مطالب

Regionalism, a phenomenon much older than globalization, has long promoted the individual and collective interests of countries. Accordingly, American and Middle Eastern nations have sought to advance their interests within integration frameworks such as the Organization of American States (OAS) and the League of Arab States (LAS). In this context, Ernst Haas’s neofunctionalist theory provides a useful lens to examine these blocs, focusing on four key categories: supranationality, the shift in elite loyalties, the collective decision-making process, and most importantly, the spillover effect. This study applies the neofunctionalist approach and uses qualitative content analysis to examine collected data from both above-mentioned organizations. By reviewing internal regulations, resolutions, and the contemporary political contexts of member countries, the research compares the OAS and LAS to highlight their similarities and differences. The study finds that while the LAS struggles with foreign interference and internal rivalries among members competing for leadership in Arabism, the OAS is shaped by the hegemonic dominance of the United States and the ideological polarization across the Americas, where conservative and progressive governments alternate in power. The dynamic traps the continent in a vicious cycle that must be broken.

Cet article a pour objectif d’examiner le symbolisme du temps dans Les Pleurs de Marceline Desbordes-Valmore (1786-1859). Poétesse romantique française, elle s’est distinguée par une écriture lyrique profondément marquée par le deuil, la maternité et la quête d’apaisement intérieur. La poésie de Valmore transmute la souffrance en une vitalité organique, où les forces élémentaires de la nature dialoguent avec l’élan spirituel de l’être. Son imaginaire poétique se révèle alors comme une tension dynamique entre vitalité et temporalité transfigurée. Dans le cadre de cette recherche, nous nous interrogeons sur la manière dont le symbolisme du temps s’inscrit au cœur de cette poétique. En nous appuyant sur Les structures anthropologique de l’imaginaire développée par Gilbert Durand, nous analysons comment les symboles liés au temps structurent l’univers symbolique de la poétesse. Dans ce travail, nous nous proposons de répondre à la question de savoir comment Marceline Desbordes-Valmore transforme, à travers son imaginaire symbolique, l’angoisse liée au passage du temps en une quête spirituelle et poétique apaisante. Pour ce faire, nous analysons six catégories symboliques du régime diurne (thériomorphes, catamorphes, nyctomorphes, ascensionnels, spectaculaires et diaïrétiques), afin de mettre en lumière la fonction consolatrice de sa poésie face à la temporalité, à la condition humaine et à l’angoisse de la mort.

Introduction: The increasing proliferation of artificial intelligence systems and algorithmic decision-making in domains such as criminal justice, employment, resource allocation, and public policymaking has brought about wide-ranging ethical and social implications. Although these systems are often deployed with the aim of enhancing efficiency and neutrality, scientific research shows that algorithms can reproduce or intensify structural discrimination and historical inequalities. This review article adopts an interdisciplinary approach to survey the scholarly literature on the ethics of algorithmic decision-making and to analyze the role of algorithms in justice, discrimination, transparency, responsibility, and accountability. The article focuses on explicating ethical theoretical frameworks, examining social and political consequences, and identifying gaps and contradictions in prior research. Material and Methods: It is a narrative review article that focuses on the existing scholarly literature to analyze the ethical dimensions of algorithmic ethical decision-making. Previous studies were analyzed and then the subject was explained. Conclusion: The findings of this review indicate that addressing the ethical challenges of artificial intelligence requires moving beyond purely technical solutions and paying serious attention to social, institutional, and political contexts. Lack of transparency, diffusion of responsibility, and weak accountability mechanisms can lead to the legitimization of unjust algorithmic decisions. The article concludes that the development and deployment of fair artificial intelligence necessitate ethics-centered design, stakeholder participation, effective institutional oversight, and interdisciplinary, context-sensitive research, so that this technology can serve to reduce discrimination and promote social justice.

Zygmunt Bauman (1925-2017) consistently oscillates between the roles of sociologist and novelist throughout his works, and, unlike many other sociologists, he makes conscious and deliberate use of metaphor. The aim of this article is to examine the metaphorical concepts in Zygmunt Bauman’s imagination by employing the “metaphor identification method” and drawing on the theoretical frameworks of Lakoff and Johnson as well as Paul Ricoeur. The findings of the study reveal that Bauman employs metaphors at both the ontological and methodological levels. For Bauman, metaphor is not merely a descriptive tool, but a research strategy for examining abstract and intangible aspects of human life such as inequality, globalization, ethics, suffering, love, solidarity, and oppression. The overarching and central metaphor in Bauman’s thought is liquidity. His other metaphors are subordinate to the metaphor of liquid modernity and are coherently interconnected within this conceptual constellation. He believes the old order is collapsing in the transition from solid to liquid modernity, but the new has not yet been born. Moreover, many of Bauman’s metaphors exhibit temporal, spatial, and binary characteristics. These metaphors allow Bauman not only to describe the complexities of modern society but also to make them experientially accessible and intellectually comprehensible. Bauman’s notion of a liquid society can be seen as a metaphorical extension of concepts such as Giddens’s “late modernity,” Ulrich Beck’s “risk society,” and Lyotard’s “postmodern.” However, Bauman reconfigures and re-narrates these ideas through a distinct theoretical framework inspired by Paul Ricoeur.

This paper is a comparative study of two war novels, namely The Book of Collateral Damage by Sinan Antoon and The Yellow Birds by Kevin Powers. Both Antoon, an Iraqi-American author, and Powers, an American writer, describe war critically but from very different points of view. In Antoon’s novel, an Iraqi scholar living in the U.S. during the conflict tries to review the war, collect newspaper pieces of war news, and create a catalogue of the people, the land, and the human and non-human entities he knew before and during the war in Iraq. In Powers’ autobiographical account, the narrator is a young soldier struggling with war trauma and trying to express his bereavement for his dead friend. Both novels address war trauma, but the dimensions of trauma and the way memory and remembering operate in the lives of the narrators are very different. This paper argues that the positionality of the authors determines the way they narrate war. The Iraqi scholar tries to revisit the past and finds recollection a therapeutic act, while the young American soldier is haunted by the memory of his lost friend, and forgetting often becomes a survival strategy for him. The approach used to answer the question—How is war trauma experienced differently on the two sides of the same battlefield?—is a postcolonial one. The study borrows some ideas from postcolonial theoreticians such as Edward Said and Gayatri Spivak to analyse the two novels comparatively.

story from Dubliners has received immense critical reception over the years and has been studied through various critical frameworks. However, its potential for analysis based on Hegelian dialectic has been largely overlooked. Considering the last episode of the story as a moment of epiphany and self-realization, the study seeks to discuss how the protagonist’s development of consciousness can be interpreted based on the three stages of Hegelian dialectic: Understanding (Idealization of Mangan's sister and the bazaar), Dialectical (faced with contradiction at the bazaar), and Speculative (the final epiphany). The analysis demonstrates how the narrator’s initially fixed determinations and alienated consciousness in the understanding stage face their contradiction at the dialectical moment, resulting in the final epiphany, which mirrors the last stage of the dialectic where contradictions are resolved and self-realization is achieved. Further, based on the principles of Hegelian dialectic rooted in philosophical idealism, the study not only asserts that the narrator’s consciousness evolves through a process driven by contradiction, but it also interprets the narrator’s journey from naïve idealization to self-realization as a universal process of maturation. To avoid a mechanical and rigid application of the dialectical method, the analysis relies on close textual reading to identify the elements that contribute to each moment of the dialectic and deeply contextualizes the argument to deviate from oversimplification of the text.

This article examines how identity, nostalgia, and belonging impact Nicolas Urfe in John Fowles’s The Magus (1965). Drawing upon Homi Bhabha’s “Hybridity”, Stuart Hall’s “Cultural Identity”, and William Safran’s “Myth of Homeland”, the objective of this article is to recognize the futility underlying Nicolas’s relentless endeavors to establish a sense of belonging and reconcile with his inner turmoil and inherent desire in order to reveal the origins of his internal conflicts, such as anxiety, restlessness, and rootlessness. The significance of this article lies in its endeavor to analyze the diasporic experience on an individual ground that does not align with the typical paradigms of Nicolas’s relocation. This article also explores whether Nicolas feels a sense of belonging to a particular place that he can consider as home. We try to respond to two fundamental questions, namely what influences exist behind the adoption or rejection of a new self-identity by Nicolas in Fowles’s The Magus?, and does Nicolas with multi-layered identity associate with both native land and hostland, namely England and Greece, respectively in Fowles’s The Magus? In order to fill the existing gap, we explore how Nicolas’s identity oscillates between pre-immigration and post-immigration spaces, namely England and Greece, respectively.