scholarly journals ЦЕННОСТНЫЙ ПОТЕНЦИАЛ ЭКЗИСТЕНЦИАЛЬНОГО ДИАЛОГА В СИСТЕМЕ ПЕДАГОГИЧЕСКИХ ИДЕЙ Ф. М. ДОСТОЕВСКОГО (НА МАТЕРИАЛЕ «ДНЕВНИКА ПИСАТЕЛЯ» И ЭГО-ДОКУМЕНТОВ 1863–1880 ГГ.)

2020 ◽  
Author(s):  
Elena Pats’orka
Keyword(s):  
Phenomenological Approach ◽  
Literary Work ◽  
Literary Text ◽  
Value Orientation ◽  
The Self ◽  
The Other ◽  
Moral Foundations ◽  
Young Generation ◽  
Orientation Vector ◽  
Self Knowledge

Введение. Феноменологический дискурс в литературоведении связан с методологической установкой на восприятие литературного произведения как феномена авторской действительности и события в восприятии читателя. За счет такой диалогической двуориентированности литературный текст перестает осмысляться как замкнутый объект, выходя на уровень экзистенциальной коммуникации автора и читателя с основой на ценностную событийность. Что позволяет говорить о возможности раскрытия воспринимающего сознания через диалогический поиск своего и чужого слова. Материал и методы. В исследовании используются аналитико-описательный, аксиологический методы и феноменологический подход. В качестве материала для исследования выступают глава «Дневника писателя» Ф. М. Достоевского «Одна из современных фальшей» (1873), эго-документы: записные книжки 1863–1864 гг., письма к А. Г. Ковнеру (1877), Н. П. Петерсону (1878) и Е. Ф. Юнге (1880). Результаты и обсуждение. В рамках аксиологического анализа текста в качестве ресурса была выделена категория «позиция автора» как «эстетический коэффициент» вектора ценностной ориентации литературного произведения. «Позиция автора» осмысляется через диалогическое начало, выведенное М. М. Бахтиным как первоопределяющее в полифоническом строе произведений Ф. М. Достоевского. Диалог у писателя понятие всеохватное, не имеющее ни временных, ни пространственных границ. Это нашло непосредственное отражение в идее, жанре и композиции «Дневника писателя». Другодоменантность, основанная на сопряжении сознаний Я и Другого, характеризуется позиционно-ценностной вариативностью. Экзистенциальное сознание писателя проявляется в слове, имеющем диалогическую ориентацию. Диалог является атрибутивной характеристикой экзистенциального сознания. Личностное Я проявляет себя как объект и субъект через ситуацию анализа процесса самопознания. Заключение. Процесс открытия читателем не просто духовно-нравственных основ личности автора, но самой ситуации их формирования является важным в ситуации ценностной ориентации молодого поколения. Через диалог с сознанием воспринимающего субъекта Достоевский открывает для читателя путь к обретению своего Я (как Я-автора, так и Я-читателя).Introduction. Phenomenological discourse in literature is connected with methodological orientation on perception of literary work as a phenomenon of author’s reality and event in reader perception. Due to such dialogue biorientation, the literary text ceases to be understood as a closed object, reaching the level of existential communication between the author and the reader with the basis for value event. Which makes it possible to talk about the possibility of revealing the perceiving consciousness through a dialog search for one’s word and another’s word. Materials and methods. The study uses analytical, descriptive, axiological methods and a phenomenological approach. The material for the study is the chapter of “A Writer’s Dairy” by F. M. Dostoevsky “One of the Modern Fales” (1873), ego-documents: notebooks 1863–1864, letters to A. G. Kovner (1877), N. P. Peterson (1878) and E. F. Yunge (1880). Results and discussion. As part of the axiological analysis of the text, the category “author’s position” was identified as an “aesthetic coefficient” of the value orientation vector of the literary work. The “position of the author” is understood through the dialogical principle, drawn by M. M. Bakhtin as the first definition in the polyphonic structure of the works of F. M. Dostoevsky. The dialogue of the writer is an all-encompassing concept, with neither temporary nor simple borders. This was directly reflected in the idea, genre and composition of “A Writer’s Diary”. Other modality, based on the conjugation of the Self and the Other consciousness, is characterized by position-value variability. The existential consciousness of the writer manifests itself in a word having a dialogue orientation. Dialogue is an attributive characteristic of existential consciousness. Personal Self shows itself as an object and subject through the situation of analysis of the process of self-knowledge. Conclusion. The process of the reader discovering not just the spiritual and moral foundations of the author’s personality, but the very situation of their formation is important in the situation of the value orientation of the young generation. Through the dialogue with the consciousness of the perceiving subject, Dostoevsky opens the way for the reader to acquire his Self (both I-author and I-reader).

scholarly journals The self as a prior for the other: social learning under paranoia

2021 ◽  
Author(s):  
Joseph M Barnby ◽  
Nichola Raihani ◽  
Peter Dayan
Keyword(s):  
Bayesian Inference ◽  
Social Interactions ◽  
Social Preferences ◽  
Value Orientation ◽  
Social Value ◽  
The Self ◽  
The Other ◽  
Social Value Orientation ◽  
Inference Process ◽  
Social Partners

To benefit from social interactions, people need to predict how their social partners will behave. Such predictions arise through integrating prior expectations with evidence from observations, but where the priors come from and whether they influence the integration is not clear. Furthermore, this process can be affected by factors such as paranoia, in which the tendency to form biased impressions of others is common. Using a modified social value orientation (SVO) task in a large online sample (n=697), we showed that participants used a Bayesian inference process to learn about partners, with priors that were based on their own preferences. Paranoia was associated with preferences for earning more than a partner and less flexible beliefs regarding a partner’s social preferences. Alignment between the preferences of participants and their partners was associated with better predictions and with reduced attributions of harmful intent to partners.

“The Continuity of Married Companionship”

2012 ◽  
Vol 66 (4) ◽  
pp. 494-530
Author(s):  
Cara Weber
Keyword(s):  
Alternative Conception ◽  
The Self ◽  
The Other ◽  
Self Awareness ◽  
The Novel ◽  
Ethical Action ◽  
Identity Based ◽  
Self Knowledge ◽  
A Site ◽  
Focus Questions

Victorian writers often focus questions of ethics through scenes of sympathetic encounters that have been conceptualized, both by Victorian thinkers and by their recent critics, as a theater of identification in which an onlooking spectator identifies with a sufferer. George Eliot's Middlemarch (1871–72) critiques this paradigm, revealing its negation of otherness and its corresponding fixation of the self as an identity, and offers an alternative conception of relationship that foregrounds the presence and distinctness of the other and the open-endedness of relationship. The novel develops its critique through an analysis of women's experience of courtship and marriage, insisting upon the appropriateness ofmarriage as a site for the investigation of contemporary ethical questions. In her depiction of Rosamond, Eliot explores the identity-based paradigm of the spectacle of others, and shows how its conception of selfhood leaves the other isolated, precluding relationship. Rosamond's trajectory in the novel enacts the identity paradigm's relation to skeptical anxieties about self-knowledge and knowledge of others, and reveals such anxieties to occur with particular insistence around images of femininity. By contrast, Dorothea's development in ethical self-awareness presents an alternative to Rosamond's participation in the identity paradigm. In Dorothea's experience the self emerges as a process, an ongoing practice of expression. The focus on expression in the sympathetic or conflictual encounter, rather than on identity, enables the overcoming of the identity paradigm's denial of otherness, and grounds a productive sympathy capable of informing ethical action.

scholarly journals Der Spannungsbogen von Autonomie und Verletzlichkeit. Eine phänomenologisch-anthropologische Reflexion / The Unsolved Tension between Autonomy and Vulnerability

2017 ◽  
Vol 39 (2-3) ◽  
pp. 349-363
Author(s):  
Alice Pugliese
Keyword(s):  
Phenomenological Approach ◽  
The Self ◽  
The Other ◽  
The Subject ◽  
Definition Of

Summary A phenomenological approach to anthropology should not propose a static definition of man, but inquire into specific human motivations, which never occur isolated. Therefore, the autonomy-dependency connection is presented as a possible human motivational ground. The notion of autonomy, presented with reference to the Kantian idea of the self-determining reason and to the Husserlian account of self-constitution, reveals in itself elements of dependency. On the other side, the notion of vulnerability and reliance is displayed through different approaches of Gehlen, MacIntyre and Toombs in order to illustrate dependency not as a mere capitulation of the subject, but as one of its intrinsic possibilities, which does not exclude autonomous will.

Homogeneity, “glocalism” or somewhere in between?

2014 ◽  
Vol 48 (1/2) ◽  
pp. 288-313 ◽  
Author(s):  
Helene Cecilia de Burgh-Woodman
Keyword(s):  
Literary Criticism ◽  
Research Question ◽  
Literary Work ◽  
The Self ◽  
The Other ◽  
Marketing Theory ◽  
Content Type ◽  
Pierre Loti ◽  
The Individual ◽  
The Impact

Purpose – This paper aims to expand current theories of globalisation to a consideration of its impact on the individual. Much work has been done on the impact of globalisation on social, political and economic structures. In this paper, globalisation, for the individual, reflects a re-conceptualisation of the Self/Other encounter. In order to explore this Self/Other dimension, the paper analyses the literary work of nineteenth-century writer Pierre Loti since his work begins to problematise this important motif. His work also provides insight into the effect on the individual when encountering the Other in a globalised context. Design/methodology/approach – Drawing from literary criticism, the paper adopts an interpretive approach. Using the fiction and non-fiction work of Pierre Loti, an integrated psychoanalytical, postcolonial analysis is conducted to draw out possible insights into how Loti conceptualises the Other and is thus transformed himself. Findings – The paper finds that the Self/Other encounter shifts in the era of globalisation. The blurring of the Self/Other is part of the impact of globalisation on the individual. Further, the paper argues that Loti was the first to problematise Self/Other at a point in history where the distinction seemed clear. Loti's work is instructive for tracing the dissolution of the Self/Other encounter since the themes and issues raised in his early work foreshadow our contemporary experience of globalisation. Research limitations/implications – This paper takes a specific view of globalisation through an interpretive lens. It also uses one specific body of work to answer the research question of what impact globalisation has on the individual. A broader sampling and application of theoretical strains out of the literary criticism canon would expand the parameters of this study. Originality/value – This paper makes an original contribution to current theorisations of globalisation in that it re-conceptualises classical understandings of the Self/Other divide. The finding that the Self/Other divide is altered in the current era of globalisation has impact for cultural and marketing theory since it re-focuses attention on the shifting nature of identity and how we encounter the Other in our daily existence.

The Rosamond Plots

2011 ◽  
Vol 66 (3) ◽  
pp. 307-327 ◽  
Author(s):  
Rebecca N. Mitchell
Keyword(s):  
The Self ◽  
The Other ◽  
Jane Eyre ◽  
Self Awareness ◽  
Communal Life ◽  
Beautiful Woman ◽  
Radical Alterity ◽  
The Status ◽  
Self Knowledge ◽  
Radical Revision

Abstract In both Charlotte Brontë’s Jane Eyre (1847) and George Eliot’s Middlemarch (1871–72) an earnest and ambitious man falls in love with a superficial and beautiful woman named Rosamond. This essay explores the “Rosamond plots” to argue that Middlemarch stages a radical revision of the version of subjectivity vaunted in Jane Eyre. Via its invocation of Jane Eyre’s Rosamond plot, Middlemarch challenges the very nature of self-knowledge, questions the status of identification in intersubjective relationships, and insists upon the unknowability of the other. In Eliot’s retelling, the self-awareness promoted in Jane Eyre is not only insufficient, but also verges on self-absorption and even solipsism. One way in which Eliot enacts this revision is by shifting the focus of positive affective relationships away from models of identification. The change marks an evolution in our understanding of the way in which character and communal life is conceived by each author. More specifically, Eliot’s revisions situate empathic response as being dependent upon the recognition of the radical alterity of the other.

Polyphonic collegiality of points of view in the “poetic composition” by B.A. Uspenskiy

Neophilology ◽  
2020 ◽  
pp. 385-392
Author(s):  
Yuee Guan
Keyword(s):  
Literary Work ◽  
Literary Text ◽  
Point Of View ◽  
The Other ◽  
Organic Unity ◽  
Relative Independence ◽  
Literary Theories ◽  
National Spirit ◽  
Points Of View ◽  
Poetic Composition

We consider the problems of composing a literary text based on the material of texts by B.A. Uspenskiy. It is proved that as a compositional possibility in the formation of a work can be elicit one or many points of view from which the narration in the literary work is conducted on the concept of “polyphonic collegiality”, in the other words, it finds expression both “internal” (with respect to the work) and “external” points of view on how the point of view of collegiality in the text is understood and determined. Collegiality is one of the main characteristics of the Russian national spirit, which has a telling Impact not only on the creative thoughts of Russian writers, but also on the thinking of Russian theorists in the construction of literary theories. It is justified that the poetics of B.A. Uspenskiy's composition is a continuation and development of M.M. Bakhtin's theory, that M.M. Bakhtin's polyphony is only one of the components in the relation of various points of view in ideological terms. According to B.A. Uspenskiy, the composition of literary text is a multidimensional spatial “free and organic unity”, consisting of multifaceted points of view, possessing both their relative independence and interconnected among themselves.

Social Comparison: Why, With Whom, and With What Effect?

2002 ◽  
Vol 11 (5) ◽  
pp. 159-163 ◽  
Author(s):  
Jerry Suls ◽  
René Martin ◽  
Ladd Wheeler
Keyword(s):  
Social Comparison ◽  
The Self ◽  
The Other ◽  
Self Evaluation ◽  
Maximum Effort ◽  
Utility Evaluation ◽  
Self Knowledge ◽  
The Individual ◽  
Relative Standing ◽  
Comparison Target

Social comparison consists of comparing oneself with others in order to evaluate or to enhance some aspects of the self. Evaluation of ability is concerned with the question “Can I do X?” and relies on the existence of a proxy performer. A proxy's relative standing on attributes vis‐à‐vis the comparer and whether the proxy exerted maximum effort on a preliminary task are variables influencing his or her informational utility. Evaluation of opinions is concerned with the questions “Do I like X?”“Is X correct?” and “Will I like X?” Important variables that affect an individual's use of social comparison to evaluate his or her opinions are the other person's expertise, similarity with the individual, and previous agreement with the individual. Whether social comparison serves a self-enhancement function depends on whether the comparer assimilates or contrasts his or her self relative to superior or inferior others. The kinds of self‐knowledge made cognitively accessible and variables such as mutability of self-views and distinctiveness of the comparison target may be important determinants of assimilation versus contrast.

scholarly journals The problem of intersubjectivity in Western philosophy: Boundaries of the communicative approach

2020 ◽  
Author(s):  
Oksana Somova ◽  
Pavel Vladimirov
Keyword(s):  
Social Relations ◽  
Sequential Analysis ◽  
Communicative Action ◽  
Phenomenological Approach ◽  
Research Area ◽  
The Self ◽  
The Other ◽  
Self In Relation ◽  
The Subject ◽  
Social Phenomenology

The article defines the meaning of the phenomenological approach to the analysis of the concept of intersubjectivity in the context of social and philosophical problems of the balance of the Self and the Other. The discourse is based on the correlation of phenomenological orientation and communicative action in determining the mechanisms of identity of the Self in relation to the Other in the inseparability of social reality. A sequential analysis of prerequisites and research approaches aimed at testing the problem of intersubjectivity is carried out. The focus is placed on social phenomenological research of A. Schutz and the theory of communicative action of J. Habermas, which are aimed at understanding the correlation between the peculiarities of human existence, his life-world and the area of social relations or the inevitability of establishing overindividual patterns. Relevance of the research lies in elaborating the issue of establishing intersubjectivity under the fundamental non-identity of the subjects of communication and their predetermined attitudes. The article concludes by outlining the feasibility of expanding the rational predetermination of the subject-subjective structure of communicative action with the research area of social phenomenology.

scholarly journals Genre and Stylistic Features of the Modern Audiobook

2021 ◽  
pp. 156-170
Author(s):  
Vera Yu. Bal ◽  
◽  
Elizaveta E. Gutkevich ◽  
Keyword(s):  
Cultural Practices ◽  
Literary Work ◽  
Literary Text ◽  
The Other ◽  
Reading Practice ◽  
Aesthetic Value ◽  
Other Hand ◽  
Audio Books ◽  
The Aesthetic ◽  
The One

Modern technological conditions make it possible to create, quickly replicate and use audio books conveniently. Audio books are one of the fastest growing segments of the global publishing market. Informative issues of creating audio books, not technological ones, are in the research focus of the article. The content of an audiobook is a voiced text that refers to the “auditory literature”. Assessments of the quality of the auditory literature are polar. On the one hand, it is considered secondary to the original literary text; on the other hand, it is a self-contained artistic phenomenon with its own aesthetic nature. In this article, an audiobook is considered precisely in the aspect of its artistic value, which is highlighted when speaking about the genre nature of the voiced text. The genre features of the voiced text in this study are identified taking into account the communicative features of its formal-stylistic features. The communicative nature of the audiobook genre is associated with two types of reading, which reflect the opposite positions of the two participants in communication. On the one hand, this is an expres-sive reading aloud, which can also be defined as staged reading. Genetically, this type of reading is associated with public performances of artists and initially assumed live reading. Further, this type of reading is transformed into the genre of radio plays, called “theater at the microphone”. In modern communicative practices of creating and repli-cating audio content, including one related to the actor’s readings of works of art, there is no binding to time and place. On the other hand, this is auditory reading, a modifica-tion of which is audio reading in modern technological conditions. If auditory reading is the first reading practice of a child mastering books from the voice of a parent, then audio reading is the choice of an adult who can read. The acoustic representation of a literary work is associated not only with the performance of elementary technical characteristics of sound, but also with the introduction of a certain aesthetic value into it. The creative translation of a literary text from verbal to acoustic should preserve its value in the aesthetic plane, without reducing it to a purely pragmatic one. Actualization of the aesthetic value of an audiobook outside of its paper format is associated with the principles of its directing and editorial preparation – the principles associated with the implementation of the stylistic characteristics of the genre form of an audiobook. Translation of a verbal literary text into an audio one is carried out as a result of comparing reading a book to dramatic action. In this case, the forming element of the genre becomes the sounding text itself. In the case of audio books, the reader’s voice as a performer’s instru-ment and the musical noise accompaniment of the text read is a style-forming genre element. The article traces the publishing strategies for the embodiment of the formal-stylistic features of the audiobook genre in the context of modern audio cultural practices.

scholarly journals A Praxis of Gayatri Spivak’s “Aesthetic Education” Using Arundhati Roy’s “The God of Small Things” as a Reading in Philippine Schools

2017 ◽  
Vol 25 (51) ◽  
Author(s):  
Seneca Nuñeza Pellano
Keyword(s):  
Literary Work ◽  
Literary Text ◽  
Aesthetic Education ◽  
The Other ◽  
The Mind ◽  
Small Things

Presented as a “speculative manual on pedagogy,” this article seeks to provide praxis to Spivak’s Aesthetic Education in the Era of Globalization (2012) using Arundhati Roy’s The God of Small Things (1997) as a reading in Philippine schools. Its aim is to envision pedagogical ways in which a foreign literary text is introduced into a culturally distant setting, thereby prompting educators – the “supposed trainers of the mind” – to resolve: (1) How does one educate aesthetically? (2) How do we imagine the performance of aesthetic education in local classrooms? In demonstrating a theory and its form, the paper first explores Spivak’s conception of aesthetic education and then adapts it in a specific case: in Philippine classrooms where learners are confronted by a literary work of the Other – particularly, Arundhati Roy’s The God of Small Things. Aesthetic education, as a theoretic idea, is visualized and imaginatively performed through its capacity to realize an “epistemic revolution” happening in local classrooms worldwide.

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