Search

Ovid's Metamorphoses has long served as a window into Greco-Roman culture and mythology. However, the ways in which the Metamorphoses may be shaped by, and in turn shape, the interactions between myths and cultures beyond the Greco-Roman world are underexplored. The Ramayan , a seminal South Asian mythological text, has received less attention in scholarship in the Global North, in part due to the overwhelming focus on the Greco-Roman canon. This article highlights stark narrative parallels between the abduction of Proserpina in the Metamorphoses and the abduction of Sita in the Ramayan. Given that these texts are genetically and geographically distinct, tracing the origin of these parallels remains challenging. Here, I leverage a Jungian analytical framework to propose that "narrative archetypes"—collections of images stored in the collective unconscious which manifest in myths across cultures—may explain why episodic details are conserved between the Metamorphoses and the Ramayan. [ABSTRACT FROM AUTHOR]

Communities face increasingly complex social and technological challenges, and traditional approaches to problem-solving often fall short. We can unlock innovative solutions that transcend individual limitations by tapping into the collective consciousness. The representatives of societies must understand the dynamics of social value creation to initiate social change mechanisms. The framework presented in this article combines insights to guide the process of cultivating group consciousness. It is developed on the foundations of Freudian consciousness and Jung's idea of collective unconscious and unfolds the formation of group values in respective stages of interactive, collective, and transcendent consciousness. [ABSTRACT FROM AUTHOR]

Background: Archetypal ideas originate from the collective unconscious of humans and because they are embedded in the nature and institution of humans, and in everything that is the product of human thought, taste and feeling, they appear. From the point of view of the schema, excesses in the formation of psychological needs cause the formation of schemas. Literary works, including poetry, due to the fact that it comes from the human soul, are connected with archetypal ideas and poetry is considered as a collective unconscious medium of humans. Aims: The purpose of the current research is the psychological reflection of archetypal ideas (Yang) in the poems of modernist Kurdish poets (not selected poets). Methods: In this regard, in this article written in a library method, archetypal ideas in the poems of several modernist Kurdish poets have been investigated. Results: The results of the research show that these poets have used archetypal images and images abundantly in their poetry. Of course, this has several reasons; One is that most of these poets are in conflict with the manifestations of civilization and urbanization, and they present the elements of nature and countryside as an unattainable dream in their poetry, and this directly causes the elements of nature and archetypal images to enter their poetry. The second reason is that most of these poets have a political and social orientation and themes such as freedom and homeland are considered central themes of their poems, but due to the limitations, they are forced to turn to symbolic and ambiguous language. Conclusion: These poets turn to similes and metaphors to express the themes of freedom and homeland, and this causes natural and archetypal elements to enter their poems. [ABSTRACT FROM AUTHOR]

This paper explores the psycho-social dynamics of the INGOs (International Non-Governmental Organisations) focusing on 'salvation aid', a conscious and unconscious dynamic that underpins the way INGO humanitarian aid is delivered. It draws on insights from psychoanalytic theory, object relations and Lacanian-orientated approaches; alongside observations from the authors' experience of consulting to the humanitarian sector, and the views from experienced humanitarians in the field. Salvation aid gives the INGO humanitarian power-over a helpless other and also affords them psychological and emotional protection. This aspect of the libidinal economy of humanitarianism is often missed. Working with the imaginary idea that humanitarians are idealised good saviours becomes both a cultural power play and a social defence mechanism. Identifying with an idealised good self and taking up an unconscious collective identity of 'saviour', however, is depersonalising both for the aid recipient and the aid worker. Aid recipients are not seen as whole people, or communities, but are split off and become, in Kleinian terms, part-objects in the saviour's mind; victims without agency in need of our help (Klein, 1946). Likewise, the aid worker and their organisation also become depersonalised, as they also split off parts of themselves by projecting their own vulnerability, fear, helplessness, and anxiety onto the victim. The humanitarian sector faces many challenges, particularly funding reductions alongside rising levels of demand due to climate change and increased conflict due to protracted geopolitical challenges. How the humanitarian sector responds is currently problematic, with multiple reports that identify an urgent need for change. This paper makes a case that whilst the rational arguments for positive change are valid an unconscious attachment to 'salvation aid' in the humanitarian sector's global north is the sector's fundamental problem, creating unconscious and systemic resistance to the changes needed. [ABSTRACT FROM AUTHOR]

Tale, one of the narrative genres of folk literature, presents a world characterized by its own symbolic motifs through the mysterious and magical structure of its time and space elements and the typological features of its characters. However, when these unique worlds of tales are mirrored to see beyond their surface meanings, it is understood that the deep meanings of the narratives at the textual level are not far from the reality of the real world. In addition to this reality, tales can also be considered as cultural topographies in which the sociogenetic codes of the society are loaded. If we analogize culture to an ancient route that connects the past with the present and the present with the future, tales can be considered as milestones or bridges that are both the creators and carriers of the roads on this route. Humans have pursued their efforts to comprehend, make sense of and interpret by generating literary products throughout the historical eras. Even though the reality of literature and the reality of life are not the same; emotions, thoughts, experiences and dreams have been conveyed through literary works and thus human, environment and society have been formed. In this respect, fairy tales are actually literary products in which the reality of life is reflected in literature. From the time when writing has not yet been widely used to the present day, tales have enabled the processing and development of the language it has kept alive and the transfer of cultural codes to social life; conflicts such as good-evil, right-wrong, hardworking-lazy, honest-liar, and the conflict elements of narratives such as distress, anxiety, despair, illness and death, which are shaped around desire, the object of desire and the law of the father, have shaped the world of mind, sometimes with the ordinary flow of life and sometimes with a surreal and unconscious dimension that exceeds the boundaries of reason and real life. In this regard, tales are an expression and a manifestation of the individual and collective subconscious, from the imaginary to the symbolic and eventually to the real. In this study, based on the idea of contributing to both the research of extinct oral culture values, which are considered as one of the two main ways in which folklore has continued its development since the early periods of enlightenment when folklore has started to find its place in social and human sciences, and to the preservation and survival of folklore and its transmission from generation to generation by approaching intangible cultural heritage products with new methods and new productions; this study intends to reveal the influence of Lacan's Mirror Stage, which has a determinant role in the cognitive and affective development of individuals, on the tale of Karayılan, which is a legendary oral narrative type, in the context of psychoanalytic structure. For this purpose, in the introduction part of the study, firstly, the use of psychoanalysis as a literary criticism method in the analysis of literary products is discussed; then under the first heading, the Mirror Stage "The Imaginary, The Symbolic, The Real" tripartite model of Lacanian Psychoanalysis, which forms the basis of the study, and the concepts of "Desire" and "The Law of the Father", which are the concepts of this model accepted as the basis for analysis, are discussed; and then, under the second heading, the tale of Karayılan was analyzed by taking the concepts of "Desire" and "Law of the Father" into consideration. In the tale, Karayılan's subjectivization process began with birth and milk, which corresponds to the concept of mirror in the Mirror Stage, and proceeded with learning to read through his mother's discourse and language. Finally, it was understood that it was completed with marriage in the symbolic period by being subject to law of the father and obeying the symbolic order, once again with the help of language. As in oral narratives in general, the Lacanian psychoanalytic analysis applied to the tale of Karayılan reveals that the basic structure of the narrative is formed by archetypal reflections, that the world of beings and objects is actually a view of the subconscious, whose symbolism is reflected, and for this reason, tales and other oral narrative genres are in need of re-analysis from this different and new perspective. In addition, it has been found that the formulation of psychoanalytic literary text analysis as a method and its use particularly in the analysis of genres with intense archetypal elements like tales will contribute to the formation of different perspectives in the field. [ABSTRACT FROM AUTHOR]

The aim of this essay is to develop an original interpretative hypothesis concerning problematic aspects of Georege Herbert Mead's social theory of the Self in the light of Carl Gustav Jung's analytical psychology. First of all, we will try to unveil a link between the Meadian component of the Self defined I and the dimension of the unconscious. Discussion of this connection will open to the hypothesis that the Meadian I can be understood as both an instinctive, unconscious and non‐pre‐social component of the Self. We will support this interpretative hypothesis by establishing a dialogue with two of the central concepts of Jung's analytical psychology, namely, the collective unconscious and the archetype. As we shall see, the main point of contact between the two theories lies in the identification of a common non‐pre‐social declination of the instinctive and unconscious assumptions of the conscious Self. More narrowly, we will try to explore this hypothesis by arguing for an interpretative affinity between the Jungian archetype and the Meadian social nature of instincts. Along these lines, we will propose a functionalist approach to the interpretation of the instinctive dimension of archetypes, according to which archetypes function instinctively. Our hypothesis of convergence between Mead and Jung with regard to the social nature of instincts and the archetype will lead us to sketch a peculiar and innovative social conception of the unconscious. [ABSTRACT FROM AUTHOR]

Copyright of Journal of Arabic Language Sciences & Literature / Maǧallaẗ ʻUlūm Al-Luġaẗ Al-ʻArabiyyaẗ Wa-Ādābi-hā is the property of Arab Journal of Sciences & Research Publishing (AJSRP) 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 Cumhuriyet Ilahiyat Dergisi / Cumhuriyet Theology Journal is the property of Cumhuriyet Universitesi, Ilahiyat Fakultesi / Cumhuriyet University, Faculty of Theology 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: Archetypal ideas originate from the collective unconscious of humans and because they are embedded in the nature and institution of humans, and in everything that is the product of human thought, taste and feeling, they appear. From the point of view of the schema, excesses in the formation of psychological needs cause the formation of schemas. Literary works, including poetry, due to the fact that it comes from the human soul, are connected with archetypal ideas and poetry is considered as a collective unconscious medium of humans. Aims: The purpose of the current research is the psychological reflection of archetypal ideas (Yang) in the poems of modernist Kurdish poets (not selected poets). Methods: In this regard, in this article written in a library method, archetypal ideas in the poems of several modernist Kurdish poets have been investigated. Results: The results of the research show that these poets have used archetypal images and images abundantly in their poetry. Of course, this has several reasons; One is that most of these poets are in conflict with the manifestations of civilization and urbanization, and they present the elements of nature and countryside as an unattainable dream in their poetry, and this directly causes the elements of nature and archetypal images to enter their poetry. The second reason is that most of these poets have a political and social orientation and themes such as freedom and homeland are considered central themes of their poems, but due to the limitations, they are forced to turn to symbolic and ambiguous language. Conclusion: These poets turn to similes and metaphors to express the themes of freedom and homeland, and this causes natural and archetypal elements to enter their poems.

The Journal of Analytical Psychology Index for Volume 69, 2024, provides a comprehensive list of articles, interviews, obituaries, clinical commentaries, film and culture reviews, book reviews, and journal reviews published throughout the year. The index includes a diverse range of topics such as American patriarchy, state terrorism, compulsion, gender expansiveness, and the human/More-Than-Human relationship. The journal aims to explore various aspects of analytical psychology and its applications in contemporary society, offering insights into the field from multiple perspectives and voices. [Extracted from the article]

This paper discusses Machiavelli and Cesare Borgia's enduring and always vivid association in the collective unconscious as illustrated by easily made photomontages found in the press and on internet. A first photomontage associates Machiavelli's body as depicted in Santi di Tito's portrait ( 1564) with the head of contemporary statesmen (D. Cameron, B. Obama, E. Macron, M. Renzi…) or stateswomen (T. May, A. Merkel). A second photomontage offers a double portrait of the prince and his counselor. My point is to show that men and women stand in for Cesare Borgia as heirs of the would-be paradigmatic Prince while Machiavelli embodies the essence of politics. This paper aims to connect contemporary and popular Machiavellianism to sixteenth anti-Machiavellianism. The intent is to understand which features and circumstances favor the graft between Borgia, Machiavelli and this or that Prince or Princess. [ABSTRACT FROM AUTHOR]

Heroic images appear in ancient myths, legends, or folktales from almost every corner of the world. The Swiss psychologist Carl Jung proposed the concepts of the collective unconscious and archetypes in the early 20th century, and his hero archetype has inspired numerous literary critics, mythologists, and writers to investigate the narrative structures of the hero's journey. The 18th century witnessed a boom in British Gothic novels and Chinese supernatural tales, among which Horace Walpole's The Castle of Otranto and Pu Songling's Liaozhai Zhiyi are the most prominent. Both literary genres belong to supernatural fiction, with the hero being the typical character. Based on archetypal criticism and qualitative approaches like comparative method, historical approach, and textual analysis, this study attempts to compare the heroic images in British and Chinese 18th-century supernatural fiction, revealing the resemblance and diversity of human cultures through the analysis of the heroes' characteristics and journeys in The Castle of Otranto and Liaozhai Zhiyi. The findings show that their heroic images are created by the hero archetypes from their national mythologies and social contexts, which demonstrates the transformation from the extraordinary to the ordinary. Plain language summary: Heroic images in British and Chinese 18th-century Supernatural Fiction Shift from Extraordinary in Mythology to Ordinary in Literature This study aims to explore the heroic images in British and Chinese 18th-century supernatural fiction. Why was the study done? Heroes are important characters in mythology and literature. Many scholars study the implications of hero myths and heroic images from the perspectives of psychology, mythology, and literature. The analysis of heroic images in British and Chinese 18th-century supernatural fiction could provide a cross-cultural view of hero studies. What did the researchers do? The authors summarized the famous British and Chinese hero myths, the social contexts of the 17th and 18th centuries, and analyzed the relationship between the heroic images in literature and the hero archetypes in mythology, using The Castle of Otranto and Liaozhai Zhiyi as representative supernatural novels in 18th-century Britain and China. What did the researchers find? Through the comparison of heroic images, the different cultures between Britain and China were discovered. The heroic images in literature are the "displacements" of the hero archetypes in mythology. What do the findings mean? Findings show that hero archetypes are similar across cultures and that human civilizations in different regions have commonalities. The different heroic images reflect different cultural and social contexts. From the mythological heroes of noble origins to the ordinary human heroes in 18th-century literary works, heroic images are increasingly close to the everyday lives of human beings. [ABSTRACT FROM AUTHOR]

This ethnographic paper explores attitudes and perceptions of Palestinian citizens of Israel (PCI) regarding Palestinians from the West Bank (PWB). It focuses on the semantic complex of ḍaffāwi ('who comes from the West Bank'), which entails a combination of cultural superiority, distrust, romanticizing, and ambivalence. Treating the ḍaffāwi as a speech act and reading it as a cultural text that is rooted in PCI's collective political unconscious, we argue that their mixed attitudes of superiority and idealization with regard to WBP, and by implication their self-Orientalism, reflect a deep sense of deadlock that characterizes their identity work, as indigenous citizens of an ethnocratic state that has been colonizing their people. [ABSTRACT FROM AUTHOR]

Urgency of the research. Mythology remains an inexhaustible source for philosophical analysis, as it combines archetypal structures of thinking that shape collective and individual consciousness with modern challenges of culture and ideology. In the era of globalization and digital technologies, myths not only adapt to new conditions, but also become important tools for reproducing social norms and symbolic meanings. Analysis of philosophical aspects of mythology allows us to reveal their universality and at the same time identify modern transformations that reflect profound cultural and social changes. In this context, mythology not only explains, but also actively forms ideas about cultural identity, moral values, and worldview paradigms. The study acquires particular significance in the light of modern philosophical discussions about the integration of the rational and irrational in cognition, where myth appears as a metaphysical tool for structuring reality. Myths, with their deep symbolism and multi-level structure, provide humans with universal models for understanding existence, which remain relevant in the context of modern ideological, ethical, and environmental challenges. Target setting. In modern philosophical discourse, mythology appears as a complex and multidimensional phenomenon that combines archetypal representtations, metaphors and symbolic structures that influence the formation of worldview models, cultural identity and social consciousness. The problem lies in understanding the interaction between mythological ideas and the rational foundations of philosophy, as well as in studying how mythological archetypes, sacred dimensions and the structure of myths continue to influence modern culture, politics and mass consciousness. In the era of globalization and digital technologies, myths are transformed, acquiring new forms and meanings, which requires a rethinking of their role in modern ideological, ethical and worldview processes. Actual scientific researches and issues analysis. Mythology as a subject of philosophical research attracts considerable attention from contemporary scholars who approach this phenomenon from various disciplinary perspectives. The classic works of C. G. Jung and Mircea Eliade laid the foundations for the study of archetypes and the sacred dimension of myth, which are still key in the analysis of its influence on culture and the collective unconscious. Jung emphasized the universality of archetypes that structurally unite the experience of humanity, while Eliade emphasized the role of myth in creating sacred time and space that determine cultural identity. Contemporary research focuses on analyzing the transformation of myths in the context of globalization and the digital age. In particular, scholars investigate how mythological motifs are adapted in popular culture, political ideologies, and the media. The works of such researchers as C. Armstrong and C. Lévi-Strauss, highlight the structural nature of myths and their ability to reflect the basic binary oppositions of human consciousness. In the philosophical context, research focuses on the relationship between myth and rational cognition, where myth acts not only as a cultural artifact, but also as a basis for understanding existence (Hegel). The research objective. The main objective of the study is a comprehensive analysis of the philosophical dimension of mythology, in particular its archetypes, structure, and sacred dimensions, in order to identify its role in the formation of worldview models, culture, and modern philosophical thought. The statement of basic material. The article is devoted to the study of the philosophical dimension of mythology as a fundamental phenomenon that plays a key role in the formation of worldview structures, cultural identity and ordering of reality. Special emphasis is placed on the archetypal nature of the myth, its sacred dimension and significance in modern philosophical discourse. The author analyzes the myth as a way of integrating the rational and the irrational in the process of knowing existence, revealing its function as a universal mechanism for structuring human experience. The use of the structuralist approach, as well as the Jungian concept of the collective unconscious, allows us to highlight the nature of myth as a source of universal meanings that form ethical, ontological and cultural models. The article also examines the transformation of mythological motifs in the context of globalization, mass culture, and political ideologies. The conclusions emphasize the inexhaustible potential of mythology as a source of philosophical understanding, which remains relevant for the modern world. Conclusions. Mythology remains a relevant and multidimensional phenomenon that deeply influences modern culture, philosophy and public consciousness, ensuring the integration of the rational and irrational in the knowledge of the world. It serves as a universal tool for structuring reality, offering archetypal models of thinking and cultural narratives that reflect both individual and collective experience. Mythical archetypes and a structure built on binary oppositions form the foundations of worldview models and continue to retain their symbolic significance in mass culture, politics and ideology. In the philosophical context, mythology acts not only as a historical phenomenon, but also as a living mechanism capable of contributing to a deep understanding of being, moral and existential challenges of the modern world. [ABSTRACT FROM AUTHOR]

Copyright of Journal of Babylon Center for Humanities Studies 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.)

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

Copyright of Online Journal of Art & Design is the property of Online Journal of Art & Design 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.)

This document is a bibliography of books received by the Journal of Analytical Psychology. The books cover a range of topics related to analytical psychology and psychoanalysis. Some of the topics explored include trauma, civilization and its fate, psychosis and spirit possession, Jung's relationship with Christianity, human dignity, the evolution of consciousness, the animus, the archetype of home, and the writings of Etty Hillesum. The books offer different theoretical perspectives and provide clinical examples and lessons from the authors' experiences. [Extracted from the article]

This article, titled "Case Response II," explores the story of Alice, a woman who has experienced childhood trauma and its effects on her relationships and psyche. The author reflects on their emotional response to Alice's story and the collective bias and discrimination against the feminine that continues to affect women and girls. The article discusses the concept of dissociation as a defense mechanism and the importance of the therapeutic relationship in helping individuals heal from trauma. The author also draws parallels between Alice's story and the film "Women Talking," which further illuminates the reality of trauma and allows Alice to confront her own experiences. Overall, the article emphasizes the significance of acknowledging and addressing trauma in order to foster healing and growth. [Extracted from the article]

The collective unconscious is an agent in many artistic actions, and it usually plays the most important role to shape overall themes. However, experience shows that the ethnic unconscious is more effective for the sustainability of the forms and even the details of artworks. Using a psycho-biological approach, this research aims to show the influence of the semi-collective unconscious on the institutionalization of admired patterns. The main question is ‘How similar are the head covers worn by native people of Asia to the enduring patterns of domes in the same Asian tribes? To answer this question, the historical-interpretive research method and analogical-inductive reasoning method were used. First, using the library method, fifty post-10th-century domes were selected from three regions including East, Central, and West Asia in countries with similar climates and peoples with similar ethnic identities who influenced the culture and architecture. Auto CAD and Photoshop software programs were then used to calibrate the proportions of the domes with common and similar hats in each region. According to the research findings, an overlap of more than 85% exists between the calibrated forms. Also, the pattern of domes is not restricted to structure, function, and climate. While taking these factors into account, the architects and creators of this art have utilized the authentic and indigenous covering of each region in the domes of that land to fulfill biological and psychological needs. This is because these patterns are the most compatible with climate and cultural tastes despite the material differences. In addition to the peripheral lines, these similarities can sometimes be seen in patterns, textures, and even colors and details. Therefore, with respect to forms and through the sieve of beliefs and norms based on successful subjects, the ethnic unconscious element creates diverse local patterns in the architecture and honors the resulting forms. [ABSTRACT FROM AUTHOR]

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

From the point of view of depth psychology, which focuses on the personal and collective aspects of the human psyche and is nourished by the theory of psychoanalysis, seeing dreams and fairy tales as the masked realization of unconsciously repressed desires, fairy tales are archaic legacies that emerge from the collective part of the unconscious to the surface of consciousness and are therefore the projection of collective experiences,. Althouth the manifestations of these legacies on the surface of consciousness and in fairy tales vary, the hidden meaning they contain is constant. The intricate relationship between archetypes, dreams, and fairy tales is predicated on their capacity to convey the fundamental dilemmas surrounding human existence and development through a symbolic lexicon. Central to the collective unconscious are archetypes that embody the inner images of the psyche. Among these, the self represents the core of consciousness, encircled by the unconscious; the persona encapsulates the individual's outward spiritual demeanor; the shadow signifies the repressed aspects of the self; the anima serves as the integral feminine component within the male unconscious; the animus reflects the masculine essence within the female; the trickster embodies the consciousness unbridled by instinctual drives; the wise old man symbolizes the spirit of nature; and the grandmother archetype oscillates between nurturing and destructive forces, representing both growth and fear. These archetypal motifs in fairy tales have garnered considerable attention across various disciplines, including psychology, linguistics, folklore, and literary studies. Notably, research in archetypal fairy tale analysis often remains confined to specific national philologies or lacks a focused examination of femininity. This study seeks to bridge this gap by comparing representations of femininity across Turkish, German, French, Italian, and Arabic literary traditions. Employing a Jungian framework through archetypal criticism, this research aims to elucidate the foundational types of feminine images present in the collective unconscious, analyzing how these representations manifest in the narratives of world fairy tales. Furthermore, it endeavors to delineate the psychological building blocks these feminine archetypes embody, exploring their correspondence with the fictional worlds depicted in the aforementioned literary traditions. By examining the intersections of these archetypal feminine images, this study aspires to contribute to a more nuanced understanding of how cultural narratives shape and reflect the complexities of gender identity and the collective psyche across diverse societies. In doing so, it aims to enrich the discourse on femininity in fairy tales, emphasizing the need for a comprehensive and cross- cultural approach to the analysis of these enduring narratives. [ABSTRACT FROM AUTHOR]

Terrorism and counterterrorism are often described as "ironic", but conceptual engagement with irony has been very limited. Building on the lifework of cultural anthropologist Joseba Zulaika, this article considers irony as an analytical meta-perspective in the critical study of (counter)terrorism. It draws on the life and work of German-American Christian ethicist Reinhold Niebuhr (1892–1971) to argue that the ironies of (counter)terrorism under U.S. president Barack Obama, who admired Niebuhr, point to an unconscious failure of collective self-understanding. Dissolving these ironies requires new narratives of American identity that cut across foreign and domestic politics, state and non-state actors, the "war on terror" and white supremacy in a long view of history. Facilitating this multidirectional process of self-reflection and -transcendence is a key task for critical scholars of (counter)terrorism. [ABSTRACT FROM AUTHOR]

Copyright of South Architecture / Nanfang Jianzhu is the property of South Architecture Editorial Office 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.)

Carl Gustav Jung, the founder of the analytical psychology, is one of the leading figures in the field of psychology.Jung points out that the behaviors, feelings and thoughts that people show are not only based on the individual's own experiences or past experiences, but perhaps behind them there may be feelings, thoughts, behaviors or an inner instinct inherited from the individual's ancestors.Jung used the terms psyche and psyche (psychic) when talking about the structure and activities of the mind in his studies. According to the psyche, the mind is divided into consciousness and unconscious. The unconscious is analyzed in two sub-dimensions: the personal unconscious and the collective unconscious. The personal unconscious consists of complexes and the collective unconscious consists of archetypes.In this study, C.G. Jung's work on analytical psychology, concepts and theories are analyzed and compiled. [ABSTRACT FROM AUTHOR]

Jason Wright's book, "Blake's Job: Adventures in Becoming," explores the author's personal journey from a career in theater to becoming a psychotherapist, inspired by the works of C.G. Jung and William Blake. The book focuses on Blake's "Illustrations of the Book of Job," which depict the struggle between Human Imagination and an inner accusatory voice. Wright connects Blake's visionary insights to contemporary thinkers and explores themes of exploitation, communal resonance, and the need for a fundamental change in perception. The book includes clinical vignettes, poems, and narratives to illustrate the relevance of Job's journey in therapeutic practice and human development. [Extracted from the article]

“The Tale of King Numan and His Sons” is one of the captivating and multi-layered stories from the One Thousand and One Nights collection. On its surface layer, the tale portrays the historical theme of war between Muslims and Christians. Zat al-Dawahi, the main female character, disguised as a male religious figure, conceals her gender and religion, deceiving the Muslim army. Socially, the story primarily focuses on her feminine cunning, ultimately leading to her comeuppance. However, on a deeper layer, when viewed through an archetypal lens, the tale reflects the societal lack of anima (the feminine element) and illustrates the collective conscious and unconscious fragmentation, confirming this theme through the rule of two kings over one realm at the tale’s end. The descriptive-analytical research method based on library sources has been employed. Archetypally, Zat al-Dawahi is a negative “anima (exemplary mother)” who, at times throughout the story, dons a “veil” and vividly illustrates the societal shadows. Albeit, with a slight change in perspective on the roles and positions of characters, she can also be considered a “trickster hero”. Zat al-Dawahi represents the women of her society: those whose feminine traits (love) have been disregarded in a patriarchal system and marginalized. Consequently, her masculine element (animus) is activated, and due to her animosity, she manifests herself as vengeful, fearless, ruthless, and cunning. [ABSTRACT FROM AUTHOR]

Taking my trip to a maternity ward to visit my newborn niece as a "clinical case," I visit the phenomenon of digitally surveilling neonates with the self-same devices that were designed to enforce the house-arrest of would-be felons whose noisy place in the cultural imaginary has rendered the neonate's ankle a transgenerational "risk object" in the unconscious collective. In conversation with the ever-emergent genre known as autotheory, I invite the reader to be an accomplice as I "dramatize my unsettlement" contrasting autotheory with Laplanchean "self-theorization" via interludes about temporality, expertise, birth, gender, race, and place that come to life in the tale of The Stork. [ABSTRACT FROM AUTHOR]

Nobody in the Wilderness: A Mental Health Record of a Patient with Depression (2008) is the first of a number of memoirs that contemporary Chinese writer Li Lanni (1956- ) has composed to document her fight against the depression that hit her in 2003, after being cured of thyroid cancer. The memoir brings together Li’s diary entries from different moments of her life, excerpts from her (semi-)autobiographical literary production since the 1980s, memories of life during the Cultural Revolution, medical reports, extracts from scientific studies of mental illness, Bible citations, accounts of the SARS (severe acute respiratory syndrome) epidemic, and much more. This stratified narrative, where different genres, discourses, and temporalities intersect, encourages a new reflection on depression, its embodiment, and its meanings. Drawing on literary and medical anthropological understandings of embodiment and illness, this article examines Li Lanni’s articulation of depression to shed light on the potential of writing to destigmatize depression and legitimize her particular embodiment of illness against objectifying biomedical and socio-cultural discourses. The analysis of the narrativization of depression as a “montage” of heterogeneous elements and of the reconfiguration of illness as “hereditary”—at once bound to personal, familial, and collective experiences—illuminates the multiple ways in which the memoir complicates body/mind dichotomies and notions of responsibility in contexts of illness. Ultimately, bearing witness to suffering that transcends Li’s own suffering, the memoir acquires an ethical dimension that rests on the ambiguous relationship between the personal and the collective. [ABSTRACT FROM AUTHOR]

The alteration of consciousness during shamanic rituals is both a physical and mystical phenomenon. It involves psychological and spiritual experiences. Through ritual practices, shamans can connect with archetype within the collective unconscious, utilizing trance-inducing techniques for "hallucinatory exploration". This study surveyed 75 participants to investigate the impact of prototype symbols in Shamanistic rituals on participants' consciousness states focusing on Jungian psychology's concept of archetype. The results indicate that archetype symbols in shamanic rituals can significantly influence participants' conscious state, leading them to experience a conscious dissolution of the self. Furthermore, archetype symbols have different effects at the stages of consciousness change. In particular, during the "Visionary Restructuralization" stage, archetype symbols, such as patterns, masks, totems and music, brought participants' consciousness to a peak and caused significant changes to it. These findings suggest that the metaphoric function of archetype symbols plays a crucial role in rituals. Archetype symbols connect the individual to the collective unconscious through visual images and symbolic imagery. They prompt the participants to experience emotional resonances that transcend individual experiences and affect their state of consciousness. [ABSTRACT FROM AUTHOR]

Fictional representations of African university campuses offer a rather dismal image of a world intended to train the intellectual elite of a rapidly developing continent. This is reflected in a statement from the Cameroonian scholar Jean-Marie Wounfa, who asserted: "Writers, for a long time, have put forward a discourse on the university that praises and preserves the mythical character of this institution of which the representation is abundantly watered at the spring of the collective unconscious." But such a position fails to win unanimous support. Some consider the university to be a depraved institution. While such discourse may find a fertile ground in the novel, it becomes an interesting scriptural paradigm when the analytical medium shifts to the short story, a brief but dense literary genre inspired by reality. Such an image of the Cameroonian university campus can be seen in La révolte de Mbazoua (Mbazoua's Rebellion) by Moone Nda'a, which describes the campus as a Kafkaesque world haunted by intimidation, rape, threatening behaviour, sectarianism and other ills that students and teachers must suffer. It also highlights the role of the imaginary in the struggle against this form of censorship that shackles the harmonious development of the African university campus. [ABSTRACT FROM AUTHOR]

In 1958 Japanese Zen master and professor of philosophy Shin'ichi Hisamatsu and C. G. Jung held a historic meeting at Jung's home in Küsnacht, Switzerland. Hisamatsu was touring the world and meeting with leading figures in the disciplines of psychology and philosophy, not unlike the traditional practice of accomplished Zen masters taking extended pilgrimages to test, deepen, and refine their enlightenment experiences. This meeting has received scant professional attention at least in part because Jung asked that it not be formally published. Nonetheless, Hisamatsu did publish their dialogue in Japanese and, thereafter, several translations followed. Commenting on their dialogue many months afterward, Hisamatsu summarized the meeting by highlighting three central areas of interface between Zen Buddhism and analytical psychology: 1) The relationship between "No Mind" in Zen and the unconscious; 2) The similarities and differences in what is meant by the "Self/self" in both disciplines; and 3) The means of identifying and seeking to relieve human suffering. This paper looks more closely at these junctures by briefly highlighting their theoretical implications and, in doing so, seeks to further the dialogue between Zen Buddhism and analytical psychology. [ABSTRACT FROM AUTHOR]

The Supreme Deity Talismans of XuHuo, as the mysterious visual artforms in Daoism, are significant ritual images created by Daoists during the Song and Yuan dynasties. This article explores the creation process of the SDTXH by applying psychoanalytic theory to analyze the literature related to their drawings in Daozang. The ritualistic concentration involved in writing the SDTXH resembles Jung's systematic exercises aimed at eliminating critical attention, thus creating a vacuum in conscious. This vacuum serves as the key premise for active imagination, through which the unconscious is integrated into the conscious. Fuqiao, in fact, is a symbol dynamically depicting the process of the unconscious being inseminated by the conscious through immersion within it. This integration, or unity, represents the embodiment of concepts such as "mandala", Guizhong, and Taiji. The SDTXH originate from Guizhong and essentially serve as archetypal images, similar to the sandplay images constructed by the clients. As the language of the unconscious, the SDTXH effectively bridge the conscious and unconscious, enabling the unconscious content, namely the archetype, to be symbolically expressed and bringing order to the creator through active imagination. The emergence of the SDTXH signifies the practitioner's progress towards achieving psychic wholeness. [ABSTRACT FROM AUTHOR]

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

The article discusses the concept of constitutional imaginaries in Central and Eastern Europe, emphasizing the importance of emotions, visuals, and collective imaginaries in shaping constitutional meaning. It explores the interplay between reason, emotions, and imagination in constitutionalism, highlighting the complexity of the constitutional process. The special issue aims to offer a multilayered narrative on constitutional transitions in the region, providing alternative perspectives on constitutional history through symbolic-imaginary explanations. The papers in the issue delve into the role of constitutional imaginaries in shaping constitutional traditions, transitions, and the overall process of modernization, anti-modernization, and post-modernization in the region. [Extracted from the article]

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

The Journal of Analytical Psychology's latest issue features a variety of papers with academic and clinical relevance, as well as an interview with Warren Colman, a previous editor and regular contributor to the Journal. The papers cover topics such as the personal and transpersonal psyche, anima projection, embodied metaphors, and power dynamics in Jungian theory and practice. Additionally, the issue includes reviews of books and journal articles, as well as an announcement of the winner of the Michael Fordham Prize. The Journal also invites submissions from authors and plans to hold workshops on different topics. [Extracted from the article]

Copyright of Journal of College of Languages 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.)

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

In Eugene O'Neill's Long Day's Journey into Night, four members of the Tyrone family make some choices about their careers and family life. It is apparent that the adverse outcomes of Tyrones' respective decisions that they have reached hold sway and torment the rest of their lives. Although James Tyrone, the head of the family, announces his credo as keeping his family together and healthy, his two sons Jamie and Edmund and his wife Mary suffer from different types of addiction, from not being able to position themselves in a respectable environment and to develop healthy relationships. The play takes place on a single day, starting from 8.30 in the morning to midnight, which is quite parallel with the descending mood of the characters and events. Each of these characters' tragedies can be traced not only in their seemingly conscious choices but in their collective unconscious which can be anatomized with some Lacanian conceptual backcloths. This paper forms its basis on discovering the ulterior motives of the characters' actions and the way they speak language by scrutinizing their unconscious, which reveals itself in a structure of language in Lacanian outlook. Thus, this study aims to create a hermeneutical frame by laying the underlying reasons for why the Tyrone family suffer, which can be traced in how these family members fail to identify themselves with the symbolic father which is a functional metaphor for rules and regulations in the society and by highlighting what kind of master signifiers the Tyrone family keep using to substitute the Name-of-the-Father. [ABSTRACT FROM AUTHOR]

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

Given the unprecedented events unfolding around the globe over the past four years, psychoanalytic communities near and far have sought to ask and ventured to answer the question: What does psychoanalysis have to offer individuals, and the collective, as a way of seeing and being with the reality of what is? Taking up these questions in such a time as this, feels, perhaps inevitably, unsafe. Sometimes it can feel as if there is a silent and unspoken mandate to ensure safety at all costs when we seek to find a spirit of the depth's response to the spirit of the times. I propose that the work of psychoanalysis is grounded in nothing but the journey through that which is unsafe. This article will take up Ann Ulanov's notion that one's own evil is the hinge door into collective and archetypal evil. To become unhinged means to risk well‐formulated understandings, theories, and modalities about being and becoming for the other and instead to allow the other to penetrate that which is unknown in ourselves, upending our well‐formed theories and pressing us to take up our own lives in new and unpredictable ways. [ABSTRACT FROM AUTHOR]

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