The article analyzes the implementation of dialogicality in the artistic discourse referring to dialogue as a form of explication of dialogicity in text communication, as a special type of speech interaction which serves as the most relevant means of verbalizing the speaker’s communicative intentions and is represented by a question/answer complex of stimulus/reaction exchange. Based on the voluminous factual material, the explication of dialogic intentions is traced in two typological registers of communication: tolerant and a-tolerant; it is indicated that, on the one hand, the addressant/addressee continuum of speech interaction conveys a be-nevolent atmosphere and expresses the modality of interlocutors’ mutual understanding and tolerant attitude about themselves being realized through various modal-intentional utterances, primarily interrogative, and stimulating and optative constructions, the use of which contributes to the progress of the communicative process; on the other hand, there is a-tolerant register – a natural phenomenon that reflects the imbalance in relations between communicating parties, the principled incompatibility of views, a conflict in general, represented by counter-questions, echo-questions, evil wishes incentive imperatives, invectives, etc.

Radosław Ptaszyński devoted over 700 pages of his book to Stanisław Stomma, a catholic intellectual who, during his life was confronted with two totalitarian systems, German Nazism and Soviet Communism. Stomma remains until today a symbol of „stommizm”. This name, created basing on a Stomma’s surname remains a symbol of political realism, and willingness of compromise (with direct limits), and accompanied by a strong moral integrity. Stomma, a devoted catholic played also an important role in the long process of Polish-German reconciliation. According to the Author “stommizm” itself can be recognised as a new kind of heroism, however remote from other well-known patterns of heroism.

Until a very recent time, oral myths and legends have been prominently present in the history of Oman. They became a prominent theme within the Omani literary community, long inspiring its writers and poets to weave a complex tapestry of evocative tales. Such key literary voices include the Omani female novelists, who primarily asserted their ancestral linkage to grandmothers and mothers, showcasing their supremacy and dominance over their male counterparts in exploring mythical fantasy. Notably, the fiction they crafted was enriched with a range of insights, visions, and ideologies borrowed from diverse cultures and civilizations to ensure their passage across generations. The stories they told were often based on dialogue of multiple styles, languages, and voices. Thanks to their amazing talent, they were able to weave such elements into an artistic, literary fabric. This has encouraged the selection of three Omani women’s mythical novels, namely: They Are Not Mentioned in Majaz (2022) by Huda Hamed, Hawra Nizwa (2022) by Fawzia Al-Fahdi, and The Death Party (2009) by Fatma Al-Shidi. This approach will focus on dialogism in the literary and non-literary works of Bakhtin (1895–1975), extracting the mythical texts incorporated by the Omani novelist in her work, as well as, exposing the link between polyphonic narrative, diversity of dialogue, and the conflicting multi-perspective ideologies in the Omani women’s novel. The problem of the study is to seek proper answers to the questions regarding the relationship between reality and myth; the internal and external relationships of dialogue; the types of the narrative voices; the relationship between dialogue and polyphonic narratives through the chronicle; and the depth of the diverse dialogic interaction and the dynamics behind this.

Das Vernunftelement, das dem Glauben zugeordnet ist, den Glauben auch sucht, ist gegenwärtig – zwar nicht so deutlich, wie es früher war – ausschließlich in der philosophie präsent. Denn gegenwärtig beeinfusst dieses element den Glauben von den unterschiedlichen Bereichen der allgemein dominierenden Wissenschaften her. Die neueste Geschichte des Verhältnisses zwischen kirche und Wissenschaft ist durch kongresse, Symposien und tagungen, die einen interdisziplinären charakter haben, geschrieben. In den Begegnungen bemühen sich theologen im gemeinsamen Gespräch mit den repräsentanten der Human- und naturwissenschaften um größere Harmonie zwischen den jeweiligen Wissenschaften. Die Absicht des Artikels ist die Analyse der Verlautbarungen der kirchlichen Lehre von papst pius iX (1792–1878) bis zum papst Benedikt XVi (*1927). Besonderes werden die Ansprachen des papstes Johannes paul ii (1920–2005) an die Mitglieder der päpstlichen Akademie zum thema: im Verhältnis der kirche zu Wissenschaft bzw. naturwissenschaft analysiert. Solche interesse seitens des kirchlichen Lehramtes spricht die Anfrage der profanem Wissenschaften, die neben ihren ständigen Spezialisierungen auch für die Weisheitsdimensionen der wissenschaftlichen forschungen offen bleiben. Das Verfahren bewegt sich in drei Schritten. Zuerst wird die unmöglichkeit eines Widerspruchs zwischen christlichen Glauben und Wissenschaft dargestellt (1). Dann wird auf das fundament für die Gespräche zwischen kirche und Wissenschaft – die gegenseitige Anerkennung der Autonomie zwischen der irdischen und ewigen Ordnung – hingewiesen (2). Zum Abschluss werden nachkonziliare Dokumente, die auf die kooperation zwischen kirche und Wissenschaft hinweisen, analisiert. Als resultat wurde nachgewiesen, dass die kirchliche Lehre eindeutig auf eine evolution der Öffnung der kirche auf Wissenschaft zeigt. Die nachkonziliare Dokumente weisen nicht nur auch auf eine Möglichkeit und notwendigkeit der Zusammenarbeit zwischen kirche und Wissenschaft, sondern auch beschreiben einige Bedingungen dieser kooperation. Es geht in dieser kooperation in ersten Linie um die Suche nach der Wahrheit und gegenseitiges erkennen.

This article brings together two authors/two poems and makes them enter into an intertextual dialogue that involves the discourses of the new materialism (Catherine Malabou), postphenomenology (Natalie Depraz and Marc Richir) and Delphic maxims. Concepts like plasticity, transformation masks, alterations in the passage of time (chronos, kairos, aeon), subjectivity, emotional excess, and the living body are used to establish the foundations a poetic conversation, which, for all one knows, may be fortuitous or in a way preordained.