In this paper, the self and how it operates in a life world is illuminated in an existential phenomenological view. The situational structure, the result of the co-construction between objective situatedness and transcendent projecting, is analyzed based on analyses of (1) how the world exists, (2) how a person exists, and (3) how a person and the others coexist in the world. Along this line of thinking, self-identification is considered as a verb instead of a noun. It refers to ""how a person composes, directs, and stars a personal drama in order to display the character image he or she chooses and designs. The practice of self-identification involves the application of I-other-relating strategies and the unfolding of plots and meanings in one’s personal drama. A personal drama may be composed of scenes of various fields or from various points of time flow. The core of a drama locates in both (1) what is displayed and perceived on the stage and (2) what is communicated by the composer, director, and star. For each personal drama, all of the supporting actors are the main composer, director, and star in their own personal drama; the main composer, director, and star is a supporting actor in others’ personal drama.
The current issue includes 5 papers. They are ""self-identity and self-esteem during different stages of adolescence: the function of identity importance and identity firmness, ""a case study of the multi-selves conflicts coordination theory and intervention program to a male batterer who values the Chinese face and family,""""developing and evaluating the scale for social benefits and losses of deviant behaviors,""""using selfregulated theory to understand effective job searching self-regulatory strategies: mid-aged job seekers in Taiwan,""""drug offenders learned in the savoring group program.""These papers showed the following results. At the point of defining character, one needs to: (1) be aware of past decision about one’s character definition, (2) appreciate one’s past positive experience, (3) arrange the importance and priority of various selves, and (4) clearly define specific content of one’s character. At the point of projecting future possibilities, one needs to negotiate and cooperate with the others to come out with mutual-accepted I-other-relating strategies and actions. These may include but not limit to: (1) take the responsibility of whatever result from previous personal drama, (2) with true understanding, pick up the others appropriate for I-other-relating, (3) adjust self-presenting strategies and actions in correspondence of the others, (4) foresee possible benefits and losses for oneself and relating others resulting from the I-other-relating strategies and actions under consideration, (5) adjust understanding about one’s situatedness based on the feedback from the others, (6) adjust self-presenting and I-other-relating strategies and actions based on the feedback from the others, (7) negotiate among selves and deal with conflicts among them, (8) cut off the habitual connection with negative past experience, (9) terminate the familiar old personal drama, (10) initiate unfamiliar new personal drama, (11) establish the connection of past-present-future via appreciating the past, savoring the present, anticipate the future. The projecting helps to direct one’s personal drama toward avoiding personal losses, protecting one’s self-esteem and face, extending positive emotional experience, avoiding hurting others, avoiding disappointing others, taking care of others’ needs, and establish mutual-accepted I-otherrelating strategies and actions.
Suggestions about research framework and methodology for future research are provided based on various pairs of co-constitution from existential phenomenology, such as I-others, situatedness-projecting, praxismeaning, settling-down-on-the-earth and pursuing-meaning-echoing-the-way-of-heaven, as well as self-culture.