Archetypal Codes Research Articles

The Deconstructive Hermeneutic of Tasattur in the Epistle of the Creation of Animals of Rasā'l Ikhwān al-Ṣafā'

Academia has some misconceptions about the Epistle of the Creation of Animals of Rasā’il Ikhwān al-Ṣafā’. This article addresses these misconceptions by offering a new hermeneutic to interpret the denouement of its story. This hermeneutic is called tasattur, which incorporated the mechanics of Jacques Derrida’s deconstruction a thousand years before this theory was proposed by him. The article also demonstrates how this interpretive framework of tassatur helps us glean from this epistle an archetypal code for the upcoming Fatimid Empire.

Guardian, rebe lor everyman? Archetypal codes and Teachers actions in a pandemic crisis

The article presents research on teachers behawior in the era of changes related to the covid – 19 pandemic. The Researh undertaken indicated some styles of teachers actions in the face of dynamics of crisis/changes in the sphere of education. The matrix of archetypes by Carl Gustaw Jung proved helpfu; in the analysis of cultural codes with which people identify and whose derivative are specific behaviors, styles, of action, reactions or choices. In a very vivid way, it allowed us to see and even name the main ways of responding to the ceisis situation of the respondents and, by the way, indicated what natural resoures of the teaching Staff were activated in the Times of crisis dictated by changes related to health procetion during the pandemic and in connection with new, forced working conditions. The title of this publication marks the reference to the indiated Jungian conept.

The reminiscences of Salome’s dance and the Danse Macabre in authors’ models of the late 19th — early 20th centuries literature

The subject of the study is the topos of dance. The article identifies the factors of its actualization in the literature of the late 19th — early 20th centuries; considers the origins of its reading through the prism of Eros and Thanatos; analyses works with “dance” imagery, and clarifies its role in the texts poetics. These tasks aim to outline the author’s models that utilize “Dance of the Seven Veils” and “The Danse Macabre”. Comparative, mythological-archetypal, historical-cultural research methods have been applied to study the specifics of dance interpretation in the aesthetic coordinates of modernism. The interest in these aspects of the archetypal topos existence and the need to define the author’s representations as variants of the national determine the relevance of the study. Results of the Study. The reminiscences of Salome’s dance and the Dance of Death are due to the perception of the era as a “plague age”; aesthetic understanding of dance as a personification of the phenomenon of death; interest in the body as a socio-cultural concept and its sensory cognition; a revival of the art of dance; interest in the theme of the East; popularity of erotic motives and the character “woman-child”; the relevance of archetypal codes for the triad “life — death — art”. Charles Baudelaire’s poetry is analyzed as the origins of the modernist interpretation of dance at the intersection of Thanatos and Eros. His dance imagery is characterized by its ironic understanding through the prism of existential categories and interpretation in the context of eschatological and aesthetic issues. The development of the Baudelaire tradition is reflected in the examples of the “new drama”: Lesya Ukrainka reminiscences Salome’s dance as an embodiment of bodily freedom (The Forest Song) and dance as a sign of humility and choice of “death” of the spirit (The Orgy). In Henrik Ibsen’s A Doll’s House the tarantella is both an image of a festive atmosphere and a sign of falsified values of the characters. The dance heralds the catastrophe of Nora’s “puppet” house and at the same time opens up prospects for finding one’s self. The Danse Macabre for Mykhailo Kotsyubynsky (Ivan’s dance with Chuhaister in Shadows of Forgotten Ancestors) and Thomas Mann (dance seen in Aschenbach’s bizarre dream in Death in Venice) is connected with the infernal. It symbolizes the heroes’ awareness of the new “reality” and the transition to another level of worldview; concentrates on thanatological and erotic and defines the complex relationship of mind and body as issues of works. For both characters, the dance is a warning of imminent physical death. But for Aschenbach, it is also the last act of dying as an artist, a symbol of his soul’s death. In contrast, for Ivan, it is a duel-dance to protect his beloved, reunion with whom gains his integrity.

Одесская эйкумена как Топос идентичности в романе Ванды Мазур "Деньги"

The article analyses the image of the Odessa’s Ecumene in Vanda Mazur’s novel “Money” as a factor of anthropic identity. It is noted that the spatial topoi in the novel are conceptualized not so much in the aspect of the ethnic factor, but rather on the existential-ontological and mythopoetical one. The spatial topic of the novel, with all the obvious signs of non-fiction (topoi of France, North Africa, Ukraine, Odessa, etc.), is characterized by symbolic meanings and archetypal codes. It corresponds to the poetics of the ambiguity of such nominations as “south of Ukraine”, “southern city”, the people of which made it possible to create Odessa‘s Ecumene. But the reader will not immediately find out which southern city is being described. Only in the course of the narrative the image of the place is specified by the topoi of Odessa and the Odessa region. The semantical field of these concepts expands to the meanings of the mental state of the entire Ukrainian ethnic group in times of existential and civilizational upheaval. The text formation strategy – between the fiction and non-fiction format – comes into being in the novel by combining the discourses of vision, reflection and credible spatial topoi. According to this, the toponyms’ sphere in the created literary pictures of the Ecumene’s world is not limited to the function of the object sign of a real place, but is ador- ned with symbolic meanings. Obviously, the artistic anthropology of Vanda Mazur’s novel “Money” correlates with the concepts of postcolonial studies on overcoming Eurocentrism and ethnocentrism, against the background of the approval of the ideas of environmental and cultural ecumenism. The concepts of Odessa and the Odessa region within the borders of the artistic world of the novel are articulated as axiologically significant in affirming the transcultural identity of the characters.

ТОПОГРАФІЯ ЯК ФАКТОР АНТРОПОЛОГІЇ РОМАНУ ВАНДИ МАЗУР «ГРОШІ»

Стаття присвячена аналізу образу одеської Ейкумени як фактора антропної ідентичності в романі Ванди Мазур «Гроші». Відзначено, що просторові топоси в романі концептуалізуються не стільки в аспекті етнічного чинника, скільки екзистенційно-онтологічного і міфопоетичного. Просторова топіка роману, при всій очевидності ознак non-fi ction (топоси Франції, Північної Африки, України, Одеси та ін.), характеризується символічними значеннями, архетипними кодами, чому відповідає поетика багатозначності номінацій «південь України», «південне місто». Їх людський ресурс і дозволив створити одеську Ейкумену. Але читач не відразу дізнається, про яке південнє місто йде мова. Тільки по ходу розповіді образ міста конкретизований топосами Одеси та одеської області. Семантичне поле цих понять розширюється до значень ментального стану людини в ситуаціях екзистенціальних і цивілізаційних потрясінь. Стратегія текстообразования між форматом фікшен і нон-фікшен в романі реалізується сполученням дискурсів візії, рефлексії і достовірних просторових топосів. Відповідно до чого, сфера топонімів в модельованих картинах ейкуменського світу не обмежена функцією об’єктно-предметного знака реального міста, а наділена й умовно-символічними значеннями. Очевидно, що художня антропології роману Ванди Мазур «Гроші» корелює з концепціями постколоніальної гуманітаристики про подолання європоцентризму і етноцентризму, на тлі утвердження ідей екологічного і культурного екуменізму. Концепи Одеси і одеського регіону в межах художнього світу роману артикулюються як аксіологічно значущі в утвердженні транскультурної ідентичності персонажів.

Evolution of the amino acid code: inferences from mitochondrial codes.

The amino acid code is usually presented as a table of 64 codons. Actually the code results from the action of tRNA molecules that carry amino acids to codons in mRNA by means of codon-anticodon pairing. The tRNA molecules are transcribed from genes that undergo evolution and the number of anticodons can therefore increase during evolution, but the number of codons is fixed at 64. Mammalian mitochondrial codes contain only 22 anticodons for 20 amino acids as compared with 54 anticodons for 20 amino acids in the universal code. It is proposed that an archetypal code containing 16 anticodons for 15 amino acids evolved into the universal code by gene duplication, followed by mutations that modified the anticodons and amino acid acceptor sites. In substantiation of this proposal, it is noted that the mammalian mitochondrial code is simplified by comparison with the universal code. For example, single anticodons are used for each of eight amino acids in the mammalian mitochondrial code. This simplification may represent an evolutionary retrogression towards the proposed archetypal code.

Changes in the amino acid code

The genetic code is characterized by a pattern arising from “wobble-pairing” between codons and anticodons, so that one nucleotide in the first anticodon position can pair with more than one nucleotide in the third position of a codon [1]. Earlier codes may have existed in which there were fewer anticodons than at present, so that these earlier codes contained fewer amino acids. The universal code was formerly thought to be the only currently existing code used by terrestrial species. It is now known that differences exist from the universal code in mitochondrial coding systems, and also that mitochondrial systems differ from each other. These findings lend support to the proposal that archetypal codes preceded the present universal code. Such archetypal codes may have had some resemblances to mitochondrial codes.

Possible evolutionary steps in the genetic code

In mammalian mitochondrial codes, fourfold codons wobble-pair with UNN anticodons so that U wobbles with U, C, A and G. Twofold pyrimidine-terminated codons pair with GNN and twofold purine-terminated codons pair with UNN. These properties enable a prediction to be made for evolution of the universal genetic code. It was postulated (1) that an archetypal code of 16 quartets coded for 15 amino acids. If this code used UNN anticodons, then duplication of tRNA genes, followed by mutations in the anticodons and aminoacylation sites, would give rise to the present universal code.