Cultural Archetypes Research Articles

제주 지역브랜드화를 위한 ‘설문대할망’ 콘텐츠 IP 전략 연구

In the past, Jeju Island has tried to utilize the character of the island's representative
 tale, 'Seolmuundaehalmang', in cultural contents such as animation and theme parks.
 Academics have also conducted research on the need for cultural planning utilizing
 'Seolmundaehalmang'. Despite these efforts, 'Seolmundaehalmang' has yet to be
 recognized by the public as icon of Jeju. In this paper, we examine a content IP strategy
 for branding the Jeju Island with the character of 'Seolmundaehalmang'.ﾠ To this end,
 this paper first discusses the importance of content IP and the necessary elements of a
 strategy. Based on this, the paper then analyzes cases that have been utilized as content
 and compares them with successful Japanese cases of utilizing cultural archetypes as
 content IP. Finally, through the results of this analysis, the paper reveals a strategy for
 utilizing Jeju Island's 'Seolmundaehalmang' as content IP.
 The paper's results show that a strategy for to utilizing 'Seolmundaehalmang' as a
 content IP first requires the expansion of the scope of 'Seolmundaehalmang' content
 creation by having it engaged in a wide range of contents such as Jeju Island's 'myths',
 'legends', 'history', and 'fairy tales' in a flexible manner. Second, the image and
 characterization of 'Seolmundaehalmang' should be refined by incorporating history,
 mythology, and each creator's own philosophy. By doing so, they expand its limited role.
 Third, we must strengthen and utilize the material, setting, and world view of the work,
 which are embodied in the concept of 'Seolmundaehalmang'.

「荊軻刺秦王」에 나타난 두 개의 이미지

Wuxia is a great cultural archetype with a unique tradition in Chinese history. As a fifth-generation director, Chen Kaige is a leading figure in Chinese cinema. In 1998, he directed the large-scale wuxia historical drama「荊軻刺秦王」, the movie was produced in 1969. Although the movie was not successful at the box office, it reflected his unique sensitivity. Through the characters 荊軻, 秦王, and 刺, he conveyed the image of council and heroism. What director Chen Kaige sought to portray in the film is not just the greatness of Qin Shi Huang, who kills to unite the seven heroes of the nation, or to fulfill his personal desires, but a human spirit with a sublime ideal of saving the people of the world who are suffering and groaning from the war that he has always held in his heart. Here, we saw the poor King of Qin, who had no choice but to lose his own in order to achieve the great unification of the world, not the hero, King of Qin who had been well-known.

구전신화 바리공주의 대중음악 콘텐츠화 연구

The purpose of this study is to analyze the cases of popular music contents of Princess Bari mythology that have been passed down through oral tradition, and through this, to examine the aspects of effective processing and modern implementation of cultural archetypes. To this end, this study analyzed the narrative of the 《Bari abandoned》 from the perspective of the transformation and reinterpretation of mythology and the musical arrangement. Through this, it was found that 《Bari abandoned》 is a work that captures the meaning of the present era and provides sympathy to the public while undergoing a modern transformation of oral myths, and allows access to new sounds created through collaboration between traditional music and Western pop music. All 11 tracks in the album are composed according to the order of the narrative of the myth of Princess Bari, realistically depicting and quoting episodes of the myth, or suggesting new interpretations by looking deeply into the inner world of the heroine in the myth. In addition, Pansori and Western pop music were harmonized well according to the taste of the present age.

100 years of Mari fine art: national neo-romanticism (1960–1980s)

Introduction. This article continues a series of publications dedicated to the 100th year of the Mari fine arts. National neo-romanticism appeared at the late Soviet stage. It is important to clearly identify it and to determine itы place in the process under study. Materials and Methods. The research methods are based on the author’s cultural and archetypal approach. The items of art, archival documents, media publications, catalogs were provided by the museums of the Republic of Mari El. Results and Discussion. Culture of the late Soviet period, as a background of national neo-romanticism, is characterized by an anthropological change, a demand for sincerity and expression of individuality. Within its framework, unofficial art, various forms of artistic escapism arose. The ethnical theme brought the main artistic innovations into the ‘severe style’ of the Mari Autonomous Soviet Socialist Republic’s art. Visiting Russian artists, A. S. and B. S. Pushkovs, S. F. Podmarev, A. I. Butov, introduced the concept of “Mari El” into the artistic vocabulary of the Republic, created the iconographic type based on the traditional Birch and Woman archetypes, thereby contributed to the development of the new cultural archetype. National neo-romanticism emerged from the ‘severe style’ and simultaneously formed. Its essence is the poetization of the native culture. Z. F. Lavrentyev implemented it, first, through book graphics to be one of the determinants of ethnocultural reflection. A special role in the development of national neo-romanticism was played by young Mari artists N. V. Toktaulov, I. V. Efimov, I. M. Yamberdov. Conclusion. National neo-romanticism (1970–1980s) is a stage in the development of the Mari national fine arts originated within socialist realism (1940–1980s). But it goes beyond it due to the representations of the essential issues and approaching the archetypal principles of ethnoculture.

The Biy Council as an Archetype of Traditional Legal Culture of Kazakh in the XXI Century (from a Series of Articles on Archetypes)

The Biy Council as an Archetype of Traditional Legal Culture of Kazakh in the XXI Century (from a Series of Articles on Archetypes)

Digitalization beyond technology: Proposing an explanatory and predictive model for digital culture in organizations

Continuous technological advancements and digitalization are transforming organizations’ resources and capabilities, yet many have not adapted their corporate culture accordingly. Aligning with a digital-oriented culture archetype is crucial for successful digital transformation. This paper presents a research model that predicts digital culture in organizations based on traditional culture archetypes. Using cutting-edge multivariate analysis techniques, such as PLS-SEM, IPMA, or PLS-Predict, on a sample of 285 managers from Spanish companies, the results indicate that a People-oriented culture archetype is the most important for digital culture, while values inherent to Norms or Goals culture archetypes hinder it. The paper contributes to the development of Functionalist and Structuralist Theories of culture, demonstrating the interplay of micro-cultures and cultural archetypes within an organization.

Analysis of shift in aspects of Cultural Sustainability in built environment

The relevance of sustainability is reflected a lot in today’s scenario. Due to this, Sustainability has become a multi-faceted concept, which not only focuses on energy conservation but also respect to culture. Cultural sustainability involves preservation and conservation of various built cultural archetypes which already exist, with a concern of continuity of the culture and beliefs of an area. It is a debatable topic, whether cultural sustainability can be considered as fourth pillar of sustainability (Environment, Social and Economic being the other three). Even though it is mostly accepted, the extent of implementation of the same in the present scenario is questionable. An area without its history or culture loses its uniqueness and identification, for which cultural sustainability is very important in an area. This research paper is an attempt to explore the contribution of culture as possible fourth dimension of sustainability and an integral part of environmental, economic, social dimensions of sustainable development. This article also aims to understand the various aspects contributing to cultural sustainability and briefs upon the need for the same.

Can Adaptations Create Dialectical Sites within the Skopos Theory? An Exploratory Study of Inconsolable Memories and Memories of Underdevelopment

This is an exploratory study of the adaptation of the novel Inconsolable Memories (1965) by Edmundo Desnoes into the film Memories of Underdevelopment (1968) by Tomas Gutiérrez Alea under the Skopos theory. This study is a part of a larger ongoing investigation into the cinema of Gutiérrez Alea, in which the researcher is looking at the various techniques he utilizes across his films to generate a social dialectic. The study is located in the skopos defined by Gutiérrez Alea – diminishing the role of the cultural archetypes such as patriarchy and identification with the colonizer that were deeply ingrained in the Cuban people, which he felt, were hampering the continuous progress of the socialist revolution. Here, I’m exploring the strategies he uses in the process of creating a dialectical text as a means of social reform. Gutiérrez Alea has created the adaptation through a collaboration between himself and the author of the novel, Edmundo Desnoes. The study hopes that this collaboration may also reveal a dialectical relationship under the same skopos between the two texts themselves, and the manner in which they interact and modify each other.

장작불 영상을 선호하는 대중 심리에 대한 해석적 연구

This study focuses on the popular video content of fireplace videos that have gained popularity on platforms such as YouTube over the past few years. As most popular videos on video platforms have a plot and even very short videos contain narrative elements such as events or twists, it is noteworthy that monotonous fireplace videos without a story have gained such widespread popularity. This study attempts a critical analysis of the phenomenon by linking the online reproduction of fireplace videos with the trendy term “hitting mung” which has received significant attention from the public.
 Starting from the discourse on “daydreaming” being linked to psychological effects and being presented as the purpose of the production and distribution of videos, previous research on the psychological effects of campfire videos was explored. Then, to specialize in “hitting mung” among various “daydreaming” contents, the unique media history of “hitting mung” videos and the cultural context of Western households were examined. In addition, by examining Gaston Bachelard's discussion of the imagery of fire in relation to daydreaming, material imagination, relaxation, and healing, the study interpreted the psychology of modern people who prefer “hitting mung” videos. The study presents a content critique that gives meaning to the imagery of fire as a cultural archetype through an interpretive analysis of the epistemo- logical relationship between “fire” and “hitting mung”.

THE POSTMODERN CITY TEXT IN SERHIY ZHADAN’S POETICS

The article explores the display mechanisms of the postmodern city as a text in Serhiy Zhadan’s works during the period between 2008 up to 2022. We’ve investigated the city representation tools portrayed in the diachronic aspect. There have been studies of Ukrainian urbanism time-space and audio characteristics, viewed through the connection with European urbanity on the examples of Kharkiv regional centers’ and Voroshilovgrad depictions, the east of Ukraine urban points of district significance, as well as particular foreign urban locations. The purpose of the research paper is to distinguish and analyze the main categories of the Postmodern city as a text in poetry and prose by Serhiy Zhadan. The tasks of the research are focused on the definition and interpretation of the modern research methods within the investigation of the ‘the urban text’ category, the identification of the fundamental content-representative elements of the Eastern Ukrainian cities significant to the author, the interpretation of the main categories of the city as a text, and Kharkiv as a text in particular, in the creative heritage of the author. The research methods include hermeneutical, historical, literary, cultural methods and the method of contextual analysis. As a result of the study, it has been proved that the city text in Serhiy Zhadan’s works is represented by multiple forms, as well as the paradigm “the past – the present – the mixture of the past / the present”. The chronotopic skeleton of the city is embodied in a number of material congestions, represented by the intervened example of architecture, which bears the imprint of different historical eras. The urban chronotope is marked by location points, endemic for the writer: numerous spatial models of the railway stations, representing a gallery of social characters and algorithms of criminal schemes; bus routes, city transport, personified and serving as the “bodily organs” of the city; industrial facilities; monuments to Soviet leaders; hotels; zoo-images. A characteristic feature of destabilization is the depiction of the marginal components of the city (drunkards, drug addicts, prostitutes, dishonest politicians). The hotels serve as the points of sin and the marks of well-being. Serhiy Zhadan’s text is coded, symbolic, and is socially marked. The accompanying fragments of the realistic depiction are music, dances, weather, color, natural and unnatural sounds. The cities, marked by the influence of the historic shifts, create a picture of a transitional period in Ukrainian society. The frozen reality of the post-Soviet reality, embodied in the cities, reaches the peak of its transformation during the military conflict, which defaces the body of the city and modifies the mentality of its inhabitants. The buildings, the animals, the natural world tend to echo the military events and reflect the gradual degeneration and altogether rebirth of the city of Kharkiv. The urban space by Serhiy Zhadan is a mocking festivity. It revolves around day-to-day reality with the print of the epoch that dominates. The city by the author acquires the features of the whore-city. Serhiy Zhadan also generates a number of fresh or updated forms like city-orphan, city-cripple, city-mechanism, city-animal. The Ukrainian cities in the writer’s legacy are of male gender, whereas the foreign ones acquire noticeable female Biblical features. Thus, the Postmodern urban text as a holistic system of images and signs reflecting the specificity of the post-totalitarian urban culture gets formed in the writings by Serhiy Zhadan. The poetics of the Postmodern urban text by Zhadan enclude the intertextual devices; parodic and ironic reasoning of the traditional cultural archetypes (the sun-city, the city-whore, the garden-city, etc.) and their substitution with the new connotations (the city-dog, the city-fish, the city-ghost, the city-mechanism, the city-cripple, the city-orphan, the city of whores, etc.); the motif of escapism; fragmentation of depiction; the mode of a game with a reader. The works of the writer create the image of the Postmodern urban mind as nomadic, shelterless and carnival. This type of mind serves as a basis of a new peculiar type of a character formation – the eternal nomad-wanderer.

Development of textile pattern design by M. C. Escher’s tessellation technique using chaekgeori icons

The purpose of this study is to raise awareness of the uniqueness and excellence of Korea’s traditional culture among members of the MZ generation (Millennials and generation Z) and explore the possibility of utilizing archetypes of traditional culture in the contemporary context. To that end, this study develops and proposes unique contemporary textile pattern designs applying M. C. Escher’s tessellation technique to the formative characteristics and symbolic meaning of Chaekgeori icons. To develop the designs, this study reviews the previous literature and theoretically considers the concept of Chaekgeori, its formative characteristics, and Escher’s tessellation. After extracting iconsrelated to the themes, stylized iconographic motives were applied to geometric shapes to create repeating units. Then, Escher’s tessellation was applied to these repeats to develop twelve contemporarily reimagined textile patterns. To verify the usability of the developed textile pattern designs in products targeting the MZ generation, in-depth interviews were conducted with the MZ generation living in Jeju. The developed textile patterns were mapped onto the selected items to prove the applicability of the developed textile patterns to the items preferred by the MZ generation. The contribution of this study lies in the fact that it develops unique and contemporary textile pattern designs based on the formative characteristics and symbolic meaning of Chaekgeori icons and maps the designs of fashion items preferred by the MZ generation, thereby raising awareness of the value and excellence of Chaekgeori as a part of Korea’s traditional culture and shedding light on the possibility of using traditional cultural archetypes in contemporary contexts.

Россия: составные части культурного кода

The article presents the author's concept of Russia as a civilization, which has a unique cultural code. Attention focused on the essential parts of this code. We believe that the cultural code of Russian civilization consists of the following basic components: (1) In terms of energy, Russia, unlike Western civilization, used the energy of space, not time energy, which allowed extensive development over several centuries, transferring the basic cultural archetype to the vast newly developed spaces. (2) The second essential element of Russian self-standing was the ethnic component. Initially, Russia, Russians are a super-ethnos that synthesized different ethnicities and cultures, united by a single language and state, while preserving the customs and language of the peoples with whom the leading Slavic ethnos came into contact. Ethnically, Russians are Eurasians who genetically combine Western and Eastern peoples.(3) Finally, the third essential component of the cultural code of Russia is the so-called “numerical code” of culture. The numerical code of culture connected with the numerical interpretation of the Absolute, it determines the nature and speed of the movement of culture in relative or historical (in the words of N.A. Berdyaev) time. The specificity of Russia lies in the fact that three world religions have historically existed on its territory: Christianity (Orthodoxy), Islam, and Buddhism. In terms of cultural codes, Islam and Buddhism (if we consider Nirvana as the highest existential goal) are religions whose ontological code is equal to one, which at the cultural level corresponds to statics and traditionalism. Although the code of the Orthodox version of Christianity is “binary”, but the recognition of the first seven Ecumenical Councils, as it were, suspends the movement of historical time, which contributes to harmonization with two “single” religions, this ensures their relatively harmonious existence.

Sustainability oriented innovation and organizational values: a cluster analysis

Purpose: Sustainability is an important priority for CEOs according to a recent Mckinsey (2021) survey. However, despite growing pressure from capital investors, employees and consumers, few organizations are satisfied with the sustainability objectives achieved beyond objectives related to economic savings. The sustainability challenge is even more difficult for organizations when dealing with designing their innovation portfolio strategies since the markets´ demands and competitors´ strategies may contradict organizations’ sustainability objectives and thus jeopardize their continuity. Some researchers argue that a commitment to sustainability in organizations is not so much a matter of managerial practice but rather is rooted in organizational values (Globocnik et al., 2020). Therefore, this research aims to explore what types of organizational values more effectively promote sustainability-oriented innovation in organizations. Using as a conceptual framework the competing values theory (Quinn & Rohrbaugh, 1983), and adding one dimension, risk aversion, we empirically define some clusters of business typologies from which we derive patterns of value profiles. We show how these clusters’ patterns of values relate to the success of a firm’s sustainability-oriented innovation.Methodology: To make sense of our literature review and ensure managerial relevance, we surveyed 128 senior managers from different industries and countries to understand how their perceived organizational values may impact their firms’ sustainability-oriented innovation success. As a result, we group the studied organizations into four clusters according to the informed organizational values, and we assess how the different clusters are more or less prone to succeed with a sustainability-oriented innovation strategy.Findings: Our results show that not all organizational values contribute equally to the success of sustainability-oriented innovation in the market. As a theoretical contribution, we advance current knowledge about how organizational values may impact sustainability-oriented innovation success by providing a framework to measure and follow up on the evolution of necessary organizational values to embrace sustainability-oriented innovation within an organization. From a managerial perspective, we advance knowledge on how organizational values should evolve and change to efficiently deliver more sustainability-oriented innovation. In addition, we describe specific values that organizations should measure and track and otherwise establish as an important first step toward implementing sustainability-oriented innovation within them.Originality: Our research provides original results by expanding current knowledge on organizational values to better understand which values more efficiently promote competitive sustainability-oriented innovation in organizations. We expand the four organizational cultural archetypes of organizational values to develop a more flexible and actionable framework of five dimensions by adding an important dimension to the model, risk aversion. Together, these dimensions generate new insights through a cluster analysis of organizational differences and inform priorities and courses of actions to undertake.Research limitations and implications: This research is based on self-report surveys and is therefore exposed to the expected limitations of the survey research methodology.

Еуразия кеңістігінің петроглифтері және таңбалары түркі мәдениеті мен жазуының архетиптері ретінде

The paper is devoted to the problems of the origin and connection of the Turkic culture and script with the most ancient petroglyphs, tamgas, and logograms. Researchers believe that since the Paleolithic era, petroglyphs, tamgas, signs have been widely spread on a vast territory of Eurasian area. In this context, the authors studied and systematized plot drawings, and signs-symbols of Kazakhstan, Mongolia, Kyrgyzstan, Uzbekistan, Azerbaijan, Turkey, Russia (Tyva, Khakassia, Gorny Altai, Transbaikalia). The article hypothesizes that the oldest signs could be the basis for the formation of the Turkic script, and revealing their historical, cultural and semantic connection, classify archetypes into cruciform ( signs and their letter designations by consonants «d» and «z»), religious-cult, temporal-cosmological, anthropomorphic, and the signs prototypes of the Turkic nomadic culture (arba, weapons, wildlife).Semantic analysis of archetypes is important for the identification of ancient man’s perceptions about the world around him. The archetypes of nomadic culture reveal the way of life and the worldview of ancient people. The paper asserts that the process of historical development of Turkic culture and script for thousands of years, starting from its origins, can be considered as an autochthonous phenomenon of the Turkic civilization.

«Экзистенция – это судьба…» Беседа Н.Н. Шульгина с Н.А. Касавиной

The interview is devoted to the problem of existential experience, personal de­velopment, the role of existential philosophy in the cultural space, its dynamics and modern tasks. The question of the possibility of talking about existence, re­ferring not only to the existence of man, but also to the existence of an animal, is problematized. The “third wave” of existentialism (or neuroexistentialism) is considered, which concerns anxiety before the “disenchantment” of human na­ture, which carries new facets of the crisis of meaning. In the development of ex­istentialism, the role of the socio-cultural context is emphasized, its historical stages or “waves” are highlighted. The complex conjugation of the sensual and the rational in existential formation is shown. Experience is interpreted as a mul­tifaceted phenomenon that includes intellectual reflection, embodied in memory, comprehension of situations and events, establishing a connection in personal history. The human experience is culturally loaded, associated with the develop­ment and living of cultural archetypes and patterns, and includes the personal work of a person on himself, his growth in the perspective of the always relevant question of meaning and the answer to it. In the context of personal develop­ment, the concept of metaexistence is touched upon, which addresses the spiri­tual maturity of a person, the integration of experience and the experience of meaningfulness and value of life.

Archaic archetypes and symbols of the Ukrainian and Russian peoples: to debunk the myth of a single people

The article models the protocultural fields of the archetypal-mythological memory of Ukrainians and Russians as consisting of divergent elements. The core of the fields are archaic cultural archetypes and archetypal motifs “mother”, “field”, “plowman”, “labor”, “individualism”, and “equality” for Ukrainians, and “father”, “distance”, “vastness”, “inertia”, “collectivism”, and “submission” for Russians. The сore archetypes determine the differences in the ethnic mentality of two peoples and can enter the subsequent semiospheres and political mythology without significant adaptation, transforming into symbols of national identity. The periphery is formed by archetypes common, but re-articulated in subsequent semiospheres to be adapted to national narratives of different periods. The general archetype Sacred space was associated in the archaic consciousness of Ukrainians with the “House”, symbolizing the maternal principle and the Motherland, while the Russians embodied this archetype in the symbols of the Holy Mountain, metonymically expanded to the symbols of “Holy Rus”, Heartland, Rimland, defining the motif of messianism in symbolic politics of Russia. The archetype of the Hero is manifested in Ukrainian folklore by the images of the legendary plowmen, who conquer the steppe elements from the nomads, while in the Russian ethnic consciousness it is interpreted as the Messiah-Savior of the world.

역사 원형에서 스토리텔링 이형으로, 블라드 체페슈의 콘텐츠화 연구

Dracula, created in 1897 by Bram Stoker, is a fictional character born based on the legendary figure of Valahia(Walachia) in the 15th century, Vlad Ţepeş, the lord of medieval Romania, and the vampire myth that prevailed throughout Europe in the 19th century. Vlad Ţepeş, a historical real person and cultural archetype, goes through the first transformation process of a novel in the realm of literature, and then spreads around the world through three-dimensional complex arts such as plays and films. And in modern time, thanks to the supply and spread of the internet, it has been expanded and reproduced in accordance with popularization codes of culture such as animation, webtoon, game, and storytelling variants of virtual media. The historical prototype ‘Vlad Ţepeş’ and the cultural content prototype ‘Dracula’ have a completely different concept of otherness(the other) through the fictitious process of novels and films. If Ţepeş is located in the same historical identity defined by awareness, consciousness, and consistency, the otherness of Ţepeş, that is, Dracula, is an existence that is not captured by this consistency, implying the otherness as a supernatural spirituality(eternal life) like a vampire born in the Victorian era. Traditional genres such as novels, movies, and musicals, as well as cartoons and animations based on digital content, games and virtual media also utilize Dracula and its progenitor, Vlad Ţepeş, as the storytelling source of OSMU(One Source Multi Use). Dracula, a fictional entity, has become a legend and a modern myth in the world beyond the borders of Romania, regardless of the intentions of his prototype, Vlad Ţepeş, and is constantly being transformed and created in response to the demands of time and space and the development of internet and virtual media technology.

Ethical Ideas and Features of Mentality of Ukrainians in the Works of Scientists of the Past and Present

Scientists, artists and writers have long been interested in the national characterology and features of mentality of Ukrainians, emphasizing their ethicism, which is based on folk culture. As far back as in the 19th century, V. Antonovych, M. Kostomarov, I. Nechui-Levytskyi have distinguished these peculiarities of Ukrainians in a comparative aspect to Russians and Poles. These are, in particular, include democratism, striving for justice, egalitarianism, lyricism, pantheism and others. Well-known scientists such as O. Potebnia, M. Sumtsov, T. Rylskyi H. Bulashev have been also imbued with these issues. The attraction of Ukrainians to Europeanness, not Russian Asianness, has been noted later by M. Hrushevskyi, F. Kolessa, I. Ohiienko, and others. As the mentioned subject was banned in the Soviet times, an important contribution to the study of the Ukrainian mentality and ethnopsychology of Ukrainians has been made by Ukrainian scholars from diaspora. These are the works of F. Vovk, Ya. Yarema, D. Chyzhevskyi, Yu. Lypa, D. Dontsov, etc., where the authors explain the essence of the Ukrainian mentality and the place of Ukrainian ethnos in world culture. Some works of the diaspora researchers O. Kulchytskyi, Ye. Onatskyi, M. Shlemkevych and others are placed in the collection Ukrainian Soul (1956). They emphasize introversion, individualism, anarchism, humanity and striving for freedom of Ukrainians. Following H. Skovoroda and P. Yurkevych, who have written about heart as the core of spirituality, the idea of heart-centeredness is further adopted by such scholars as S. Yarmus, Ye. Kaluzhnyi, B. Tsymbalistyi, I. Mirchuk. Problems of origins and components of the Ukrainian national character have been in the field of view of scientists in subsequent periods also. O. Nelha, A. Bychko, I. Bychko, I. Starovoit, H. Vashchenko, P. Hnatenko, V. Khramova and others have been engaged in their elaboration. Thus, S. Krymskyi has studied the concept of «House-Field-Temple», V. Lychkovakh – the image of the Ukrainian «miracle garden», N. Khamitov has distinguished the main archetypes of Ukrainian culture.

Antifascist Mothers and Folk Healers: Queer Reinterpretations of Polish and Regional Cultural Archetypes in Familia

The article serves as an analysis of Familia, a Polish independent fiction podcast from 2020 produced by the Teraz Poliż theatre as a response to increase of state supported homophobic propaganda in the recent years. By pointing out similarities and differences between the podcast in question and mainstream Polish audio series, as well as drawing comparisons to popular globally distributed independent audio fiction produced in English, the author aims to prove the unique position of Familia as a sole representative of a politically conscious podcast drama presenting a specifically Polish perspective on queer emancipation. The author then proceeds to analyse the narrative content of the podcast, presenting the ways in which the story plays with elements of traditional, Polish national identity, reframing them via a radical lens as potential symbolic tools for LGBTQ+ emancipation and antifascist resistance in everyday life, while at the same time warning of the limited scope of use for such tools.

Diverse, Ethical, Collaborative Leadership Through Revitalized Cultural Archetype: The Mary Alternative

Diverse, Ethical, Collaborative Leadership Through Revitalized Cultural Archetype: The Mary Alternative