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mythologies</title> <meta name="description" content="Search results for: mythologies"> <meta name="keywords" content="mythologies"> <meta name="viewport" content="width=device-width, initial-scale=1, minimum-scale=1, maximum-scale=1, user-scalable=no"> <meta charset="utf-8"> <link href="https://cdn.waset.org/favicon.ico" type="image/x-icon" rel="shortcut icon"> <link href="https://cdn.waset.org/static/plugins/bootstrap-4.2.1/css/bootstrap.min.css" rel="stylesheet"> <link href="https://cdn.waset.org/static/plugins/fontawesome/css/all.min.css" rel="stylesheet"> <link href="https://cdn.waset.org/static/css/site.css?v=150220211555" rel="stylesheet"> </head> <body> <header> <div class="container"> <nav class="navbar navbar-expand-lg navbar-light"> <a class="navbar-brand" href="https://waset.org"> <img src="https://cdn.waset.org/static/images/wasetc.png" alt="Open Science Research Excellence" title="Open Science Research Excellence" /> </a> <button class="d-block d-lg-none navbar-toggler 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id="custom-search-input"> <div class="input-group"> <i class="fas fa-search"></i> <input type="text" class="search-query" name="q" placeholder="Author, Title, Abstract, Keywords" value="mythologies"> <input type="submit" class="btn_search" value="Search"> </div> </div> </form> </div> </div> <div class="row mt-3"> <div class="col-sm-3"> <div class="card"> <div class="card-body"><strong>Commenced</strong> in January 2007</div> </div> </div> <div class="col-sm-3"> <div class="card"> <div class="card-body"><strong>Frequency:</strong> Monthly</div> </div> </div> <div class="col-sm-3"> <div class="card"> <div class="card-body"><strong>Edition:</strong> International</div> </div> </div> <div class="col-sm-3"> <div class="card"> <div class="card-body"><strong>Paper Count:</strong> 7</div> </div> </div> </div> <h1 class="mt-3 mb-3 text-center" style="font-size:1.6rem;">Search results for: mythologies</h1> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">7</span> The Book of Lies: The Christian Bible's Colonialism over and Appropriation of Occultism</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Samantha%20Huff">Samantha Huff</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This research seeks to examine the relationship between occultism and the traditional religion of Christianity. The focus of this particular project is to deconstruct occultism and occult religion: how it develops, where it is applied, how and when it is applied. The next step is to make connections between the structure of occultism and the structure of Christianity. Do Christianity and the Occult appear, textually, the same way? What does that mean culturally? This project seeks to examine the historical similarities of occultism and Christianity practices and tradition, and how, as a whole, Christianity appropriates and colonializes occultism through examination into the Christian Bible and popular occult texts: The Book of the Law by Aleister Crowley and The Secret Doctrine: The Synthesis of Science, Religion, and Philosophy by Helena Petrovna Blavatsky. Through examining occultism and Christianity and applying it to popular cultural theories (Ritual Space by Nick Couldry, Muted Group Theory by Shirley Ardener, and Mythologies by Roland Barethes), it is entirely possible to see how Christianity appropriates occultism and uses their stronghold on society as a means to colonialize occult traditions and practices. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=appropriation" title="appropriation">appropriation</a>, <a href="https://publications.waset.org/abstracts/search?q=Christianity" title=" Christianity"> Christianity</a>, <a href="https://publications.waset.org/abstracts/search?q=colonialism" title=" colonialism"> colonialism</a>, <a href="https://publications.waset.org/abstracts/search?q=cultural%20theory" title=" cultural theory"> cultural theory</a>, <a href="https://publications.waset.org/abstracts/search?q=muted%20group%20theory" title=" muted group theory"> muted group theory</a>, <a href="https://publications.waset.org/abstracts/search?q=mythologies" title=" mythologies"> mythologies</a>, <a href="https://publications.waset.org/abstracts/search?q=occultism" title=" occultism"> occultism</a>, <a href="https://publications.waset.org/abstracts/search?q=ritual%20space" title=" ritual space"> ritual space</a> </p> <a href="https://publications.waset.org/abstracts/133808/the-book-of-lies-the-christian-bibles-colonialism-over-and-appropriation-of-occultism" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/133808.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">153</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">6</span> Revealing Celtic and Norse Mythological Depths through Dragon Age’s Tattoos and Narratives</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Charles%20W.%20MacQuarrie">Charles W. MacQuarrie</a>, <a href="https://publications.waset.org/abstracts/search?q=Rachel%20R.%20Tatro%20Duarte"> Rachel R. Tatro Duarte</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This paper explores the representation of medieval identity within the world of games such as Dragon Age, Elden Ring, Hellblade: Senua’s sacrifice, fantasy role-playing games that draw effectively and problematically on Celtic and Norse mythologies. Focusing on tattoos, onomastics, and accent as visual and oral markers of status and ethnicity, this study analyzes how the game's interplay between mythology, character narratives, and visual storytelling enriches the themes and offers players an immersive, but sometimes baldly ahistorical, connection to ancient mythologies and contemporary digital storytelling. Dragon Age is a triple a game series, Hellblade Senua’s Sacrifice, and Elden Ring of gamers worldwide with its presentation of an idealized medieval world, inspired by the lore of Celtic and Norse mythologies. This paper sets out to explore the intricate relationships between tattoos, accent, and character narratives in the game, drawing parallels to themes,heroic figures and gods from Celtic and Norse mythologies. Tattoos as Mythic and Ethnic Markers: This study analyzes how tattoos in Dragon Age visually represent mythological elements from both Celtic and Norse cultures, serving as conduits of cultural identity and narratives. The nature of these tattoos reflects the slave, criminal, warrior associations made in classical and medieval literature, and some of the episodes concerning tattoos in the games have either close analogs or sources in literature. For example the elvish character Solas, in Dragon Age Inquisition, removes a slave tattoo from the face of a lower status elf in an episode that is reminiscent of Bridget removing the stigmata from Connallus in the Vita Prima of Saint Bridget Character Narratives: The paper examines how characters' personal narratives in the game parallel the archetypal journeys of Celtic heroes and Norse gods, with a focus on their relationships to mythic themes. In these games the Elves usually have Welsh or Irish accents, are close to nature, magically powerful, oppressed by apparently Anglo-Saxon humans and Norse dwarves, and these elves wear facial tattoos. The Welsh voices of fairies and demons is older than the reference in Shakespeare’s Merry Wives of Windsor or even the Anglo-Saxon Life of Saint Guthlac. The English speaking world, and the fantasy genre of literature and gaming, undoubtedly driven by Tolkien, see Elves as Welsh speakers, and as having Welsh accents when speaking English Comparative Analysis: A comparative approach is employed to reveal connections, adaptations, and unique interpretations of the motifs of tattoos and narrative themes in Dragon Age, compared to those found in Celtic and Norse mythologies. Methodology: The study uses a comparative approach to examine the similarities and distinctions between Celtic and Norse mythologies and their counterparts in video games. The analysis encompasses character studies, narrative exploration, visual symbolism, and the historical context of Celtic and Norse cultures. Mythic Visuals: This study showcases how tattoos, as visual symbols, encapsulate mythic narratives, beliefs, and cultural identity, echoing Celtic and Norse visual motifs. Archetypal Journeys: The paper analyzes how character arcs mirror the heroic journeys of Celtic and Norse mythological figures, allowing players to engage with mythic narratives on a personal level. Cultural Interplay: The study discusses how the game's portrayal of tattoos and narratives both preserves and reinterprets elements from Celtic and Norse mythologies, fostering a connection between ancient cultures and modern digital storytelling. Conclusion: By exploring the interconnectedness of tattoos and character narratives in Dragon Age, this paper reveals the game series' ability to act as a bridge between ancient mythologies and contemporary gaming. By drawing inspiration from Celtic heroes and Norse gods and translating them into digital narratives and visual motifs, Dragon Age offers players a multi-dimensional engagement with mythic themes and a unique lens through which to appreciate the enduring allure of these cultures. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=comparative%20analysis" title="comparative analysis">comparative analysis</a>, <a href="https://publications.waset.org/abstracts/search?q=character%20narratives" title=" character narratives"> character narratives</a>, <a href="https://publications.waset.org/abstracts/search?q=video%20games%20and%20literature" title=" video games and literature"> video games and literature</a>, <a href="https://publications.waset.org/abstracts/search?q=tattoos" title=" tattoos"> tattoos</a>, <a href="https://publications.waset.org/abstracts/search?q=immersive%20storytelling" title=" immersive storytelling"> immersive storytelling</a>, <a href="https://publications.waset.org/abstracts/search?q=character%20development" title=" character development"> character development</a>, <a href="https://publications.waset.org/abstracts/search?q=mythological%20influences" title=" mythological influences"> mythological influences</a>, <a href="https://publications.waset.org/abstracts/search?q=Celtic%20mythology" title=" Celtic mythology"> Celtic mythology</a>, <a href="https://publications.waset.org/abstracts/search?q=Norset%20mythology" title=" Norset mythology"> Norset mythology</a> </p> <a href="https://publications.waset.org/abstracts/172269/revealing-celtic-and-norse-mythological-depths-through-dragon-ages-tattoos-and-narratives" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/172269.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">70</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">5</span> Making a ‘Once-upon-a-Time’ Mythology in Kazuo Ishiguro’s The Buried Giant</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Masami%20Usui">Masami Usui</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Kazuo Ishiguro’s challenging novel, <em>The Buried Giant</em>, embodies how contemporary writers and readers have to discover the voices buried in our history. By avoiding setting or connecting the modern and contemporary historical incidents such as World War II this time, Ishiguro ventures into retelling myth, transfiguring historical facts, and revealing what has been forgotten in a process of establishing history and creating mythology. As generally known, modernist writers in the twentieth century employed materials from authorized classical mythologies, especially Greek mythology. As an heir of this tradition, Ishiguro imposes his mission of criticizing the repeatedly occurring yet easily-forgotten history of dictatorship and a slaughter on mythology based on King Arthur and its related heroes and myths in Britain. On an open ground, Ishiguro can start his own mythical story and space. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=English%20literature" title="English literature">English literature</a>, <a href="https://publications.waset.org/abstracts/search?q=fantasy" title=" fantasy"> fantasy</a>, <a href="https://publications.waset.org/abstracts/search?q=globalism" title=" globalism"> globalism</a>, <a href="https://publications.waset.org/abstracts/search?q=history" title=" history"> history</a> </p> <a href="https://publications.waset.org/abstracts/44578/making-a-once-upon-a-time-mythology-in-kazuo-ishiguros-the-buried-giant" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/44578.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">338</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">4</span> Rewritten Oedipus Complex: Huo Datong’s Complex of Generation</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Xinyu%20Chen">Xinyu Chen</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This article reviews Chinese psychoanalytic theorist, Dr. Huo Datong’s notion, the complex of generation, around which Huo conceptualizes a localized set to recapitulate the unconscious structure of Chinese people. Psychoanalysis underwent constant localization influenced by the socio-cultural milieu and endeavored by scholars receiving training backgrounds from different psychoanalytic schools. Dr. Huo Datong is one of the representatives with a Sino-French background of psychoanalytic training, whose enterprise has demonstrated psychoanalysis's cultural and ideological accommodability. Insufficient academic attention has been paid to this concept as the core of Huo’s re-framework. This notion is put forward by sharing a western psychoanalytic reading of Chinese mythologies to contour Chinese unconsciousness. Regarding Huo’s interpretation of the Chinese kinship network as the basis to propose an omnipotent symbolic mother rather than an Oedipal father, this article intends to review this notion in terms of its mythological root to evaluate the theoretical practicality. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=psychoanalysis" title="psychoanalysis">psychoanalysis</a>, <a href="https://publications.waset.org/abstracts/search?q=China" title=" China"> China</a>, <a href="https://publications.waset.org/abstracts/search?q=Huo%20Datong" title=" Huo Datong"> Huo Datong</a>, <a href="https://publications.waset.org/abstracts/search?q=mythology" title=" mythology"> mythology</a> </p> <a href="https://publications.waset.org/abstracts/160290/rewritten-oedipus-complex-huo-datongs-complex-of-generation" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/160290.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">252</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">3</span> Creating Knowledge Networks: Comparative Analysis of Reference Cases</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Sylvia%20Villarreal">Sylvia Villarreal</a>, <a href="https://publications.waset.org/abstracts/search?q=Edna%20Bravo"> Edna Bravo</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Knowledge management focuses on coordinating technologies, people, processes, and structures to generate a competitive advantage and considering that networks are perceived as mechanisms for knowledge creation and transfer, this research presents the stages and practices related to the creation of knowledge networks. The methodology started with a literature review adapted from the systematic literature review (SLR). The descriptive analysis includes variables such as approach (conceptual or practical), industry, knowledge management processes and mythologies (qualitative or quantitative), etc. The content analysis includes identification of reference cases. These cases were characterized based on variables as scope, creation goal, years, network approach, actors and creation methodology. It was possible to do a comparative analysis to determinate similarities and differences in these cases documented in knowledge network scientific literature. Consequently, it was shown that even the need and impact of knowledge networks in organizations, the initial guidelines for their creation are not documented, so there is not a guide of good practices and lessons learned. The reference cases are from industries as energy, education, creative, automotive and textile. Their common points are the human approach; it is oriented to interactions to facilitate the appropriation of knowledge, explicit and tacit. The stages of every case are analyzed to propose the main successful elements. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=creation" title="creation">creation</a>, <a href="https://publications.waset.org/abstracts/search?q=knowledge%20management" title=" knowledge management"> knowledge management</a>, <a href="https://publications.waset.org/abstracts/search?q=network" title=" network"> network</a>, <a href="https://publications.waset.org/abstracts/search?q=stages" title=" stages"> stages</a> </p> <a href="https://publications.waset.org/abstracts/91259/creating-knowledge-networks-comparative-analysis-of-reference-cases" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/91259.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">302</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">2</span> In the Valley of the Shadow of Death: Gossip, God, and Scapegoating in Susannah, an American Opera by Carlisle Floyd</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Shirl%20H.%20Terrell">Shirl H. Terrell</a> </p> <p class="card-text"><strong>Abstract:</strong></p> In the telling of mythologies, stories of cultural and religious histories, the creative arts provide an archetypal lens through which the personal and collective unconscious are viewed, thus revealing mysteries of the unknown psyche. To that end, the author of this paper, using the hermeneutic approach, proves that Carlisle Floyd’s (1955) English language opera Susannah illuminates humanity’s instinctual nature and behaviors through music, libretto, and drama. While impressive musical works such as Wagner’s Ring Cycle and Webber’s Phantom of the Opera have received extensive Jungian analyses, critics and scholars often ignore lesser esteemed works, such as Susannah, notwithstanding the fact that they have been consistently performed on the theater circuit. Such pieces, when given notice, allow viewers to grasp the soul-making depth and timeless quality of productions which may otherwise go unrecognized as culturally or psychologically significant. Although Susannah has sometimes been described as unsophisticated and simple in scope, the author demonstrates why Floyd’s 'little' opera, set in New Hope Valley, Appalachia, a cultural region in the Eastern United States known for its prevailing myths and distortions of isolation, temperament, and the judgmentally conservative behavior of its inhabitants, belongs to opera’s hallmark works. Its approach to powerful underlying archetypal themes, which give rise to the poignant and haunting depictions of the darker and destructive side of the human soul, the Shadow, provides crucial significance to the work. The Shadow’s manifestation in the form of the scapegoating complex is central to the plot of Susannah; the church’s meting out of rules, judgment, and reparation for sins point to the foreboding aspects of human behavior that evoke their intrinsic nature. The scapegoating complex is highlighted in an eight-step process gleaned from the works of Kenneth Burke and Rene Girard. In summary, through depth psychological terms and mythological motifs, the author provides an insightful approach to perceiving instinctual behaviors as they play out in an American opera that has been staged over eight-hundred times, yet, unfortunately, remains in the shadows. Susannah’s timelessness is now. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=archetypes" title="archetypes">archetypes</a>, <a href="https://publications.waset.org/abstracts/search?q=mythology" title=" mythology"> mythology</a>, <a href="https://publications.waset.org/abstracts/search?q=opera" title=" opera"> opera</a>, <a href="https://publications.waset.org/abstracts/search?q=scapegoating" title=" scapegoating"> scapegoating</a>, <a href="https://publications.waset.org/abstracts/search?q=Shadow" title=" Shadow"> Shadow</a>, <a href="https://publications.waset.org/abstracts/search?q=Susannah" title=" Susannah"> Susannah</a> </p> <a href="https://publications.waset.org/abstracts/101349/in-the-valley-of-the-shadow-of-death-gossip-god-and-scapegoating-in-susannah-an-american-opera-by-carlisle-floyd" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/101349.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">150</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">1</span> Hero’s Journey in the Poetry of Mahdi Akhavsn Sales and T. S. Eliot: A Comparative Study</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Mahin%20Pourmorad%20Naseri">Mahin Pourmorad Naseri</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Myths have been an inseparable aspect of man’s life in all nations and cultures across the world over time; however, it seems that the form and use of myths in the poetry of the 20th century have gained a new meaning and purpose. Among the poets of the time, T. S. Eliot in English and Mahdi Akhavan Sales in Persian are the two mostly referred to in this regard. In this paper, the pattern of heroic journey as the main theme in the poetry of Akhavan and Eliot will be reviewed, compared, and contrasted. Attempts have been made to find out how the myth of the hero’s journey has been reflected in the century’s well-known poetry and if myth allusions in these poems confirm or reject Campbell’s claim that mythology can be an appropriate psychological cure for man’s loneliness in today’s life. T. S. Eliot (1888-1965), the English poet, essayist, playwright, publisher, and critic, is mostly known for his modernist poetry and the extensive allusions to mythologies and world literary masterpieces. At the same time, Mahdi Akhavan Sales (1929-1990) Iranian poet, one of the pioneers of modern Persian poetry, is also most well-known for his epic poetic style (Khorasani Style) and also his high amount of allusions to myths, especially Zoroastrian mythology, and his myth-making technique. Although their greatly different cultural background may cause the similarities in their poetic style and themes not to attract attention, at first sight, reading the poems closely through the light of the 20th century’s life context and literary movements reveal interesting similarities in the way they understand and apply myth in their poetry. The present paper reviews the theme of the hero’s journey in Akhavan’s Chavooshi and Eliot’s “Journey of the Magi” from the perspective of Campbell’s notion of mono-myth or the pattern of mythic hero’s journey. The poems will be reviewed in search of the steps of the inward journey the heroes make, the goals they pursue, and how successful they are in achieving the goals. The findings of the study reveal that while the difference in the social context of the poets makes the small differences in the stages of the journey, both journeys end in a gloomy atmosphere for the disappointedly isolated hero who is finally left alone in the godless and materialistic world of 20th century. It is also evident that both poets meant to fulfill their responsibility of reviving mythology in writing the poems. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=myth" title="myth">myth</a>, <a href="https://publications.waset.org/abstracts/search?q=Akhavan" title=" Akhavan"> Akhavan</a>, <a href="https://publications.waset.org/abstracts/search?q=Eliot" title=" Eliot"> Eliot</a>, <a href="https://publications.waset.org/abstracts/search?q=poetry" title=" poetry"> poetry</a>, <a href="https://publications.waset.org/abstracts/search?q=hero%27s%20journey" title=" hero's journey"> hero's journey</a> </p> <a href="https://publications.waset.org/abstracts/152309/heros-journey-in-the-poetry-of-mahdi-akhavsn-sales-and-t-s-eliot-a-comparative-study" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/152309.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">100</span> </span> </div> </div> </div> </main> <footer> <div id="infolinks" class="pt-3 pb-2"> <div class="container"> <div style="background-color:#f5f5f5;" class="p-3"> <div class="row"> <div class="col-md-2"> <ul class="list-unstyled"> About <li><a href="https://waset.org/page/support">About Us</a></li> <li><a href="https://waset.org/page/support#legal-information">Legal</a></li> <li><a target="_blank" rel="nofollow" href="https://publications.waset.org/static/files/WASET-16th-foundational-anniversary.pdf">WASET celebrates its 16th foundational anniversary</a></li> </ul> </div> <div class="col-md-2"> <ul class="list-unstyled"> Account <li><a href="https://waset.org/profile">My Account</a></li> </ul> </div> <div class="col-md-2"> <ul class="list-unstyled"> Explore <li><a href="https://waset.org/disciplines">Disciplines</a></li> <li><a href="https://waset.org/conferences">Conferences</a></li> <li><a href="https://waset.org/conference-programs">Conference Program</a></li> <li><a href="https://waset.org/committees">Committees</a></li> <li><a href="https://publications.waset.org">Publications</a></li> </ul> </div> <div class="col-md-2"> <ul class="list-unstyled"> Research <li><a href="https://publications.waset.org/abstracts">Abstracts</a></li> <li><a href="https://publications.waset.org">Periodicals</a></li> <li><a href="https://publications.waset.org/archive">Archive</a></li> </ul> </div> <div class="col-md-2"> <ul class="list-unstyled"> Open Science <li><a target="_blank" rel="nofollow" href="https://publications.waset.org/static/files/Open-Science-Philosophy.pdf">Open Science Philosophy</a></li> <li><a target="_blank" rel="nofollow" href="https://publications.waset.org/static/files/Open-Science-Award.pdf">Open Science Award</a></li> <li><a target="_blank" rel="nofollow" href="https://publications.waset.org/static/files/Open-Society-Open-Science-and-Open-Innovation.pdf">Open Innovation</a></li> <li><a target="_blank" rel="nofollow" href="https://publications.waset.org/static/files/Postdoctoral-Fellowship-Award.pdf">Postdoctoral Fellowship Award</a></li> <li><a target="_blank" rel="nofollow" href="https://publications.waset.org/static/files/Scholarly-Research-Review.pdf">Scholarly Research Review</a></li> </ul> </div> <div class="col-md-2"> <ul class="list-unstyled"> Support <li><a href="https://waset.org/page/support">Support</a></li> <li><a href="https://waset.org/profile/messages/create">Contact Us</a></li> <li><a href="https://waset.org/profile/messages/create">Report Abuse</a></li> </ul> </div> </div> </div> </div> </div> <div class="container text-center"> <hr style="margin-top:0;margin-bottom:.3rem;"> <a href="https://creativecommons.org/licenses/by/4.0/" target="_blank" class="text-muted small">Creative Commons Attribution 4.0 International License</a> <div id="copy" class="mt-2">© 2024 World Academy of Science, Engineering and Technology</div> </div> </footer> <a href="javascript:" id="return-to-top"><i class="fas fa-arrow-up"></i></a> <div class="modal" id="modal-template"> <div class="modal-dialog"> <div class="modal-content"> <div class="row m-0 mt-1"> <div class="col-md-12"> <button type="button" class="close" data-dismiss="modal" aria-label="Close"><span aria-hidden="true">×</span></button> </div> </div> <div class="modal-body"></div> </div> </div> </div> <script src="https://cdn.waset.org/static/plugins/jquery-3.3.1.min.js"></script> <script src="https://cdn.waset.org/static/plugins/bootstrap-4.2.1/js/bootstrap.bundle.min.js"></script> <script src="https://cdn.waset.org/static/js/site.js?v=150220211556"></script> <script> jQuery(document).ready(function() { /*jQuery.get("https://publications.waset.org/xhr/user-menu", function (response) { jQuery('#mainNavMenu').append(response); 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