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The notion of poethics has been used to approach the way in which forms of language and forms of life are interdependent and to reveal the ethical dimension of poethics. However, the interaction must go both ways; there must not only be an ethical dimension to poethics, but also a poetic dimension to ethics. To what extent is ethics dependent on poethics? In this essay, I argue that Nietzsche's life-affirming ethics can be understood only in this poethical framework. The specificity of Nietzsche's ethics, and why it is so difficult to locate on the spectrum of ethical theories, lies in the fact that his ethics is a poethics. By focusing mainly on The Gay Science, I explore the interaction between ethics and poethics that lies at the heart of Nietzsche's ethical thought. Both poethics and ethics involve the question of value, and a poetic ethics (a poethics) reveals that the creation of ethical value is something necessarily poethic. Nietzsche's ethics of creation is not a mere theory, but a poetic way of life.

The mysterious word “Michtam”: The Hebrew word מִכְתָּם appears six times in the Hebrew Bible and it only occurs in the book of Psalms at the beginning of the chapter (16:1, 56:1, 57:1, 58:1, 59:1, 60:1). This Hebrew word has been understood differently. For instances, PONS Kompaktwörterbuch Althebräisch (2015) leaves it untranslated, while the other sources translate מִכְתָּם as inscription, prayer, or song. Two of the most notable Hebrew lexica, and Theological Wordbook of the Old Testament (TWOT), state that the meaning of מִכְתָּם is unknown. Modern English Bible translations also differ in their translations of מִכְתָּם. Most English Bible translations transliterate this Hebrew word (like NIV, NASB, KJV, Berean Study Bible, Christian Standard Bible, American Standard Version, JPS Tanakh 1917, and HCSB), while the NLT, ESV, International Standard Version, and New Revised Standard Version leave מִכְתָּם untranslated. This article, therefore, seeks to decipher the Hebrew word מִכְתָּם within its literary context and provides textual criticism. This article limits its discussion to Origen’s Hexapla because the consistent translation of Greek Aquila and Greek Symmachus contributes to unveiling the meaning of מִכְתָּם. Intradisciplinary and/or interdisciplinary implications: The study employed a combination of biblical studies and linguistics. Thus, this article shows the application of a comparative linguistic approach to interpret the word מִכְתָּם.

The paper presents the archaeological sites in the environs of the modern settlement of Bela Cerkev and the results of archaeological excavations in 2002, prior to motorway construction. Excavations at four (?) different, but contiguous locations (Dolge njive, Draga 1, Draga 2 in Draga 3) revealed and documented part of the line of the road, the masonry foundations of buildings, numerous post-built structures, a cemetery and domestic material, dating to the Roman period. The paper also considers hypotheses surrounding the location of the Roman-period roadside settlement of Crucium. It is posited that the excavation on these sites have revealed the location of the Roman roadside settlement of Crucium, which was occcupied or functioned in the period from the 1st to the 4th Centuries AD.

This paper aims to explain recent empirical findings on subjunctive II formation in the Bavarian dialects of Austria from both functional and formal perspectives. For this purpose, the explanatory power of the functional principles of natural morphology (NM) is compared with the formal framework of constructional morphology (CxM). It is argued that the two approaches complement each other. Thus, it is shown that the key concepts of NM (constructional iconicity, uniformity and transparency) can easily be adapted in terms of CxM. These adjustments are needed to explain the ongoing changes in subjunctive II formation in the Bavarian dialects of Austria. This is due to the well-documented shift towards the use of periphrastic constructions (with the täte- and würde-auxiliary) that are located at the interface between morphology and syntax.

Desinformationen haben mit dem digitalen Wandel eine neue Qualität erreicht. Für den gesellschaftlichen Zusammenhalt und das Gelingen demokratischer Prozesse gehört das Erkennen von und der Umgang mit Desinformation sowohl auf individueller als auch gesellschaftlicher Ebene zu den zentralen Herausforderungen. Doch allein das Erkennen genügt oft nicht, um Desinformationen und postfaktischen Überzeugungen effektiv entgegenzuwirken. Dementsprechend schlagen wir im Beitrag einen Ansatz vor, der sich der aktiven Dekonstruktion von Desinformationen widmet und auch die kreative Gestaltung von Narrativen und Weltbildern in den Mittelpunkt rückt. Der Beitrag setzt dafür zunächst die Konzeption Öffentlichkeit ins Verhältnis zu Desinformationen und digitalen Technologien. Anschliessend werden am Beispiel von Datenvisualisierungen und Karten einige kreative Datenpraktiken vorgestellt und diskutiert, um das Erkennen, Gestalten und Dekonstruieren aus einer medienpädagogischen Perspektive heraus zu adressieren.

The object of investigation is a systematic comparison between Marc Richir’s phenomenology of affectivity and Andrei Tarkovsky’s conception of film as a living image of time, illustrated by the work “Stalker”. The idea of “archaic” or “elementary” affectivity serves as a tertium comparationis. Such a philosophical and aesthetic reflection opens the possibility of examining and reconfiguring the architectural status of classical ideas of philosophy. Both theorists treat the opposition of immanence and transcendence in a way that subverts the basic metahphysical position of ego, world and God and replaces it with a thinking of threshold, transition, or transposition. In the light of Richir, the structure of the “zone” can be read as a hyperbolic phenomenon. Only amid its simulacra and instabilities does humanity emerge as an enigma, i.e. as the self-reflexivity of a self-evolving sense of formation. This reflexivity is phenomenalized, according to our further thesis, on this side of the distinction between thinking and feeling. The essay is an attempt to contribute to phenomenological aesthetics. By means of a constellation analysis, general architectural isomorphies and coherences of both approaches are highlighted in a first approach.