Problem statement: One of the main components of mental health is emotion. Emotions are constructed concepts that the human brain creates by giving meaning to its perceptions of the body and the surrounding environment in the process of simulating and predicting them. The way the environment is experienced affects the emotions of the person experiencing it. Environmental information is obtained through perceptual processes. Perception can be approached in two ways: by paying attention to the environment and trying to explore it, or by being present in the environment without paying attention. If a human being actively experiences the environment as an embodied subject, this experience leads to an increase in their awareness. This article aims to investigate how an embodied subject can be active in the environment in a way that leads to an increase in the emotional awareness of the person experiencing it. With the increase in emotional awareness of the individual, a new emotion is added to their emotional granularity, and in this process, the individual’s mental health also increases.Research objective: This article aims to fill a theoretical gap in the field of the relationship between environment and emotions, with an emphasis on increasing mental health. The research question is: How does the way a human being experiences the environment as an embodied subject relate to their emotional awareness and the increase in their mental health?Research method: This article, with a qualitative research strategy and an interpretative approach, attempts to determine the effect of the embodied experience of the environment on the emotional awareness of the person experiencing it by explaining concepts such as emotion, emotional awareness, and embodiment in architecture and their relationship to each other.Conclusion: If, during the experience of the environment, something new happens and creates distinction and attracts the attention of the person experiencing it, and in other words, an error in the prediction process occurs in the perception process, and if this new experience contains emotional meanings, it leads to the creation of a new emotion in the brain of the person experiencing it and its addition to their emotional granularity, which increases their emotional awareness and subsequently their mental health.

The present article deals with introducing and critically studying the book Descartes Embodied: Reading Cartesian Philosophy through Cartesian Science by Daniel Garber. Garber, one of the most prominent researchers of modern philosophy and contemporary Descartes-scholar, wrote the book in 1980, and it was published by Cambridge University Press. This work has been released in French, yet there is no Persian translation available. It is a collection of articles written separately by author and published in credible philosophical journals. The unifying subject of the articles is the relationship between Descartes’ philosophical and scientific areas of interest. This article intends to introduce the author and covers the literary style of the book in English in brief. The article mainly addresses the introduction and critical analysis of the book itself, in two parts successively: form and content. This article intends to introduce the author and covers the literary style of the book in English in brief. The article mainly addresses the introduction and critical analysis of the book itself, in two parts successively: form and content.

BACKGROUND AND OBJECTIVES: The present article is carried out with the aim of measuring the components of embodied cultural capital in the book of Beyhaqi"s history. The concept of cultural capital is considered as a resource that individuals, groups and societies use to achieve desired results; Therefore, cultural capital is a set of beliefs, information, privileges, and the like that every person needs in order to be a member of a class of society. According to Pierre Bourdieu"s point of view, cultural capital can be examined in three areas: subjective or embodied, objective, and institutional. The meaning of tangible cultural capital is that type of acquired information that is internalized in the form of stable desires of the organism and is classified as one"s abilities. METHODOLOGY: This research is descriptive-analytical in terms of method and practical in terms of purpose, which library and internet sources including books and articles, theses and dissertations have been used to complete the theoretical foundations. The scope and society under study includes the book Beyhaqi"s history by Khalil Khatib Rahbar, published by Mehtab (2004). FINDINGS: Based on the findings of this research, the cultural attitudes in the book of Beyhaghi history can be classified under three main sections, which include political, religious and moral attitudes. CONCLUSION: In the political field, emphasis should be placed on prudence and avoiding unwiseness and consultation on various issues of the country; In the religious field, observing the practical rituals of Islam such as praying, giving alms, reading the Qur"an, believing in God"s judgment and destiny, and trusting in self-knowledge; And in the moral and educational part, themes such as forgiveness and trustworthiness, self-control, wisdom and kindness, study, avoiding misbehavior, greed, lying, backbiting, informant and gossip and things of this type can be observed.

Introduction Studies emphasize the possibility of cognitive and emotional controlling of creativity. Various studies indicate that emotional and behavioral harassment could be implemented independent of conscious choice and guidance, which could be applied to influence creativity. These studies use external environmental stimuli and preparation techniques to activate mental representations, often based on the theory of embodied cognition, an approach that provides a basis for turning mental states into physical ones and vice versa. In other words, physical states can affect or even induce psychological states and thus affect behavioral outcomes. Over time, the concept that creativity also has a physical foundation has gradually evolved. Research evidence has shown that embodying common verbal metaphors in a specific language, both mentally and physically, can lead to the promotion of convergent and divergent thinking. Therefore, this research raises these questions for the first time: which symbol of embodiment can be attributed to creativity? Furthermore, can such an embodied symbol replace embodied verbal metaphors related to the concept of creativity and be used as a trigger or environmental stimulus to facilitate creativity? Therefore, this innovative research aims to extract the embodied symbol of creativity (based on the embodied cognition approach) and investigate its impact on creativity. Methods This mixed-method research was carried out in two stages: 1) Qualitative-extracting the embodied symbol of creativity and 2) Quantitative-examining this symbol on the level of creativity of industrial design students. First, during a call with the aim of extracting the physical symbol of creativity, the students of theater schools in the country were invited to imagine themselves in a state as if a creative idea came to their mind and then take pictures of their performance state (facial mimicry, shoulder and hand position). Then, the set of submitted images (80 images) was judged by five experts. Next, this symbol was reevaluated and voted on 30 volunteer art students at Tabriz Islamic Art University, so the image with the most affinity for inducing the concept of creativity was selected as an embodied symbol of creativity. In the second stage, to investigate this symbol's effectiveness on creativity, a semi-experimental method was used with a pretest-posttest design along with a control group. The target population included all students in the 4th to 6th semester of Bachelor of Industrial Design at Tabriz Islamic Art University. The sample group included 30 people who volunteered to participate in the research and were randomly divided into two groups of 15 people as experimental and control groups. Before the start of the intervention, both groups took Torrance's Figural test as a pretest (Form B) and were again tested with the same test as the posttest after two weeks. During the posttest, the experimental group, at the same time, was given the embodied symbol of creativity as an intervention, but the control group received no intervention. The data obtained were analyzed using the multivariate covariance methods on SPSS-23 software. Results In the first stage of the research, the images received from 80 theater students showed that 68% of the images are closely similar in terms of facial expressions, shoulder, and hand movements (indicating the "Aha moment"). In the meantime, after the final judging by five experts and voting by 30 art students, Figure No. 1 was chosen as the embodied symbol of creativity with the most votes (13 votes), which was 43% of the total votes. In the second stage, the average age (standard deviation) of the experimental and control groups were calculated as 21.53±0.834 and 21.80±0.941, respectively. In addition, the information about the participants' gender, separated into two experimental and control groups, showed that the gender of the majority of the experimental group members was female (60%), and the gender of the majority of the control group members was male (93.3%). This study examined the impact of tangible symbols of creativity on the creativity levels of industrial design students. The descriptive findings revealed an increase in the creativity post-test scores of the experimental group. This improvement was evident in key statistics like the mean and standard deviation. Meanwhile, the control group's scores remained essentially unchanged. The mean (standard deviation) in the pre-test and post-test of the experimental group was 159.20 (69.68) and 178.73 (59.45), respectively, and the mean (standard deviation) in the control group's pre-test and post-test were 181.13 (59.11) and 180.13 (60.67), respectively. Multivariate covariance analysis tests were used to determine the effect of the embodied symbol of creativity on the level of creativity and its sub-components (initiative, flexibility, fluency, and expansion). However, before the inferential analysis, parametric assumptions were also observed. Shapiro-Wilk test to measure the normality of the distribution of the research variables, Levine's test to check the equality of error variances, M-Box test to check the homogeneity of the variances of the dependent variables, and the assumption of homogeneity of the regression slope. In order to determine the effectiveness of the embodied symbol of creativity on the creativity sub-components, the multivariate covariance analysis test was used, indicating its significant effect on the fluency sub-component of creativity in the experimental group (F=18.54, P<0.01). Moreover, the effect size (Eta square) indicates that the changes in the scores of the groups in the fluency component, as much as 0.436, were caused by the implementation of the independent variable (an embodied symbol of creativity). Conclusion The findings indicate the extraction of the embodied symbol of creativity in the innovative way of this research and its ability as a trigger (effect size 0.436) of the cognitive dimension of the creativity process based on the promotion of the fluency component (F=18.54, P<0.01). However, using this symbol has not affected the other sub-components of creativity (originality, flexibility, and elaboration). The results indicate that it is possible to consider the extraction of an embodied symbol that gives the same visual direction and reference to the mental metaphors of different people about the concept of creativity. Due to its similarity with the representational mode of "Aha Moment", it could advance beyond the boundaries of the Persian language and its mental metaphors to find a cross-cultural application. However, conclusive results in this area require more extensive neurological evidence and experiments. Ethical Consideration Compliance with ethical guidelines This article is extracted from the master’s thesis of cognitive science (design and creativity) of the first author (Thesis Code: 20431050), in compliance with ethical principles, including obtaining consent in order to participate in the research, respecting the principle of confidentiality of participants, providing adequate information about how to research to all the participants and being free to withdraw the research process. Authors' contribution In this research, Susan Dadkhah contributed to developing the initial idea and choosing the title, designing the study method, defining concepts, literature review, research implementation, collecting, analyzing, interpreting the data, and writing the initial draft of the article. Seyed Ali Faregh, as the first supervisor, contributed in title approval, consultation, supervision of implementation, scientific discussions, statement of the problem and data interpretation. Kazem Pouralvar, the secondary, supervisor contributed to scientific discussion, translation, and source support. Babak Amraee, as the research consultant, provided the operational definition of the concepts, sample group coordination, and scientific discussion for data interpretations. All research team members were actively involved in the data interpretation and editing of the final draft. Funding The present research received no funding from any financing organization. Acknowledgments The authors would like to express their grate gratitude to all the theater students participating in this research. Besides, the authors appreciate Ebrahim Nabati, Hossein Nadalizade, Mahsa Dadbud, Hossein Baghban, Mohsen Sheidaiefar, Fakhri Sadat Hasani, Reza Hamedikhah, Narges Kamrava, Azar Mahmoudi, Arezou Belarak, Fatereh Yahyaee, and Setareh Hosseini. Conflict of interest The authors declared no conflict of interest.

Over the centuries, the concept of the self has remained a prominent subject of philosophical inquiry. However, recent years have witnessed a notable shift, with empirical investigations in fields such as psychology, neuroscience, and anthropology directing their focus toward unravelling the mysteries of the self. These multidisciplinary endeavours have yielded profound insights into the nature of the self, particularly its intricate connection to the physical body. This article centres on a prevailing theory in contemporary discourse: the concept of the embodied self. Central to this theory is the proposition that the self is not an abstract entity but is fundamentally constituted by and inseparably linked with the corporeal form. The article provides an analytical examination of the theoretical scaffolding supporting this theory, drawing substantiation from recent empirical studies spanning diverse disciplines, including philosophy, psychology, and cognitive science. Additionally, it delves into the realm of phenomenology, briefly delving into Merleau-Ponty's philosophical contributions.

Vygotsky (1978) uses the example of a child's gesture, arguing that finger-pointing presents an interpersonal relationship; but an intrapersonal relationship occurs only after internalization. The purpose of this study was to investigate the discourse and corresponding gestures at a foreign language university general English course using Socio-cultural theory as a theoretical framework. This study used a qualitative research methodology. The instruments used in the current research included: a questionnaire, two video-recordings, student surveys, and a follow-up semi-structured teacher interview. Particularly, the observations were of the teacher in interaction with students concerning the subject matter. The teacher's teaching was video-recorded for the first five weeks of a sixteen-week course, meeting twice per week for one hour and thirty seconds. The teacher’ s gestures were analyzed according to the transcription conventions developed by McNeill (1992). The findings are discussed in relation to the teacher’ s embodied practices. The data revealed that the teacher gestured and mimetically illustrated in order to concretize the language. The gestures observed were organized into different linguistic categories of grammar and lexis on the basis of the lessons of the course-book. So, not only the gesture types, but also the functions, are discussed. This organization reinforces the notion that the instructor was trying to concretize the language and codify it.

A population of 8. 9 billion up to 2050 will need more energy and resources. The economic growth accelerates fossil fuel exhaustion by the end of this century. Energy has an important role in sustainable development; therefore, the world will encounter energy crisis. In our country, vast expanse of hot dry climate is extending and so is the need of energy for cooling systems (cooling consumes more energy than heating). On the other hand, sustainability of an Oil-dependant economy will be threatened by energy crisis. Surveys reveal that 50 to 60 percent of energy consumption and also carbon and construction waste production is related to architecture and urban design. Since the total energy of the building is a combination of embodied energy and operational energy this essay aims to analyze these factors to find the best method for energy use reduction. Measurement of the embodied energy is not possible in Iran, owing to not having access to accurate information about the process of construction, material, details, transportation, repairs and maintenance. Therefore, some experiments of other countries were studied and their results were used in this research. Results of this research show the importance of initial design, effective details and improvement of construction methods which can increase the durability of a building. Durable materials with less embodied energy and modern repair and maintenance methods can lead us to this goal. Furthermore, comparing embodied energy with operational energy showed that an increase in the first one, by means of extra insulation, making thermal inertia by increasing width of walls and ceilings will reduce operational energy and as well total energy use. A comprehensive system of architecture is able to make a wise balance between embodied energy and operational energy through energy-based initial design, designing flexible patterns, using materials with less embodied energy, increasing lifespan of the building, using proper details with reversible dry connections, and modern construction methods. Finally, a proper portion of energy in normal lifespan of a building will lead to reduction of total energy in architecture. Strategies recommended to reduce total energy of the building during its lifespan through decreasing and conserving embodied energy are as follows: Initial design with energy saving approach, using long-lasting reversible, flexible, changeable construction and architecture patterns, and using durable materials with least embodied energy in production phase. Improving technology efficiency of factories produce materials with least embodied energy, increasing the efficiency of the transportation system, decreasing carrying distance and reusing materials, installation of accessible facilities in the walls, ceilings and floor. Improving the knowledge and methods used for splitting the components instead of demolition and using reversible proper construction details by means of dry connections (bolts and nuts) instead of wet connections (mortar, glue and resin). Regular wise reconstruction, retrofitting, renovation, repair, maintenance when necessary to increase lifespan of the building.