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Little is known about the pragmatic and cultural meanings of colours that authors use to deliver specific ideas and messages. It is still undetermined whether colours can express the speaker’s intended meaning. One of the areas that should be visited is the literary works with a long history of familiarity with colours. The present study scrutinizes the most frequently used colours in Toni Morrison’s The Bluest Eye (1970); it investigates their pragmatic and cultural meanings. It aims to determine the primary concept revealed through colours and identify the most flouted maxim in the novel. The main question that the study tries to answer is what are the most frequent colours and their cultural sounds in Morrison’s The Bluest Eye that determine the main concept by pinpointing the most flouted maxim. It is hypothesized that blue, white and black are the most common colours in the investigated contexts. Racial discrimination is the central concept shown through flouting quality maxim. Randomly selected extracts are analysed according to a model based on Grice’s (1975) Maxims Breaching. In the present study, data has been approached qualitatively. The study has come up with certain conclusions to prove the above hypotheses such as it is found that blue, white and black are the most used colours. [ABSTRACT FROM AUTHOR]

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Abstract Background The aim of this study was to identify nursing students’ fears and emotions and to concretise the metaphors they used to describe their feelings towards the COVID-19 pandemic. Methods This study was conducted with nursing students at a foundation university between December 2021 and February 2022 using a sequential mixed methods research design. In the quantitative part of the study, 323 nursing students answered the ‘Positive and Negative Emotion Scale’ and the ‘COVID-19 Fear Scale’. In the qualitative part, students were asked to metaphorise COVID-19 with a colour and 21 in-depth interviews were conducted on the reasons for choosing this colour. Results The average age of the students participating in the study was 21.41 ± 1.97 years and 78% of them were female. It was observed that 15.8 of the students had previously tested positive for COVID-19. Most of the participants (98.5%) were vaccinated against COVID-19 and 31.9% had a relative who died due to COVID-19. When the participants were asked which colour they compared COVID-19 to, it was observed that more than half of them chose red (51.4%) among bright colours and 13% chose black among dark colours. In this study, it was determined that students who chose dark colours to describe COVID-19 had higher COVID-19 Fear and Negative Emotion Scale scores. In in-depth interviews, it was observed that students who chose dark colours were more deeply affected by the COVID-19 process, while students who chose light colours associated this period with negative emotions. Conclusion In this study, it was observed that nursing students’ feelings and thoughts about the COVID-19 period in line with their experiences affect the choice of colour in metaphorisation.

Background: The aim of this study was to identify nursing students' fears and emotions and to concretise the metaphors they used to describe their feelings towards the COVID-19 pandemic. Methods: This study was conducted with nursing students at a foundation university between December 2021 and February 2022 using a sequential mixed methods research design. In the quantitative part of the study, 323 nursing students answered the 'Positive and Negative Emotion Scale' and the 'COVID-19 Fear Scale'. In the qualitative part, students were asked to metaphorise COVID-19 with a colour and 21 in-depth interviews were conducted on the reasons for choosing this colour. Results: The average age of the students participating in the study was 21.41 ± 1.97 years and 78% of them were female. It was observed that 15.8 of the students had previously tested positive for COVID-19. Most of the participants (98.5%) were vaccinated against COVID-19 and 31.9% had a relative who died due to COVID-19. When the participants were asked which colour they compared COVID-19 to, it was observed that more than half of them chose red (51.4%) among bright colours and 13% chose black among dark colours. In this study, it was determined that students who chose dark colours to describe COVID-19 had higher COVID-19 Fear and Negative Emotion Scale scores. In in-depth interviews, it was observed that students who chose dark colours were more deeply affected by the COVID-19 process, while students who chose light colours associated this period with negative emotions. Conclusion: In this study, it was observed that nursing students' feelings and thoughts about the COVID-19 period in line with their experiences affect the choice of colour in metaphorisation. [ABSTRACT FROM AUTHOR]

Social relationships have been and are the basis for achieving objectives of all kinds, whether altruistic or lucrative. Among the aspects that make up non-verbal communication are physical appearance in general, clothing, and, in particular, colour combinations. In this article, we analyse whether colour combinations can be established in individuals' clothing that maximise their chances of success for a specifically established social objective. To measure this objective, we use multivalent logics, which are characterised by their great flexibility and adaptability. Within the framework of fuzzy logic, we extract evaluations for various colours based on the judgements of experts, provided by recognised authors in the literature, and compare these with the results obtained in a survey conducted by the authors. For the purposes of contrast, we employ two instruments with accredited validity: Similarity by Direct Computation (SDC) and the Technique for Order Performance by Similarity to Ideal Solution (TOPSIS multicriteria method). [ABSTRACT FROM AUTHOR]

The discourse regarding clothing in Islam regularly emphasizes on divine dress code differentiates between the permissible and the forbidden, as enshrined in Islamic scripture. Possibly, a misconception could prevail within attempts by outsiders of the fraternity of scripture studies. For instance, there is a claim in an English paper “Clothing and Colours in Early Islam: Adornment (Aesthetics), Symbolism and Differentiation” by Hadas Hirsch states that Muslim men are forbidden from wearing yellow, red and colourful clothes. To answer the misconception, this study focuses on hadiths in the chapters on clothing in alṢaḥīḥayn. This study employs a qualitative methodology through content analysis on the paper and contextual analysis on the culled chapters. Ultimately, this study identifies the argument presented by Hirsch and then finds narrations on the mentioned colours for men in the culled chapters. Based on the narrations, these colours are allowed for men since they are not performing pilgrimage ritual and their red dress are not of safflower-based dye. Indeed, the false claim lies in dependence on insufficient texts besides the hindrance in construing archaic words in text of hadith. Hereby, this study stresses on the conveying of teaching from hadith into other languages, especially English should be made by its scholarly fraternity in hadith which can reveal sufficient array of narrations for each topic. In addition, the text which has its Arabic language root back to over fourteen centuries is understandable in the hands of scholars in the field of hadith and Islamic scripture. [ABSTRACT FROM AUTHOR]

Understanding the numerous roles that colouration serves in the natural world has remained a central focus in many evolutionary and ecological studies. However, to accurately characterise and then compare colours or patterns among individuals or species has been historically challenging. In recent years, there have been a myriad of new resources developed that allow researchers to characterise biological colours and patterns, specifically from digital imagery. However, each resource has its own strengths and weaknesses, answers a specific question and requires a detailed understanding of how it functions to be used properly. These nuances can make navigating this emerging field rather difficult. Herein, we evaluate several new techniques for analysing biological colouration, with a specific focus on digital images. First, we introduce fundamental background knowledge about light and perception to be considered when designing and implementing a study of colouration. We then show how numerous modifications can be made to images to ensure consistent formatting prior to analysis. After, we describe many of the new image analysis approaches and their respective functions, highlighting the type of research questions that they can address. We demonstrate how these various techniques can be brought together to examine novel research questions and test specific hypotheses. Finally, we outline potential future directions in colour pattern studies. Our goal is to provide a starting point and pathway for researchers wanting to study biological colour patterns from digital imagery. [ABSTRACT FROM AUTHOR]

Colour symbolism plays an important role in everyday life and science. The subject is interdisciplinary and receives significant attention in the literature. It is increasingly entering the field of economics and finance. The authors are the first to research the connotations and symbolism of colours in finance. The following research aims to: identify and determine the meaning of colours in connection with the word “finance”, determine the popularity of the use of particular colours in relation to the word “finance”, and identify the most popular subject areas in the literature related to the most commonly used colour in finance. Bibliometric and textual analyses were adopted as research methods. The main research conclusions are as follows. Of the 14 colours examined, only green, blue, brown, black and white showed connotations accurately portrayed in the text. Apart from the colour black, the symbolism is universal and unambiguous. For black, the symbolism is twofold, with one of the meanings going back to historical times. The dominant colour is green. The main research areas pursued under “green finance” include investing in and financing environmentally friendly projects (including various types of technology), developing financial instruments to support environmentally friendly activities and supporting clean energy projects.

Demographic changes, the growing number of people with disabilities, and the demands on architecture and design are posing new challenges for designers. The space in which older adults live should be safe, not only from a legal point of view but especially to facilitate their daily activities. Modern society prioritizes the integration of older adults into everyday life so that as people grow older, they are not forced to abandon their daily routines because of obstacles in the space. It is said that a person is not handicapped because of their illness, but because society fails to prepare conditions for them to be able to move and live without restrictions. Moving in space is a multisensory experience. People use most of their senses such as sight, hearing, smell, and touch in addition to moving their bodies. How we feel indoors depends on the indoor climate, lighting, surface colours, air quality, floor plan, and furniture layout. Studies show that the materials and colour of products have an impact on how we navigate a space, how we feel and, in some cases, they can even have healing effects. The aim of our study is to investigate the association between colours in the environment and the orientation of people, especially older adults, in the space they live in. Several studies, experiments, and observations of foreign researchers serve as the basis of the paper. The analysis of case studies proved that colours in the environment have a significant impact on orientation in space and can be an effective tool for spatial orientation and drawing attention to a particular place. In surveys that have been conducted with older adults, warm colour tones such as yellow, orange, and red are preferred over cold ones. Red tones are some of the most easily recognizable for older adults who suffer from loss of colour recognition. They have lower cognitive abilities as a result of aging. Therefore, the achromatic environment does not sufficiently stimulate their brain function, leading to longer reaction times. Colour and contrast indoors play a big role in the perception of space and can help in drawing attention to a particular place.

Colour is one of the most powerful tools in the cartographer's toolbox and can enhance the quality, clarity, and beauty of maps. Both in Protestant culture specifically and Western culture more widely, a visual artistic culture developed from the Middle Ages until the modern age in which colours designated specific, sometimes contradictory, ideals and concepts. Using late nineteenth and early twentieth century Protestant missionary world maps as a case study, this article shows how mapmakers used colour schemes to visualise Protestant world views about the global spread of the gospel as well as Western colonial perceptions of non-European cultures. Discussion of map colours in contemporary missionary reports, fiction and magazines corroborates and contextualises 'map users'' shared understanding of the cultural connotations of map colours. [ABSTRACT FROM AUTHOR]

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.)

Colour symbolism plays an important role in everyday life and science. The subject is interdisciplinary and receives significant attention in the literature. It is increasingly entering the field of economics and finance. The authors are the first to research the connotations and symbolism of colours in finance. The following research aims to: identify and determine the meaning of colours in connection with the word "finance", determine the popularity of the use of particular colours in relation to the word "finance", and identify the most popular subject areas in the literature related to the most commonly used colour in finance. Bibliometric and textual analyses were adopted as research methods. The main research conclusions are as follows. Of the 14 colours examined, only green, blue, brown, black and white showed connotations accurately portrayed in the text. Apart from the colour black, the symbolism is universal and unambiguous. For black, the symbolism is twofold, with one of the meanings going back to historical times. The dominant colour is green. The main research areas pursued under "green finance" include investing in and financing environmentally friendly projects (including various types of technology), developing financial instruments to support environmentally friendly activities and supporting clean energy projects. [ABSTRACT FROM AUTHOR]

Demographic changes, the growing number of people with disabilities, and the demands on architecture and design are posing new challenges for designers. The space in which older adults live should be safe, not only from a legal point of view but especially to facilitate their daily activities. Modern society prioritizes the integration of older adults into everyday life so that as people grow older, they are not forced to abandon their daily routines because of obstacles in the space. It is said that a person is not handicapped because of their illness, but because society fails to prepare conditions for them to be able to move and live without restrictions. Moving in space is a multisensory experience. People use most of their senses such as sight, hearing, smell, and touch in addition to moving their bodies. How we feel indoors depends on the indoor climate, lighting, surface colours, air quality, floor plan, and furniture layout. Studies show that the materials and colour of products have an impact on how we navigate a space, how we feel and, in some cases, they can even have healing effects. The aim of our study is to investigate the association between colours in the environment and the orientation of people, especially older adults, in the space they live in. Several studies, experiments, and observations of foreign researchers serve as the basis of the paper. The analysis of case studies proved that colours in the environment have a significant impact on orientation in space and can be an effective tool for spatial orientation and drawing attention to a particular place. In surveys that have been conducted with older adults, warm colour tones such as yellow, orange, and red are preferred over cold ones. Red tones are some of the most easily recognizable for older adults who suffer from loss of colour recognition. They have lower cognitive abilities as a result of aging. Therefore, the achromatic environment does not sufficiently stimulate their brain function, leading to longer reaction times. Colour and contrast indoors play a big role in the perception of space and can help in drawing attention to a particular place. [ABSTRACT FROM AUTHOR]

Abstract Understanding the numerous roles that colouration serves in the natural world has remained a central focus in many evolutionary and ecological studies. However, to accurately characterise and then compare colours or patterns among individuals or species has been historically challenging. In recent years, there have been a myriad of new resources developed that allow researchers to characterise biological colours and patterns, specifically from digital imagery. However, each resource has its own strengths and weaknesses, answers a specific question and requires a detailed understanding of how it functions to be used properly. These nuances can make navigating this emerging field rather difficult. Herein, we evaluate several new techniques for analysing biological colouration, with a specific focus on digital images. First, we introduce fundamental background knowledge about light and perception to be considered when designing and implementing a study of colouration. We then show how numerous modifications can be made to images to ensure consistent formatting prior to analysis. After, we describe many of the new image analysis approaches and their respective functions, highlighting the type of research questions that they can address. We demonstrate how these various techniques can be brought together to examine novel research questions and test specific hypotheses. Finally, we outline potential future directions in colour pattern studies. Our goal is to provide a starting point and pathway for researchers wanting to study biological colour patterns from digital imagery.

Social relationships have been and are the basis for achieving objectives of all kinds, whether altruistic or lucrative. Among the aspects that make up non-verbal communication are physical appearance in general, clothing, and, in particular, colour combinations. In this article, we analyse whether colour combinations can be established in individuals’ clothing that maximise their chances of success for a specifically established social objective. To measure this objective, we use multivalent logics, which are characterised by their great flexibility and adaptability. Within the framework of fuzzy logic, we extract evaluations for various colours based on the judgements of experts, provided by recognised authors in the literature, and compare these with the results obtained in a survey conducted by the authors. For the purposes of contrast, we employ two instruments with accredited validity: Similarity by Direct Computation (SDC) and the Technique for Order Performance by Similarity to Ideal Solution (TOPSIS multicriteria method).

The current article presents the importance of colours in day-by-day life of online marketing. With the accelerating progress in science as well as information and technology, marketing is always changing. The neuroscience of colour in relation to customer conviction is one of the numerous topics studied in marketing. As a starting point, the paper opens with a brief theoretical presentation of the consumer behaviour as the central element of marketing, while in the second part, a study of colours is clarifying the link between them and the perception of the customers. A good reason for everything that follows is represented by the fact that colour is pervasive and a source of knowledge. The paper presents the level of importance that colours represents in everyday online marketing. Marketing is permanently changing with rapid advances in science, information and technology.

The paper explores how colours can underpin critical research in people's well-being and life. Following a brief introduction to the principles of colours and Colour Mirrors system, the paper elaborates on how the coloured oils and essences' principles can drive healing and well-being in a spa, wellness, and life. We used EMADEL (emission-absorption near-electric field detection of biofield) in the experiments. This method measures the organisms' response to near-field exposure markedly different from the expected behaviour. As the second method, we used Bio-resonance, where the researcher uses a device to analyse the person's electromagnetic waves and alter them before returning them to the body.

Colours and associated patterns are probably some of the most obvious phenotypic traits in animals and reef teleost fishes are often cited as a textbook example for illustrating this type of diversity. Even if it is well established that colour patterns play a central role in the ecology and evolution of reef fishes, we still lack the necessary toolkits to fully grasp the mechanisms driving the diversification of this obvious phenotypic trait. On the one hand, genotyping power seems now limitless thanks to current DNA sequencing technologies. Today, entire genomes of fishes can be easily produced for large sets of species. On the other hand, the description of colour patterns and the quantification of their variation across reef fishes might be highly challenging. In a cover manuscript in this issue of Molecular Ecology, Coulmance et al. (2023) introduced an innovative approach for extracting and quantifying the major colour pattern elements present in the hamlets (Hypoplectrus spp., Serranidae), a recent reef fish radiation from the Caribbean. Then, they intelligently used the quantified colour pattern variation as a phenotypic trait for a genome‐wide association study (GWAS). Interestingly, using a method that required no a priori knowledge, they were able to recover well‐established marks (e.g., vertical bars) and to highlight less expected colour pattern elements (e.g., dark to light gradient on ventral part as well as caudal and anal fins), which show strong association peaks on linkage group (LG) 12 and 04. Beyond the demonstration of the potential of their new quantitative analysis of colour pattern variation in reef fishes combined with GWAS, their findings offer new perspectives on our understanding of the intrinsic and extrinsic factors generating this outstanding diversity of the fish world. [ABSTRACT FROM AUTHOR]

Taking various documentary sources from the archive as its basis, and particularly inventories, dowries, wills and paintings of the 16th century, this article presents an analysis of the bed: its location in the house, some of its forms and denominations, what it meant to the men and women who lived in the house, and some ways it was experienced. As this is a broad topic, the focus here falls on the colours with which the bed was dressed, given that it is perhaps the element of the house that tends to best described in inventories, hinting at the central importance placed on this household item. [ABSTRACT FROM AUTHOR]

Colours can draw an identity to all living things. Natural colours can either calm down or disturb a person's inner Self. At the times of crisis, it tends to give the individual soul wit and hope. Colours also have alchemical significance and can impact every man's mind in certain ways. Colour representations have been used by many symbolists throughout literary history from the past to the present. Symbolists point out the importance of symbols in the poems of symbolist poetry. Moreover, the use of colour symbolism in literature contributes to the treasure of literary forms. In Canadian literature, Yann Martel holds a prominent position for his adaption of symbols and uses them to portray the inner quest of his characters. Frequently, his symbolism embodies a deep search for a spiritual quest with a religious component. Colour is one of the most important aspects in deciphering the psyche of his heroes. He has constructed various symbolic interpretations that exhibit the spiritual longing of individuals. Many colours like red, black, white, green, orange, etc have been used as symbolic representations to decode the mindset and religious beliefs. Among them, black and white colours play a vital role in an in-depth portrayal of the leading characters. The religious quest of the characters has been satisfied through the identification of colour representations and ancient relics. They were satisfied at the end. Hence, his works depict that colours have symbolic dramatic elements that naturally novelize the central theme of the search for Self. It also emphasizes the development of the Self with the supremacy of faith in the Almighty God. This paper deciphers the black and white colour symbols in the novels, "Self", "Life of Pi", "Beatrice and Virgil", and "The High Mountains of Portugal" of Yann Martel. [ABSTRACT FROM AUTHOR]

For many centuries, the settlements had a fairly uniform image, which was the result of the use of local materials, technology and the economic condition of the population. With the development of the construction profession and the improvement of material conditions, building materials and construction technology also began to change, the market supply has diversified, which led to changes in the appearance of buildings. The roof, also known as the fifth facade, affects to the external image of the settlement. According to Fister et al., the design of roofs and their colour (roofing) are among the most recognizable components of architecture as criteria for the identity of architectural landscapes. The roof changes were the most drastic in the last 150 years. As the covering changed, so did the colour. The development of roofs in Slovenia with an emphasis on the key influencers of the development is presented in the paper. We limited ourselves to individual houses as carriers of the landscape's architectural identity. We compared the colour of the roofs on a sample of over 700 houses in the architectural region Savinjsko-Kozjansko, which data were obtained as part of the research project V5-2111: Architectural typologies and architectural landscapes and regions of Slovenia. We compared the obtained data with the requirements of spatial plans of municipalities and the characteristics described by Fister et al. The results showed the differences between the situation 30 years ago, the requirements of spatial acts and the current situation. Although the research involved a small sample, we can conclude that the situation is similar in most Slovenian places. The obtained results enable a broader view of this problem and open the possibility of appropriate action. Settlements that are recognized for their high-quality settlement architecture are shown as examples of excellent practice.

This review offers analytic information on the interdisciplinary conference held in Bulgaria (with participants from Northern Macedonia, Russia, Germany, India) on the socialist period as perceived through the fi ve senses. All the papers took into account relevant binary oppositions such as “self — others”, “socialist — capitalist”, “holiday — everyday life”, “home — offi ce space”, and “Bulgarian — Turkish”. There were many papers dedicated the sense of taste, and these discussed socialist-period tastes, culinary practices, and typical and non-typical menus at home and outside the home. The visual medium was approached using the contexts of fashion, interiors, and souvenir production, with or without an ideological aura. Discussions confi rmed the main thesis of the organisers that in ethnology the role of refl ection and personal experience is growing, and that obtaining analytic memoirs of those scholars who lived in the socialist period is also gaining importance, so that generations of younger scholars are provided with the context of the socialist epoch.

D. H. Lawrence is one of the most important writers of the twentieth century who excelled in various fields of literature, including poetry. The research attempts to tackle one of Lawrence's tools utilized in writing his early poems which is colour imagery relying on the close study of 'Love Poems and Others'. The research also highlights how Lawrence has managed to connect utilized colours to the main themes of the poems in order to reflect the extent of these colours impact on understanding the image depending on the thematic analytical approach. [ABSTRACT FROM AUTHOR]

Copyright of Al-Academy is the property of Republic of Iraq Ministry of Higher Education & Scientific Research (MOHESR) 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.)

In this article, I shed some light on Meinong's motivations for the theory of objects. I argue that one of its basic principles, the principle of indifference, is driven by an intuition common to many Austrian philosophers, which is that something must first be somehow pre-given in order to simply address the issue of its being or non-being. Meinong's way of spelling out this intuition, I suggest, is to show that there are homeless objects, that is, objects that are not dealt with by any of the existing sciences. Therefore, the indispensability of the theory of objects lies in the plausibility of the thesis that there are such homeless objects. I analyse and evaluate two Meinongian arguments supporting this thesis, I explain how Meinong came to believe that they support the indispensability of the theory of objects, and I stress some advantages of this account over Brentano's intentionality thesis. [ABSTRACT FROM AUTHOR]

This paper explores the range of colour names, their frequency and functions, in the poetry of Stanisława Plewińska from Deszczno, Poland. The research material comprises 46 colour names w 131 text occurrences, representing 13 semantic fields, including one general field and 12 specialised ones. In her poems, Plewińska uses a diverse range of colours. Her poetry is full of all shadesof the canonical colour set. She favours colour expressions from the following semantic fields: green (30 occurrences), white (29 occurrences), and black (20 occurrences), which indicates her love for achromatic colour schemes and the colour which is imminent in nature. The analysis also shows that the poet uses: gold (15 occurrences) and blue (7 occurrences). She rarely mentions colours from the semantic field of yellow (4x), grey (4x), silver (4x), red (3x), purple (2x) or brown (1x). The poet never uses the colours from the semantic fields of orange or pink.

Synaesthesia is a multifaceted phenomenon encompassing genetic, neurochemical, and cognitive elements, contributing to a deeper understanding of how our senses and perceptions are intricately intertwined. This paper approaches an interdisciplinary approach to a current subject in cognitive psychology, examined by specialists from diverse fields: cognitive psychologists, neurologists, philologists, musicologists etc. Nevertheless, the diverse manifestations of synaesthesia and its phenomenological nature have posed challenges in verifying and studying its origins and mechanisms. This article adopts a medical standpoint in its examination of synesthesia, with a particular focus on its evolutionary trends and its influence within the domain of musical tasks. [ABSTRACT FROM AUTHOR]

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The current article presents the importance of colours in day-by-day life of online marketing. With the accelerating progress in science as well as information and technology, marketing is always changing. The neuroscience of colour in relation to customer conviction is one of the numerous topics studied in marketing. As a starting point, the paper opens with a brief theoretical presentation of the consumer behaviour as the central element of marketing, while in the second part, a study of colours is clarifying the link between them and the perception of the customers. A good reason for everything that follows is represented by the fact that colour is pervasive and a source of knowledge. The paper presents the level of importance that colours represents in everyday online marketing. Marketing is permanently changing with rapid advances in science, information and technology. [ABSTRACT FROM AUTHOR]

Copyright of Acta Hispanica is the property of University of Szeged, Department of Hispanic 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.)

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The origin of the contemporary image culture are analysing on the materials of the interpretations which are made by Skovoroda and Goethe of the visible and invisible phenomena. This comparison if founded on assumption that the contemporary image culture despite of new technically and technological possibilities retains some contradictory moments of the secular process taking place in the post-secular contexts bearing some imprints of risks of the Enlightenment age. Some transformations of Platonism and Neo-Platonism are considering on Skovoroda's dialogues in which the image has an ambivalent functional potential with giving impulses for penetrating in the field of the invisible and at the time making it hidden by producing illusions, opening false ways and perspectives for people. The attention is concentrated on Skovoroda's arguments of the possibilities to remove these contradictions through transforming the physical into spiritual. The imperative of Socrates "Know thyself" contains by Skovoroda practical demands for the duple hermeneutics of image what could be realized by faith which opens the way of the light and change the intentionality of contemplation. Goethe unlike Skovoroda is more concentrated on rehabilitation of the visible as a source of immediate cognition and development of human sensory abilities. Goethe proposes in his doctrine interdisciplinary analysing of colours also paints and shadows in their interdependently in physics, chemistry, psychology and ethics fi- elds. These both approaches contain some elements of the contemporary image culture. [ABSTRACT FROM AUTHOR]

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Existing studies on branding and value creation focus primarily on established brands and luxury products, with less attention paid to small and medium enterprise (SME) food souvenir products. Additionally, most studies are grounded in business, marketing, psychology, and health sciences. This study attempts to fill the gaps by enhancing understanding of the functional and emotional value of colour in food souvenir packaging from a design standpoint. Using multiple case studies, the present research intends to assess the role of colours in branding and value creation for SME food packaging in Bandung, Indonesia. The research design was comparative research. Using Microsoft Excel, the analysis was image-based descriptive and qualitative withincase and cross-case analysis based on visual perception parameters. Using common colours is advantageous for brand identification, while using uncommon colours can enhance brand visibility. In other words, common and unique colours are part of food packaging branding and value creation. The psychology of colour also influences values such as tastiness, healthiness, good quality, attractiveness, and others. This study contributes to the design literature by demonstrating that the designer may serve as a value creator in the packaging design process through colour. [ABSTRACT FROM AUTHOR]

The paper explores how colours can underpin critical research in people's well-being and life. Following a brief introduction to the principles of colours and Colour Mirrors system, the paper elaborates on how the coloured oils and essences' principles can drive healing and well-being in a spa, wellness, and life. We used EMADEL (emissionabsorption near-electric field detection of biofield) in the experiments. This method measures the organisms' response to near-field exposure markedly different from the expected behaviour. As the second method, we used Bio-resonance, where the researcher uses a device to analyse the person's electromagnetic waves and alter them before returning them to the body. [ABSTRACT FROM AUTHOR]

Edvard Munch (1863-1944) left behind a vast selection of artist materials. This paper presents an overview of this reference collection, now located in a brand-new building in Oslo (Munch museum, MUNCH). The variety and the significant number of items in this unique collection represent an asset that is useful for advancing knowledge of Munch's art, in addition to historic paint and drawing materials. This paper focuses on historical artists' materials, discussing the challenges, the opportunities, and the impact of scientific study. Preliminary investigations indicate that the production of the paint tubes span pre1890s through to at least the 1920s and could stem from the whole period of Munch's career. This collection consists of 956 paint tubes from 20 different manufacturers. Most of them are labelled as oil colours but some as watercolour and tempera paint. Preliminary investigations of a selection of paint samples show that there is a discrepancy between the chemical composition and the brand specification on the labels. In addition to these paint tubes, there are watercolours in the form of dry cakes, and approximately 300 pastels and crayons in all colours from at least seven different brands. This collection provides a unique and important source for future research in modern artists materials from the turn of centuries. [ABSTRACT FROM AUTHOR]

The meaning of the names of Greek-Roman collyria is often confusing. Indeed, these names are generally neologisms known to us through a single handwritten or epigraphic occurrence. However, there is no doubt that several of these names have been chosen for their for their commercial value, as “ambrosial”, “inimitable” or “invincible”. Did the names of collyria evoking colours have the same value? By virtue of the principle of analogy that prevailed in ancient medical reasoning, were not green, white and yellow considered to be the active ingredients of certain ancient collyria?

The therapeutic methods of the Salernitan doctors were based on the “medicine of opposites”. From the end of the 11th century, thanks to the translations of Constantine the African, they have been enriched by a theoretical framework seeking to define more precisely the effect of the remedies. A graduated evaluation of the raw qualities (hot-cold-dry-wet) of the simple ingredients entering into the composition of pharmacological preparations is then set up. However, the works of the practice report prescriptions which seem to fall under another framework of reading, of the old tradition of an “analogical medicine” in which a relation is established between the name, the aspect, the color of a cure and those of the disease to be treated. This article tries to see how these two approaches overlap or not by studying some colored elements of the Salernitan pharmacopoeia.

Mesopotamian medicine offers a rich set of data related to the subject of colour, noted not only in diagnosis, but also in therapy. This contribution addresses the question of chromatic associations between given curative elements and symptomatologies, despite the methodological problems related to this line of research. A selection of health problems characterized by clear nuances has been presented : on the one hand, bodily fluids, such as blood and pus ; on the other, cutaneous ailments, for which cuneiform sources provided us with descriptions. The results reveal shared beliefs about the colour of certain ingredients, but also principles of chromoanalogy, similia similibus curantur, as well as their opposites.

If colour is one of the observation criteria taken into account by the Egyptian doctor within the medical diagnosis, its role in the choice of materia medica is more difficult to estimate. The situation is quite different in the field of magic. Considering the role of colour in therapeutic and prophylactic practices, this contribution distinguishes between different aspects : colour understood as brightness and light, colour as a material, and colour as a classificatory tool.

Based on a survey references to colours in Greek hippiatrics text—especially in the Hippiatrica and in book 16 of the Geoponica—this paper examines the lexicon used by horse-doctors to designate colour and the contexts in which it appears, in order to better understand the importance given to colour terms. Colour adjectives are used in three sections of the texts : the external description of the animal (especially the coat and eyes), body fluids and pharmacology (simple and compound drugs).

The subject of this paper is the link between jaundice and birds, according to the bond between the yellow colour and jaundice. For Ancient people, origin of the Greek name of this illness, ikteros, is the one of the kite (iktinos), whose eyes are yellow and black like those of the patient, or the one of a bile-coloured animal, perhaps the ikteros. Two birds, the ikterus and the charadrius, not well identified, are the only animals, known to us, which are prescribed in a method for transferring the jaundice, i.e the staring of yellow colour by the patient. Investigation about these points and on likely identifications for the two birds shows that many less or more yellow birds can be used against jaundice and that importance of the glance of the bird in the staring therapy is probably the origin of the ancient etymological explanations.

Minerals, or “stones” in the wide sense, are associated to herbal and animal substances to form the corpus of medicinal simples. Sources about it are to be not only looked for in the textbooks of medicine and pharmacology, but also in the treaties of alchemy and in lapidaries which draw from local or foreign traditions sometimes marked by superstitions, magical practices and legendary stories and have medicines of various origins as references. The study concerned some remarkable gemstones. One wondered about the influence of old concepts on medical thought and about the possibility that the medicinal virtues attributed to stones are related to their color, transparency or brilliance in accordance with the famous doctrine of signatures also known for plants and various parts of animals. We tried to answer this question by grouping together the gemstones under study according to their dominant color and comparing their medical virtues described in Arabic medical texts.

According to some researchers, a narrow meaning of the adjective χλωρός, polysemous in both early and classical Greek literature, is observable already in the Hippocratic corpus. We would like to show that this adjective did acquired a narrower meaning in the medical literature, but much later, since our earliest extant evidence does not go beyond the 1st century A.D.

Considered as signum of poisoning by treatises on poisons written in Western Late Medieval Europe, colour takes also place among the skills that help preserving from poisoning because some stones are seen as able to reveal the presence of poison by changing or losing its colour when they are put on table, near-by plates or glasses. From several specialized texts and books of natural philosophy, this paper aims to know how the authors explained chromatic changes of stones in front of poison, if they believed in it and if their advices were heard and followed in late medieval courts.

The article is an attempt to revise the long-established belief in the alabaster-white exterior shape of Roman antiquity, which in fact turns out to be full of colours that bring life to its image. The authors implement this intention by indicating how intensely the colour red was present in the reality described by classical Latin authors – contrary to the accusation that one of the participants of the discussion on this subject in Aulus Gellius’ Attic Nights (Gell. Noc. Att. 2.26) makes of the alleged poverty regarding various shades of red in Latin terminology. The material presented contradicts the opinion expressed in Gellius’ text, and at the same time makes us realise how colourful and lively the world that emerges from the literary works of the classical Roman period was. In comparison with it, the reality witnessed by the literature of the Christian era – this parallel is what the authors of the article focus on, concluding their deliberations – in which red becomes almost exclusively a sign of shame, turns out to be ascetically sterile and depressingly colourless.

Reducing waste, using byproducts, and natural food additives are important sustainability trends. In this context, the aim of this study was to produce and evaluate a natural food dye, extracted from pumpkin byproducts, powdered and protected by spray-chilling (SC) and a combination of spray-drying and spray-chilling techniques (SDC). The extract was obtained using ethanol as solvent; vegetable fat and gum Arabic were used as carriers. Formulations were prepared with the following core:carrier ratios: SC 20 (20:80), SC 30 (30:70), SC 40 (40:60), SDC 5 (5:95), SDC 10 (10:90), and SDC 15 (15:85). The physicochemical properties of the formed microparticles were characterised, and their storage stability was evaluated over 90 days. The microparticles exhibited colour variation and size increase over time. SDC particles exhibited the highest encapsulation efficiency (95.2–100.8%) and retention of carotenoids in the storage period (60.8–89.7%). Considering the carotenoid content and its stability, the optimal formulation for each process was selected for further analysis. All of the processes and formulations produced spherical particles that were heterogeneous in size. SDC particles exhibited the highest oxidative stability index and the highest carotenoid release in the intestinal phase (32.6%). The use of combined microencapsulation technologies should be considered promising to protect carotenoid compounds. [ABSTRACT FROM AUTHOR]

The Shahnamah (RAS 239) copied for the Timurid prince, Muhammad Juki (1402–1445) in Herat, has long been considered one of the finest surviving, illustrated Timurid manuscripts. It was presented to the RAS in 1834 by Lieutenant Colonel Doyle (1787–1848), but attracted little scholarly attention until Barbara Brend published her monograph in 2010. The manuscript contains 31 exquisite miniature paintings, two of which (fol. 430v and fol. 531r) were added later during the Mughal period (1526–1761). This article will examine the sumptuous, jewel-like colours employed to depict scenes from the epic and the metals, pigments, and dyes from which they were derived. Precious metals and organic colours made from plants such as indigo and lac extracted from female insects are examined in detail: the methods of their production and extraction, the techniques used for their application, their commercial value, and the prestige they afforded their patrons all contribute to an understanding of what constituted the miniature painters' palette in the Timurid period. [ABSTRACT FROM AUTHOR]