The aim of the research was to investigate the aspects of happiness and the way they are expressed through Lithuanian and English zoomorphic idioms. The research focused on the theoretical background of idiom peculiarities, establishment of the aspects of happiness, their investigation and comparison within the zoomorphic idioms of both languages. To carry out the research, 135 zoomorphic idioms were collected: 50 English idioms and 85 Lithuanian idioms. Qualitative, descriptive and quantitative methods of analysis were mainly employed in the research. The analysis revealed that 45 animal names were employed to express happiness in both languages. English idioms comprised 25 animal names, and 33 animal names were found in Lithuanian idioms. Despite the fact that 13 animal names (bull, calf, cat, cow, dog, horse, sheep, eagle, bird, dove, fish, bee, and duckling) coincided in both languages, the patterns of equivalence expressing the same aspect of happiness were not abundant. Ten semantic groups of happiness were distinguished:joy,wealth, good health, relationships,knowledge,longevity,easy life, optimism, acknowledgement, and positive traits. Although there were 3 total and 12 partial equivalents distinguished among 10 semantic groups of happiness, zero equivalence was prevailing. This confirms the fact that Lithuanian and English cultures are different. Despite this fact, both the Lithuanians and the English employ the concepts of a horse and a cat to express the aspects of... [to full text] / Šio darbo tikslas yra ištirti laimės aspektus bei jų reiškimo būdus lietuviškuose ir angliškuose zoomorfiniuose frazeologizmuose. Tyrime yra naudojami kokybinis, kiekybinis ir aprašomasis analizės metodai. Teorinėje dalyje yra apžvelgiama frazeologizmų definicijos problema, jų struktūrinė bei semantinė klasifikacija, formavimosi subtilybės bei kultūros įtaka. Šiame darbe skiriamas didelis dėmesys šiuolaikinei ir praėjusių šimtmečių laimės sampratai bei ryšio tarp žmogaus ir gyvūnų aptarimui. Praktinės dalies analizei buvo surinkta 135 zoomorfiniai frazeologizmai: 50 anglų kalboje ir 85 lietuvių kalboje. Iš viso 45 gyvūnai buvo pasitelkti reikšti laimės aspektus abiejų kalbų frazeologizmuose: 25 iš jų anglų kalboje ir 33 lietuvių kalboje. Tik 13 gyvūnų sutampa abiejose kalbose (jautis, veršis, katė/katinas, karvė, šuo, arklys, avis, erelis, paukštis, balandis, žuvis, bitė ir ančiukas). Dauguma jų yra naminiai gyvūnai, vieni iš anksčiausiai prijaukintų bei būdingi abiem šalims. Vienas iš svarbiausių praktinės dalies akcentų buvo išskirti laimės aspektų semantines grupes. Remiantis mokslininkų darbais bei statistiniais tyrimais buvo išskirta 10 semantinių grupių: džiaugsmas/sėkmė, turtas/gerovė, gera sveikata/fizinė būklė, santykiai/sutarimas, žinios/patirtis, ilgaamžiškumas/energija, lengvas gyvenimas, optimizmas/pozityvios permainos, pripažinimas, teigiami bruožai/buvimas geresniu už kitus. Remiantis šiais kriterijais, frazeologizmai buvo klasifikuojami, lyginami ir... [toliau žr. visą tekstą]

Sustainable design has recently become a hot topic in the field of architecture. With advancements in technology, sustainability has become more accessible to designers. However, instead of relying solely on various high-precision sustainable technologies, nature can be the best teacher. Learning from the cyclical patterns of life can help us better understand nature, become a part of nature, and even design projects that are renewable. This thesis aims to explore the process of decay and regeneration, utilizing the Neo-Zoomorphic concept and drawing inspiration from the phenomenon of a whale fall. It borrows from the external form of whales and their internal life cycle patterns to design a pavilion at the boundary of Pandapas Pond wetland and forest. The whale's skeleton becomes the main wooden structure, and the decaying flesh is represented by a woven bamboo fabric. The skin is simulated by a transparent wood shelter. All the connection points use traditional wood Joinery. Only natural biodegradable materials are used throughout while concrete or metal are avoided. As time passes, this project will gradually decay and eventually will return to nature without requiring any intervention. / Master of Architecture / Sustainable design has recently become a hot topic in the field of architecture. With advancements in technology, sustainability has become more accessible to designers. However, instead of relying solely on various high-precision sustainable technologies, nature can be the best teacher. Learning from the cyclical patterns of life can help us better understand nature, become a part of nature, and even design projects that are renewable. This thesis aims to explore the process of decay and regeneration, utilizing the Neo-Zoomorphic concept and drawing inspiration from the phenomenon of a whale fall. It borrows from the external form of whales and their internal life cycle patterns to design a pavilion at the boundary of Pandapas Pond wetland and forest. The whale's skeleton becomes the main wooden structure, and the decaying flesh is represented by a woven bamboo fabric. The skin is simulated by a transparent wood shelter. All the connection points use traditional wood Joinery. Only natural biodegradable materials are used throughout while concrete or metal are avoided. As time passes, this project will gradually decay and eventually will return to nature without requiring any intervention.

This study examines small finds from the site of Chogha Gavaneh, Iran, including zoomorphic clay figurines, geometric-shaped objects, and sling bullets in order to deter-mine if they served an economic function during the Early Chalcolithic period (ca. 5000-4000 B.C.E.). A total of 104 animal figurines, sling bullets, and geometric-shaped objects have been found at Chogha Gavaneh. This research challenges previous archaeological interpretations of animal figurines that have interpreted them as being magical or lucky objects for hunting and religious rituals, or for use as game pieces, educational objects, or toys. Through the use of XRF (x-ray fluorescence spectrometry) analysis and the chaine opératoire approach, I suggest, contrary to the conventional wisdom, that some of these clay objects might represent another kind of social practice and may have had an economic function.

This diploma thesis on the topic Home Pet contains art approaches that lead students to a sensitive and conscious behaviour towards animals. The theoretical part presents imaging of an animal in the history of art and possibilities of involvement of the animal themes to Framework Education Programme and School Education Programme for Elementary Art Schools. The thesis also focuses on the relationship between children and animals and the healing power of animals. Further, the thesis discusses the project method of teaching, which was chosen for the given topic at Elementary Art School. The practical part of the thesis was realized in the preparatory year and the first year of Elementary Art Schools in Dačice and Jemnice and reflects the course of my own lesson on the topic Home Pet.

No / Five fragments of Late Neolithic clay zoomorphic vessels from northern Greece have been analysed for organic residues by gas chromatography - mass spectrometry. The results showed that the containers had been used in connection with a number of substances, in particular lower terpenoids, an oil or fat, possibly fossil fuel and in one case possibly beeswax. The paper considers likely interpretations of such combinations of materials in relation to possible functions of these symbolically enhanced artefacts. It appears that substances may have been used in the vessels because of their aromatic and/or medicinal and combustible properties, possibly in order to produce light, fragrance and/or smoke.

This is a first synopsis of the research that we have realized at the Templete de Limoncarro recognized as a site of the Cupisnique culture. At this Templete we have excavated five times and identified two phases of construction. The structures of the first phase, La Calera, are very few, while at the second phase, Limoncarro, are constructed a sunken court and three platforms, which are the objects of frequent repair. Some structures of conic adobe at the platforms represent faces of animals, which seems to be of the Cupisnique iconography. / La presente es una primera aproximación al estudio que se realiza en la actualidad en el Templete de Limoncarro, complejo reconocido como un sitio de la cultura Cupisnique. En este se han efectuado excavaciones a lo largo de cinco temporadas y se ha comprobado la existencia de dos fases de construcción. Las edificaciones de la primera fase, denominada La Calera, son muy escasas, en tanto que a la segunda fase, nombrada como Limoncarro, corresponden la plaza hundida y las tres plataformas identificadas, las que fueron objeto de reparaciones frecuentes mientras estuvieron vigentes. Algunas de las estructuras hechas con adobes cónicos en dichas plataformas representan rostros de animales, los que se asemejan a la iconografía cupisnique.

Participant à une certaine opacité dans son étude générale, la civilisation nomade des steppes Eurasiatiques fut longtemps considérée comme apolitique et symboliquement ancrée dans la barbarie. Cependant, cette dernière demeure un sanctuaire d’investigation scientifique à l’intérieur duquel le politique s’est considérablement manifesté par la création de nombreuses confédérations tribales. Opérant son entrée dans l’histoire de l’humanité en tant qu’élément perturbateur des sociétés sédentaires, les peuples de la Haute Asie ont ainsi participé, durant près de deux mille ans, à la chute, au bouleversement ou au renouveau des plus grandes civilisations. La création et l’expansion de l’empire gengiskhanide, dès le début du XIIIème siècle a permis de démontrer la faculté pour ces populations de pasteurs nomades d’opérer d’importantes modifications au sein même de leur morphologie sociale, et ce pour les besoins du politique et de la guerre vers l’extérieure. Cependant examinée de l’intérieur, cette civilisation atypique n’en reste pas moins problématique, notamment du fait de son actualisation culturelle. Cette dernière, accomplie au travers de concepts socio culturels alliant pensée animiste, spiritualité chamanique et utilisation de représentations sociales à aspects zoomorphiques, ne semble rentrer dans aucune grille de lecture impériale. La symbolique du loup est ainsi devenue omniprésente dans l’évolution de la morphologie tribale altaïque, participant à une unification massive des tribus turco-mongoles sous l’hégémonie hiérocratique de Gengis Khan. Devenu progressivement élément mythologique attracteur, l’animal carnassier s’est ainsi frayé une place de choix au sein de la mentalité collective nomade, participant directement au chamboulement de la morphologie tribale, pour les besoins du politique et de l’expansion de la civilisation des steppes en terres sédentaires. Au delà de la simple utilisation lycanthropique de l’ancêtre clanique, sa symbolique, réutilisée habilement par Gengis Khan, est en mesure de démontrer à la fois le dynamisme politique à apposer aux sociétés considérées à tort comme «primitives», tout comme l’instauration d’une identité sociale et d’une idéologie guerrière prédatrices. Etablissant de ce fait l’entité nomade comme antagonique mais complémentaire avec la pensée et l’histoire humaine sédentaire. / Participating in a certain opacity in it’s general study, the nomadic civilization of Eurasian steppe was long regarded as non-political and symbolically rooted in barbary. However, the latter remains a sanctuary of scientific investigation within which the political has significantly expressed itself by the creation of many Tribal confederations. It’s entry operates in the history of mankind as a disruptive element of sedentary societies. People of High Asia participated for almost two thousand years to the collapse, disruption or renewal of the world’s greatest civilizations. From the beginning of the 13th century the creation and expansion of the gengiskhanid empire enabled the demonstration of the faculty of these nomad pastors. They operated major changes in their social morphology for the political needs and because of the war outside. Examined from the interior, this atypical civilization remains questions. This is a result of cultural updating. The latter, accomplished through social and cultural concepts combining animist thinking, shamanist spirituality and the utilisation of social representations with zoomorphic aspects doesn’t fit any imperial cases studies. The symbolic representation of the wolf became ubiquitous in the development of the Tribal-Altaic morphology and participation of a massive unification of Turko-Mongolian clans under the hierocratic hegemony of Gengis Khan. The carnivorous animal had progressively became administred as an attraction mythological element and cleared the way to the Tribal collective mentality. This participating directly to the disruption of Tribal morphology for the political needs and expansion of the steppe civilization in settled population territories. Beyond the single lycanthropic utilization of the Tribal ancestor, its symbolism skillfully reused by Gengis Khan demonstrates simultaneously the political dynamism to pin on societes mistakenly considered as « primitive », and the establishment of a predatory social identity and war-making ideology created de facto the nomadic identity as an antagonist but complementary to the social wores and history of human sedentary. / Судалгааны хувьд ерөнхийдөө зарим тайлбарлахад амаргүй байдлыг хуваалцахад, Евро- Азийн тал нутгийн соёлыг урт хугацааны туршид зэрлэг бүдүүлэг байдалтай байсан хэмээн үздэг. Гэсэн хэдий ч сүүлд оршин байсан ариун дагшин газраас шинжлэх ухааны судалгаа авч үзвэл олон овог аймгийн нэгтгэн байгуулсан улс төрийн байдал нь нэлээд тод томруун харуулж өгдөг байна. Хүн төрлөгтөний түүхийн хувьд авч үзвэл уналт, өөрчлөлтийн зөрчилдөөн эсвэл илүү том нөлөө бүхий соёл иргэншлээр шинэчлэл явагдсан байдал зэргээр сууршмал нийгмийн хөгжил нь төв азийн нүүдэлчин улс орнуудын оролцоо нөлөөгөөр 2000 орчим жил тасалдсан. Улс төрийн болон гадагш хандсан дайны шаардлагаар Чингис хааны эзэнт гүрний байгуулалт болон тэлэлт нь 13-р зууны эхэн үед нийгмийн бүтцэд чухал өөрчөлтүүдийг бий болгоход малчин нүүдэлчид их нөлөө үүрэг гүйцэтгэсэн гэдгийг илэрхий харуулж өгдөг. Гэвч дотоод байдлыг нь ухан авч үзвэл энэхүү өвөрмөц соёл багагүй асуудалтай байсан бөгөөд дашрамд дурдахад соёлын өөрчлөлтийн нөлөө ч бас илэрхий байв. Энэхүү нийгэм соёлын үзэл баримтлалыг нь өргөнөөр авч үзвэл сүнслэгжүүлсэн үзэл санаа, бөөгийн сүнслэг үзэл болон амьтны сүнстэй холбосон үзэл санаан дээр тулгуурласан нийгмийн төлөөллийг ашигласан зэрэг нь эзэнт гүрний утга зохиолын хүрээнд оруулсан байдаг. Чингис хааны доор Түрэг-монголчуудын овгуудын өргөнөөр нэгтгэсэн байдлыг хамруулан Алтайн овгийн хэл зүйн хувьсал өөрчлөлтөнд чонын билиг тэмдгийн талаар хаа сайгүй дурдагдсан байдаг. Бодлогын зорилгоор болон соёлын алхамын тэлэлтүүд сууршиж, нүүдэлчдийн ерөнхий сэтгэлгээнд үлгэр домгийн хэлбэрүүд аажмаар багасаж махчин амьтны талаарх сэдэв түгэж эхлэсэн бөгөөд овгийн хэл зүйд шууд өөрчлөлтөнд нөлөө үзүүлэв. Эртний отог аймгийн энгийн бэлэг тэмдэг болсон чонын утгыг Чингис Хаанаар дамжуулан цааш улс төрийн хүч, итгэл үнэмшлийг харуулах арга замаар ухаалгаар дахин ашиглагдаж ирсэн байдал нь хэсэг бүлгийнхний дүгнэлтэнд буруугаар тайлбарлагдах шалтгаан болсон бөгөөд балар эртний дайтан эзлэн түрэмгийлэгч хэмээн тэд авч үзэх болсон бөгөөд нүүдэлчдийн энэхүү байдлыг хувиа хичээсэн байдлаар оршин тогтнож байсан хэдий ч сууршмал соёлын үзэл баримтлал холбоотой зүйлс бас байсан байна хэмээн үзжээ.

This thesis presents the claimed Protovillanova pottery from Luni sul Mignone and San Giovenale through a typological study. The pottery from San Giovenale and Luni is then compared to Bronzo Finale, Bronzo Recente and Protovillanova pottery from various sites in central and northern Italy. The reason for the comparison is to establish if the pottery should be categorized as a cultural expression or to a certain time period. Included in this study is a discussion on whether the term Protovillanovan should be used or not and if it really describes cultural phenomenon active during the Bronze Age or if it describes the same phenomena of the Bronze Age but with a different name.