The article aims to elucidate on the notion of philosophy of culture, particularly in non-Western societies. This is exemplified by the promotion of philosophy,with its advocates and approaches, in Filipino culture. In addition, it gives an account of a type of alienation that has had a profound influence upon the Filipinoexperience, philosophical thought and practice; the so-called dealienation of culture.

I am looking at a bird flying above my head and I barely see it; in the meantime I am talking to a friend of mine about my job. All these things: the bird, my friend, my job, even the ground beneath my feet, are outside of me. Yet, while I am living these objects, they are here, in my head. How can one explain this relationship,where something that is completely different from my being becomes a part of me? If something transcends my own nature, how can it be immanent, within my lived experience? How can I relate to something that is completely other than me? How can it ‘in-exist’ in my mind? Is there an original ‘me’ or am I always the result of my social life? Is the world in which I am living objective, or is it just mine? In this paper I would like to answer all these questions, focusing on the theory of intersubjectivity as it has been displayed by Husserl’s phenomenological method. In several instances, this method was defined by Husserl himself as a “‘sociological’ transcendental philosophy” (Husserl, 1968: 539), or even as a “transcendental sociology” (Husserl, 1966: 220), for it looks into the lived experience of the subject as if the subject were a transcendental intersubjective unit. The Husserliana volumes we refer to throughout this work are: the Fifth Cartesian Meditation (Husserl, 1982), which implicitly sends us to volume 8 (First Philosophy, second part & other important additions), and volumes 13 to 15 of the Husserliana (Husserl, 1973), which are dedicated especially to the issue of intersubjectivity. In what follows, I will focus firstly on the notion of intentionality, secondly on the constitution of the otherness and its objectivity, thirdly on the idea of ego and its life-world.

This article aims to show that so-called Mail Art (art distributed via the international postal system) is based on five paradoxes. These paradoxes, which correlateto how Mail Art is distributed and exhibited by means of changing technologies, its aesthetics, its democratic ideals, and its transnational character, explain howMail Art has emerged and been constructed as an artistic medium on the stage of world cultures. While the paradoxes of Mail Art are specific for this particular medium, I argue that all media types are more or less marked by inherent paradoxes. The fact that Mail Art includes all kinds of material, sensorial, spatiotemporal, and semiotic modes makes it an unusual art form, but here it is primarily meant to be an example of the ambiguous ways in which media types in general are delimited and defined.

Three lines of semiotic thought were developed by Greek culture: that of Medicine, that of the Arts of discourse (Logic, Dialectic and Rhetoric), and finally,that of Language, strictly speaking. Even though these three branches evolved in quite parallel terms, they only slightly influenced one another, which hindered the existence of a general Semiotics. However, this fact does not play down the reflection on Semiosis carried out by the Greeks.

Tourism industry is increasingly stripping traveling of one of its most fundamental anthropological and existential values: its being a laboratory in which travelerscan temporarily experience the disruption of their regime of sedentary belonging, protected by a plan of return. According to this perspective, non-touristy travelingis one of the best ways to test the limits of one’s tolerance to cultural diversity and acknowledge, as a consequence, the identity of one’s cultural and existential‘home.’ Yet, modern and contemporary travelogues mostly extol the traveler’s heroic capacity to overcome the limits of tolerance. Claiming that such emphasis stems from the colonial desire to domesticate and assimilate the world and its diversity, the article proposes to subvert this logic and to replace panoramic travelogues, dominated by the will power of subjects, with prosopopoeic travelogues, that tell the stories of how the things of the world, relics of centuries of civilization, reject travelers and their desire of domestication and conquest. As an example of this subversion, the article proposes a semiotic exploration of toilets, their variety, and their ‘cultural resistance.’

Translation is a fundamental part of cultural dissemination. Based on an empirical qualitative research, the first part of this article presents the effects that thewave of translations after 2005, the first of utmost importance in the Romanian cultural environment, engaged in the local literary field, and in the second part there are brought into discussion some important intercultural barriers in translation and promotion of literature abroad, such as defining literature in a different way, new forms of censorship or problematic semiotic codes of literature of revolt.

This paper is focused on the major contributions of the two main schools of semiotic thought in Russia during the 20th century. It considers cultural mythologiesof behaviour as the focal point of the Moscow-Tartu school and then proceeds to the pre-semiotic school of Russian thought, which dealt with the philosophy of the (divine) Name(s). Both traditions are linked by a common preoccupation with the human sign-vehicles-cultural, artistic, literary and religious. Russian semiotics of culture (the author’s life & biography considered as a peculiar kind of a sign-text) and Russian religious philosophy of language (philosophy of the Name) are the most unique scholarly offerings to have originated within the Eastern-European tradition of semiotics.

Batik industry, Indonesia’s traditional practice of dying cloth through wax resist methods, is considered an important source of intangible cultural heritage andprotected under UNESCO. The industry is very diverse and many different colors and motives are used. Research in this article focuses on Batik in Yogyakarta,Surakarta, Lasem, Tuban and Garut regions. This paper studies the connotative implications of Batik’s cultural significations that pass on from older to youngergenerations revealing the importance of visuality and touch in constructing meaning within certain cultures.

Hong Kong is a peculiar case for the study of cultural practices. One of the most Westernized cities in Asia, Hong Kong is, to many people in China, one ofthe most ‘Chinese’ places in the country. Hong Kong’s no-place situation presents an interesting example of the tensions within and without cultural systems and their relations to language.

A belief commonly held in linguistics and philosophy is that semantics is defined by syntax. In this article, I will demonstrate that this does not hold true for Turkish. A fundamental syntactical rule builds around the successive order of words or speech units in a sentence. The order determines the meaning of the sentence, which in turn is rendered meaningless if the rule is not observed. In a given language, if a sentence retains meaning without this rule being applied, then the rule cannot be said to determine meaning. Turkish, with its mathematical structure, is one such language. In effect, the degree to which semantics is determined by syntax varies considerably from one language to the other. If meaning is constructed through dissimilar means in different languages, then it is not possible to talk about a single theory of meaningfulness valid for all languages. Each language is uniquely determined, and is a reflection of its proper cultural background. A theory of language must take into account this cultural framework. In this paper, I shall deal with a different way of constructing meaning whereby syntax does not determine semantics, and present the linguistic possibilities it gives rise to.

The article reviews the developing studies of visuality with respect to their own focus on cultural and political fields in which visual communication unfolds. I found that that some of the academic interests related to visuality can be located within the broader or intersecting field of cultural and political studies and provide successful tools of analysing and describing the communicational interactions within local communities situated in broader contexts of mobility. Some light is shed on the visualisations of the current condition of the nation-state with respect to globalizing or Europeanising tendencies. Also, I discuss a more general impact of mobility and novel visualisations of the public and cultural sphere.

The participation of humanists, artists and social scientists has added much impetus to the study and story of the "anthropocene". Zhao Defa, the contemporary Chinese writer, is one of the pacesetters in this regard. His inspiration from the concept of the "anthropocene" transforms the body narrative in the novel The Anthropocene. This article argues that the changed triad of body narrative, or more specifically, the highly encoded bodily metaphors, the function of body in narrative and the relation between nature and body, succeeds in modelling a body charged with ballooning desires in the "anthropocene", which constitutes the humanity's the existential basis and the very cause of the "anthropocene", and if not hurdled, will bring fatal catastrophe to this planet.

This paper is a response to Park Seungbae’s article, “Defence of Cultural Relativism”. Some of the typical criticisms of moral relativism are the following: moral relativism is erroneously committed to the principle of tolerance, which is a universal principle; there are a number of objective moral rules; a moral relativist must admit that Hitler was right, which is absurd; a moral relativist must deny, in the face of evidence, that moral progress is possible; and, since every individual belongs to multiple cultures at once, the concept of moral relativism is vague. Park argues that such contentions do not affect moral relativism and that the moral relativist may respond that the value of tolerance, Hitler’s actions, and the concept of culture are themselves relative. In what follows, I show that Park’s adroit strategy is unsuccessful. Consequently, moral relativism is incoherent.

This paper examines the concept of "paradox" in the Liar paradox. The paradox in the "Liar Paradox" arguments is created with the support of law of contradiction. Four arguments consist of different versions of the Liar paradox are analysed. The author explains the issues related to communication, beliefs and the principle of identity in the various arguments of the Liar paradox leading to inconsistencies. There are ambiguities in these arguments and if the ambiguities are removed, then there is no contradiction which constitutes the paradox. Thus, the "paradox" in the "Liar Paradox" arguments is questionable.

With its own Netflix program, Marie Kondo's The Life-Changing Magic of Tidying Up has received a huge cult following. Considering that clutter sweeps 21st century daily living, what this paper aims to do, is to unravel the philosophical foundations of Kondo's work. Considering the trendiness of the KonMari method, one wonders why and how decluttering modern homes and one's day-to-day existence inspires certain profound reflections and raises social criticisms. Through a sweeping review of Kondo's tenets, this paper tackles common philosophical themes such as joy, human existence, happiness, the environment and extension.

The purpose of this study seeks to analyze the problem of Unity in Diversity as a Source of Politics and Cultural Identity of the Indonesian Nation in Legal Formation. In general, the process of establishing customary, national, regional and international law in various parts of the world no one knows even uses Bhineka Tunggal Ika as the source of legal formation. However, often the formation of law in Indonesia refers to the philosophical meaning of Unity in Diversity. The formulation of the research problem: 1) What are the markers of Unity in Diversity in Legal Formation?; 2) Why is Bhineka Tunggal Ika so important in the Formation of Law in Indonesia?; 3) Is there a contribution of Bhineka Tunggal Ika in the formation of customary law? This research was completed using qualitative methods. All data in this study are descriptive which have been collected directly or indirectly. Data acquisition is optimized through a literature study. All data were analyzed qualitatively to solve the research problem. The results showed that: 1) Unity in Diversity can be a marker of Indonesian national cultural identity in Legal Pluralism; 2) Bhineka Tunggal Ika in the formation of state law is considered relevant as a political source that is able to accommodate Customary Law and Religious Law into State Law; 3) Unity in Diversity as the identity of Indonesian Nation Culture, as well as political sources, has contributed in the spirit of the formation of Customary Law in the midst of the times.

Over the years, there are various research on cultural development seen from socio-historical perspective. The uniqueness of Islam in Malay region as it is diverse and open to outside influences is important to be look at; as it differs greatly from "the Islam" that have been practiced in the Middle East. Based on the discussions, the ulemas or Muslim clerics of this region and the Malays themselves have already practiced the supra-madhhab model as proposed by many contemporary scholars. Using Shia influences in the Malay culture, this paper attempt to show how sectarianism within Islam was never entertained by the Muslims in this region. In fact, Shi'ism was so embedded in Malay culture. Although being dominated by Sunnism, most of the Shia doctrines and pillars were widely accepted and embraced. The axiology of Shi'ism in Malay culture reflected in many religious texts, classical literature and cultural events. However, as sectarianism rising in this region, the Shia influence and its axiology slowly eroded and were victimized by unnecessary foreign interventions.

The novelty of this paper is that modus vivendi of 13-14 year old teenagers is viewed from the perspective of the new generation Z teachers. Teachers, belonging to the same generation as students, participated in the qualitative study and ex-pressed their opinions on the modus vivendi of 13-14 year old teenagers. This age range was selected specifically because it is close to the generational boundary of generation Alpha. Teachers from generation Z were purposefully selected as informants, since the researchers noticed a difference in modus vivendi of generation Z members closer to the generation Alpha and the older ones. The study is based on the methodological attitude of social constructivism. Its essence lies in perceiving that individuals construct their own personal understanding and it is not the mirror of their acquired knowledge. It is constructed on the basis of attitudes, experience, relationships between people, things and events. The aim of the study is to elucidate modus vivendi of teenagers from generation Z, as viewed by the teachers from generation Z. The paper contains the results of the conducted qualitative study and formulated conclusions.

The puppet arts in Bali can be found in the wayang Kamasan painting at Kamasan Village, Klungkung Regency. This painting inspired the creation and development of new handicraft in Bali. The objectives this research: 1. To find the wayang Kamasan painting in Klungkung Regency; 2. To find the development of handicraft types in Bali inspired by wayang Kamasan painting. This research used a qualitative descriptive approach, and data collection by observation, interview, and documentation. The results that wayang Kamasan painting is estimated to have existed since the reign of the ancient Bali kingdom, which was during the reign of King Dalem Waturenggong in Semarapura Klungkung. The wayang Kamasan painting character painted on a canvas with a light brown base color, stiff, two-dimensional, and the description follows the applied standards. The figures depicted taken from Ramayana and Mahabharata story. The Balinese handicrafts inspired by wayang Kamasan painting include ceramics, wovens such as sokasi/keben (basket made of woven bamboo), keris sheath, dulang (trays), bokor (bowls), guitars, beruk (coconut shell containers), and others. The authors expect in the future the wayang Kamasan painting can survive, and emerges the world's concern for its preservation.