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Consider the compact quantum group U q (2) , where q is a non-zero complex deformation parameter such that | q | ≠ 1 . Let C (U q (2)) denote the underlying C ∗ -algebra of the compact quantum group U q (2) . We prove that when q is a non-real complex number and q ′ is real, the underlying C ∗ -algebras C (U q (2)) and C (U q ′ (2)) are non-isomorphic. This is in sharp contrast with the case of braided S U q (2) , introduced earlier by Woronowicz et al., where q is a non-zero complex deformation parameter. In another direction, on a geometric aspect of U q (2) , we introduce torus action on the C ∗ -algebra C (U q (2)) and obtain a C ∗ -dynamical system (C (U q (2)) , T 3 , α) . Finally, we construct a T 3 -equivariant spectral triple for U q (2) that is even and 3 + -summable. It is shown that the Dirac operator is K-homologically nontrivial. [ABSTRACT FROM AUTHOR]

Copyright of Ethos (0860-8024) is the property of John Paul II Institute, Faculty of Philosophy, John Paul II Catholic University of Lublin and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of KUL Journal of Legal Studies / Studia Prawnicze KUL is the property of John Paul II Catholic University of Lubin / Katolicki Uniwersytet Lubelski Jana Pawla II and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Annals of Cultural Studies / Roczniki Kulturoznawcze is the property of John Paul II Catholic University of Lublin, Institute of Cultural Studies and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Hudební Výchova is the property of Charles University Prague, Faculty of Education and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Theology & Morality / Teologia I Moralmosc is the property of Uniwersytetu im. Adama Mickiewicza (IH UAM) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Theology & Morality / Teologia I Moralmosc is the property of Uniwersytetu im. Adama Mickiewicza (IH UAM) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Annals of Cultural Studies / Roczniki Kulturoznawcze is the property of John Paul II Catholic University of Lublin, Institute of Cultural Studies and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Journal of Modern Science is the property of Alcide De Gasperi University of Euroregional Economy and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Journal of Modern Science is the property of Alcide De Gasperi University of Euroregional Economy and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Theology & Morality / Teologia I Moralmosc is the property of Uniwersytetu im. Adama Mickiewicza (IH UAM) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Ethos (0860-8024) is the property of John Paul II Institute, Faculty of Philosophy, John Paul II Catholic University of Lublin and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Theology & Morality / Teologia I Moralmosc is the property of Uniwersytetu im. Adama Mickiewicza (IH UAM) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Theology & Morality / Teologia I Moralmosc is the property of Uniwersytetu im. Adama Mickiewicza (IH UAM) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Motifs of the body and physicality figure in the literary work of the writer Jana Bodnárová (b. 1950) as thematic starting points and strategic analytical tools. The essay analyses Bodnárová's plays Staroba en noir ([Old age en noir] 2022) and Kolísky ([Cradles] 2012) which accentuate the issues of the body and corporeality from the perspective of women's personal empirical experiences of motherhood, abortion, and old age in line with feminist tendencies. In these plays, Bodnárová portrays the human body as lived and consciously experienced in relation to its surroundings, but also as finite and changeable. She presents the female body as a social and political object through which she draws attention to the negative influence of patriarchal power and its structures. The theoretical framework of the essay is based on a combination of phenomenology, anthropology, and feminist theory. Another line of interpretation the article follows is the depiction of thematic shifts between the two plays and the author's previous work (especially the play Dievča z morského dna [The girl from the bottom of the sea] 2008), also concentrating on the questioning of the stereotype of women's innate desire for motherhood. [ABSTRACT FROM AUTHOR]

Copyright of Polish Otorhinolaryngological Review / Polski Przegląd Otorynolaryngologiczny (Index Copernicus) is the property of Index Copernicus International and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Perspectives on Culture / Perspektywy Kultury is the property of Jesuit University Ignatianum in Krakow and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In their literary exhibition 13 Morgen, displayed at Kunst im Tunnel (KIT; 'Art in the tunnel') in Düsseldorf from March until June 2023, the two authors and artists Thea Mantwill and Jana Buch invited visitors to read at the museum. The exhibition combines literary texts with installation art, visual art, and book design. In conversation, Thea Mantwill and Jana Buch provide detailed insights into what it takes to bring reading to the museum, the reading atmospheres they aim to create, as well as the roles which time, space, and mediality play for 13 Morgen. [ABSTRACT FROM AUTHOR]

This paper describes an intersubjective journey between an analyst and her patient, a woman beset by a lifelong fear that she is actually a robot, not a human being. Alienated from the human world, the woman sustained her sense of self by creating emotional ties to fantasy selfobjects. The patient is saved by these ties and undone by them too. On the one hand, these connections carry her striving for health and stability. On the other, they shield her from what she most longs for—the warmth of a human heart. Interactions between her and her analyst reveal the grip of a powerful unconscious organizing principle: She must cleanse herself of feelings and serve the master. Claiming her place as a human among humans rests on her liberation from this horrifying belief. [ABSTRACT FROM AUTHOR]

Copyright of Komunikaty Mazursko-Warminskie is the property of Komunikaty Mazursko-Warminskie and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The Latvian writer and poet Jana Egle devotes special attention in her texts to people who are perceived by society as "others". Such individuals are frequently regarded as anomalous by those in their immediate vicinity, which often results in a sense of detachment and disconnection. In her short fiction, Egle examines a range of forms of otherness, including individuals from diverse national backgrounds, members of the LGBTQ+ community, and those facing social disadvantage. Adults are frequently influenced by longstanding stereotypes and traumatic experiences, whereas children tend to be more receptive to forming close relationships due to the absence of such biases. This article seeks to examine the manifestations of otherness in Egle's works through the lens of the self-other binary and the insights gleaned from contemporary researchers on identity issues. Egle adroitly depicts the tenuous and nebulous border between the self and the other by exploring the inner realms and experiences of the marginalised. Through catharsis, she fosters a sense of proximity between these "others" and the reader. Despite portraying tragic scenarios, she maintains a quality of levity that is challenging to articulate but perceptible. [ABSTRACT FROM AUTHOR]

In the winter of 2020, the Jana Natya Manch (People's Theatre Front), a political performance group and street-theatre pioneer in India, created a new kind of performance in response to current events. The Hindu-nationalist government was then implementing discriminatory laws targeting Muslims. The very constitution of India, a 'sovereign, socialist, secular, democratic republic' (Constitution Preamble) was under threat. Instead of a conventional street play, the Jana Natya Manch set up a participatory 'game' or 'interactive presentation' that brought together random and diverse audiences to act, or play, as a united people. The group put into place an inclusive experiment, rather than a didactic one, to counter exclusionary rules and address democratic deficits. Thus this Indian 'people's theatre' produced 'democratic performances' that questioned both artistic and political representations. This article, based on fieldwork with the Jana Natya Manch, offers a script translation and an analysis of a new kind of performance developed in active circumstances. [ABSTRACT FROM AUTHOR]

The article presents the bibliography of the academic staff of the Institute of Canon Law at the Faculty of Law, Canon Law, and Administration of the John Paul II Catholic University of Lublin for the year 2020. It includes a variety of publications, including books, articles, encyclopedia entries, and reviews, related to topics concerning canon law and the activities of the Church. Among the authors are Leszek Adamowicz, Krzysztof Burczak, and Mirosław Sitarz, who address issues such as the legal status of minors, ecocide, and the relationship between the Church and the state. The document serves as a valuable source of information for researchers engaged in canon law and its practical application. [Extracted from the article]

The article focuses on the bibliography of the academic staff of the Institute of Law at the Faculty of Law, Canon Law, and Administration of the John Paul II Catholic University of Lublin for the year 2020. It includes a detailed list of publications that encompass various forms, such as book studies, articles, encyclopedia entries, commentaries, reviews, and reports. This bibliography documents the scientific contributions of the staff to the development of law and administration, as well as their involvement in research on various aspects of law, including canon law and civil law. [Extracted from the article]

This comparative book review is concerned with two recent studies of essential workers in Germany: Jana Costas' Dramas of Dignity and Peter Birke's Grenzen aus Glas [literally 'borders made from glass']. While Costas is interested in studying how individual cleaners preserve their sense of dignity despite their widely believed stigmatizing work roles, Birke is interested in the power resources migrant workers can potentially mobilize for improving their working conditions despite the multi-dimensional (inter-sectional) precarity they confront in their life situation. In the context of German industrial and organizational sociology, both studies represent comparatively rare exemplars of detailed qualitative and ethnographic work that illuminate the labour process from taking a workers' perspective. Using different approaches to fieldwork, both studies reveal the precarious nature of being an essential worker in areas such as meat packing, warehouse work, and cleaning. This general observation gives rise to some concluding speculations about the emancipatory potential of ethnographic research, in labour studies and beyond. [ABSTRACT FROM AUTHOR]

Copyright of Annals of Cultural Studies / Roczniki Kulturoznawcze is the property of John Paul II Catholic University of Lublin, Institute of Cultural Studies and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Ethos (0860-8024) is the property of John Paul II Institute, Faculty of Philosophy, John Paul II Catholic University of Lublin and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This edition of the life of Blessed John Cantius comes from the 7th edition of Lives of the Saints compiled by Piotr Skarga in 1610. The Life of Blessed John of Kęty is a pioneering work of the project 'Critical Edition of Piotr Skarga's Writings. Part 2: Lives of the Saints, Polemical and Catechetical Writings', led by Magdalena Komorowska. Piotr Skarga was one of many men of letters commemorating the life of the pious professor and later patron of the Jagiellonian University, but the extraordinary popularity of Skarga's hagiographical collection brought wide recognition to John of Kęty. The edition is preceded by an introduction to the reading, containing biographical information about St. John of Kęty, a description of the elements that create his hagiographical image, with particular emphasis on the miracles at his intercession, a short analysis of this life against the background of the entire collection of Lives of the Saints, and the principles of publication. [ABSTRACT FROM AUTHOR]

The paper presents how John Cassian, particularly in his Collatio Patrum XIV, deals both with the a-intelectual (not to say with the anti-intellectual) and the erudite elements of the monastic tradition. In the introduction, the general conditions of literacy in the early monasticism have been depicted (with the special reference to the example of St. Anthony as indicated in the Prologue to St. Augustine's De doctrina christiana and to abba Theodor in Cassian's De institutis coenobiorum). In the main part of the article, Collatio XIV, that is the conversation with abba Nesteros on spiritual knowledge, has been analysed. In addition to classical divisions of knowledge and Biblical senses, the following topics have been discussed: (1) the transmission medium of Cassian's books themselves (written, yet containing some criticism of writing and, above all, of a mere erudition); (2) universality of the written culture; (3) the meaning of the notion of meditation, also a night one (not necessarily covering only the night office, but also time dedicated for rest); (4) the dynamics of the spiritual development of the listener/reader of the Holy Scriptures, including the difficulty characteristic of a young and educated reader - addressed in the paper's title - how to pass from a mere erudition to a true experience. The main conclusion of the paper is that Cassian represents a balanced attitude towards the Christian intellectualism (gnosis). Although he does not abandon any of the intellectual achievements of his original environment, whose problems are reflected in Collatio XIV, he is able to formulate a universal proposal also for uneducated Christians who can be participants not only in Christian praxis, but also in theoria. [ABSTRACT FROM AUTHOR]

Copyright of Collectanea Theologica is the property of Uniwersytet Kardynala Stefana Wyszynskiego w Warszawie and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article tests the transmedial formula of “written film” (Pavle Levi) or “cinepoetry” (Christoph Wall-Romana). Regarding the experiment that implements assumptions of constructivism in art, Polish artists and theorists usually assumed a strict separation of disciplines, positing the autonomy of each. Using the example of the script to the silent film Kobieta i koła (Woman and Wheels) by Jan Brzękowski, the author shows how such assumptions were implemented in practice. Film techniques inspiring literature is only one of the phenomena that assume the transfer of means of expression from film to literature and vice versa. Unrealized during its author’s lifetime, Brzękowski created his screenplay following the rules of “integral poetry,” so one may treat it precisely as a special case of “written film.” One cannot interpret the screenplay without transmedia assumptions that determining the synthesis of poetic and cinematic means in the overarching creative form of a montage of images. [ABSTRACT FROM AUTHOR]