In this study, the relationship between adolescents' perception of God, forgiveness inclination and anger was examined. For this purpose, it was determined whether the perception of God, forgiveness inclination, the trait anger and anger expression styles of the adolescents studying in different educational institutions differ according to demographic variables and the relationship between the adolescents' perception of God, forgiveness inclination and anger was determined. The sample of the study consists of 596 10th grade students studying in different types of high (...) schools in the city center of Ankara. The Demographic Information Form, The Forgiveness Inclination Scale, The God Perception Scale, The Trait Anger and Anger Expression Style Scale were used as data collection tools. The obtained data were analyzed with the unrelated samples t test when the scale scores of the two-category variables were normally distributed and with the Mann-Whitney U test when there was no normal distribution. For variables with more than two categories, the analysis of variance (ANOVA) was used in cases where the scale scores were normally distributed, and the Kruskal-Wallis H test was used in cases where the normal distribution could not be determined. As a result of the research, statistically significant differences were found in the scores of the sub-dimensions of the scales applied according to the demographic variables. In addition between the Forgiveness Inclination Scale distancing sub- dimension and trait anger, anger-out dimensions; It was determined that there was a positive, moderately statistically significant relationship between the forgiveness inclination scale revenge sub- dimension and trait anger, anger-in, anger-out dimensions. The findings were discussed in the light of the literature. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.3 (2003) 1-20 [Access article in PDF] A Pedagogy of Two Ways of Seeing:A Confrontation of "Word and Image" in My Name is Red 1 Feride Çiçekoglu The novel of Orhan Pamuk, My Name is Red, recently the center of controversy, not only in its homeland Turkey but in all the countries where it was translated, focuses on the debates around image-making in (...) late sixteenth-century Istanbul, then the Ottoman capital. It is also a contemporary tale. Its focus is not only the tradition of miniature painting during the Ottoman period in particular, but also the tradition of Western painting. Above all, My Name is Red is a detective and love story, starting with a murder and resolving the mystery at the end, like many other novels in this genre. What is unique is the role that the confrontation of different traditions of painting, Western and Islamic, and that between "word and image" play in the resolution of the love story and the solving of the mystery. The tradition of miniature painting, the illumination and illustration of narrative texts, which legitimized itself as the art of the book, may be interpreted as a way of dealing with the iconoclastic tradition of Islam. In this context, images are not seen as things-in-themselves but they are treated as "footnotes" even when the image seems to dominate the written word on the page. Image-making becomes an extension of the text, rather than an independent art. It serves the purposes of the words for a better understanding of the meaning, for a description of the aura of the narration, for the depiction of the images the reader of the story will paint in the mind's eye. Images, it has been said, do not represent real life; they are an externalization of the inner life. Thus, contrary to meaning and interpretation in Western art, the meaning in Islamic illumination is "inwards, converging on a private truth" rather than disclosing itself with an "outwards movement" 3Such a way of seeing is a totally different story than the discipline of art history traditionally allows: [End Page 1] the history of art, everywhere interlaced with the problems of representationalism, is in large part a commentary of the Western tradition upon itself, even if examples may be chosen from beyond its borders. Representationalism and its attendant problems are integral to the history of Western art, but not to the history of all art. 4Pamuk's novel provides a rich frame of reference for wandering in both traditions of image-making, Western and non-Western, which have seldom — if ever — been presented in the same framework. My Name is Red reconstructs two different ways of seeing in retrospect within the fictional atmosphere of late sixteenth-century Istanbul, weaving a rich panorama of the now lost tradition of Islamic illumination, faced by the "troubled notions of representation, naturalism, realism, and mimesis" due to the impact of Venetian painting. 5It is incidental that in the novel, the contradiction of traditions fails to liberate the imagery of the Ottoman miniatures from the pages of the books and from the yoke of the narrative text. Pamuk himself certainly does not wish to be seen or evaluated as writing from the viewpoint of "positivistrationality" from a teleological standpoint of "enlightenment." In his words, "I do not see it as: The miniaturists were going to be westernized if they were not prohibited by Islamic tradition." 6Pamuk is well aware of the fact that "Westernization of the West" isbased on the idea of the Renaissance as a "myth." 7 He finds it ironic that "this nineteenth-century myth of the Renaissance is still taken seriously by many people"; even more so in non-Western cultures, since "the West" itself is in a process of "de-Westernization" by demystifying the myth. 8 He cites Svetlana Alpers's The Art of Describing in this context, as a work which impressed and inspired him for... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.4 (2003) 124-137 [Access article in PDF] Difference, Visual Narration, and "Point of View" in My Name is Red Feride Çiçekoglu This paper focuses on the difference between Eastern and Western ways of visual narration, taking as its frame of reference the novel My Name is Red, by Turkish author Orhan Pamuk, winner of the 2003 International IMPAC Dublin Literary Award, announced on (...) May 19, 2003 at Dublin Castle. 1This book is particularly important in terms of visual narration because it highlights the critical concept of "point of view" (POV). In his now internationally renowned novel, Pamuk's anachronistically created characters confront each other on ways of seeing and visual narration in the context of sixteenth-century Istanbul, when it was the capital of the Ottoman Empire. The visual narratives of miniature painting are elaborated in comparison with the contemporary Renaissance art, unfolding the differences in the depiction of faces, in particular. Style in visual narration is treated in the novel as a reflection of seeing and imaging the faces in their uniqueness and iscontrasted with the tradition of Islamic book illumination where all faces appear to be the same. Western concerns with individuality and the uniqueness of the POV as revealed in one-point-perspective, suggests it is an indispensable aspect of style. In that sense, My Name is Red highlights portraiture in the visual arts as a reflection of character in visual narration; reflecting both the subject and the artist whose individuality is represented in the style of painting. Pamuk's novel, constructed as a symphony of many different voices, is well-suited in its form to its subject matter since it elaborates the concept of POV in fictional narrative structure. Through his characters, Pamuk's readers enter a world where Renaissance perspectivism — a dominance of vision — confronts the ultimate vision of blindness, presented in the novel as the self-imposed fate of the miniaturists at the peak of their careers. The worry about point of view is thus contrasted with its opposite — the absence of vision as supreme achievement within the Islamic-Turkic tradition. [End Page 124]This essay discusses issues of portraiture and character, movement and time, and story and space with reference to the narrative structure in fiction film. It aims to contribute to the discussion on POV in visual narration, dealing with the narrative structure of film as a continuation and interaction of different traditions in East and West. "Point of View" Revisited As a key concept in the narrative structure of both film and literary fiction, POV has been controversial. As a technical term in film practice, however, it is defined rather clearly: POV is a camera concept which describes what is seen by the camera. Where one puts the camera and what the camera sees defines the frame and the image. When one wants to tell a story with a sequence of images, one has to consider how one will use the camera, both for the whole sequence and for each image. From whose point of view, or from which different points of view will the story be told? Will it originate with a omniscient point of view or with the point of view of one of the characters, diving into the story from the inside? Will the camera be placed at the top of the room, on a crane, or under the table from where a child can see only the legs of the grown-ups? One has to make a series of technical and artisticdecisions relevant to the policy of points of view from which to narrate. This is similar to a comic strip, except that in visual narration with a camera, the frames follow one another in time rather than in space, creating the illusion that the images are moving when projected.We take this premise so much for granted in an age flooded withimages — seeing almost as a camera ourselves — that we tend to overlook the fact that once there were other ways of seeing and narrating. Narratives... (shrink)

A case study was conducted to explore teachers? current technology use in elementary schools in Ankara, the capital of Turkey. The data were collected through a survey, and participants included 1030 classroom teachers across eight districts. The present study results revealed that significant challenges remain with regard to technology use in the classroom, even in the capital of Turkey, where teachers have advantages in terms of technology access and use compared to rural areas. The participant teachers used technologies most frequently (...) for lesson preparation activities, rather than for delivering instruction. Although the teachers felt that school principals and colleagues were usually supportive of technology use in lessons, they complained about insufficient professional development activities and incentives. Representing a snapshot of teachers? technology use in elementary school settings, this study sheds light on essential factors that should be considered in any technology integration process in schools. The study findings offer valuable insight for policy-makers and school leaders on how to support the technology integration process and allocate money for technology initiatives. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.3 (2003) 1-20 [Access article in PDF] A Pedagogy of Two Ways of Seeing:A Confrontation of "Word and Image" in My Name is Red 1 Feride Çiçekoglu The novel of Orhan Pamuk, My Name is Red, recently the center of controversy, not only in its homeland Turkey but in all the countries where it was translated, focuses on the debates around image-making in (...) late sixteenth-century Istanbul, then the Ottoman capital. It is also a contemporary tale. Its focus is not only the tradition of miniature painting during the Ottoman period in particular, but also the tradition of Western painting. Above all, My Name is Red is a detective and love story, starting with a murder and resolving the mystery at the end, like many other novels in this genre. What is unique is the role that the confrontation of different traditions of painting, Western and Islamic, and that between "word and image" play in the resolution of the love story and the solving of the mystery. The tradition of miniature painting, the illumination and illustration of narrative texts, which legitimized itself as the art of the book, may be interpreted as a way of dealing with the iconoclastic tradition of Islam. In this context, images are not seen as things-in-themselves but they are treated as "footnotes" even when the image seems to dominate the written word on the page. Image-making becomes an extension of the text, rather than an independent art. It serves the purposes of the words for a better understanding of the meaning, for a description of the aura of the narration, for the depiction of the images the reader of the story will paint in the mind's eye. Images, it has been said, do not represent real life; they are an externalization of the inner life. Thus, contrary to meaning and interpretation in Western art, the meaning in Islamic illumination is "inwards, converging on a private truth" rather than disclosing itself with an "outwards movement" 3Such a way of seeing is a totally different story than the discipline of art history traditionally allows: [End Page 1] the history of art, everywhere interlaced with the problems of representationalism, is in large part a commentary of the Western tradition upon itself, even if examples may be chosen from beyond its borders. Representationalism and its attendant problems are integral to the history of Western art, but not to the history of all art. 4Pamuk's novel provides a rich frame of reference for wandering in both traditions of image-making, Western and non-Western, which have seldom — if ever — been presented in the same framework. My Name is Red reconstructs two different ways of seeing in retrospect within the fictional atmosphere of late sixteenth-century Istanbul, weaving a rich panorama of the now lost tradition of Islamic illumination, faced by the "troubled notions of representation, naturalism, realism, and mimesis" due to the impact of Venetian painting. 5It is incidental that in the novel, the contradiction of traditions fails to liberate the imagery of the Ottoman miniatures from the pages of the books and from the yoke of the narrative text. Pamuk himself certainly does not wish to be seen or evaluated as writing from the viewpoint of "positivistrationality" from a teleological standpoint of "enlightenment." In his words, "I do not see it as: The miniaturists were going to be westernized if they were not prohibited by Islamic tradition." 6Pamuk is well aware of the fact that "Westernization of the West" isbased on the idea of the Renaissance as a "myth." 7 He finds it ironic that "this nineteenth-century myth of the Renaissance is still taken seriously by many people"; even more so in non-Western cultures, since "the West" itself is in a process of "de-Westernization" by demystifying the myth. 8 He cites Svetlana Alpers's The Art of Describing in this context, as a work which impressed and inspired him for... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.4 (2003) 124-137 [Access article in PDF] Difference, Visual Narration, and "Point of View" in My Name is Red Feride Çiçekoglu This paper focuses on the difference between Eastern and Western ways of visual narration, taking as its frame of reference the novel My Name is Red, by Turkish author Orhan Pamuk, winner of the 2003 International IMPAC Dublin Literary Award, announced on (...) May 19, 2003 at Dublin Castle. 1This book is particularly important in terms of visual narration because it highlights the critical concept of "point of view" (POV). In his now internationally renowned novel, Pamuk's anachronistically created characters confront each other on ways of seeing and visual narration in the context of sixteenth-century Istanbul, when it was the capital of the Ottoman Empire. The visual narratives of miniature painting are elaborated in comparison with the contemporary Renaissance art, unfolding the differences in the depiction of faces, in particular. Style in visual narration is treated in the novel as a reflection of seeing and imaging the faces in their uniqueness and iscontrasted with the tradition of Islamic book illumination where all faces appear to be the same. Western concerns with individuality and the uniqueness of the POV as revealed in one-point-perspective, suggests it is an indispensable aspect of style. In that sense, My Name is Red highlights portraiture in the visual arts as a reflection of character in visual narration; reflecting both the subject and the artist whose individuality is represented in the style of painting. Pamuk's novel, constructed as a symphony of many different voices, is well-suited in its form to its subject matter since it elaborates the concept of POV in fictional narrative structure. Through his characters, Pamuk's readers enter a world where Renaissance perspectivism — a dominance of vision — confronts the ultimate vision of blindness, presented in the novel as the self-imposed fate of the miniaturists at the peak of their careers. The worry about point of view is thus contrasted with its opposite — the absence of vision as supreme achievement within the Islamic-Turkic tradition. [End Page 124]This essay discusses issues of portraiture and character, movement and time, and story and space with reference to the narrative structure in fiction film. It aims to contribute to the discussion on POV in visual narration, dealing with the narrative structure of film as a continuation and interaction of different traditions in East and West. "Point of View" Revisited As a key concept in the narrative structure of both film and literary fiction, POV has been controversial. As a technical term in film practice, however, it is defined rather clearly: POV is a camera concept which describes what is seen by the camera. Where one puts the camera and what the camera sees defines the frame and the image. When one wants to tell a story with a sequence of images, one has to consider how one will use the camera, both for the whole sequence and for each image. From whose point of view, or from which different points of view will the story be told? Will it originate with a omniscient point of view or with the point of view of one of the characters, diving into the story from the inside? Will the camera be placed at the top of the room, on a crane, or under the table from where a child can see only the legs of the grown-ups? One has to make a series of technical and artisticdecisions relevant to the policy of points of view from which to narrate. This is similar to a comic strip, except that in visual narration with a camera, the frames follow one another in time rather than in space, creating the illusion that the images are moving when projected.We take this premise so much for granted in an age flooded withimages — seeing almost as a camera ourselves — that we tend to overlook the fact that once there were other ways of seeing and narrating. Narratives... (shrink)

Cet ouvrage propose une relecture de la phénoménologie husserlienne dans l'histoire de la philosophie. À travers une double confrontation de la phénoménologie à l'histoire, il aboutit à l'idée que la phénoménologie constitue la réalisation de l'ambition originaire de la philosophie, celle-là même qui a fait son apparition chez les anciens grecs, et que derrière cette histoire se profile celle de l'humanité. Aussi se propose-t-il de recomprendre le projet phénoménologique général comme une quête unitaire du sens de l'histoire de l'humanité. L'histoire (...) de la philosophie que la phénoménologie accomplit est histoire de la raison, pour autant que la raison est l'attribut définitoire de l'humanité. Cette remarque explicite la mise en relation de "Raison et Humanité". Mais pour parvenir à la conclusion que l'aspiration à la rationalité est l'orientation générale de l'histoire de la philosophie et de l'humanité, il importe de faire une histoire de la raison, une histoire de la philosophie, recomprise comme archéologie de la rationalité. La rationalité est le télos de l'existence humaine! Le travail s'achève ainsi sur une interprétation philosophique de l'histoire humaine et l'érection d'une communauté éthique comme figure authentique et destinale de l'humanité. (shrink)

Atrial natriuretic peptides appear to elicit their actions in some target tissues by binding to a novel cell‐surface transmembrane protein which possesses both peptide binding and guanylate cyclase activities. Ligand binding stimulates enzyme activity to produce increased intracellular concentrations of cyclic GMP which, in turn, mediates the cell's physiological response.

People often deny having meant what the audience understood. Such denials occur in both interpersonal and institutional contexts, such as in political discourse, the interpretation of laws and the perception of lies. In practice, denials have a wide range of possible effects on the audience, such as conversational repair, reinterpretation of the original utterance, moral judgements about the speaker, and rejection of the denial. When are these different reactions triggered? What factors make denials credible? There are surprisingly few experimental studies (...) directly targeting such questions. Here, we present two pre-registered experiments focusing on (i) the speaker’s incentives to mislead their audience, and (ii) the impact of speaker denials on audiences’ moral and epistemic assessments of what has been said. We find that the extent to which speakers are judged responsible for the audience’s interpretations is modulated by their (the speakers’) incentives to mislead, but not by denials themselves. We also find that people are more willing than we expected to revise their interpretation of the speaker’s utterance when they learn that the ascribed meaning is false, regardless of whether the speaker is known to have had incentives to deceive their audience. In general, these findings are consistent with the idea that communicators are held responsible for the cognitive effects they trigger in their audience; rather than being responsible for, more narrowly, only the effects of what was “literally” said. In light of our findings, we present a new, cognitive analysis of how audiences react to denials, drawing in particular on the Relevance Theory approach to communication. We distinguish in particular: (a) the spontaneous and intuitive re-interpretation of the original utterance in light of a denial; (b) the attribution of responsibility to the speaker for the cognitive effects of what is communicated; and (c) the reflective attribution of a particular intention to the speaker, which include argumentative considerations, higher-order deniability, and reputational concerns. Existing experimental work, including our own, aims mostly at (a) and (b), and does not adequately control for (c). Deeper understanding of what can be credibly denied will be hindered unless and until this methodological problem is resolved. (shrink)

Development of the philosophy of inner self in India.

Supercommentary on Tattvacintāmaṇi, classical work on Navya Nyaya philosophy by Gaṅgeśa, active 13th century and its commentaries Didhiti by Raghunātha Śiromaṇi and Tattvacintāmaṇidīdhitiprakāśa by Bhavānanda Siddhāntavāgīśa with complete text.

Portion of Tattvacintāmaṇi dealing with syllogism (avayava); with commentary and supercommentary of the Navya Nyaya school in Indic philosophy.

Mu‘allâkâtların, tefsir, nahiv, sarf ve dil ilimlerindeki önemli rolünün yanı sıra Arap dili ve edebiyatı âleminde de yüksek ve önemli bir konumu bulunmaktadır. Cahiliye devri müfredatlarının pek çoğunu kapsamasından ötürü dil ve edebiyat erbabı ona önem atfetmiştir. Onlardan biri de, ‘Şerhü’l-Kasâ’idi’l-السبع’ adıyla el-Muâ‘llekât’a yaptığı şerhiyle Ebu Bekir Muhammed bin el-Kasım bin Beşar bin el-Anbari. Bu eserinde pek çok nahiv, zamirin aidiyeti, harflerin manası, zarf ile car ve mecrûrun bağlı olduğu yerin belirlenmesi, müfredatlarıni‘râbı, illetler arasındaki üstünlükler, kıyasa ve luğatta asıl olana, (...) kelimenin irabını belirlemede bazı seslerin etki nedenlerine, sarf, lügat, belağat, eleştiri vb. konulara değinmektedir. Bu itibarla bu araştırma, betimsel analitik yöntemini kullanarak et-Anbari’ninMu‘allâkât şerhindeki nahiv yöntemini, Arap nahiv ilminde iki önemli konu olan kıyas ve ta‘lîl ile ilgili duruşunu açıklayarak değerlendirmeyi hedeflemektedir. (shrink)

This article examines the output of Uganda's official Photographic Section from the years of the Idi Amin regime (1971-9), an archive of 60,000 black and white images from which have recently come to light in the stores of the Uganda Broadcasting Corporation in Kampala. Drawing on recent developments in African visual studies, the article focuses in particular upon what this archive reveals about photographic circulations in and from Amin's Uganda. It finds that this new trove of negatives -when compared with (...) press archives from around the world - is especially revealing of a growing nexus between official photography and all kinds of commercial photographies in the 1970s. This nexus played a key role in shaping both how the Amin regime was pictured at the time, and how its afterlife has continued to reflect down to the present time. (shrink)