyranny, lawlessness, offence of the authorities, usurpation of power, territory, and national and individual capitals. The sources of such works are fighting against the domestic oppression, foreigners’ aggression, and resistance against anti-freedom groups (Sangari, 2005: 45). Resistance poetry of Afghanistan is also one of the richest currents of resistance poetries reflecting various manifestations of resistance in the form of archetypes, and mother archetype in particular during three different periods, Jihad against Soviet invaders, civil war, and the rule of Taliban. 3. Discussion Mother is the oldest archetype in the mind which appears in different forms. I want to look at the most important Manifestations of archetype of mother in two groups of real and natural/virtual Manifestations. 3-1. Real Manifestations of mother archetype The most important manifestations in which the real mother appears are the real mother, grandmother, nanny, and any other woman with whom there is a relation. The most prominent real archetype of mother is the face of the real mother of the poet or the fighters. This woman carries the entire characteristics of mother archetype such as concern, enthusiasm, compassion, kindness, sympathy, supportiveness, and fertility. For instance, mother in Masnawi e Shekayatnama by Mozaffari is the woman of Afghanistan (Mozaffari, 2014: 79-81). Khalida Forogh also considered the girls of the desert as the real manifestation of mother archetype, and she considers the tendency to love, fertility, and bringing up heroes such as Rostam, Zaal and Belaal as the responsibility of herself and her companions in the group of resistance (Forogh, cited in Mozaffari, 2005: 454). 3-2. Natural manifestations of archetypes of mother Mother’s characteristics in the nature have been shown in both negative and positive manifestations. Bipolarity of the archetypes is dependent in its symbolic characteristics; confronting archetypes, human beings recall the evil, or the useful mental images as required. Resistance poetry also depicts the archetype of mother, as required, in two aspects of good and evil. 3-3. Positive manifestations of mother archetype Characteristics of “the lovely mother” appears in those things which are arousing sacrifice or respect, or fills someone with awe such as church, motherland, the heaven, the earth, jungles, the sea, the world of under-earth or month. These archetypes are generally connected with things which are the symbols of abundance and fertility. These symbols can connect with the rock, cave, tree, water fountain, water well, flowers such as a rose (Jung, 2019: 99). Resistance poetry has used most of the images of “the lovely mother”. Some of the most important images are as follow. 3-3-1. The Earth What make the earth similar to mother/woman are the characteristics such as fertility, birth, breading, gush of fountain, etc. Resistance poetry uses the most evident female features of the earth which are birth and breading. The earth appears as the soil/mother, growing and nurturing. As an instance, Khalili using the idea that “the human being is born from the earth” and the idea of nurturing of the earth, relates the hero not only to his real mother, but to earth, the mother of existence (Khalili, 1999: 222). 3-3-2. Motherland The motherland evokes the feeling of sacrifice and respect. Resistance poetry of Afghanistan, recalls this country from two perspectives: praise and expression of love, and talking about the long tough days. Loving the motherland is an important feature of Khalili’s collection of poetry. Mozaffari too in “Salaam mother” accuses his brothers of being disloyal and loveless. He likens the evil behavior of his brothers to the wild animals such as wolves and leopards which due to distortion take guns against one another, and eventually, the mother/motherland is burnt in the fire of their war. 3-3-3. The sun The generous and life-giving light and warmth of the sun is one of motherly expressions of the nature, that is why it is described as “the supreme cosmic energy”, “manifestation of God”, “the eye of the day” etc. (Guerin, 1991: 501). The sun is a multidimensional symbol, but in resistance poetry of Afghanistan, it is recalled for its propitiousness, love, the power of revealing the dark face of the traitors. 3-4. The negative manifestations of mother archetype According to Jung, dragon, grave, coffin, death, carnivorous animal, deep water, nightmare, and the devils are the most important exemplary evil symbols of mother (Jung, 1989: 25). The “horrible mother” of Jung, in resistance poetry of Afghanistan is manifested as earth, city, night, season, death, the sea, the dragon, etc. 3-4-1. The Earth The negative aspect of the earth in resistance poetry of Afghanistan is described for being swallower and fatal. This way, the resistance poetry exhibits the dark face of the war and its ruins. For example, in Kazemi’s poem, the earth, the victory of Mujahidin, and the restart of the war are shown as symbols of the swallower storms. The eruption of the storm from the deep inside the earth denotes the other aspect of the earth (Kazemi, 2012: 66). Talking about the darkness and the oppression of the earth, Mozaffari too curses the civil war and the presence of Taliban. 3-4-2. Motherland The motherland in resistance poetry of Afghanistan is another exemplary evil symbol of mother. The resistance poetry due to three decades of war and corruption in Afghanistan enters the name of the country in the list of harmful monsters. “Ceilings without wall” by Kazemi is one of the examples of this manifestation in which the poet highlights the evil deeds of the exemplary mother expressing as “rainless clouds”, “untitled graves”, etc. While the Russian army is at the very peak of its tyranny, the poet evokes the destructor aspect of the motherland, and depicts the growing force of death. 3-4-3. Seasons Seasons and months are some natural examples of mother archetype. Seasons, as separates warm, cold, rainy and snowy days, are considered the source of life, or the famine. Seasons and months in the resistance poetry are the sources of bloody killings, infertility, famine, drought, tyranny and cruelty. Among others, the spring which is the season of resurrection of nature and fertility, in resistance poetry is generating disasters and bloody events. The bloody coup of Sour, as well as the victory of Mujahidin, both, took place in Ordibehesht (the second month of spring). 4. Conclusion Analyzing the manifestations of the mother archetype in resistance poetry of Afghanistan we come to the following conclusions: 1. Resistance poetry uses both the real and the natural manifestations of archetype, the most important manifestation of which is Afghan woman as a real mother of the poet and other fighters. Different manifestations of this archetype appears as a “lovely mother”, and another a “horrible mother”. The most important symbols among them are the earth, motherland, the sun, fire, sea, night, grave, season, death, wolf, and leopard. It is worth mentioning that the negative manifestations of mother archetype, as the resistance poetry requires, have appeared more commonly. 2. The main reasons for evoking the mother archetype in the resistance poetry are the invasion of Russia, killing and tyranny of the puppet governments, civil wars, killing brothers, complicity of traitors for becoming a member of Taliban. 3. Using some old archetypes such Ave, behavioral patterns such as disloyalty towards the mother, and other similar patterns, throw the current destiny as well as the current history of the motherland to the heart of flowing archetypes. This way, the resistance poetry becomes rich, deep, impressive and lasting. [ABSTRACT FROM AUTHOR]

Copyright of Bulletin of Ablai Khan KazUIRandWL: Series 'Philological sciences' is the property of Kazakh Ablai Khan University of International Relations & World Languages and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Bulletin of Ablai Khan KazUIRandWL: Series 'Philological sciences' is the property of Kazakh Ablai Khan University of International Relations & World Languages and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Apuleius’ Metamorphoses. 2. Anarchetypal Freedom of the Novel. In this paper I apply a concept I have coined and defined—the anarchetype—to the ancient Greek and Latin novel, more specifically to Apuleius’ Metamorphoses. The text suffers, in my view, from the tension between two contrary formal tendencies, one which is archetypal, another which is anarchetypal. In a paper published in the previous issue of this journal, I have analyzed the first structural constraint, the archetypal one. In the present paper I focus on the anarchetypal tendency of the novel. Apuleius’ assumed intention of writing an entertaining text, in the wake of the “Milesian tales”, offers him the opportunity to treat freely the epic material, with no regards to Aristotle’s principles and to the canon of high literature. The haphazard fragmentation of the linear narrative and the plethora of additional stories give the text the aspect of an anarchetypal rhizome-like domino game. Metamorfozele lui Apuleius. 2. Destructurarea anarhetipală a romanului. Doresc în acest studiu să aplic un concept pe care l-am creat și l-am definit—cel de anarhetip—romanului grec și latin antic, cu precădere Metamorfozelor lui Apuleius. În opinia mea, textul suferă tensiunea dintre două tendințe formale contrare, una arhetipală cealaltă anarhetipală. Într-o lucrare publicată în numărul precedent al Studia UBB, am analizat tendința structurală arhetipală. În această lucrare mă voi apleca asupra tendinței contrare, de factură anarhetipală. Intenția declarată a lui Apuleius de a scrie un text plăcut cititorilor, din seria “povestirilor milesiene”, îi oferă posibilitatea de a trata liber materia epică, fără să țină cont de principiile lui Aristotel și de canonul literaturii înalte. Fragmentarea aleatorie a liniei narative și pletora de povești adiționale îi dau textului aspectul unui joc de domino rizomic, de tip anarhetipic. Cuvinte-cheie: romanul antic grec și latin, Apuleius, Metamorfozele, culte de mistere, călătorie inițiatică, arhetip, anarhetip Article history: Received 01 April 2024; Revised 03 June 2024; Accepted 05 June 2024; Available online 30 September 2024; Available print 30 September 2024.

Studio Ghibli has made great animated films for more than three decades. One of its great animators is Hayao Miyazaki. Being famous for his award-winning and picturesque films, Miyazaki has proven to be a highly skilled animator presenting a catchy shōjo with distinctive characters. His shōjo named Kiki in Kiki’s Delivery Service has peculiar traits. This research aims at proving the opposition of Kiki to the common Japanese female character archetype. Eight pieces of data are in the form of screen captures to be studied semiotically. As part of social science research, this study is qualitative in nature. By employing Barthesian semiotic theory and Sugawa-Shimada’s theory of shōjo, it is evident that Kiki opposes the archetype of Japanese female characters. Kiki is portrayed as independent, assertive, not depending on one specific type of magical weapon, wearing a simple black witch dress, able to make prompt and clear decisions, doing daily chores, and having magical power that might be gone anytime due to some psychological reasons. Theoretically, this study contributes to the development of the linguistic field, particularly the stream of semiotics. This research also benefits researchers, film-makers, film audiences, and Studio Ghibli’s enthusiasts in a semiotic way that Kiki as shōjo is constructed with great empowerment opposing the common stereotype of a female character.

Control of crop pests by shifting host plant availability and natural enemy activity at landscape scales has great potential to enhance the sustainability of agriculture. However, mainstreaming natural pest control requires improved understanding of how its benefits can be realized across a variety of agroecological contexts. Empirical studies suggest significant but highly variable responses of natural pest control to land-use change. Current ecological models are either too specific to provide insight across agroecosystems or too generic to guide management with actionable predictions. We suggest obtaining the full benefit of available empirical, theoretical, and methodological knowledge by combining trait-mediated understanding from correlative studies with the explicit representation of causal relationships achieved by mechanistic modeling. To link these frameworks, we adapt the concept of archetypes, or context-specific generalizations, from sustainability science. Similar responses of natural pest control to land-use gradients across cases that share key attributes, such as functional traits of focal organisms, indicate general processes that drive system behavior in a context-sensitive manner. Based on such observations of natural pest control, a systematic definition of archetypes can provide the basis for mechanistic models of intermediate generality that cover all major agroecosystems worldwide. Example applications demonstrate the potential for upscaling understanding and improving predictions of natural pest control, based on knowledge transfer and scientific synthesis. A broader application of this mechanistic archetype approach promises to enhance ecology's contribution to natural resource management across diverse regions and social-ecological contexts.

The article provides a socio-philosophical analysis of the Orthodox religious community as a traditional society in modern conditions. At present, Russian society is a complex structured system represented by various groups of traditional, religious, industrial and post-industrial culture. Religious structures of the Russian Orthodox Church, represented legally most often as Local Religious Organization Orthodox Parish of the Russian Orthodox Church (Moscow Patriarchate), are quite widespread. The aim of the study was to analyze and comprehend the functions of the structural components of this society laid down in its Charter. In the study of the social system of the parish community the structural-functional approach of R. Merton and Jungian understanding of archetype as a behavioral model are applied. The following structural actors of the parish community are identified: church, clergy, parishioners, Sunday school, almshouse, brotherhood, cemetery, parish hospital and similar parish organizations. Each structural element of the parish is characterized by its own functionality. The described functions of the structural components of the society under study are grouped according to the main criteria that reflect the goals and objectives of the existence of this society, such as moral and ethical, religious and attitudinal, cultural and educational, socio-political and system-forming. The analysis of the main models of behavior of parish actors revealed some contradictions in the structural relations of the community, which will allow further study of this phenomenon to determine the ways of its development and transformation. The growing interest in religious communities with their inherent deep historical and social prerequisites has been noted. The format of the modern Orthodox community is unattractive, as it has shortcomings in the management structure, leading to the formalization of various spheres of activity. The consequence is the transformation of religious functions and the absence of horizontal social ties.

The study analyzes the birth myth from the symbolic point of view as a way to indicate the beginning of any existence, real or fictional: the birth of the Universe and a man, which sets out the primary understanding of the world and a man, time and space. The purpose of the analysis is to study the semantics of the birth myth, which reflects the archaic ideas of a person about birth, which made it possible to present the typology of the birth myth as a cultural code. The methodology of the study is based on the works by foreign and domestic scientists in the field of studying the notion “cultural code” as a semiotic system in linguoculturology and ethnolinguistics. The popular science works by Barbara S. Sproul “Primitive Myths. Creation Myths from Around the World” and “The Seeds of Life: From Aristotle to Da Vinci, From Sharks’ Teeth to Frogs’ Pants, the Long and Strange Quest Where Babies Come From” by Edward Dolnik, which contain a large collection of creation stories of the universe and a man, relating to the most different eras and cultures, including the ancient Egyptian and Hindu served as the material for the research. It shows that birth myths contain value orientations for representatives of a certain linguocultural society, which is manifested in cosmogonic, ritual, ancient and Bible myths. It analyses the means of representation of the birth myth as a cultural code. The given language means make possible to describe the process of birth more vividly and emotionally. It concludes that the birth myth represents a fragment of the linguistic view of the world through a mythological text, which helps introduce a man to sacred values that are inaccessible to human understanding, and besides the birth myth personifies natural phenomena, endowing them with anthropocentric properties.

Introduction. The article examines the archetypal images of the leader, reveals the concept of the archetype of the leader, shows the image of the leader in the context of different historical and cultural epochs. Theoretical analysis. The analysis of key sources on the topic was carried out, the theory of the archetype and the collective unconscious of K. Jung was chosen as the methodological basis of the research. The author also gives the comparative analysis of leadership archetypes and modern ideas about the archetypes of leaders based on the own typology of leadership styles and V. G. Turkina’s approach to the analysis of the archetypes of the modern hero-leader through the prism of key parameters of mass society. Conclusion. Of particular importance for understanding the content of leadership are the key archetypes of analytical psychology (anima, animus, shadow, self). The author comes to the conclusion that leadership is perceived at all times and among different peoples from common positions: leaders appear in the images of a superman (deity), ruler, hero, sage, transformation. These images can be considered archetypal. Modern images of leadership generated by socio-economic progress and the peculiarities of mass culture, mass production and consumption correlate with the primordial images of leaders, but reflect the current state of society. These are the archetypes of the Achiever, Inspirer, Bureaucrat, Organizer, Team (Project) Leader and Expert.

The relationship between literary texts and psychoanalysis was proposed in the 20th century with the help of Freud's theories, and after him, Carl Gustav Jung played a prominent role in this field and wrote important works about the reflection of people's emotions and thoughts in his creations. According to Jung, human thoughts are partly derived from daily desires and are largely influenced by the collective unconscious and old images (archetypes), and in general, humans are controlled by their unconscious throughout their lives. In this article, the epopee Bahram and Golandam by Aminuddin Safi (the poet of the 9th century) has been analyzed using the descriptive-analytical method and from Jung's psychoanalytic point of view in order to determine the level of collective unconsciousness and its elements in it. According to the obtained results, this folk tale is consistent with the archetype of Jung's individuation and shows the path of character development towards evolution; hence, in this poem, Keshvarshah is a code of humans and Bahram represents his archetype, who goes through the difficult stages of confronting the shadow to connect with the anima, and finally, his connection with Golandam completes the cycle of character transformation. Also, in this system, two archetypes of the shadow and the old man play a more prominent role: the archetype of the shadow due to the persistence and great effort of the king to develop the character, and the archetype of the old man due to his enthusiasm and confusion.Keywords: Jung, Archetype, Collective Unconscious, Aminuddin Safi, Bahram and Golandam. IntroductionAccording to Jung, the human psyche has three parts, which include the conscious mind (I or ego), the personal unconscious, and the collective unconscious. Jung defined the personal unconscious as a special area adjacent to the ego. He feels that a person's unconscious consists of ideas and emotions that existed as consciousness at one time; but now they are suppressed, forgotten, or for some reason purposefully ignored or forced out.The collective unconscious is the main part of the psyche and is much deeper and wider than the conscious part. This part of the psyche contains ancient images that are almost the same among all human beings and are reflected in dreams and other unconscious activities. Literature ReviewAccording to Jung, due to having a common mental structure, people face similar problems in different periods, and the key to solving these problems should be found with the help of collective and ancient psychological experiences. He called these old experiences archetypes and this term is the most important topic in his psychoanalysis.The contents of the collective unconscious are not acquired, but inherited, and thus are the same across cultures. This unconsciousness consists of two main aspects, i.e. archetypes and instincts (such as sexual instinct, violence, etc.). Archetypes are a reservoir and storehouse of experiences that have been constantly repeated throughout human history. These patterns always exist for every human being from birth and they have chosen a home in the deepest part of their unconscious. Every human being can face them internally through dreams and imaginations and externally through myths and religious teachings (Snowden, 2013: 121).Archetypal images or archetypes show different aspects of the mental apparatus and each one is revealed with the help of some symbols. Jung introduced some of their most important forms as follows: self, shadow, anima and animus, old man, mother, hero, mask, etc. In this article, our intention is to show the growth path of Keshvarshah's personality in the epopee of Bahram and Golandam. MethodologyThe book Bahram and Golandam is about the love of Bahram, the prince of Rome, to Golandam, the daughter of the Khaqan of China, and by reflecting on the structure of the story, its symbolic depth is determined. In fact, in this poem, the poet has symbolically told the story of the evolution and integration of the character with the help of a folk tale, and each of the elements of the story, such as characters, phenomena, and various creatures, are a symbol of a part of the unconscious mind, and Prince Bahram's battle to reach his lover, in the language of psychoanalysis, is a reflection of the psyche's sweating to solve problems related to the unconscious and absorb it into consciousness. ConclusionFolktales have a happy ending with a happy union. The same issue shows the repetitive pattern of these stories and, in fact, general and universal content that depicts the path of human excellence towards a comprehensive personality. In this research, the following results have been obtained:Keshvarshah is a symbol of man or the actualized dimension of the psyche (self-awareness) that strives to achieve a new and superior personality.Prince Bahram is a symbol of his archetype, which becomes active after man's effort and concern for progress and tries to harmonize different parts of the unconscious mind. At first, he reaches the psychic center with the help of an unseen helper (deer, a code of the wise old man) and there, after facing the image of his incomparable lover (Anima), with the guidance of the wise man (Pir Bazargan), he walks on the long and difficult path of love.In this story, the shadow has a positive side as well as a negative side. After encountering Anima, the prince reaches the land of fairies (Jenian). Jeni brothers (Shadow archetypes) first appear in the enemy's delegation and after defeating Bahram, they help him in the prince's battles by giving him a few strands of their hair; Therefore, after this change, they are considered a symbol of the positive dimension of the shadow. The negative effects of the shadow have also been shown by elements such as the prince's rivals and the demons, after defeating the Jenian, Bahram first faced the demon and after killing it, he faced the mysterious and terrifying world of the collective unconscious (the terrible sea) and the various manifestations of this unconscious, such as the negative shadow (Behzad and Noushadshah), the hero, etc.In the end, after marrying Golandam, Bahram finds out about his father's restlessness and unhappiness with the help of the archetype of sleep, and after returning to his homeland, he becomes a worthy successor to his father. In this story, the direction of the prince's journey is from the West, i.e. ignorance, to the East, i.e. inner illumination, and this is another secret of man's effort to achieve the higher aspect of personality. According to Jung's view, in this system, the prince's conflict is related to the negative aspects of the psyche; because it is difficult for humans to accept the negative aspects of their existence and to change them. The archetype of the wise old man also appears twice in the story, and the reason for this is the prince's confusion and desperate need to find a way out of his current situation.

There are different methods for criticizing a work of art, which critics use to criticize and analyze works of art and literature. Until today, the criticisms focused mostly on the author's external world, the work itself, and the author's influence on the story. This research tries to examine the findings of psychological studies about the collective unconscious mind and the use of its contents and facilities in the creation of artwork; Therefore, the main goal of this research is to answer the question, what role did the factors and elements belonging to the unconscious mind play in literature or giving literary dignity to "Da" and "Kelidar"? This research has been conducted by document analysis and analytical-descriptive method. The result shows that any text with any level cannot provide a suitable platform and necessary conditions to play the role of archetypes and myths. Texts that are solely developed by the intellect and the five senses cannot go beyond the intellect; this is despite the fact that the more sense and imagination are left free, the more literary and mythological text we will have at our disposal.Keywords: Collective Unconscious Mind, Archetype, Kelidar, Da, Calamity, Literacy. IntroductionIn recent decades, the attention of critics of literary works has been drawn to psychology more than ever before, the reason for the interest is that it has been able to enter the boundaries that were closed to critics in the field of analysis and criticism of works. Freud and Jung are among the psychologists who were able to discover the relationship between literature and the human psyche and open its gates to the world. One of these gates and achievements was the unconscious mind. Freud stated that the human mind should consist of two parts or areas, the conscious part (rational area) and the unconscious part (irrational area). Freud later revised this theory and said that no thought is completely conscious or completely unconscious, and instead, he considered states of consciousness or unconsciousness. In completing Freud's comments, Jung divided the unconscious into two parts, individual and collective: the first part: the individual unconscious which is specific to individuals, and the second part is the collective unconscious which is the result of the lives of many generations of our ancestors and is in no way unique to an individual and exists in everyone. Jung believes that the basis of a person's unconscious contains once conscious information; but in a period due to being forgotten or suppressed, they have gone out of the conscious field; while unconscious contents never enter the conscious realm; therefore, they are not acquired individually and their existence depends on heredity. According to Jung, the individual unconscious is generally made up of complexes, while the collective unconscious is basically made up of archetypes. This opinion of Jung is not accepted by other psychologists, including Eastop. Eastop states that it is not possible to know the nature of the collective unconscious except in an indirect way. He says that the nature of the unconscious can be determined by analyzing the characteristics of human behavior, especially his linguistic behavior. According to these materials and since the researchers cannot directly reach the unconscious mind, they must inevitably find out the nature of the unconscious by examining the effects emerging from it. Literature ReviewIn the literature review of this research, there was no material confirming the opinion that research is directly centered around the explanation of unconscious themes and images in the formation of a work of art, especially a story. In Sara Mobra's thesis, which deals with the category of unconsciousness in the field of painting, she examined the topics of unconsciousness in the paintings of several artists and the result of the work led to the acknowledgment of the important role of the unconscious mind in their creation. The researcher attempts to study this issue in fiction and examine the unconscious expression in the works created in this field.Clarification of this issue will have such results: 1. With the expansion of research following this issue, critics of literary works will criticize the works in a more fundamental way; 2. The works created in the field of sustainability should be looked at from a different perspective and the enrichment of the literary part of this type of work should be done more easily. MethodologyThis research has been conducted in the form of documents and library studies. In the process of conducting the research, by comparing the contents of themes, archetypes, and images of the collective unconscious, the semiotic concepts and archetypal symbols of the two books of Da and Kelidar were analyzed in accordance with the reference books in the field of symbology. Finally, the conclusion was drawn by comparing Da and Kelidar. Discussion"Imagination", "myth" and "archetype" are the main perspectives that have attracted the attention of critics when examining the influence of the contents of the unconscious mind in the formation of desirable works of art. The main issue of this research is the answer to the question of whether the creators of the so-called sustainable literature have used the themes and images of the collective unconscious mind and their capacity in the artistic richness of their work. To answer this, by choosing a limited and researchable theme of "reaction to calamity" and with the help of the mentioned perspectives, the role of the unconscious in the creation of artistic and literary works has been explained. "Calamity" has wide meanings and concepts. In this research, the tragedy of losing loved ones has been specially investigated. According to the opinions of philosophers, "imagination" is the main factor of creativity and also the creator of artwork, which has differences from "imagination". Coleridge, the English literary critic, and philosopher, does not separate the primary imagination from the secondary imagination; rather, he considered it a higher rank and position in which he can make a difference between the artist and other people. From his theories, it is understood that a person can give it the soul appropriate to the work, which can connect the imagination to the higher level of imagination, regardless of his will and desire. Of course, there were others who considered other forces to be effective in literary creation; among others, we can mention Proust, who considered instinct as a source of inspiration and power and considered the writer to be someone who can use it and mix it with internal and external factors to create his work of art. This is despite the fact that Jung considered instinct as a physical tension that is received by the senses. He equated "instinct" with "archetype". In fact, from this point of view, Jung called the instinct an archetype, and the archetype also emerges and shows itself like an instinct; just as the instinct is spontaneous and stimulating, the archetype also appears instinctively and spontaneously.Based on this, the themes and images emerging from the collective unconscious mind, which are represented in the works of art, can be traced through the archetypes used in the texts and understand which artistic texts are the suitable platform for these images. To achieve such significance, considering anything as a scale other than the collective unconscious seems far from scientific logic. With this criterion for measurement, one should compare works that are on both sides of this spectrum in their foundation; just like night and day, white and black, good and evil, and to understand each of these concepts, one must understand the other. In this research, two works have been placed on both ends of the measuring scale, which are in front of each other. One is the flagship of the memoir, which is the seat of reason and objectivity, and the other is a novel full of archetypes, which the reader realizes in the first reading. The result shows that any text with any level cannot provide a suitable platform and the necessary conditions to play the role of archetypes and myths. The texts that are only developed by the intellect and the five senses, cannot go beyond the intellect. This is despite the fact that the more sense and imagination are left free, the more literary and mythological text we will have at our disposal. ConclusionThe comparison of the two books from the point of view of the reaction to the "calamity of losing loved ones" and the role of archetypal themes and images in giving them literary and artistic dignity shows that in some themes and images, the narration of both works has been compiled in such a way that they can provide more or less capacity and capability for archetypal reading and emerging from the realm of the unconscious mind; among other things, in the archetypal images of "death", "mother" and "lost", it seems that the feature mentioned in Kelidar's narrative has more depth and variety, and in this regard, it can bring the reader with him more. Kelidar's expression is such that you can read it many times and get to know more angles of it in each reading. This is why repetition in reading desirable literary works increases the reader's excitement; because in every reading, a knot is untied. Perhaps it can be said that because of its type, which is a memoir, and in its core and primary material, it has a lot of dependence on reality and the self-conscious world. Therefore, at least in the presentation and first report of self-narrative, it is deprived of this gift. These two different types of narration showed that the effect of possessing unconscious content in reaching a literary work to its desired position, which is the continuous communication with the reader, is important, and Kelidar's ability to communicate with the reader is greater by using archetypal elements instead of narration and connecting the reader's soul and unconscious with these themes.

Rising energy costs have generated increasing interest in green networks among telecommunication operators. Purchasing or generating green energy for telecom networks can enhance energy sustainability and cost efficiency. However, the telecom industry, especially in Indonesia, has been slow to evolve owing to limited tools for telecom operators to conduct comprehensive studies and no successful business models to emulate when considering green power generation for their networks. In this study, we developed a macro-level energy demand assessment tool based on bottom-up information from the base transceiver station (BTS) to capture actual conditions as a preliminary stage for implementing a hybrid renewable energy system (HRES). We adopted energy assessment methods from the building sector and defined archetypes based on the BTS system configuration, type, and spatial information. Additionally, we used the hourly power consumption and traffic monitoring data to develop models for predicting the BTS power consumption and calculating the regional network energy demand. Our model quantifies the energy demand for the BTS network in each district of the Bali region, which accounts for 3.8% of 2022 total electricity consumption. With realistic energy demand information, we can create an HRES design that neither overestimates the energy demand, making the process too expensive, nor underestimates it. In conclusion, this study performs a macro-level analysis of energy demand calculations that consider the local characteristics of the BTS network and can be a reference for telecom operators as decision makers in implementing the HRES.

The article examines the peculiarities of reproduction of archetypes in the translation of an artistic work. The interpretation of the concept of ‘archetype’, its classifi cations and levels of its mental representation in the text are studied herein. While examining the issue of universal and ethnocultural archetypes, the author of the article introduces the term ‘culturally determined archetypes’. The article contains the proposals as to the actions that are to be taken by a translator in the process of reproduction of the source language archetype in the target language, outlines what exactly it is necessary to pay attention to in order to properly translate the archetype. It is noted that if the archetypes are translated inadequately or inaccurately, the integrity of the literary work may be violated due to the partial loss of the symbolic meaning, or the emotional impact on the reader. It is proposed to include the archetypal analysis of the source and target texts to the translation studies analysis.

Introduction: Initially, bibliotherapy was used to address emotional issues in adults. However, in the second half of the 19th century, its theoretical and practical foundations expanded significantly. Nowadays, bibliotherapy is recognized as an effective strategy for treating clinical problems. ­The purpose of this study is to examine the impact of an experimental Bibliotherapy for resilience, and so investigate the effect of twelve archetypes on teenagers with cancer at Behsat Hospital, Hamedan. Methodology: This research employed a semi-experimental design, utilizing a pre-test and post-test approach. The target population consisted of teenagers aged 10 to 14 undergoing chemotherapy for cancer at Besat Hospital in Hamedan. A sample of 30 cancer-afflicted teenagers was randomly selected, ensuring homogeneity in terms of age, duration of illness, socioeconomic status, and other variables. The sample was divided into two groups: a control group of 15 individuals and an experimental group of 15 individuals. The research utilized two questionnaires to measure resilience (Conner and Davidson, 2003) and life expectancy (Schneider, 2006). The resilience questionnaire had 25 items that are scored on a five-level Likert scale from completely agree to completely disagree. The validity of this questionnaire was confirmed by six experts and its reliability was obtained using Cronbach's alpha coefficient of 0.89. The life expectancy questionnaire has 12 items and 3 components and is implemented as a self-assessment. Out of these 12 items, four items measure operative thinking, four items measure strategic thinking, and four items contain deviant questions. This questionnaire includes two subscales of factor and strategy, and its purpose is to evaluate the level of life expectancy in people. The scoring method of this questionnaire is based on a five-level Likert scaleThe experimental group participated in eight sessions of bibliotherapy intervention using a storytelling skill plan. The therapist researchers used three books as guides: "Living with Chronic Pain: An Acceptance-Based Approach" and its therapist's guide and patient workbook by Kevin Wells and John Sorrell (2013), "Pain Control Practical Guide: A Positive Attitude to Adapting to Chronic Pain" by Michael Nicholas (2014), and "The Hero's Awakening" by Patricia Addson (2014). Data analysis was conducted using independent t-tests and analysis of covariance in SPSS statistical software. Findings: The results of the independent t-tests revealed a significant difference in mean scores for resilience and life expectancy between the control and experimental groups. Moreover, the bibliotherapy intervention had a 43.6 percent effect on life expectancy and a 64.1 percent effect on resilience among teenagers with cancer.