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Purpose: This research is aimed at exploring how colours impact the taste expectations of beverages, considering three different countries: Italy, Poland and Morocco. Specifically, the purpose is to analyse how the sensory interaction can affect young consumers and if the cultural aspect affects them in order to draw consumer behaviour implications. Design/methodology/approach: This is cross-cultural research, structured into two studies. Researchers have administered two questionnaires for each study. Both the questionnaires included 12 questions (three colours – that were red, yellow and orange – × four flavours – that were sweetness, sourness, bitterness and saltiness): participants were asked to express an evaluation on a scale of 1–10 regarding the association between a certain colour of a hypothetical drink and a certain taste. About 150 subjects were involved: 50 Italians, 50 Poles and 50 Moroccans. Findings: Results highlighted differences between these three national groups. In particular, yellow generated more bitter/salty expectation by Italians (vs Poles) while Poles perceived the red beverage as sweeter and the orange one sourer than Italians. Moreover, yellow and orange beverages inspired sour expectations in Moroccans, compared to Italians. Originality/value: The comparison between Italy, Poland and Morocco is the most original aspect of this study. Cross-cultural studies are spread in cross-modal research, but this combination is new in literature. In addition, the focus on young consumers and on online environments are further elements of originality. [ABSTRACT FROM AUTHOR]

Researchers have explored primary colour–geometric shape associations since Kandinsky’s correspondence theory. However, there is a gap in the literature regarding interior colour applications on surface shapes. To address this gap, an online study was employed to gather data with 100 participants who were asked to choose their preferred colours for shapes on bedroom walls with follow-up questions on the colour–shape semantic associations, their preference of colours and shapes on bedroom walls independently in addition to their favourite colour, their favourite shape, and colour–shape pairs without interior context. The results revealed that colour–shape preferences in interiors differ from those found in psychology studies, other colour applications on bedroom walls, and other preferences, indicating that colour preference is context-dependent. Interestingly, the most popular colour for surface shapes on bedroom walls is purple, followed by brown and blue. The study contributes to the existing literature by providing colour charts for bedroom applications for professionals in the industry, their clients/users, and future studies. The study presents a preliminary exploration of the topic. Further research could compare various demographic properties (such as gender, age, and culture), different colour attributes (including saturation and lightness), and complex geometric shapes.

Researchers have explored primary colour–geometric shape associations since Kandinsky's correspondence theory. However, there is a gap in the literature regarding interior colour applications on surface shapes. To address this gap, an online study was employed to gather data with 100 participants who were asked to choose their preferred colours for shapes on bedroom walls with follow-up questions on the colour–shape semantic associations, their preference of colours and shapes on bedroom walls independently in addition to their favourite colour, their favourite shape, and colour–shape pairs without interior context. The results revealed that colour–shape preferences in interiors differ from those found in psychology studies, other colour applications on bedroom walls, and other preferences, indicating that colour preference is context-dependent. Interestingly, the most popular colour for surface shapes on bedroom walls is purple, followed by brown and blue. The study contributes to the existing literature by providing colour charts for bedroom applications for professionals in the industry, their clients/users, and future studies. The study presents a preliminary exploration of the topic. Further research could compare various demographic properties (such as gender, age, and culture), different colour attributes (including saturation and lightness), and complex geometric shapes. [ABSTRACT FROM AUTHOR]

Copyright of Cahiers Elisabethains: A Biannual Journal of English Renaissance Studies is the property of Sage Publications Inc. 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 purpose of the article is to study the stylistic, technical and technological features of early French porcelain (first half of the eighteenth century) in the style of Japaneseism, namely stylisations of Japanese porcelain in the Kakiyomon style and its comparison with original Japanese products. Research methodology. The work uses such methods as analytical, comparative art history, historical and genetic, which allowed us to consider the above-mentioned issues in a holistic manner and obtain scientifically sound research results. The scientific novelty of the study lies in the fact that for the first time an attempt was made to consider such a phenomenon as stylistic borrowings and stylisations of Japanese kakiyomon ceramics in French porcelain art of the Rococo period. Conclusions. The research has allowed us to identify the key characteristics of the original style and colour of kakiyomon and European analogues, which had a number of differences. The analysis of French porcelain production in the first half of the eighteenth century revealed different levels of interpretation of the Kakiyomon style. As a result of the study, it was possible to structure European products into five groups, depending on their similarity to the original Japanese porcelain. The quantitative analysis of the surviving objects, where European kakiyomon wares significantly outnumber Japanese originals, demonstrates the scale of this cultural phenomenon and its decisive role in the development of European decorative and applied arts of the eighteenth century. [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.

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]

Copyright of Studii de Ştiintă şi Cultură is the property of Studii de Stiinta si Cultura 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.)

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]

Copyright of Journal of International Civilization Studies is the property of Kyrgyz-Turkish Manas 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.)

Copyright of Intellectual Property / Dusevne Vlastnictvo is the property of Industrial Property Office of the Slovak Republic 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.)

Street corridors in a historical area are vital in forming an element of the city's image. Dr Radjiman's corridor in Surakarta is part of a historical area containing residents' daily activities. Physically, humans can visually perceive colour, ornament and material elements as a building's facade on two sides of the corridor. This study aims to trace the visual elements in the corridor, which can be seen from the physical aspect. The method used in the research is mixed-methods based, and the respondent data sample obtained is probability sampling. This research can provide a physical description of what is found around the corridor. This research found that visually, the colour, material and ornamental aspects create a diverse mix and match the dominance of white, fabricated materials and cultural acculturation ornaments such as Dutch, Chinese Peranakan and Javanese heritage ornaments. The results of this research can become scientific findings to support efforts to revitalize street corridors in Surakarta.

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]

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 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.

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 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]

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.

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]

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]

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.

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]

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]

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.

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.)

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]

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.

Let the light leak in.

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.

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]

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]

Copyright of Historia y Comunicación Social is the property of Universidad Complutense de Madrid 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 Estudios de Traducción is the property of Universidad Complutense de Madrid 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 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.)

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]

Copyright of Studii şi Cercetări de Onomastică şi Lexicologie is the property of University of Craiova, Faculty of Letters 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 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]

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]

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]