With the addition of the 4-6 age group to the service areas of the Presidency of Religious Affairs(PRA), the activities in this area have increased rapidly over the years. This program, which is in high demand throughout the country, needs to be evaluated in many aspects, such as the implementation process and the achievement of its goals. In this context, the aim of the study evaluation in line with the instructive views of the PRA 4-6 Ages Groub Qur’an Courses Curriculum, (...) a scale has been tried to be developed in order to determine the current situation in the field and provide data for the revision activities to be carried out to make the program more efficcient. The PRA 4-6 Ages Group curriculum evaluation scale consists of 30 questions and 4 factors. While preparing the scale questions, the stages (context, input, process, product) of Stufflebeam's CIPP model, which is one of the curriculum evaluation models, were based on, and the questions were determined based on the curriculum outcomes. This study is a descriptive study, it was utilized in the study scanning desing from quantitative methods. The research data were obtained by applying to 480 instructors working in the 4-6 Ages Groub Qur’an Courses affiliated to the Mufti of İstanbul during the 2019-2020 academic year. The result obtained by exploratory factor analysis was tested and confirmed by confirmatory factor analysis and as a result of the analyzes made, it was concluded that the scale is a valid and reliable tool. (shrink)

This forward-thinking, non-traditional reference work uniquely maps out how new developments in 21st century philosophy are entering into dialogue with the study of literature. Going beyond the familiar methods of analytic philosophy, and with a breadth greater than traditional literary theory, this collection looks at the profound consequences of the interaction between philosophy and literature for questions of ethics, politics, subjectivity, materiality, reality and the nature of the contemporary itself.

The object of study of this article is narrative.1 My aim is to sketch what exactly constitutes the necessary and sufficient building blocks of narrative as such. The article’s concern is thus with the ontological build-up and status of narrative. In this, it argues against narratology’s prevalent anti-metaphysical Kantianism and for a Deleuze-inflected metaphysical conception of narrative. My account unfolds according to the following trajectory: first, I stage a critique of narratology’s default Kantianism; second, I formulate an alternative Deleuzian program; (...) third, I present short exemplary readings of three literary narratives, two contemporary novels and a nineteenth-century short story. The concept of.. (shrink)

Soccer has long been known as 'the beautiful game'. This multi-disciplinary volume explores soccer, soccer culture, and the representation of soccer in art, film, and literature, using the critical tools of aesthetics, poetics, and rhetoric. Including international contributions from scholars of philosophy, literary and cultural studies, linguistics, art history, and the creative arts, this book begins by investigating the relationship between beauty and soccer and asks what criteria should be used to judge the sport's aesthetic value. Covering topics as diverse (...) as humor, national identity, style, celebrity, and social media, its chapters examine the nature of fandom, the role of language, and the significance of soccer in contemporary popular culture. It also discusses what one might call the 'stylistics' of soccer, analyzing how players, fans, and commentators communicate on and off the pitch, in the press, on social media, and in wider public discourse. The Aesthetics, Poetics, and Rhetoric of Soccer makes for fascinating reading for anybody with an interest in sport, culture, literature, philosophy, linguistics, and society. (shrink)

What is narrative? Ridvan Askin brings together aesthetics, contemporary North American fiction, Gilles Deleuze, narrative theory, and the recent speculative turn to answer this question. Through this process, he develops a transcendental empiricist concept of narrative. Askin argues against the established consensus of narrative theory for an understanding of narrative as fundamentally nonhuman, unconscious, and expressive.

With its poetic and highly paratactic style and its reliance on the essay form Emerson’s program, I believe, is best captured with the expression ‘speculative pragmatism’. I will attempt to give this expression some consistency. The trajectory I have chosen for this task is as follows: I will begin with considerations concerning the fundamental relation between metaphysics and aesthetics for Emerson, then move on to the more specific relation between aesthetics and the work of art with literature as its prime (...) example, and end with some thoughts on the relation between art and ethics. What emerges at the end of this trajectory is an understanding of art as the primary means of metaphysical inquiry apt to disclose the fundamental nature of Being. In Emerson’s romantic-idealist framework, such ontological disclosure at the same time amounts to the unearthing of the ethical injunction to attune oneself to the Idea. Emerson’s speculative pragmatism accordingly preaches ‘the practice of ideas, or the introduction of ideas into life’. The primary site of such practice, that is, the paradigmatic speculative pragmatist enterprise is precisely art; hence the form that Emerson’s writings take. (shrink)

Paul Ricœur develops his phenomenological-hermeneutical theory of memory in his seminal Memory, History, Forgetting, and several preliminary studies to his monumental book.[1] As its title indicates, the monograph treats memory in conjunction with forgetting and history, placed within a wider horizon of what could be termed an ethics of forgiving. For the purpose of this article I will focus on the problems of memory and forgetting, ignoring history for the most part. Similarly, I do not explicitly deal with the more (...) specific issue of collective memory, which marks a transitional step from a proper phenomenology of memory to the epistemological problems of history and historiography. Even though the three main objects of Ricœur’s study are firmly interlinked, leaving aside history does not impinge on its general line of thought since the most fundamental problems of Ricœur’s discussion on history are imported from his discussion on memory, most notably that of the Greek eikon – representation. Rather than to engage in a wide-ranging ethical discourse, my aim is to focus on a more basic critique of Ricœur’s understanding of narrative, and the role he assigns to it in his theory of memory. -/- I argue that Ricœur’s Aristotelean-structuralist notion of narrative runs into problems when confronted with narratives which do not comply with its notions of order and synthesis. In addition, despite its pervasiveness in his theory, narrative is not adequately scrutinized by Ricœur. That my critique implies severe consequences for his ethics should become obvious, even though an analysis of what exactly these consequences entail must remain outside of this study. For the purpose of this article, it is enough to know these two points: first, that Ricœur’s theory of memory and forgetting is constitutive for his theory of history, which in turn functions as a critical remedy to our often unreliable memories; and second, that this dialectical relation between memory and history is situated within an ethical horizon. (shrink)

Ever since the turn of the century aesthetics has steadily gained momentum as a central field of study across the disciplines. No longer sidelined, aesthetics has grown in confidence. While this recent development brings with it a return to the work of the canonical authors (most notably Baumgarten and Kant), some contemporary scholars reject the traditional focus on epistemology and theorize aesthetics in its ontological connotations. It is according to this shift that speculative realists have proclaimed aesthetics as "first philosophy" (...) and as speculative in nature. With speculative realism aesthetics no longer necessarily implies human agents. This is in alignment with the general speculative realist framework for thinking all kinds of processes, entities, and objects as free from our all-pervasive anthropocentrism, which states, always, that everything is "for us." This special volume of Speculations explores the ramifications of what could be termed the new speculative aesthetics. In doing so, it stages a three-fold encounter: between aesthetics and speculation, between speculative realism and its (possible) precursors, and between speculative realism and art and literature. (shrink)

First published in English in 1935, this is a vital and stimulating critical appraisal of contemporary thought in the post-World War One era. Written by a selection of leading Marxist thinkers including Nikolai Bukharin, who would later become one of the most famous victims of Stalin's show trials, this work offers a Marxist critique of contemporary thought relating to philosophy, science and history. The authors all lean towards the view that the general tendency of modern thought is to abandon the (...) historical method and to deny progress, with the conclusion that Marxism was the only historical and progressive outlook in science, philosophy and history in the period following the First World War and the Communist revolution in Russia. A fascinating document of great historical and political interest which offers an invaluable insight into contemporary thought in the Soviet Union of the 1930s. (shrink)

L’article examine les « compositions » de Tchernikhov en liant sa recherche constante de nouvelles formes à la capacité de convertir les « fantaisies » en représentations. Contrairement à Aristote, qui conçoit la mimèsis comme l’équivalent de l’entreprise artistique, Tchernikhov perçoit ses « compositions » comme des actes de dépassement de la mimèsis par la phantasia. Les illustrations visionnaires de ses Fantaisies architecturales expriment son intention de remplacer les mots par des images graphiques. Son approche est fondée sur la croyance (...) que la puissance de l’imagination permet à la langue graphique, qui est par ailleurs internationale, de fonctionner comme un précurseur du progrès. L’objectif de l’article est d’élucider comment Tchernikhov traite la tension entre imagination et réalité et d’examiner dans quelle mesure sa production graphique parvient à surmonter la mimèsis à travers la phantasia. La réponse à ces questions pourrait nous aider à expliquer pourquoi Tchernikhov a souvent été jugé comme inclassable et à évaluer à quel point sa démarche reflète les polarités entre les rationalistes et les constructivistes. L’opposition entre « composition » et « construction » permet de mieux comprendre le positionnement à la fois singulier et fondamental de Tchernikov par rapport au constructivisme. L’article met en évidence le fait que le rôle essentiel de la phantasia pour Tchernikhov découle de la valorisation de la « composition » plutôt que la « construction ». (shrink)

This article focuses on documents made by the Soviet military secret service detailing the arrest, interrogation, trial and execution of Sergei Tret’iakov in Moscow in 1937. The original documents were published in Russian in 1997 as part of Return my Freedom, a collection of archival records edited by Vladimir Kolyazin that details the fate of Russian and German cultural figures who fell victim to the Stalinist terror. This record of Tret’iakov’s violent death has received little attention, even in (...) Russia or in Russian studies. The book presents facsimiles of 60 separately numbered and dated sheets containing records of Tret’iakov’s arrest and the search of his home. There are two written confessions; a first short admission of guilt and a second longer account of his supposed crimes that also claims parts of the first to be fictitious. These are followed by a transcript of his interrogation, a very brief account of his trial and the even briefer report of his execution. A historical gap separates these from documents of Tret’iakov’s official rehabilitation in 1954 which his wife, Olga Tret’iakov was instrumental in securing. Return my Freedom also contains the record of her arrest, interrogation and release in 1937. The article presents translated extracts from the official record of Tret’iakov’s interrogation and execution for the first time in English, and it explores these documents in relation to core strategies and critical commitments that shaped Tret’iakov’s influential conception of Factography. (shrink)

Among the principal manifestations of glasnost' in Soviet intellectual life today is the publication of writers who earlier were denied a broad forum for the expression of their views. In the sphere of philosophy, one such writer is Iakov Mil'ner-Irinin, with whose article on the concept of human nature in ethics the present issue begins. Mil'ner-Irinin, a philosopher who has worked as an editor at the publishing house of the Soviet Academy of Sciences, has long advocated an approach to (...) ethics that is heretical by orthodox Marxist-Leninist standards—a Kantian treatment of the field as a purely normative science that elaborates the universally necessary, prescriptive laws of conscience. In 1963 the Academy considered publishing a book on the subject by Mil 'ner-Irinin, but the project was dropped after heated debate, and when some of Mil 'ner-Irinin's views did find an outlet in an article he published in the Georgian republic, they were criticized severely by the Soviet philosophical establishment. (shrink)