Archetypal Symbols Research Articles

THE SYMBOLIC MEANING OF COLORS IN HARRY POTTER AND THE DEATHLY HALLOWS

This study examines the symbolic meanings of colors in Harry Potter and the Deathly Hallows by J.K. Rowling, utilizing archetypal criticism and Carl Jung's theory of archetypal symbols. Through a qualitative analysis, the research explores how color functions as a tool for conveying deep thematic elements, enhancing the narrative, and reflecting the emotional and psychological states of the characters. Colors such as red, gold, green, black, white, and blue are shown to symbolize various abstract concepts, including friendship, bravery, immortality, power, love, and death. For instance, red and gold are associated with Gryffindor House values like courage and friendship, while green symbolizes both dark power and the protective love of Harry’s mother. Black is linked to death and darkness, and white signifies purity and sacrifice. By investigating these symbolic associations, the study reveals how Rowling employs color as a narrative device to enrich the reader's understanding of the characters' journeys and the larger themes of good versus evil, sacrifice, and the pursuit of truth. This research highlights the significance of color symbolism as an integral part of the storytelling in the Harry Potter series, providing deeper insights into the novel's thematic layers and the psychological motivations of its characters.

А. АЛТАЙДЫҢ «ТУАЖАТ» РОМАНЫНДАҒЫ НЕОМИФОЛОГИЯЛЫҚ МОТИВТЕРДІҢ АРХЕТИПТІК НЫШАНДАРЫ

The article deals with the archetypal symbols reflected in the ancient Kazakh myths of neo-mythological motives of A. Altai's novel «Tuazhat». In world and domestic literature, interest and the search for myth did not decrease, but increased. The prose of our national literature, which is a component of Kazakh culture, did not stand aside. No matter how much modern human society faces economic difficulties, modern domestic literature is experiencing a spiritual and cultural revival. Today's domestic literature is inspired by the ancient Kazakh archetype, and works are written that meet the requirements of the time. Our writers freely indulge in mystical, utopian and phobic creative forms, reflected in world culture with the help of myths, and describe their thoughts with symbolic metaphors. Mythology acquires its own poetic thinking in the works of Askar Altai. Such mental thinking demonstrates the author's complete creative possession of the nature of the process of mythification of realistic and postmodernist trends. The author draws attention to myths and folklore in the depiction of various negative phenomena that are alien to modern society. He also enriched previously stable and traditional mythological patterns by subjecting them to various changes. The proximity of artistic prose to philosophy and psychology is a proven fact of modern literary criticism. Therefore, the era of the emergence of new absurd, pictorial and mystical works, gradually moving away from the dominance of today's realism, is connected with the author's myth. Thus, at the beginning of the 21st century, Kazakh prose writers, who wrote in various genres, began to freely learn world and ancient Kazakh mythological materials. In the work of Askar Altai, various cultural trends and literary reminiscences are combined in one place in the space of a literary text. Instead of traditionalism, the author created new myths told by a modern "storyteller" who has his own characteristics, a different style of speech, a different understanding of life.

From Historical Memory to Cultural Identity: The Construction of Archetypal Symbols for the Statues and Images of Mazu

The archetypal symbols of Mazu’s statues and pictorial art are the mapping of a religious concept, a way of belief, and some programmed behaviours and rituals. They are also emotional imagery used to arouse the cultural awareness of international Chinese, inspire them to help and trust each other, to encourage and to comfort each other, to share weal and woe, and to always forge ahead. From the perspectives of historical memory, visual signs, and cultural identity, this paper explores the construction of archetypal symbols for the statues and images of Mazu. In addition, this paper generalizes the foundation and methods of this construction by analyzing the artistic forms and characteristics of the surviving Mazu images and statues and comparing the rules and regulations for making statues of other religions. Moreover, we consider the function of artistic signs that refer to and symbolize broader religious concepts and beliefs. The purpose of this work is to make the image of Mazu more visually present and strengthen cultural identity.

A Mythological Archetypal Study on A Streetcar Named Desire

Tennessee Williams is regarded as one of the most significant figures throughout the history of American literature. Tennessee Williams is always seen as one of the most famous representative writers of American south along with Carson McCullers and Flannery O’Connor. A Streetcar Named Desire, first published in 1947, has run for almost 855 performances. It’s one of Williams’ most famous plays and it has always been studied in all aspects by numerous scholars for many years. Since Tennessee Williams lived in American south and his grandfather was an Anglican so there is no doubt that his works are influenced by the religion in American south and his own family. However, the researches on A Streetcar Named Desire from the perspective of mythological archetype are much fewer. Thus, this thesis is an attempt to employ Frye’s archetypal theory to analyze the mythological archetypal symbols of the environment, theme and characters in one of Tennessee Williams’ noted plays, A Streetcar Named Desire.This thesis will be divided into four parts, including an introduction, the theoretical framework, an analyzing part and a conclusion. The first part of the thesis will contain the relative background information of Tennessee Williams and his play A Streetcar Named Desire and a comprehensive literature review of researches on A Streetcar Named Desire on the main perspectives. In the second part, the author introduces the development and the main ideas of Frazer, Jung and Frye’s theories.The third part probes into the mythological archetype of the setting, characters and the theme. The author uses Fyre’s Myth-archetype theory to analyze the archetype of the setting of the play, the mythological archetypal characters and the theme in A Streetcar Named Desire. In the conclusion part, a general summary is given and the significance of analyzing the mythological archetypes in A Streetcar Named Desire is reaffirmed further. The author also analyzes the limitations and shortcomings of this thesis. What’s more, the use of mythological archetype in the play to some extent shows the playwright’s pity and sympathy for the decay of American south just as the loss of Eden as a southern writer, indicating his sense of nostalgia of the south.

Primitivism in Early 20th Century French Music: Darius Milhaud’s La creation du monde

The first decades of the 20th century, particularly the post-war era, brought about numerous philosophical and cultural changes. Exoticism and orientalism were concepts that still governed arts and music, however the philosophical concepts that lay beyond the use of exotic or oriental themes was gradually altered. Exoticism represented more than the possibility for artists to create an idealized elsewhere, inspired by the contact with foreign cultures and their artistic products. It also offered artists the opportunity to express the complex meaning of various symbols associated with exoticism. In this context, Western society gradually turned toward a new aesthetic that could provide artists with an apparent connection to the roots of mankind. Primitivism, associated with folk art and mythology, represented a utopic state, prior to civilization or colonialism, but at the same time, it offered the possibility to explore certain archetypal symbols and express their possible meaning through art. Art nègre, represented by African and African American art and music, was most often associated with this aesthetic of primitivism, and influenced the works of Western artists. French composer Darius Milhaud returns to the theme of origins and creation in the work La création du monde, which combines elements associated with the concept of primitivism, with jazz music and Western compositional techniques.

SYMBOLISM OF NINE GREAT HOUSES IN GAME OF THRONES

This study entitled “Symbolism of Nine Great Houses in Game of Thrones”. It aims at identifying symbols that are applied and analyzing the meanings of the symbols implied in each house based on the semiosis process proposed by Peirce. All the data are taken from the Nine Great Houses by watching it repeatedly and listing all the symbols that are related to each house. The writer will identify the symbols that are found and analyses them by using qualitative descriptive methods continued with the semiosis process. The writer chose the Theory of Symbol proposed by Charles Sanders Peirce to analyze the symbols by using his triadic structure which included Object, Representamen, and Interpretant. All three parts must be present for something to be considered a sign or symbol. The results show that four type of Archetypal Symbols found, they are Symbolism of Animals, Symbolism of Colors, Symbolism of Settings, and Symbolism of Objects. These differences have resulted in various interpretations.

Cross-cultural application of archetypal images in art therapy in China: A case study of Mandala images

Due to their ancient healing genes and significant modern therapeutic implications, Archetypal symbols have been widely employed in art therapy practices. However, research on their application effectiveness still lacks discussion in cross-cultural contexts. This study focuses on the use of archetypal symbols in art therapy—particularly Mandala images—within the cultural context of China. The research focuses on exploring the cultural adaptability of Mandala art therapy in China, along with the cultural challenges and opportunities faced in empirical studies. It further investigates the efforts made by Chinese therapists to optimize Mandala art therapy techniques, enabling better integration into Chinese cultural and therapeutic practices. The results indicate that although research and application in this field are still in the exploratory stage in China, Mandala drawing therapy has demonstrated effective healing and evaluative roles in empirical studies in China. It confronts cultural challenges with localized attempts, revealing the universality and localization trends of archetypal symbols in cross-cultural art therapy practices.

An Archetypal Reading of The Arabian Nights: Mythic Hero and Monomyth in Selected Stories

The Arabian Nights is a literary masterpiece that has captivated readers for centuries with its magical elements, mythical creatures and traditional patterns of archetypes. This study delves into the underlying similarities and differences among the types of archetypal characters depicted in two tales, “Three Apples” and “Ali Baba and the Forty Thieves”. The focus is on the notion of mythic hero, exploring the use of archetypal symbols, images, characters and protagonists’ quests to identify the principles of heroism central to their characterisation. The study draws upon Joseph Campbell’s theory of Monomyth, which entails a pattern for the hero’s journey that includes three rites of passage: separation, initiation and return. By examining the journeys of Ja’far and Ali Baba through this lens, we find that both possess essential qualities of a hero in accordance with the tenets of monomyth. Despite their idiosyncratic differences, they are portrayed as ordinary men without any supernatural heroic powers who are urged to reclaim their social status by embarking on an adventure where they go through rebirth, face death and triumph over evil. The findings highlight how the use of mythical elements such as magic and traditional patterns contribute to the perennial appeal of the collection

승무의 구성미(構成美)와 무용 미학적 의의

This study examines the aesthetic significance of Seungmu in terms of its artistic spirit, artistic function, artistic symbolism, and artistic philosophy. It has been identified. To this end, the aesthetic characteristics of Seungmu as the essence of traditional dance were revealed in terms of composition, such as dance moves, music, dance clothes, and weapons. The research results are as follows. First, ‘Seungmu is a living form, and its technique and artistry are so outstanding that it can be said to be the essence of Korean traditional dance. Second, Seungmu is a dance that harmonizes the beauty of Movement-in-Stillness and Excitement, and the emotional expression of tying and releasing based on human origins and resentment. Third, based on Susan Langer's symbolic theory, the aesthetic symbols, symbolic systems, and archetypal symbols of Seungmu were examined. It is believed that this study will be helpful in understanding the aesthetic significance of dance through the compositional beauty of Seungmu.

MULTIMODAL UKRAINIAN BRAND NARRATIVE: SEMIOTICS, STRUCTURE, ARCHETYPES

The aim of the study is to identify the structural-narrative, semiotic, and archetypal properties of the Ukrainian multimodal narrative as a semiotic space of secondary signification and social mythologization. The data for analysis include slogans and promotional multimodal videos (video narratives) of the Ukrainian brand “Золотий вік” (Golden Age). Based on multimodal research, semiotics and advertising mythology theories, as well as the theories of cultural archetypes, and utilizing multimodal, narrative, narrative-semiotic, and archetypal analysis, in conjunction with conceptual integration tools, the article has achieved the following key results. The Ukrainian brand narrative is a multimodal discursive construct formed by a combination of multiple semiotic codes realized through verbal and non-verbal sign systems via auditory and visual channels. The modules are integrated through multimodal video narratives, constructing a semiotic world integrated with the secondary signified “love” and the associated concepts that replace the denotative meaning of the brand as a jewelry company and its products as ornaments. The secondary signified is verbalized through slogans, visualized through plots, voiced by background songs or voice-over narrators, and encoded by cultural codes in their intertextual and archetypal aspects. Multimodal video-narratives, featuring various characters, narrative plots, and formal-narrative structures, exhibit isomorphism with respect to the possible worlds they construct, archetypal images, motifs, and characters, as well as analogous narrative plots with differing levels of reduction in structural narrative elements. The verbal module, based on a slogan, as well as invariant auditory accompaniment common to all video narratives – the song “Love” and off-screen narrative, supports a hermeneutic code because it contains a key metaphor based on the slogan and peripheral metaphorical components that reveal the conceptual features of its target space. The audio-visual module forms a proaritic code based on the narrative plots of advertising clips in a three-component possible world: extratextual frame narrative, textual pseudoreal narrative, and fairytale narrative. The cultural code is realized through various multimodal resources. The slogan and the brand name include explicit references to the source intertext based on the song. In the video narratives, techniques of interdiscursivity are used, combining elements of melodrama, a romantic story, and a fairy tale, as well as references to archetypal images, motifs, and elements of the archetypal cyclical time. Central to these are the archetypal images of dreams, magic, hearts, and motifs of the magical helper-giver, the journey, crossroads, and magical transformation of those who receive a branded gift. The main archetypes are those of gold and the ring-circle, associated with the symbolism of the sun. Cyclical temporality, associated with mythological time, is actualized by recurring motifs and underpins the unity of love and preciousness from the perspective of the connotations of “eternity” – as eternal spiritual and material values. The semantic code of connotations is related to the secondary signification meanings, which associate the brand’s products with “embodied” love and is based on all the brand’s narrative modules, constructing its social mythology. The symbolic code is based on archetypal symbols and the core value of the brand in its implicit opposition to values foreign to the brand, appealing to the motivational value of “love and the need for belonging” in the hierarchy of human motivations. The perspective for further research is the analysis of the pragmatics of multimodal narratives in Ukrainian brands.

The Image of Transformation and Cognitive Flexibility

The article suggests to view the image of transformation as an idea, that affects cognitive flexibility (the ability to overcome responses or thinking that have become habitual and adapt to new situations). We may notice, that cultural stereotypes of thinking are partly predetermined by mythology. Myths represent our mind’s view of mental capabilities, the way our conscience interprets unconscious processes. The following describes the images of transformations in ancient Greek and Hindu mythologies as two points of view on psychic processes, letting us notice possibilities and limitations of transformation processes offered by Western and Eastern myths. Transformation is considered a basic task in Jungian theory. Today, the entire world mythology has become accessible due to globalization. The purpose of this work is to consider different versions of the transformation image, making it possible to enrich emotionally significant, archetypal symbols that are used in practice, as well as to think about which symbols and mythological images most accurately represent modern consciousness, today’s reality perception. The signs underlying the image of transformation in Eastern myths are compared with modern empirical data on physiology and psyche. Based on this comparison, it is suggested that modern knowledge on cognitive flexibility is closer to Eastern mythology.

Sacred Circle: Symbol of Wholeness in Traditional Persian Art and Architecture.

Jung wrote extensively about the archetypal mandala symbol as an expression in many cultures of the centrality and nature of the interplay between human consciousness and divine consciousness. This article investigates-how in Persia, for millennia-the archetypal symbol of the mandala has been widespread in many expressions of the sacred arts. My research outlines the importance of the archetypal mandala symbol in Persian religio-aesthetic history from the first unearthed stone carvings of Persia's ancient foundations until the more recent, breathtakingly marvellous ceilings of traditional Persian architecture today. From the artistic expressions of first religious beliefs of ancient Persia-Mithraism-and through the development of the Zoroastrian faith until the subsequent rise of Christianity and then Islam, Persian sacred art illustrates the Jungian idea that wholeness sought in the journey of individuation is often expressed through archetypal symbols of circles that articulate basic truths about the divine interplay with humanity.

Shaileshwarī as the Goddess of Power and Creation in Her Mythological Literature

This paper attempts to highlight the paurānic ("mythical") or religious story of the temple of Goddess Shaileshwarī of Silgadhi, Doti under Seti zone, Nepal with Northrop Frey's theories of Myth Criticism, Archetypal Criticism, and the Quest-Myth so that the people of Nepal and India would know about the temple's mythical and religious importance. By spreading the temple's mythical story in Nepal and India, we could promote the religious tourism of Nepal, especially of the local area. The story of Goddess Shaileshwarī goes back to the Satya Yuga when Shiva and Pārvatī got married as mentioned in the "Mānas Khand" of The Holy Skanda Purān. After Their marriage, They stayed in the temple area to enjoy Their divine honeymoon for some time. Then, Brahmā (the Creator) came to this temple and prayed to Pārvatī, now known as Shaileshwarī or Shilādevī. Similarly, two Indian Brāhmans and Lord Rām―all three from India― visited the temple, worshipped, and prayed to Shiva and Pārvatī, and were blessed by Her in the Tretā Yuga." Shaileshwarī is the Goddess of the universe who fulfils Her devotees' desires. Shiva and Pārvatī are the archetypal symbols or primordial images of creation, destruction, re-creation, power, knowledge, and a sacred sexual union. Every male and female creature is a living embodiment of Shiva and Pārvatī. Also, Shiva and Pārvatī live in each other's body as Ardhanārīshwara ("Lord Shiva whose left part is of Goddess Pārvatī "). So, every male and female is divine and both have each other's qualities, too.

ZYNOVIY BYCHKO ABOUT THE UKRAINIAN LANGUAGE

This article discusses the problems raised in the aphorisms of Zynoviy Bychko who is an Ukrainian dialectologist, linguist, professor of Lviv Ivan Franko National University, member of the Ukrainian National Union of Journalists, member of the Shevchenko Scientific Society, member of UIA. He identifies the main means of imagery, focuses on the vitality of the Ukrainian language, which the scientist has repeatedly violated. Analysis of the material was carried out by a descriptive method using elements of analysis of scientific sources.
 The authors emphasize that Zynoviy Bychko’s aphorisms are primarily educational in nature. Taking care of the accessibility, general understanding and imagery of his catchphrases, the author often resorts to the use of transparent analogies that help to comprehend the essence of such difficult concepts as language, word, genetic code. He compares language with an icon, space, galaxy, building structures, works of art, women's jewelries, the human nerve, concrete and abstract concepts, which helps to show the complexity and simplicity of speech. The author endows the lexemes of the language and the word with numerous epithets, creates a phytocharter of the Ukrainian alphabet, which convinces of the beauty and richness of the Ukrainian language.
 Zynoviy Bychko, taking care of the vitality of speech, with vivid examples shows the antiquity of archetypal symbols, the beauty of the poetic word and the perniciousness of speech, distorted by surzhyk and slang, barbarisms. Based on the research of geneticists, physicians, convinces of the harmfulness to the moral and physical health of a person of the negative energy that obscene vocabulary produces.
 The issues of purity, aesthetics, ecology of personality speech are urgent problems, they should be solved professionally and persistently, despite the resistance of opponents. The prosperity of the language, the expansion of its information space is a question of the Ukrainian survival in Ukraine, it is a question of state independence and individual freedom.

Archetypal Symbols and The Hero’s Journey of Alice in Wonderland Film

Myth is a classic story about heroes who explain the origins of natural occurrences. Myth is not always given historically since the modern one will continue to evolve and impact cinema creation. This study aimed to look at the categorization of Campbell's "hero's journey" and the archetypal symbols under Segal's theory, as provided by the main character in the Alice in Wonderland film. The data for this study was taken from a plotline in Woolverton's Alice in Wonderland. The study's findings suggested that the film had a tight relationship with a myth. The primary characters, including Alice, the Red Queen, and the White Queen, symbolized archetypal emblems of light and evil. Alice could eventually complete the hero's journey, beginning with departure, reaching a climax in the initiation stage, and reaching the return stage as the significant point of the movie's plot and the same fundamental structure in the myths.

КОНЦЕПТУАЛЬНІ ВЕРБАЛІЗАТОРИ ОПОЗИЦІЇ «ПОБРАТИМ – НЕДРУГ» У МЕДІАТЕКСТАХ ПРО РОСІЙСЬКО-УКРАЇНСЬКУ ВІЙНУ

<p><strong><em>The purpose of the research</em></strong><em> is the conceptualization of verbal means of forming images of sworn brother and enemy in modern media texts about the Russian-Ukrainian war.</em></p><p><strong><em>Research methodology</em></strong><em>. Methods of generalization, synthesis, systematic and semantic analysis, structural and functional analysis were used in the course of writing the article, which made it possible to single out and systematize the means of forming the images of sworn brother and enemy in modern media texts about the Russian-Ukrainian war, their comparison and contrast, clarification of symbolic meaning, structure and peculiarities of functioning identification in the modern information space.</em></p><p><strong><em>The results</em></strong><em>. According to the results of the research, it was determined that the verbal conceptualization of the information content of the modern media text contributes to a deeper understanding of the symbolic images used in the coverage of the russian-Ukrainian war. Having studied individual conceptual formations, the author agrees with the importance of studying the origin of lexemes, which act as conceptual verbalizers of the opposition </em><em>«</em><em>sworn brother – enemy</em><em>»</em><em>, points to the peculiarity of the functioning of symbolic images in the information society. It was found that the oppositional compound </em><em>«</em><em>sworn brother – enemy</em><em>»</em><em> in the modern media text is endowed with an expressive symbolic sign, which is formed by the verbal context. The symbol indicates the semantics with which these images are endowed. The author proves that this meaning is beyond our perception and is formed on a subconscious level; indicates the associative correlation of a friend with protection, security, trust, and an enemy – with death, destruction, enmity; notes that with the help of archetypal symbols used in modern media texts in the coverage of the Russian-Ukrainian war, meanings that are beyond our understanding, live in the unconscious depths of the soul and unite people into an ethno-cultural community.</em></p><p><strong><em>Novelty.</em></strong><em> For the first time, verbal means of forming symbolic images of sworn brother and enemy in modern media texts about the Russian-Ukrainian war were systematized; their structural and semantic features were determined and their symbolic meaning was clarified. It was proved that the verbal images-symbols </em><em>«</em><em>sworn brother</em><em>»</em><em> and </em><em>«</em><em>enemy</em><em>»</em><em> represent two vectors of knowledge. In particular, the symbolic image of a </em><em>«</em><em>sworn brother</em><em>»</em><em> is associated with a combatant, comrade-in-arms, associate, sworn brother, a close friend, as it is based on the archetype of protection, freedom, trust, security, the conceptual implications of which are safety, tranquility, peace. The opposite meaning is given to the symbolic image of the enemy, which is associated with the foe, since it is based on the archetype of death, and the conceptual implications are weapons, aggression, anxiety, and war.</em></p><p><strong><em>The practical significance </em></strong><em>of the research results</em><em> is that they can be used by the authors of modern media texts when covering the Russian-Ukrainian war to form an associative correlation of the verbal image of a sworn brother with protection, security, trust, and an enemy with death, destruction, hostility.</em></p><p><strong><em>Key words</em></strong><em>: media text, symbol, verbalizer, sworn brother, enemy, russian-Ukrainian war.</em></p>

Through Archetypal Criticism in Shakespeare’s The Merchant of Venice

This paper presents a brief overview of archetypal criticism, a literary theory that seeks to identify universal patterns and themes in literature rooted in the human psyche. It is based on the idea of archetypes, symbols and motifs in the collective unconscious of humanity, popularized by Carl Jung. As applied to literature, the theory of archetypal criticism involves exploring these universal themes and symbols in work and how they reflect the human condition. The paper aims to analyze William Shakespeare's tragedy The Merchant of Venice through the lens of archetypal criticism to uncover deeper meanings in the literature. The play explores themes of justice, mercy, and true love through its complicated characters and dramatic plot. Through archetypal criticism, the play delves deeper into its universal meaning. It reveals psychological and emotional truths about the human condition, inviting reflection on beliefs and values that shape our experiences in the world. The paper explores the play by applying archetypal criticism. There are archetype characters of Shylock and Jessica that embody the outsider archetype as Jews in a predominantly Christian society and moneylenders. The archetypal criticism also explores different forms of love, including romantic love between Bassanio and Portia, the friendship between Antonio and Bassanio, and the complex relationship between Shylock and Jessica. The theme of revenge is embodied by Shylock and depicts an archetype. The play features archetypal symbols, including the casket challenge, the green-eyed monster, the test of worthiness, and the trickster. Some situations in the play and the play's ending are also significant from an archetypal perspective.

Metaphysical Meanings and Archetypal Romanian Symbols in Today’s Romanian Music

Late 20th-century Romanian composition stood out, above all, by its ability to open itself to novelty and experiment, and virtually align itself with everything that Western Europe considered to be an avant-garde artistic movement at that time. However, as time has shown, this “synchrony” – which is sometimes translated by the terms of the binomial “national universal” or, more precisely, “local-global” – happened somewhat selectively, avoiding the excesses and the extremes specific to the radical-nihilistic attitude present in other contemporary music cultures. One of the “keys” of this reconciliation strategy brings to the fore the Romanian composers’ preference for the great philosophical themes of our traditional culture, imbued with the metaphysical meanings and archetypal symbols delivered by myths and legends that have turned into veritable universals. Liviu Glodeanu and Sigismund Toduţă are (only) two of the creators who leaned with undisguised passion on various Romanian myths that they masterfully integrated into two extremely valuable opera. The former dedicated himself to the pre-Christian age and elevated the pagan rituals revolving around Zamolxis – the feared god of our ancestors, the Dacians – to the rank of an emblematic vision. The latter resized the dimensions of the myth of the ultimate sacrifice, masoning oneself in stone in order to build the temple of God – the church, as Master Manole represents – along with the ballad of Mioriţa – one of the founding legends of the Romanian people’s spiritual identity. In our approach, we will show some of the conceptual and language foundations of the aforementioned works.

Лингвокультурологический анализ семантико-коннотационного поля лексемы liv* в произведении Д. К. Джерома

The article discusses the ethno-specific meanings of the archetypal symbol life-live-liver in written English discourse. In the course of their work, the authors rely on the hermeneutic method to interpret the veiled meanings of the text, as well as on the quantitative method, which allows identifying quantitative aspects of the use of lexemes. The study of the word forms life-liveliver from the point of view of etymology served as the starting point for identifying their universal and ethno-specific meanings in the linguocultural aspect. The high frequency of use of the lexeme liv* emphasizes its importance, which allows readers to realize the value of human life.

THEORETICAL AND PRACTICAL ASPECTS OF IN-DEPTH COGNITION OF THE SUBJECT’S PSYCHE IN ITS PRALOGICALLY-VISUALIZED REPRESENTATIONS

The article «Theoretical and Practical Aspects of In-Depth Cognition of the Subject’s Psyche in its Pralogically Visualized Representations» covers the important aspects of revealing the essence of the psyche under the conditions of its recoding from the ideal reality to the objectified reality. The main method of the research is active social-psychological cognition (ASPC), which relies on the spontaneity and ease of the subject’s behavior under the conditions of objectification of their psyche in thematic drawings. Under the specified conditions, the psychologist’s dialogue with the respondent plays an important role in psychoanalytical revealing of the semantic parameters of the representations of the psyche. The figurative and symbolic presentation provided an opportunity to explore the role of the law of «participation» (involvement) in the objectification, in the plane of observation of the psyche. The results of the research make it possible to state the possibilities to objectify in psychodrawings such meanings of the psyche that would be impossible to express verbally, which is facilitated by the effectiveness of the mechanisms of displacement, thickening, hint, hyperbolization, which are common to dreams as well. The content of the article allows to draw a conclusion: the visualization of the psyche opens the perspectives to cognize the archaic factors, the objectification of which occurs due to the actualization of the archetypal symbols. The latter opened up prospects for research of the impact of pralogical thinking on its visualized presentation, which catalyzes the self-cognition of future psychologists.