ABSTRACT This study aims to describe the representation of existential anxiety in three poems by Sapardi Djoko Damono, namely Aku Ingin, Hujan Bulan Juni, and Pada Suatu Hari Nanti, through the psychoanalytic perspective of Sigmund Freud. This research employed a qualitative descriptive method with a literary psychology approach. The primary data consisted of lines, phrases, and symbolic expressions in the poems that indicate existential anxiety, psychic conflict, and defense mechanisms. Data were collected through close reading and note-taking techniques, then analyzed using data reduction, classification, interpretation, and conclusion drawing. The findings reveal that existential anxiety in Sapardi’s poems is represented through symbols of transformation, silence, deferred expression, and awareness of human finitude. In Aku Ingin, anxiety emerges through the symbolic transformation of wood into ash and clouds into rain as metaphors of loss and impermanence. In Hujan Bulan Juni, anxiety is reflected through emotional restraint and repression represented by delayed rain imagery. Meanwhile, Pada Suatu Hari Nanti demonstrates acceptance of death as a form of sublimation of existential fear. From Freud’s psychoanalytic framework, the ego appears dominant in regulating the affective impulses of the id through symbolic sublimation. This study shows that Sapardi’s poetic simplicity contains profound psychological complexity and contributes to expanding literary psychology studies in modern Indonesian poetry.

This paper presents the rich heritage of Indian folk and tribal art forms and culture. Art traditions such as Madhubani, Warli, Gond, Patta Chitra, Bhil and other folk and tribal practices have historically served as powerful visual expressions and are now being reinterpreted to address present day cultural, political and technological contexts.The study examines how traditional folk and tribal art forms of India are adapted and integrated into contemporary art and design practices. It explores the transformation of traditional motifs, symbols, borders, color schemes, and compositional styles within modern creative fields such as digital art, textile and fashion design, product design and mixed-media artworks. Though visual analysis and selected examples, the paper highlights how artists and designers creatively integrate traditional aesthetics with modern materials, techniques, and conceptual frameworks while preserving cultural authenticity.The fusion of art and design further emphasizes the impact of modern technology and digital tools in revitalizing folk and tribal art forms. Digital platforms, design software and online marketplaces enable artists to experiment with innovative materials, and contemporary design processes. These tools have broadened creative possibilities, allowing traditional motifs to be reinterpreted in new mediums such as sustainable textiles, contemporary fashion, home décor, and multimedia installations. At the same time, the paper considers the challenges of maintaining authenticity and the cultural integrity of these art forms while engaging with global audiences and commercial markets.The study concludes that the integration of Indian folk and tribal art forms into contemporary art and design contributes to cultural sustainability and creative innovation. By bridging tradition and modernity, these art forms continue to evolve while maintaining their cultural significance, relevance, and aesthetics richness, ensuring their continuity and resonance in an increasingly globalized and interconnected world.

The relevance of this article stems from the urgent need for the widespread dissemination and deep-rooted value of dialogue in all areas of social and cultural life. In this regard, the work of its outstanding representative, H. S. Skovoroda, has attracted particular interest from scholars in the Ukrainian cultural space. In his system, “Dialogue. Its title, «The Deluge of Serpents»”, is presented as the interlocutor’s insight from a state of spiritual ignorance and the elevation of their consciousness to a transcendental level, which points to the task of radically transforming human nature toward its spiritual and divine dimension. The purpose of this article is to examine the dialogue “The Deluge of Serpents” as an autonomous work in relation to dialogic culture and key issues in Skovoroda’s philosophy. The main methodological aspect. This publication is based on the intersection of cultural and philosophical approaches in understanding the topic proposed within it. Within the cultural approach, a significant role is assigned to axiological analysis, as well as the method of hermeneutic reconstruction of the text of the dialogue under consideration. The result of the research presented in the article is that the value of spiritual insight is shown to be a key link in the semantic field of the dialogue under consideration. It is emphasized that the interlocutor is led to an understanding of the Truth not by monological pressure on their consciousness, but by the method of enlightenment through appropriate questions and the correction of individual judgments. It has been established that H. Skovoroda’s key views are generally aimed at the practice of spiritual orientation in the spirit of the demand “not to crawl on the earth but to strive for the eternal”. Insight is defined as an act of liberation of the individual from “carnal darkness” and its ascent to Divine light. A tendency to expand the horizons of the idea of exaltation to the Divine source is demonstrated, encompassing the entire sphere of the macrocosm and the symbolic world of the Bible. Significant emphasis is placed on the idea of the exaltation of the serpent’s image, as well as on the symbolic transformation of the meaning of the “deluge of serpents” into a spiritual instrument of salvation. An assessment of H. Skovoroda’s teaching is provided in the context of his existential-personalistic turn. The scientific novelty consists in studying the dialogue “The Deluge of Serpents” as an autonomous work, taking into account the specifics of its composition and the logic of its presentation. Its presentation in this format has not been observed in Skovoroda studies. The practical significance. The results of this article may contribute to the development of the value of a “civilization of dialogue” as a specific type of social practice.

The "first cup of milk tea in autumn" phenomenon is a typical case of emotional consumption among young people in the era of social communication. Combining semiotic and consumer culture theories, this paper analyzes the evolution of this phenomenon from a spontaneous social behavior of users to a large-scale consumption practice, and clarifies the logic of its symbolic transformation. With the combination of concrete symbols such as "autumn", "the first cup" and "milk tea" as the carrier, it connects emotional and social meanings, including "the warmth of being cared about", "a signal of social connection" and "a label of young people's lifestyle". Eventually, it completes the mythologization of symbols and becomes an annual consumer culture ritual. The study draws the following key points: Firstly, this phenomenon is a "bottom-up" sample of consumer symbol generation, which supplements the research dimension of non-brand-led consumer symbols. Secondly, it reveals the path for lightweight consumption to carry emotional and social demands, enriching the research framework of emotional consumption. Finally, this local case provides empirical support for understanding the cultural characteristics of domestic young people constructing a sense of life ritual through low-cost methods.

Her Story, a women's film written and directed by Shao Yihui, challenges traditional gender structures and patriarchal discourse by creating idealized female characters and instrumentalized male characters. This film represents the rise of women's cinema, reflecting the awakening of global gender equality consciousness and the transformation of social structures. The emergence of women's cinema is closely related to equal rights movements and gender equality policies. Meanwhile, advancements in digital technology have lowered the barrier to production, enabling female creators to express the female perspective more broadly through independent films and streaming media platforms. Women's cinema undertakes a significant deconstruction and reconstruction of gender symbols at the narrative and semiotic levels. In Her Story, the English title Herstory cleverly subverts the traditional male-dominated historical narrative by replacing "his" in "history" with "her," thereby incorporating women's voices into the historical framework. This transformation of linguistic symbols demonstrates a challenge to and reshaping of gendered discursive power. Furthermore, most male characters in the film are symbolized by functional titles, while female characters are endowed with richer symbolic meanings, breaking the monolithic nature of traditional gender identities and affording women more autonomous and diverse expressive space. The film also showcases the richness of symbolic imagery through the dislocated interpretation of everyday objects, a treatment that not only challenges the fixed meanings of traditional symbols but also enhances the complexity and depth of the female characters within the family and society. Although women's cinema has made cultural and social progress, it still faces issues of symbolization and consumerism. In the future, women's cinema needs to break through the singular gender framework to explore more diverse expressions of cultural symbols. From a semiotic perspective, women's cinema can promote the further development of gender equality and cultural diversity, becoming an important force for social change

Abstract Background Patients with chronic mental illness often experience fragmented self-identity and impaired social functioning. The traditional biomedical model has limitations in promoting the reconstruction of patient agency. Narrative medicine provides a humanistic framework for understanding illness experiences through attention, representation, and belonging. Painting art therapy, utilizing nonverbal expression, facilitates the exploration and integration of the self. Existing research predominantly focuses on symptom relief, with limited exploration of art therapy's profound impact on self-identity reconstruction from a narrative medicine perspective. Against this backdrop, this study investigates the effects of painting art therapy on self-identity reconstruction in chronic mental illness patients from a narrative medicine framework. It aims to validate whether painting art therapy integrated with narrative medicine principles can effectively promote self-identity reconstruction in chronic mental illness patients, offering a new pathway for mental health interventions that combines clinical efficacy with humanistic care. Methods Employing a mixed-methods design, the study recruited 60 patients diagnosed with stable chronic schizophrenia or bipolar disorder from a mental health center. Participants were randomly assigned to an intervention group (n = 30) and a control group (n = 30). The intervention group received 12 weeks of narrative medicine-guided art therapy (twice weekly), featuring structured activities such as illness story illustration, emotional symbol creation, and life map integration, supplemented by narrative interviews and reflective discussions. The control group maintained routine rehabilitation activities. Quantitative assessments were conducted using the Sense of Identity Scale (SIS), General Self-Efficacy Scale (GSES), and Symptom Checklist-90 (SCL-90) at baseline, post-intervention, and 3 months post-intervention. Semi-structured interviews were conducted with intervention group participants, and thematic analysis was performed on the textual data. Results Experimental results indicate that following the intervention, the total scores on the self-identity scale were significantly higher in the intervention group than in the control group (68.42 ± 6.31 vs. 58.15 ± 7.24, t = 5.892, p<.001), and their general self-efficacy scores also showed a marked improvement (28.50 ± 4.16 vs. 23.21 ± 4.80, t = 4.576, p<.001). The SCL-90 scale revealed that the intervention group exhibited more significant reductions in depression, anxiety, and interpersonal sensitivity factor scores compared to the control group (all p<.05). Qualitative analysis identified three core themes: “visual reconstruction of illness narratives,” “transformation of trauma symbols,” and “emergence of new self-narratives,” indicating that painting facilitated patients' acceptance of illness experiences and integration of personal life stories. Follow-up data showed stable self-identity scores in the intervention group, with sustained improvement in some indicators. Discussion This study confirms that art therapy grounded in narrative medicine effectively promotes self-identity reconstruction in chronic mental illness patients, yielding sustained effects in enhancing self-efficacy and alleviating psychological symptoms. By facilitating visual storytelling and reflective dialogue, this intervention helps patients transform fragmented illness experiences into coherent life narratives, holding significant clinical and public health implications. Future community mental health rehabilitation services should incorporate such humanities-art integrated intervention strategies. Multicenter, large-scale studies are recommended to validate long-term efficacy and underlying mechanisms, thereby providing evidence to advance holistic and humanized mental health service development.

Abstract This paper presents a multilayer model for analyzing the identity and transformation of symbols within writing systems (hereafter referred to as scripts). The model comprises five interconnected layers: topology, visual identity, phonetic, semantic, and style. The topology layer defines the geometric and structural attributes of the glyphs of each symbol. The visual identity layer captures canonical features shared across glyph variants of a symbol. The phonetic layer links symbols to sound values, where applicable. The semantic layer situates symbols within their linguistic and cultural contexts. The style layer accounts for graphical variations introduced by instruments, scribal practices, and aesthetic conventions. Together, these layers constitute a general symbol model that can be applied across diverse scripts. As demonstrated through selected case studies, the model supports computational paleography, cross-script comparison, and the analysis of undeciphered inscriptions, advancing the formal modeling of script evolution and facilitating computational comparison and analysis of manuscripts.

Neural-linguistic analysis for Alzheimer's detection: A deep learning approach informed by cognitive neuroscience.

The value transformation and sustainable development of intangible cultural heritage (ICH) in the context of cultural-tourism integration have increasingly become a focal point for both academia and industry. Taking Xi 'an Drum Music as a typical case study, this research systematically explores the theoretical framework, practical approaches, and real-world challenges of ICH tourism consumption attraction. By integrating cultural capital theory, experiential economy theory, and consumption space theory, a three-dimensional "culture-experience-space" analytical model is constructed. Based on this framework, the study identifies systemic shortcomings in current research regarding theoretical construction, empirical methods, industrial practices, and policy coordination. The research indicates that the formation of ICH tourism consumption attraction is a multi-layered, dynamic, and complex process involving symbolic transformation of cultural values, immersive construction of experiential scenarios, and systematic layout of industrial spaces. Current practices face multiple challenges including insufficient theoretical integration, product homogenization, superficial application of technologies, and lack of policy coordination. Drawing from the practical experience of Xi' an Drum Music, this study proposes systematic improvement pathways such as establishing a multi-dimensional evaluation system, optimizing the three-tier product matrix, promoting deep technological integration, and enhancing cross-departmental collaboration mechanisms. These measures aim to strengthen the consumption appeal and sustainable development capacity of ICH tourism, providing theoretical references and practical guidance for the deep integration of ICH and tourism.

This article examines the construction of Russian civic identity, which remains controversial due to the intangible, spiritual nature of this concept. The relevance of this topic is determined by the need for a theoretical understanding of identity in the context of the transformation of social symbols. The purpose of the study is to formalize the elements of the Russian civilizational code. A unique visual database, developed using the author's photo-elicitation method, served as the empirical basis. Methods of visual research, photo interviews, and semiotic analysis were used. As a result, stable symbols and structures were identified that reflect the specific nature of Russian identity and its dynamics in modern digital environments.

The tragic connotation of Thomas Mann's novella Death in Venice (1912) has traditionally been examined from three traditional perspectives: the tension between reason and desire, the aesthetics of disease and death, and mythological archetype metaphors. However, the implicit logic of the early consumer society within the text has been largely overlooked. This study uses Baudrillard's symbolic consumption theory as the core framework, and combines Benjamin's "aura" theory and Freud's "libido" theory to construct an analytical framework of symbolic representation, spatial commodification, and behavioral consumerist transformation. Through this framework, the study reveals the mechanisms and characteristics of affective alienation in the novel. Although Europe had not yet developed a mature consumer society around 1912, emerging consumption prototypessuch as accelerated urbanization and the rise of tourismprovided the socio-historical context for consumptive alienation of affect. Tadzio's representation was dismantled into appropriable signs such as classical and morbid beauty; Venice was degraded to a standardized tourist commodity space; and Aschenbach's commodified gaze and self-commodification signify the shift of affect from spiritual resonance to monetaryized consumption behavior. Rather than denying the value of desire and physical beauty, this study exposes how consumer logic distorts affective relations, offering both a renewed modern interpretation of the classic texts and a literary reference for understanding contemporary affective reification.

This paper responds to Stavros Charalambides’ call for a “group turn” in psychoanalysis (this issue) by affirming the centrality of the social unconscious in training institutes, while also offering cautionary reflections. Institutes are living organisms whose unconscious life shapes both candidates and analysts. Yet when group processes are overstretched, boundaries collapse, producing intrusion, silencing, and institutional paralysis. Drawing on historical precedents, personal experiences, and earlier work on “dreaming institutes,” I argue that institutional vitality depends on the capacity for reverie, mourning, and symbolic transformation. The social unconscious can sustain creativity and growth only when bounded spaces preserve freedom of thought. Without such safeguards, institutes risk becoming “houses without doors”—overexposed, defensive, and unable to dream.

Musical style transfer seeks to reimagine a piece in a new stylistic domain while preserving its core musical identity, including melody, harmony, and rhythmic structure. Although recent deep learning advances have enabled progress in symbolic composition, timbre modelling, and neural audio generation, style transfer at the full audio level remains highly challenging. Existing methods commonly focus on symbolic transformations, isolated timbre conversion, or texture-based spectral manipulation, which limits their ability to achieve coherent genre-level transformation with realistic production characteristics. In particular, converting classical music into contemporary pop style requires simultaneously reshaping timbre, articulation, ornamentation, expressive dynamics, and modern production aesthetics without compromising musical fidelity. To address this problem, we present a two-stage deep learning framework for end-to-end classical-to-pop audio style transfer. The system first learns a genre-conditioned latent representation that captures multi-dimensional stylistic cues, and then integrates these features into a content-preserving transformation network for waveform synthesis. Harmonic–percussive decomposition, content-aligned losses, and a high-fidelity neural vocoder are incorporated to enhance clarity, rhythmic articulation, and expressive nuance. Across objective and subjective evaluations, our approach outperforms state-of-the-art symbolic, adversarial, and diffusion-based baselines in content preservation, style fidelity, perceptual quality, and Fréchet Audio Distance. Listening tests confirm that the transformed outputs maintain classical musical identity while rendering convincing pop timbre and production polish, establishing a strong foundation for creative music generation and cross-genre audio synthesis.

This study explores the spatial and symbolic transformation of Catuspatha in Semarapura, Bali, and its reinterpretation through the Regenerative Livable Built Environment (RLBE) framework. Catuspatha, a sacred urban node in Balinese towns, traditionally serves as the cosmological center that aligns with local values and community activities. Through qualitative and spatial analysis, this research examines how the form, meaning, and functions of Catuspatha have changed across historical periods—from the royal-era sacred plaza to a modern urban intersection—while assessing cultural resilience amidst tourism-driven urban development. The results reveal a significant shift from spiritual and communal orientations to vehicular and economic functions, risking the loss of its original sacredness. By proposing a contextual model that integrates sacred urbanism and cultural resilience, this study emphasizes the importance of restoring spatial harmony, socio-cultural identity, and regenerative values in heritage town planning. The model serves as a strategic framework to guide urban planners, architects, and policymakers in revitalizing traditional nodes as livable and meaningful urban spaces.

This paper focuses on the localized communication practices of Chinese brands in the Kyrgyz market, and selects four typical cases in the fields of home appliances, telecommunications, FMCG and building materials for a cross-industry comparative study. The study finds that, in terms of branding, Chinese companies have innovatively adopted a triple positioning strategy: opening up market gaps with "high cost performance", building competitive barriers with "technological advantages + localized services", and establishing emotional ties through "cultural empathy", which has successfully enhanced both brand recognition and reputation. Specifically for communication practice, the enterprise adopts the combination strategy of traditional media and digital communication - TV ads to strengthen the brand's sound volume, social media to deepen user interaction, and outdoor scenario-based marketing to trigger instant consumption, forming a three-dimensional communication network. It is worth noting that the creative transformation of local cultural symbols in the narrative text makes the communication content more emotionally penetrating. The study further reveals that public relations and social responsibility investment constitute key dimensions of brand soft power cultivation. Through government relations, media cooperation and community welfare programs, Chinese companies have effectively created an image of responsible corporate citizenship. In terms of digital transformation, the establishment of a multilingual communication matrix has not only improved the efficiency of information reach, but also reconstructed the consumer journey through the OMO model of online-offline integration. According to the data, brands adopting the four dimensions of precise market segmentation, product portfolio optimization, channel diversification and customized promotional strategies have increased their customer retention rate by 37% on average. This paper innovatively proposes a trinity theoretical model of "strategic synergy-cultural adaptation-digital empowerment", which provides a new analytical framework for brand communication research in emerging markets. Empirical evidence shows that the model is highly applicable to explaining the effectiveness of multinational brands' localized communication, especially in the optimization of channel strategy and social media operation, which is of great practical value

The article is devoted to the development and theoretical substantiation of a five-stage integrative model of play therapy aimed at overcoming the consequences of traumatic experience in children affected by military actions. The author proposes a comprehensive approach that combines modern neuroscience achievements, principles of integrative psychology, and practical methods of play therapy. The model is focused on simultaneous work with cognitive, emotional, behavioral, and physiological aspects of trauma, which allows for deep integration of traumatic experience and the development of adaptive coping strategies. A feature of the proposed model is its nonlinear dynamics, which takes into account the individual needs of each child. The central place in the model is occupied by the concept of the child's “I” as an active subject of the therapeutic process. This allows for the creation of personalized therapy trajectories, which is especially important for children with polymodal trauma, which is typical in war. The model integrates five key components: cognitive, creative, behavioral, volitional, and emotional. Each of them has its own therapeutic mechanisms, such as memory reconsolidation, symbolic transformation of trauma, sensorimotor integration, agency formation, and development of intrinsic motivation. An important aspect is the use of game methods that provide a safe space for the expression of traumatic experiences and reduce the risk of retraumatization. Particular attention is paid to the creative potential of the game as a means of symbolic transformation of traumatic experience, restoring a sense of security and control, as well as strengthening the child's internal resources. The proposed model is of practical importance for specialists in the field of psychology, psychotherapy and social work, providing a structured approach to the integration of mental processes in the process of working with children who have been traumatized by war.

This article departs from the problem of how the youth da'wah movement is realized through new media, and how the representation of hijrah is depicted in the film Ketika Mas Gagah Pergi by Helvy Tiana Rosa. This study uses a qualitative approach with a content analysis method for films, as well as examines various supporting literature related to youth da'wah, new media, and Islamic popular culture in Indonesia. The analysis shows that the film Ketika Mas Gagah Pergi represents hijrah as a process of spiritual and social transformation of urban youth from hedonistic life to meaningful religiosity. Da'wah in this film is present through emotional and visual narratives that are close to the experiences of young people, not through normative lectures. In addition, the film Ketika Mas Gagah Pergi functions not only as a medium for da'wah, but also as a place for the representation of the identity and spirituality of young Muslims. However, the film also shows ambivalence in the representation of hijrah between substantive and symbolic transformations so that it demands critical reflection on the commodification of religion in the space of popular culture.

This study explores the Village Cross as a symbol of inculturation, integrating Catholic faith with the Nosu Minu Podi ritual in Dusun Perintis, Balai Sebut Village, Sanggau Regency. Nosu Minu Podi, a post-harvest rice ritual, originally centered on the ancestral statue (Pantak) as the main focus of worship. The introduction of Catholicism led to a symbolic transformation, replacing the Pantak with the Village Cross while maintaining ancestral values and harmonizing them with Catholic practices. This research uses a qualitative approach combining ethnography and contextual theology. Data were collected through participatory observation, semi-structured interviews, and field documentation. Findings reveal that the Village Cross serves dual functions: as a religious symbol affirming God’s presence and spiritual protection, and as a marker of social and cultural identity. This transformation strengthens community solidarity, preserves traditional practices, and provides a medium for faith formation among youth. The study highlights that inculturation enables the integration of local traditions with religious teachings, creating space for contextual, inclusive, and practical pastoral approaches. It contributes to scholarly understanding of the interplay between religion, culture, and community identity, emphasizing the enduring relevance of local wisdom in contemporary religious practice.

Digital technology is reshaping the logic of cultural dissemination. As a living carrier of outstanding traditional Chinese culture, rural intangible cultural heritage (ICH) currently faces dilemmas such as generational transmission disruptions, narrow dissemination channels, and insufficient symbolic transformation. This paper employs Baudrillard’s theory of symbolic consumption as its theoretical core, integrating multiple research methods to explore the empowerment logic of digital technology. The findings reveal that digital technology activates the dissemination ecosystem through a three-dimensional mechanism of “symbolic reconstruction-immersive scenarios-user participation.” Implementation pathways manifest as the instrumentalization of technology, ecologization of platforms, and hybridization of talent. However, challenges persist, including the short-term efficacy of traffic generation, cultural distortion, and the digital divide. Based on these insights, the paper proposes recommendations such as delving deeply into symbolic connotations, constructing a tripartite co-governance model, and cultivating compound talent. These suggestions provide support for the living inheritance of rural ICH and high-quality industrial development, aligning with the requirements of rural revitalization and the construction of a culturally strong nation.

The growth of contemporary music videos and performance art has encouraged the use of musical instruments as both sound sources and strong visual symbols. Existing studies on interdisciplinary performance discuss collaborations between musicians and visual artists, but rarely examine weapon-shaped hybrid instruments as integrated sound–visual media that must maintain artistic integrity. This article analyses how artistic creative integrity is achieved in the design and use of Alutista, a series of weapon-shaped hybrid musical instruments created by Nanang Garuda for Indonesian music videos and contemporary performances. The research adopts a qualitative descriptive approach combining visual observation, content analysis of 24 Alutista instruments documented on social media and performance videos, and thematic coding of form, sonic function, and performative role; in this study, artistic creative integrity is operationalized as the alignment between conceptual intention, visual design, and musical–performative function. The analysis identifies three main patterns of integrity: the symbolic transformation of weapons into instruments of peace; the interdependence between industrial visual aesthetics and metallic timbre; and the choreography of performers’ bodies with the instruments, which produces multisensory narratives that bind sound, image, and gesture into a single composition. Theoretically, the study extends debates on artistic integrity and experimental instrument design by proposing weapon-shaped hybrid instruments as cross-media objects that merge material ecology, symbolism, and performance; practically, it offers a design and staging model for artists and directors who seek to develop music videos and performances that balance visual spectacle with coherent sonic and conceptual expression.