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Professionally a social worker has to pay attention to both the society’s values and to a client’s personal values. However, a social worker’s personal values are not the least of importance and can’t be ignored. Where could a sharp line be drawn between professional and private values and acting? The problem of decision-making has been pondered over since ancient times when Socrates contended that ‘everyone desires the good.’ Could it then be that for some the profession becomes a calling? This paper uses a collaborative autoethnographic approach with the narrative told by the first author, a female Swedish social worker. The story is about her meeting with a male drug addict living on the streets of London and about the decision she made. As it turned out, her decision would have consequences far beyond her and his imagination. The Introduction was written by the second author in order to provide the scientific framework embedding the first author’s story. Finally, the Discussion was written mutually as an interview. [ABSTRACT FROM AUTHOR]

Copyright of Journal Dawat is the property of Republic of Iraq Ministry of Higher Education & Scientific Research (MOHESR) 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 RumeliDE Journal of Language & Literature Research / RumeliDE Dil ve Edebiyat Araştırmaları Dergisi is the property of RumeliDE Uluslararasi Hakemli Dil & Edebiyat Arastirmalari Dergisi 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 Larq Journal for Philosophy, Linguistics & Social Sciences is the property of Republic of Iraq Ministry of Higher Education & Scientific Research (MOHESR) 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 Larq Journal for Philosophy, Linguistics & Social Sciences is the property of Republic of Iraq Ministry of Higher Education & Scientific Research (MOHESR) 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 Larq Journal for Philosophy, Linguistics & Social Sciences is the property of Republic of Iraq Ministry of Higher Education & Scientific Research (MOHESR) 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 attempts to reconstruct the image of a witch based on the interrogation records of those accused of witchcraft during the Salem trial (Massachusetts, North America, 1692) and related materials. The subject of research is the phenomenon of prosecution on those accused of witchcraft. The source base are the records of the Salem process, transcribed and published in 1977, as well as a number of documentary testimonies of witnesses, speaking from a puritanical viewpoint. The article examines the features of the mythological worldview of traditional society, dictated by the belief in supernatural influence (witchcraft). After analyzing the interrogation records of the first accused during this trial and considering a number of their biographical data, the author comes to the conclusion that the situation demonstrated by this trial is paradoxical: in fact, arbitrary people are subjected to persecution, and the reconstruction of the image of a witch that could underlie such accusations, does not seem possible. The author's conclusions are essential for the study of both the phenomenon of witch-trials and the mentality of traditional society. This article was conducted from an imagological perspective relevant to modern social studies.

This article postulates the concepts of subjective violence and objective violence in constructing the revolutionary others in The Slave (1964), the ideological play by Amiri Baraka (1934-2004), also known as LeRoi Jones. The blacks are identified as the others in the white dominant societies, and the inconvenience of their livings under no effective ‘Civil Rights’ has faded their legitimated targets. They have detached themselves from their origins and experienced numerous troubles in the dominant imperialist world. Jones’ The Slave focuses on the revolt of a black man against the whites’ subjective and objective violence. The paper has centralized Jones’ concepts of black art and identity related to American ‘Social Movements’. Baraka’s The Slave revolutionarily fights back the whites’ violence. To develop the purpose of this study, Žižek’s concept of violence and his psycho-ideological impacts through the lens of Lacan are to be analyzed. The Slave indicates the centrality of a black massive movement toward the achievement of self-rule, self-confidence, self-reliance, and self-realization. LeRoi Jones, as the leader of the ‘Black Arts Movement’ and founder of ‘Black Power’ of the 1960s, attempts to re-define and support blacks’ literature, art, and culture as the operational mission.

The dialectics of relation Me - Other as the first relationship of the community speaks, above all, about communication. The communication chain that every human existence enters into by its birth, points to the complex cycle of interactivity. The mosaic of experiences acquired in the entire spectrum of relations, is always framed by certain social context. Through existence with the Other, we discover the complex network of interdependent relations. Having been influenced by innovative technologies, society creates a brand new culture, that transforms social interactions and it is an invitation for creating some new types of interactions.

The Categorical Imperative is the normative expression of Kantian Ethics and it is the supreme principle of morality for unholy beings. In Groundwork for the Metaphysics of Morals, Kant introduces several characterizations of the Categorical Imperative. Kant’s commentators have no agreement on how many characterizations Kant has indicated, on which characterization plays a basic role, and whether Formulas are equivalent or not. The consequence of this paper is that though five versions are presented as characterizations of the Categorical Imperative or the Supreme Principle of morality, one of these characterization is the main expression, but the other four versions he introduces, in his view, would be equivalent and all of which would have a similar meaning according to the concept of "otherness as a rational subject" and together would propose the same system of duties. In this regard, it will be shown that not every version is to be used separately, but that all versions should be used together to understand each duty, and that each characterization can shed new light on duties of moral subjects. [ABSTRACT FROM AUTHOR]

This paper explores the general characteristics of the aesthetics of life. Our approach will be in thinking about the aesthetics of life as a domain independent from the realms of ethics and morality. This thesis discusses some of the theoretical debates around those concepts. The notion of 'pleasure' in those practices will be discussed as the one that gives shape to 'the art of life'. Pleasure also makes it possible for a person to perform these practices for a long period of time; what we call the 'life-long character of the aestheticization of life'. However, this effort endeavors to demonstrate another central theme of this style of life; the individual/social character of those practices is the one that exemplifies 'the art of life'. Thinking simultaneously about 'oneself' and the 'other' is the main concept that helps us the most to appreciate these practices. These debates are elaborated further in some case studies that have been researched between 2016 and 2019. These are real examples of peoples' lived experiences who, in different ways, try to give meaning to their lives by turning their existence into a work of art. [ABSTRACT FROM AUTHOR]

Viking-rock grew out of the diminishing Swedish punk scene in the early 1980s and is lyrically linked to British Oi! and the far-right 'Rock against Communism' (RAC) scene. Previous research on Viking-rock either emphasizes the genre as a cultural expression of the Swedish white power milieu of the 1990s or as a product of the skinhead subculture. However, critical analyses of Viking-rock lyrics are scarce. This study emphasizes the development of the Other, as expressed in the lyrics of Viking-rock flagship band Ultima Thule from the 1980s to the 2010s, in relation to the development of the political party the Sweden Democrats. The lyrics are analyzsed from a comparative literature perspective that draws upon both borealism and the concept of the subaltern as an anti-intellectual voice of power as well as the idea that long-lasting political change is preceded by cultural change. The results suggest that Ultima Thule's lyrical Other has gone from vague to distinct characterization. Ultima Thule also makes use of self-victimization when confronting journalism and intellectualism, much like the Sweden Democrats' own view of themselves as political outcasts. Ultimately, the lyrics toe the party line and describe nationalists as an outcast Other in an alleged, politically correct, discourse. [ABSTRACT FROM AUTHOR]

Copyright of Journal of Social Sciences Institute / Sosyal Bilimler Enstitüsü Dergisi is the property of Bingol University / Rectorate 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 manuscript is an analysis of homosociality among the male Avengers in the first film depicting the unification of the superhero team. It argues that The Avengers replicates and valorizes hierarchical homosociality as the preferred method of communication and unifying force among the male Avengers, thereby maintaining hegemonic masculinity and the gender hegemony in the superhero franchise. This article's focus on homosociality takes on a different approach to analyzing gender in superhero films as it takes an in-depth look at same-sex interactions in a group setting, as opposed to the individual gender identities of the characters. [ABSTRACT FROM AUTHOR]

The article analyzes the 2007 film "In the City of Sylvia," directed by José Luis Guerín. Topics covered include the influence that Alfred Hitchcock's 1958 film "Vertigo," had on Guerín's film, the strategies used in "In the City of Sylvia" to articulate the ideas of the mechanics of the male gaze, voyeurism, objectification and the obscurity of the desired Other, through form and narrative, and how the film engages in a dialogue with the tenets of classical feminist film theory.

In this paper, I shift critical attention from a focus on the colonialists' overt rapacious practices to a more fundamental question of how the Other is framed and perceived in the eyes of the colonialists in Heart of Darkness. I argue that the text allows Marlow to transcend the limits of his culturally-determined perception and perceive the uniqueness of the Other in his confrontation with the unknown; as such, it resists the inculcated exclusion of the Other. To this end, I first reconsider a characteristic Conradian technique – "delayed decoding" – in the narrative, and show how this literary device unveils the driving telos of perception, the culturally-mediated selective attention. Thereafter, I trace the ways in which Marlow attempts to transcend the limits of his culturally-prescribed perception and see the Other for who they are, even as he remains confined within perceptive boundaries inscribed by European language and culture. The last section discusses how Conrad creates a dynamic space for Africa by assiduously attending to Africa per se in his writing. Ultimately, the paper aims to reveal how colonialism continues to exert its influence on the way that the contemporary world itself is framed. [ABSTRACT FROM AUTHOR]

The presence of the coronavirus covid-19 (SARS CoV-2) in the world it's a significant fact without precedents, the pandemic converge in an event that produces discourses about the body, expressions from a discomfort in the subject. In this discourses the body reach an object analysis category: fear to sick, to die, and fear to the other which can be a virus carrier. Its transit from a community sense to an encounter with the other, the other into the discrimination and inequality, but it's a transit from the fear to other to the aggression and hate, too. In this analysis work from a psychoanalysis perspective focus the significant effects in the repetition, a line that initiate in the biosurveillance topic that ends in to the ominous experience, in this context the subject of the science and confinement its moved to an encounter with the other, to a ominous return that remains familiar. [ABSTRACT FROM AUTHOR]

This essay investigates Toni Morrison's novel Home (2012) by focusing on the link between Frank Money, a battered African American veteran of the Korean War, and the young Korean girl he kills at the battlefield. Critics have not paid enough attention to the ethical appeal from the Korean girl to Frank. This essay argues that she plays a very important role in the recovery and growth of Frank, who has been haunted by her smiling face before her death. By drawing on the theories of Emmanuel Levinas and Judith Butler about the ethical demand made by the other, this essay aims to explore what lies in the vulnerable face of the Korean girl and what prevents Frank initially from responding to her ethically. The essay claims that the transformation of Frank depends not only on his ability to confront his crime of killing the Korean girl, but also to realize and respond to the ethical appeal from her, and finally in mourning the Korean girl, Frank allies with her in the shared vulnerability of all the others in the society. [ABSTRACT FROM AUTHOR]

This theoretical essay aims to reflect on the treatment of the Other in the course of Organizational Studies and Administration. In this way, we try to instigate the deepening of the theme of the Other, as well as its problematization. To do so, starting from a Merleu-Pontyan perspective, we discuss the problem of the existence of the Other and then discuss the treatment given to the Other in Organizational and Administration Studies. In the course of these Studies, for the most part, the heritage of Western philosophies was privileged, which generally have at their core, solipsism with no way out in which the Other is reduced to the Self. In this way, it is necessary to break these overwhelming chains of the Other to speak not of processes of the constitution, of the definition of the Other, but of the intertwining of the Self with the Other(s), which create the social and also the organizations and which manifest in lived, felt and perceived experiences. [ABSTRACT FROM AUTHOR]

Copyright of Tabayyun is the property of Arab Center for Research & Policy 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.)

Identity interweaves with the emotions of its bearer, either as an individual or a group member. Identity defines the emotional attitude towards other people (their 'own' or 'alien'), towards the social and natural environment, towards the world as a whole. On the other hand, the emotional attitude determines the identity. This attitude could be spontaneously occurring, but very often it is culturally conditioned, and purposefully designed. Postulates of national identity can take the form of imperatives like „Love your motherland!" Very often they are formulated in another way that replaces the imperative with allegations expressed by claims in first person (single or plural) or in impersonal form. Such statements are similar and operate as spells. The ambivalent attitude to the 'own' contains some negative elements. Their designation may indicate a trauma, frustration caused by some kind of insufficiency (including a lack of heroic deeds), inferiority complex. Trauma and shame can be pushed to the unconscious, but can also be productive as a cohesive element and as search for compensatory actions or verbal structures. [ABSTRACT FROM AUTHOR]

The vast majority of current scientific research devoted to the phenomenon of solitude is performed within the framework of psychology, sociology, and literary criticism. However, these inquiries deal with specific manifestations of the multidimensional phenomenon of solitude, eliminating its nature and fundamental philosophical and anthropological essence, which is hidden behind secondary layers of empirics. The task of this investigation is to consider the phenomenon of solitude among representatives of the world's philosophical thought of modern times, in whose teachings it has received the fullest expression, in particular among representatives of existentialism, philosophy of life, phenomenology, and psychodynamic theory, including K. Jaspers, N. Berdyaev, M. Buber, M. Heidegger, E. Levinas. Despite the noticeable outburst of engagement with the phenomenon of solitude in the philosophy in the mid 19th -- mid 20th centuries, interest in it did not disappear, as evidenced by current works designed to bridge the gap identified by predecessors. Despite the differences in views on the nature of solitude and its impact on the personality, as well as on the moment when a person encounters their solitude, these thinkers have something in common -- they all necessarily consider solitude through the lens of the Other (be it a specific individual or a whole society) and recognize it a necessary condition for both true knowledge of things and self-knowledge. Regarding the discrepancies in views on solitude, they may be caused by the "terminological chaos" that still prevails when considering this issue. The terms "seclusion", "alienation", "isolation", "loneliness", and actually "solitude" are used to denote various manifestations of this phenomenon, often without distinguishing them; classifications of solitude are built through descriptive definitions. The lack of clarity should be overcome by distinguishing related but different concepts and developing a unified approach to the relationship between the essence of the concept and its various lexical expressions. Such a clarification is achieved in this article by identifying commonalities and indicating differences in the works of modern philosophers, who were most interested in the phenomenon of solitude, assigning it an important place in their own philosophical explorations. [ABSTRACT FROM AUTHOR]

Copyright of Journal of Erciyes Communication / Erciyes İletişim Dergisi is the property of Erciyes University, Faculty of Communication / Erciyes Universitesi Iletism Fakultesi 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 analyses the ways of presenting the Other -- an immigrant, a refugee, a non-Pole -- in selected works of Polish cinema from 2015 to 2021. The author examines films featuring foreigners in the leading (Never Gonna Snow Again by Małgorzata Szumowska) and supporting roles (The Sun, the Sun Blinded Me by Wilhelm and Anna Sasnal), as well as in the bit parts (Tower. A Bright Day by Jagoda Szelc). The article attempts to determine, describe, and compare the depictions of the Other. Moreover, the article seeks to establish an increased significance of these characters and incite the viewer to re-examine the entrenched connotations. Presenting the world through the eyes of a non-Pole and/or making their presence prominent within traditionally Polish-only spheres is a relatively new phenomenon within Polish cinema and, as such, calls for augmented analysis and interpretation that follows the spirit of transcultural studies. It is significant that the Other, as a character in Polish cinema, is becoming more and more independent and authentic; their depiction seems to have lost the oriental and caricatural features of the past and the Other often contrasts with the Polish figure. The presence of the Other as an empowered character symbolises the shift in perceiving Polish society as stereotypically homogenous. [ABSTRACT FROM AUTHOR]

Copyright of Lublin Studies in Modern Languages & Literature / Lubelskie Materialy Neofilologiczne is the property of Maria Curie-Sklodowska University, Department of German & Applied Linguistics 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 aim of the research is to identify the concept of dialogue and its importance in societal life and how we can overcome problems in dialogue and accept the other, as well as highlighting the implications of the absence of dialogue in Iraqi society after 2003, the researcher relied on the historical approach, and the descriptive and analytical approach.

The church on mission, especially in the Middle East, has been a controversial topic with memories of the Crusades and colonialism burned deep in the psyche of the region. While much attention has been paid to the implications of Islamic Theology in conversations about extremism and radicalization in the Middle East, Christian Theology and Missiology, have been largely neglected. The great migratory people movements of the last few years, especially in the Middle East, have brought the church into more intimate contact with historic enemies and the results are arguably unprecedented. Unexpected stories of worldview change among former extremists and exponential church growth in the Levant are widespread. This paper illustrates the phenomenon with stories from Lebanon which provide an interesting laboratory for research into how the church has contributed to the deradicalization of Syrian Muslim refugees. Common ground between the fields of missiology and de/counter radicalization is explored and time is taken to orient those who may be new to missiology to the concepts of doing justice, loving neighbor and loving enemy as integral practices of the Christian faith. Finally, this paper attempts to demonstrate that the church may have a role to play in de/counter radicalization if it is given space to carry out its natural mission and intervene pragmatically in social ills that are often drivers of radicalization, ideological re-pluralization and the creation of spaces for societal belonging. The paper closes with some practical suggestions for both fields and suggest that in our increasingly pluriform and globalized society we cannot afford continued isolation and kinetic measures as the primary tactics for countering and preventing extremism.

My aim is to prove that Hermann Cohen was not only a philosopher of dialogue but has played an exceedingly important role in the history of that current of thought. His books Ethics of Pure Will (1904) and Religion of Reason out of the Sources of Judaism (1919) offer a detailed analysis of the relationships between I and Thou, I and It, I and We. In the first book these relationships are considered from the ethical-legal point of view and in the second from the viewpoint of religious anthropology. However, Cohen considers the problem of inter-personal relationships not in isolation, but as an important component of his entire philosophical system. Deduction of the concept of personality in Ethics of Pure Will is based on Cohen’s logic of the origin expounded in the first part of his system in The Logic of Pure Cognition. Cohen explains that the origin of the self-consciousness of I as a personality is not the external world, but another person, i.e. Thou. In turn, the partnership relationships between I and Thou create the community We which forms the basis of the law-governed state. The process of artistic creation in the framework of inter-personal relationship is explored in Aesthetics of Pure Feeling. Finally, Religion of Reason out of the Sources of Judaism formulates the conception of religion as the most complete realisation of inter-personal relationship. Thus, dialogism became an important dimension of Cohen’s entire philosophical system, a fact noted by Martin Buber. Franz Rosenzweig, in unfolding dialogical thinking, expressly appeals to all the elements of Cohen’s system. There are signs of his influence on Bakhtin’s doctrine. Thus, examining Cohen’s doctrine as part of the philosophy of dialogue gives insights into this entire trend as a coherent whole.

Our reflection concerns the question of facets of interculturality in the novel of Phantasia by Abdelwaheb Meddeb, who is considered as an important author of French-language Tunisian literature. His novelistic universe problematizes the human existence and encourages the reader to ask questions about himself and the other. The work is organized around two main axes. The first axis deals with the facets of doubly which reflect an identity structure which is characterized by the plurality. The second axis is devoted to the textual manifestations of interculturality in the novel, notably the plurilinguisme and the intertextuality.

Nietzsche and Levinas are the most prominent contemporary philosophers who have emphasized on the necessity of passing over rational subjectivity. They tried to rethink the meaning of ethics in a world where neither religion nor other moral philosophies could create a strict and reliable source for the crisis of the contemporary human being. In an attempt to overcome rational subjectivism, Nietzsche and Levinas redefined concepts such as morality and the subject. The purpose of the paper is to describe the attitudes of Nietzsche and Levinas towards their critiques of rational subjectivism. Then examine Nietzsche’s naturalistic reading and Levinas’ transcendental reading of the subject and their encounter with the other and also introduce their critiques of traditional ethics and propose a new kind of ethics in their thoughts. We will then evaluate their alternative concepts in the problem of overcoming rational subjectivism and finally, we will compare these two attitudes. Although Nietzsche and Levinas initially adopted common points of view for the critique of subjectivism and traditional ethics and common criticisms in the field, they presented different results, goals, and methods. Based on these approaches, each has proposed different principles and conclusions about ethics and overcoming rational subjectivism. Nietzsche’s problem is the genealogy of values, and Levinas’s question is the possibility of a moral condition. The answer to the first question is not related to the second question. The present paper shows that both Levinas and Nietzsche have presented different insights into the meaning of subjectivity. Their efforts to find the meaning of subjectivity have also been accompanied by the necessity to destruct the meaning of morality. Accordingly, by focusing on the overman (Nietzsche) and the other (Levinas), they have sought to reevaluate values ​​(Nietzsche) and asymmetric moral responsibility (Levinas). In this regard, they have adopted a completely different view from the traditional view of ethics. Although both of them start with a common point of view, their methods, interpretations, and results are different. With a genealogical approach, Nietzsche considered the will of power in the active subject and the birth of the overman to be desirable and practical to end the history of the development of nihilism. And Levinas, with a phenomenological approach to the concept of asymmetric responsibility in the passive subject, has put an end to the history of neglect of the other and rational subjectivism. The final suggestion is that Nietzsche and Levinas are both looking for a new meaning of morality that resides not in the mind but in the body. In Levinas, the relationship between the body and morality is evolving and transcendental, with concepts of responsibility and suffering, but in Nietzsche, this kind of connection fluctuates between naturalistic and transcendentalist views and considers the concepts of power and instinct important. Nietzsche’s attitude about the human being is a combination of a naturalistic and over-humanist approach, and with the precedence of selfhood, he has expressed a negative view of the other. However, Levinas’ philosophy is more humanistic and inter-subjectivity because of ethical ideals, and ethics begin with recognition of the priority of the other.

The study proposes an interpretation of Maggie Gee’s short story The Artist (2006) through Bakhtinian perspective, which enables its reading both as a piece of social criticism and as a mediation about the true artist’s capacity for empathy and responsiveness towards the Other. A nontrivial meditation about the dimensions of being an Artist is conceived in an elaborate narrative, revealing the protagonist’s lack of ethical consciousness and sensitivity through some formal means. The first set of means foregrounds monological aspects of Emma’s (a would-be artist) approaching Boris (a migrant worker), which leads to his objectivized image, and its silencing as an equal subject. The ‘central consciousness’ mode of narration with signs of unreliability is combined with instances of the unexpected shifts from Emma’s to Boris’s point of view, some effects of ellipsis, and a ‘circular story’ structure in order to provide a key to satirical message of the author. The second set of formal means are signs and symbols, which represent lack of protagonist’s sensitivity and ‘answerability’ to the Other: the protagonist’s ability to perform (verbally and corporeally) with empathy is questioned. Her vision is highly selective and displaced, which is rendered through ‘ostranenie’ (Shklovsky). Ironic and playful use of title is combined with a repetition of attributive ‘sensitive’, used and understood in a different way all through the story, which deconstructs a banal love story and widespread cultural preconceptions, gives way to a social drama of migrants’ silencing, and finally questions the artist’s ethics.

The author considers the construction of the temporal sociologism by A. Schtz from the general thesis of the alter ego to the Stranger and the Homecomer. The background and starting point of this construction is Schtzs criticism of the Husserlian egological approach to the basic category of the Other and the radicalization of phenomenological reduction. The Husserlian primordial reduction to an isolated monad is replaced by a radical reduction of the cultural pattern as a phenomenon of the social a priori. Social a priori and the Stranger serve as necessary conditions for intersubjectivity as not derived from the Ego and acquire temporal features in the categories of cultural pattern of the group and Homecomer. In Schtzs interpretation, the Stranger combines temporal and functional (spatial) features, which allows to define the category of cultural pattern of the group and describe the relations of the Stranger with the group in terms of temporal sociologism. The Stranger category is the result of reduction of the taken-for-granted cultural pattern of the group. Schtzs temporal sociologism places any manifestation of the social not only in the intersubjective space but also in the continuum of alterations in intersubjectivity. After this radical reduction of the natural attitude to the cultural pattern of the group by the Stranger category, Schtz goes further and reduces the natural attitude to the belonging to/identification with any group by the Homecomer category, which allows to explore the continuum of alterations in intersubjectivity exactly at the moment of its breaching. The experience of Homecomer restoring a breach with his group represents the reduction of taken-for-granted self in itself - turning into a Stranger for oneself, which allows to find a social basis in oneself. Thus, Schtzs temporal sociologism develops as a definition of the social through changes in time and preserving social identity despite changes in the continuum of intersubjectivity.

The article focuses on juxtaposing the stances of Franz Rosenzweig and Emmanuel Levinas on the notion of the Other based on the metaphysical principles of modernity so as to expose the prerequisites for their attitude to metaphysics in whole. The peculiarity of the proposed approach is the analysis of the notions of the Other in Rosenzweig and Levinas from the perspective of Jacques Derrida’s philosophy. The scrutiny proceeds from the assumption that the national philosophies, having been considered as the specific response to the effects of the encounter of societies to be modernized with the spreading modernity, for that very reason attach great importance to the construal of the Other. It is emphasized that the similarities between the national schools of philosophy indicate correlating the particular with the general as the paradigm for the comprehension of the Other, whereas the Jewish philosophy has previously conceptualized that paradigm by way of the opposition of “Athens and Jerusalem”. In an effort to assess the capabilities of the above-mentioned paradigm the analysis of the relevant range of problems is set into the wider context and they are considered in connection with the transition from essentialism to anti-essentialism that characterizes already the late modernity. It is disclosed that Rosenzweig’s stance was still essentialist, while Levinas tried to abandon the essentialist understanding of the Other, albeit he did not complete the transition to anti-essentialism. Levinas’ break with metaphysics was brought to a close by Derrida whose anti-essentialist stance on identity and difference radically diverges from the thinking that adheres to the “metaphysics of presence”. In the issue, Derrida who does not formally belong to the Jewish philosophy could afford to summarize Rozenzweig’s and Levinas’ approaches to the problem of the Other, and in so doing he makes a contribution to both general and Jewish philosophy.

The article deals with the functions of metaphor in the artistic world of M. Proust. In the context of the novel sequence In Search of Lost Time, metaphor becomes a mechanism to implement involuntary memory, which allows to combine the present (impressions) and the past (memories). Metaphor, given by the associative connection between impressions and memories, becomes the main constructive law of the artistic model of reality created by the French writer. The multifunctionality of metaphor correlates with the three forms of the subject of consciousness that appears in the context of the artistic whole of the novel sequence as an author, a narrator and a character. The author organizes the work of involuntary memory, based on the metaphor; the narrator balances what has been fished out of the past against the present with the help of experience associations; the character experiences the impressions by going through discoveries and disappointments. Proust’s lyrical epos gives the subject the ability to move beyond the hellish circle of the present into timeless dimensions. The novels created by the author and the character, intersect creating the effect of full being, allowing the subject of creative consciousness to recover its identity by overcoming painful contradictions of individual existence in the artistic creativity as in the dialogical interaction with the other. By using the formal and the hermeneutical methods with the emphasis on the philosophy of dialogue, the article explores the peculiarities of metaphor functioning at the macro- and microlevels. The former allows to construct the experimental picture of the world at the intersection of different time-space spheres that correlate with each other due to the spiritual and intellectual efforts of the subject. The latter allows us to consider the artistic image based on metaphor the core of the modernist writer’s artistic style and the way to the new concept of artist and art.

Dichotomy of the West and the East has become an issue after colonial era ended. The colonized countries such as India are seen as inferior to the Western countries—European countries and America. Moreover, according to Orientalism by Edward Said, the Westerners regard the East as The Other. This study aimed to explain (1) the concept of The Other as constructed in Mukherjee’s Desirable Daughters and (2) how it affects the personality of the main characters. Observation sheets were used as research instrument and the data were obtained from library research. This qualitative descriptive study employed Orientalism theory by Edward Said in analyzing the data. It is found that the concept of The Other in Mukherjee’s Desirable Daughters are constructed on three (3) keys which are (1) Westerners perspective on Indian people as well as Indian perspective on the Westerners, (2) the otherness of India, (3) and the imagery of India. Meanwhile, the construction of The Other has affected the main characters’ personality. From the construction of The Other, Indian are seen as inferior, powerless, poor, restricted, and traditional. It shows that Western hegemony can even change people’s personality and how they think about their identity.

The article analyzes the problem of interpretation of the image of the Other through their Body. In modern society, the problem of denoting the Other is extremely important. Very often mass media resorts to the metonymy of the body for naming the Other, for example, "the face of Caucasian nationality". This usage of the word ‘face’ as a certain metaphor to describe the nationality depersonalize people. The usage of the metonymic method of pars pro toto indicates archaic nature of the notions related to the corporality of the Other. As an argument, the author quotes numerous examples of images of mythological heroes whose otherness is expressed through hypertrophied bodily parts, for instance a large face or a tremendous head. The article analyses the popular Soviet movie "The White Sun of the Desert", because this movie demonstrates in the best way the Soviet and post-Soviet pattern of Cultural Encounter. The astonishing popularity of the movie in the USSR shows that the representation of a face-to-face meeting with the Other that the movie offered was very close to the Soviet viewer. The author argues that Russian society still faces the challenge of rediscovering the dialogue of cultures instead of a monologue.

The article primarily addresses different philosophical views of otherness (Levinas, Waldenfels, Liebsch) and tries to question them from a hermeneutic perspective. Above all, the conceptual radicalism of the asymmetrical relationships is criticized through the hermeneutic approach, understood not as mere strategy of appropriating the other or the stranger, but as an open process of understanding, in which the heterogeneity of those involved is subject to constant change, but is nevertheless always maintained. On this basis, the cultural-philosophical, but also social and political relevance of the opposition between cultural pessimism and cultural optimism is called into question.

This paper is about the interconnectedness of the realm of language with that of social interactions, constitutive of all human communities. Arguing against the traditional and still present primacy of the rationally based understanding of language, I wish to stress the possibility of another approach to language, strongly related to the question of the Other. Relying on the idea that the Other is a constitutive part of any linguistic situation, I wish to inspect how it is possible for the voice of the Other to be suppressed or silenced, and if that is the case, how we should understand the silence of the Other. The main result of my findings is that the silence of the Other is not only meaningful, but that it can have positive social and political effects, including the enhancement of the sensitivity for the various modalities of the voice of the Other.

In the proposed study, the author explored the modern meanings of the term “art of understanding”. The conducted research allowed: a) to explain the relevance of creating a “universal language”; b) to explore the art of understanding as an ontological orientation towards understanding the Other. It has been proven that understanding the Other is an innate quality inherent in man; c) to prove that understanding the Other as an innate quality needs to be developed. Education and educational technologies are a society-created environment in which “understanding of the Other” passes into a new qualitative state of “the art of understanding of the otherness of the Other”; d) prove that the “art of understanding” can be used as an indicator of the correspondence of cosmological models with criterion of falsifiability. The proposed study extends the existing boundaries of the use of art of understanding and opens up the additional possibility of testing cosmological models. As an example, the author tested the model “Evolving Matter”.

Schopenhauer’s theory of religion is mainly discussed in his ethics. Therefore, conventional studies often argue that Schopenhauer made an attempt to make a rational justification of religion through the process of recognising the reason for religion’s existence in its ethical values. However, his theory of religion contains other aspects which cannot be discussed soley in terms of the above view, for he not only observed subtle differences between religion and ethics but even considered that religion could go against ethics at times. For this reason, we cannot simply say that Schopenhauer used ethics as a means to make a rational justification of religion. Rather, he viewed ethics as a standard for criticising religions, though he did not deny religion. He neither affirmed nor denied religion. Based on his ethics, he simply engaged in a philosophical analysis of a human activity called religion as he considered such an approach to be the appropriate one for a philosopher. On that account, what is important here is where in religion Schopenhauer saw the conditions for ethical values. From that point of view, this paper reinterprets his thought through descriptions in his major work, The World as Will and Representation, with an intention to offer a new reading of Schopenhauer’s theory of religion.

With performance often being used as a means of entertainment for many, audiences can sometimes be at fault for allowing their gullibility to fiction and historical inaccuracies led to dangerously self-constructed beliefs. Time and time again with regard to the colonial history of Indigeneity in the “New World,” we face the risk of falling victim to historical deceit. Coco Fusco and Guillermo Gómez-Peña’s performance, The Couple in the Cage: A Guatinaui Odyssey, is a masterfully produced stage play that reveals flaws in past and present historical beliefs that were strengthened by almost laughable false colonial narratives. Highlighting the ignorance to Indigeneity in Western mind, the two performers lead the viewer to question their relationship with the history of oppressed societies or “the Other.” This analysis seeks to consider the significance of The Couple in the Cage: A Guatinaui Odyssey in the context of the fragility and danger of colonial credence that leaves “the Other” as a victim of falsehoods.

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The article sets out to investigate the way in which Colum McCann depicts New York City in his 2009 novel, Let the Great World Spin. While starting from the idea that the novel falls in the category of 9/11 fiction, the article will argue that it makes clever use of the technique of deterritorialization in order to look at the USA from an external point of view, interrogating in this way American international relations and extraterritorial citizenship, both before and after 9/11. The article will also argue that by starting from the trauma of 9/11, which is, however, circuitously tackled in the novel, McCann questions the myth of American exceptionalism, pointing at unresolved US domestic affairs, as well as harrowing external affairs, which have resulted in countless traumas. [ABSTRACT FROM AUTHOR]

In view of scholarly work that has explored the socio-psycho significance of national performativity, the body and the "other," this article critically analyses newspaper representations of the Canadian-born British tennis player Greg Rusedski. Drawing on Lacanian interpretations of the body, it illustrates how Rusedski's media framing centered on a particular feature of his body – his "smile." In doing so, we detail how Rusedski's "post-imperial" Otherness – conceived as a form of "extimacy" (extimité) – complicated any clear delineation between "us" and "them," positing instead a dialectical understanding of the splits, voids and contradictions that underscore the national "us." [ABSTRACT FROM AUTHOR]

Home movies' ambiguous definition and impossible categorisation alone point to their enigmatic role in visual culture. Artists lead the transition of home movies from private into public space. Their reuse, mostly as found footage, in the context of art, though, adds a unique layer of meaning that doesn't exist in any other way, something that could be described as an involuntary (auto)ethnographic gesture. The "artless" everyday image opens up a non-articulable fragment which always questions itself (how we perceive) and which, thus, can display a collective memory (also, a minorities' memory) more profound than the traditional history. In our case though, banality as minority. The power of experimental (auto)ethnographic expression is its capability to combine the subject and object of the gaze in one identity, the ethnographer and the Other in the artist. In today's world, saturated with extensive self-produced imagery, people become their own ethnographers. Home movies can be seen at the roots of this notion of self-vision. This article connects their structural, semiotic, philosophical and ethnographic potentials in constructing new meanings through appropriation and explores how the artist as (auto)ethnographer can open new hybrid (hi)stories as the counternarrative. [ABSTRACT FROM AUTHOR]