Zaineb Elkbaier

Pragmatic theories of truth are usually associated either with C.S. Peirce’s proposal that true beliefs will
be accepted “at the end of inquiry” or with William James’ proposal that truth be defined in terms of
utility. More broadly, however, pragmatic theories of truth focus on the connection between truth and
epistemic practices, notably practices of inquiry and assertion. Depending on the particular pragmatic
theory, true statements might be those that are useful to believe, that are the result of inquiry, that have
withstood ongoing examination, that meet a standard of warranted assertibility, or that represent norms
of assertoric discourse. Like other theories of truth (e.g., coherence and deflationary theories) pragmatic
theories of truth are often put forward as an alternative to correspondence theories of truth. Unlike
correspondence theories, which tend to see truth as a static relation between a truth-bearer and a truth�maker, pragmatic theories of truth tend to view truth as a function of the practices people engage in,
and the commitments people make, when they solve problems, make assertions, or conduct scientific
inquiry. More broadly, pragmatic theories tend to emphasize the significant role the concept of truth
plays across a range of disciplines and discourses: not just scientific and fact-stating discourse but also
ethical, legal, and political discourse as well.

In the realm of literature, the question of ethics in fiction has long been a topic of debate. As society continues to evolve, so too do the moral and ethical standards by which we judge the works of fiction. In contemporary realism, a genre that strives to depict the complexities of everyday life, the preservation of ethical values in storytelling is of paramount importance. This essay will explore the ways in which contemporary realist authors navigate the fine line between art and morality, seeking to maintain the integrity of their work while also upholding ethical principles. By analyzing various works of fiction within the realm of contemporary realism, we will delve into the complexities of this balancing act, ultimately seeking to understand how authors can effectively preserve ethics in their storytelling without sacrificing the essence of their art.

As Gina Dent has theorized, contemporary anti-racist global struggles provide us with the ability to reimagine different futures to the current extractive practices and totalitarian subject formations . This special issue, entitled “The Intersection of Postmodernism, Postcolonialism and Postsocialism: Decolonial Options and Contemporary Interventions,” features academic articles, visual essays, personal testimonials, poems, fiction, and a photography spread. I have learned that working with a multi-genre format helps to amplify a more decolonized basis for dialogue between myself and participants. As such, my engagement with decolonial feminism and testimonies serves as a bridging methodology for dialogue that is more inclusive, more relational and mutualistic and less exploitative. In this sense, visual methods and multi-genre formats can aid the de-centering of extractive research by showing knowledge as something that is co-created and collaborative. While this approach attempted to form relational forms of solidarity and connectedness, this was critiqued by participants mercifully as a weakness, hence led to my reconceptualising my work as demarcating trust-land solidarity. Through this coherent collection and curation of contributions, I aim to provide a decolonial account of the multiple crises experienced by global populations during the recent pandemic. The relationship characterizing these three key terms has appeared in varied conceptual facts as Postcolonial Modernity (Rossi, 2020), or in restless tied artistic and philosophical territories of re-decolonizing processes/re-decolonizing art/re-decolonizing historiographic thinking/ re-decolonizing the coming Post-socialist Postmodern and Cultural Studies. This is a bunched-up matter divided according to the borders referring to many particular local processes. It reveals clarity, but also a specific “indecisively” in the explicit common character and logic of new tracing of the lighted living-font and its vivid manifestations. For the first time, we have obvious references to the engagement on the notable thematic ground among Lublin There Formries: US and Them. All work has shown that in the late/post-Soviet period, the post-Soviet people of Kazakhstan and Kyrgyzstan have been tied up in the particularly obvious discussion: Ours and Theirs.
The decentralization of the globalized world has now unfolded into a dissociation accompanying the radical onset of a contemporary multitude of globalized transformations, including the multi-linear phenomena of postmodernism

The purpose of this essay is to explain how Henry James’ own stereotypes are present in his fiction and demonstrate that his awareness of his own habit of mind, which coloured the perception of others, was an a priori condition for the ’Jamesian’ artistic process. The following pages are not, However, a study of James’s stereotypes but of how his knowledge and understanding of psychological stereotypes enabled him to create characters. This study approaches the subject initially from the side of psychology, particularly social psychology, and then turns to James’s own theories of character. This approach is not only justifiable; it is essential if one is to understand the extent to which certain stereotypes were conscious creations. Finally, it is hoped that this study has been able to illuminate both the value of some of the most debatable characters and of James’ entire technique of characterization.

The season opens with the sudden demise of renowned literature professor Thaddeus Blackwood, leaving his devoted student Amara grief-stricken and lost. While clearing out his oƯice, she stumbles upon an antique manuscript titled "The Inheritance of Ink." As she begins to read, the narratives within start to eerily reflect her own life, hinting at a profound connection between her fate and the handwritten tales. The first story, "The Whispering Ink," introduces a world where words hold the power to manipulate reality, setting the stage for the surreal adventure that lies ahead. Chapter 2: "The Labyrinthine Quill"