All interpretations of the Portland Vase frieze to date have failed to see, much less explain, a crucial figural attribute in the frieze, one that proves to be both explicit and explicatory, and whose location and appearance secures the identification of not one but, indeed, three figures. Furthermore, the attribute lies at the heart of a distinct schema of figural grouping and arrangement which has also gone unheeded in previous treatments of the Portland Vase frieze. By dint of this previously (...) unknown attribute, one can straightforwardly read the opening scene of the frieze using the attributes therein provided, but the opening scene only. To complete the task, a second methodology–that which I laid out in Arion in 1992–is a categorical sine qua non. One can, as I have already shown, successfully navigate the entire frieze using the second methodology alone but, as so many others have shown, not contrariwise. These new findings–the attribute and figural plan–are clear proof that the artistic vision of the Portland Vase was purposefully executed in a two-part program. (shrink)

Among the extant masterworks of Roman art, there is probably none that has generated more scholarly debate than the Portland Vase over the interpretation of its elegant frieze. No fewer than forty-four different theories attempting to interpret the scenes on the vase have appeared in the last 400 years. In the main, the theories fall into two categories, those relating the frieze to Greek myth, and those linking the figures to Roman personages. Moreover, there is no consensus whether the frieze (...) is two separate scenes or one continuous story. The obstacle to interpreting the frieze is that all but one of the figures lack identifying attributes. This paper will demonstrate (1) that in lieu of standard iconography, a synthesis of visual and literary tropes in the form of hidden letters, that is, cryptograms, tells the viewer how to read the frieze; (2) that scene A of the frieze illustrates specifically lines 26-30 of Catullus 64 by visually rendering the epithets and tropes used in those lines; (3) that visual reproductions of other tropes in Catullus 64 further substantiate the relationship between frieze and poem; (4) that scene B of the frieze is an intentional aberration from the poem; (5) that there is a complex and unfinished interaction between scenes A and B which the viewer must complete; and (6) that in the final analysis, the frieze duplicates both the theme and central structure of Catullus 64.10 . (shrink)

A natural experiment was conducted studying the relations among student cheating, motivation, religiosity, and attitudes toward cheating. Students enrolled in a dual religious/college curriculum were surveyed regarding their cheating behavior, attitudes toward cheating, religiosity, and learning/grade motivations toward classes. Business and liberal arts college students were represented. Results strongly support the following conclusions. First, grade orientation is associated with increases in self-reported cheating. Second, among these religious students, more religiosity correlates with reduced reports of cheating in all courses. This result (...) appears to be due to the unique effect of religion on self-reported cheating rates and, depending on course content, on a reduction of grade orientation in religious students. Third, business students report more cheating than their liberal arts counterparts, even when taking the same courses. They have less critical attitudes toward cheating and greater grade orientation, both of which statistically contribute to this difference, but other factors are involved as well. Keywords: academic integrity, motivation, religiosity, cheating. (shrink)

A natural experiment was conducted studying the relations among student cheating, motivation, religiosity, and attitudes toward cheating. Students enrolled in a dual religious/college curriculum were surveyed regarding their cheating behavior, attitudes toward cheating, religiosity, and learning/grade motivations toward classes. Business and liberal arts college students were represented. Results strongly support the following conclusions. First, grade orientation is associated with increases in self-reported cheating. Second, among these religious students, more religiosity correlates with reduced reports of cheating in all courses. This result (...) appears to be due to the unique effect of religion on self-reported cheating rates and, depending on course content, on a reduction of grade orientation in religious students. Third, business students report more cheating than their liberal arts counterparts, even when taking the same courses. They have less critical attitudes toward cheating and greater grade orientation, both of which statistically contribute to this difference, but other factors are involved as well. Keywords: academic integrity, motivation, religiosity, cheating. (shrink)

Clark, R. L. Facts, fact-correlates, and fact-surrogates.--Heintz, J. The real subject-predicate asymmetry.--Stenius, E. All men are mortal.--Wilson, N. L. Notes on the form of certain elementary facts.--Binkley, R. The ultimate justification of moral rules.--Castañeda, H. Goodness, intentions, and propositions.--Patterson, R. L. An analysis of faith.--Simpson, E. Discrimination as an example of moral irrationality.--Welsh, P. Osborne on the art of appreciation.--Lachs, J. The omnicolored sky: Baylis on perception.--Strawson, P. F. Causation in perception.--Reid, C. L. Charles A. Baylis: a bibliography.

The ArgumentThe last two plates of Aby Warburg's unpublished picture-atlasMnemosyne, which is thought today to be among Warburg's most innovative contributions to the study of art history, are here analyzed in detail. These plates were assembled in the summer before his death in 1929; they reflect experiences of the time he spent in Rome during 1928 and 1929 and are here understood as Warburg's attempt to visualize his theory of the symbol.TheBilderatlaswas to have a two-fold function: Warburg planned it to (...) be a summary of his life's work; he also wanted its plates to reflect his theory of pictures and images. I argue here that particularly plate 79 is indeed an attempt tovisualizethe theoretical foundation of Warburg's view of the representational function of pictures. It refers to the origin of the power of images in sacrificial rituals and to the limits of this power. Warburg singles out the Eucharist and the doctrine of transsubstantiation to illustrate the role of the symbol in rituals.With this emphasis on ritual as a necessary complement for the functioning of the symbol, Warburg reaffirms his theory of the image to include the social act. This inclusion can be shown to be motivated by contemporary political concerns. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The Formless SelfNewman Robert GlassThe Formless Self. By Joan Stambaugh. Albany: State University of New York Press, 1999. 174 pp.For the past seven years I have been deeply involved in a worldwide experiment in global education. Students in the Comparative Religion and Culture (CRC) Program study the world's great religions for ten-week terms in each of East Asia, South Asia, and the Middle East, totaling one academic year (...) in all. Recent programming has taken place in Taiwan, Thailand, India, Nepal, and Turkey, with stops in Rome and Athens. Students have met with Buddhist and Christian teachers in Kyoto, Sojiji, Eiheiji, Taiwan, Bangkok, Chiang Mai, Bylakuppe, Dharmsala, Jerusalem, Rome, Athens, Ankara, and Istanbul. As part of their academic work, students write responses to each encounter and engage in term-end and year-end reflections on their own work. The program brings to light, in a very powerful way, some of the fundamental questions in cross-cultural study and interreligious dialogue. How do we come to understand a religion or culture other than our own? In analyzing their own work, students find themselves using terms from a Jain teacher's talk in Sravanabelagola to frame their response to the Dalai Lama's talk in New Delhi, and terms from the Dalai Lama's talk to understand and respond to the audience with the Pope in Rome. As the students become more sophisticated in understanding issues in interpretation, new questions are posed: How many people (other than ourselves) do we unknowingly bring to understanding an encounter with an other? When we use the Dalai Lama's talk in interpreting the Pope, does this enlarge our understanding of Catholicism, diminish or distort the Pope's message, or create something new altogether? What do we gain and what do we lose?Joan Stambaugh's The Formless Self is "an attempt to present Eastern ideas, or at least oneWestern interpretation of Eastern ideas, toWestern readers in a meaningful way" (p. x). The most referenced names in the index are Heidegger, Nietzsche, Plato, Keirkegaard, Descartes, and Meister Eckhart. These, then, are the key figures Stambaugh brings with her as she enters into conversation with the three Buddhist thinkers Dogen, Hisamatsu, and Nishitani. The latter two figures are themselves well known for their conversations withWestern thinkers. Stambaugh's book is best located within the larger body of work within and about the Kyoto School, that school of Japanese philosophy identified primarily with Nishida Kitaro, Tanabe Hajime, and Nishitani Keiji, and more recently with Abe Masao. In the United States, this school of philosophy reached its zenith of popularity in the late 1980s, culminating in an American Academy of Religion (AAR) award to Abe Masao's Zen and Western Thought and a series of annual AAR dialogues between Abe and John Cobb. Abe's presence hovers over Stambaugh's book as well, from an acknowledgment in the preface (p. x) to a reference in the index that seems to encompass the whole book. The Formless Self is a good short introduction to key beginning texts [End Page 300] in this larger field: Dogen's Genjokoan, the Hisamatsu-Tillich dialogues, and Nishitani's Religion and Nothingness.Stambaugh has in print translations of a substantial number of Heidegger's texts, including a recent translation of Being and Time. As might be expected, she seems to have a special affinity for Dogen's Uji (Being-Time; see especially pp. 31-40), and makes a creative contribution to the different understandings of these difficult concepts. Stambaugh also makes a brave attempt to work with Dogen's discussions of fire turning to ashes, fish in water, and mountains walking/ranging (pp. 39-48) in a productive way. Stambaugh's middle section on Hisamatsu may be the best place to begin, centering as it does on the dialogues with the Protestant theologian Paul Tillich. In 1957, the Zen Buddhist teacher and scholar Shin'inchi Hisamatsu was a visiting professor at Harvard lecturing on his recently published book Zen and the Fine Arts. Though Tillich's aesthetic approach to "ultimacy" made for a fine series of dialogues with Hisamatsu, the numerous difficulties in the dialogue serve as a warning... (shrink)

At a crucial moment in Euripides’ Andromache, the title character throws her hands around a statue of the goddess Thetis and laments the losses that have brought her to a point of desperation and despair. When Thetis appears at the end of the play, she answers Andromache’s pleas and grants her a renewed life of marriage and motherhood. Yet in her embrace of the statue, Andromache momentarily embodies an alternative impulse: a longing to merge with the stony form (...) of the goddess and to cease from the patterns of nuptial mobility and sexual reproduction that have defined her life thus far. In this article, I argue that we should understand this embrace as “queer”—as a moment of intimate contact between mortal woman and immortal goddess that deeply unsettles the models of sexual and reproductive order that dominate Greek art and literature. While the play ends by redirecting Andromache toward the propagation of the Trojan line, the queer potential of that crucial embrace is taken up by Thetis herself, who re-scripts her own marriage to Peleus in a way that both inverts gendered patterns of movement and rejects the valorization of female fertility. Euripides’ Andromache thus concludes with the restoration of mortal sexual and reproductive order, yet through Andromache’s encounter with Thetis, it also gestures to the queer and startling freedom of a barren future. (shrink)

This book undertakes a critical survey of art history across Europe, examining the recent conceptual and methodological concerns informing the discipline as well as the political, social and ideological factors that have shaped its development in specific national contexts.

Catullus' use of nutrices for the Nereids' breasts in line 18 of Poem 64 is not perhaps the most important problem in the poem, but it is not without interest and may have significance beyond its narrow context. This ‘weird preciosity’ has been integrated into a wider reading by Francis Cairns, who interestingly drew attention to Artemidorus 2.37–8 where to dream of Aphrodite emerging from the sea and naked as far as the ζώνη is a good omen for sea-travellers (...) because her breasts are τροΦιμώτατοι. So too, to dream of Nereids and Amphitrite is also a good omen. Cairns linked this passage to the persistent connections of Aphrodite and the Nereids with marriage, concluding that the Argonauts are presented with a very good omen as they set out and as the prospective bride and groom, Peleus and Thetis, meet. Cairns naturally finds support here for what we might call the ‘positive’ view of Catullus' heroic age, a view now apparently in the ascendant after the doubts created by John Bramble's well-known paper. Problems remain of course – Catullus 64 is not a dream – and the purpose of the present note is to keep debate alive by calling attention to a rather different set of considerations which complicate, rather than undermine, Cairns' reading. (shrink)

Catullus' use of nutrices for the Nereids' breasts in line 18 of Poem 64 is not perhaps the most important problem in the poem, but it is not without interest and may have significance beyond its narrow context. This ‘weird preciosity’ has been integrated into a wider reading by Francis Cairns, who interestingly drew attention to Artemidorus 2.37–8 where to dream of Aphrodite emerging from the sea and naked as far as the ζώνη is a good omen for sea-travellers (...) because her breasts are τροΦιμώτατοι. So too, to dream of Nereids and Amphitrite is also a good omen. Cairns linked this passage to the persistent connections of Aphrodite and the Nereids with marriage, concluding that the Argonauts are presented with a very good omen as they set out and as the prospective bride and groom, Peleus and Thetis, meet. Cairns naturally finds support here for what we might call the ‘positive’ view of Catullus' heroic age, a view now apparently in the ascendant after the doubts created by John Bramble's well-known paper. Problems remain of course – Catullus 64 is not a dream – and the purpose of the present note is to keep debate alive by calling attention to a rather different set of considerations which complicate, rather than undermine, Cairns' reading. (shrink)

Peneus comes to the wedding celebration of Peleus and Thetis – non uacuus: namque ille tulit radicitus altasfagos ac recto proceras stipite laurus,non sine nutanti platano lentaque sororeflammati Phaethontis et aeria cupressu.

Marxists regard works of art as meaningful, and look for political meanings even when they are not addressing political subjects. But where does music’s meaning lie? The conventional view is that music is non-referential, capable only of supporting other artforms or of expressing emotions. Adorno rejects the idea of music as a language of emotions, and does not believe that music has universal grammatical and syntactical rules. Yet he claims that music has language characteristics which make it as political as (...) other artforms. What does he mean, and is he right? To answer those questions, we need to know how he understands language. This article examines how Adorno's view compares with the Marxist theory of language and consciousness developed by Valentin Voloshinov, and explores the extent to which approaching music from this direction might clarify a Marxist understanding of music and contribute to solving the thorny question of musical meaning. (shrink)

Vagueness has gotten some attention in aesthetics, but deserves more. Vagueness is universally acknowledged to be ubiquitous. It has played a substantive role in some recent writing on the definition of art. It has figured importantly in analyses of the concept of literature, and (in connection with a thought experiment of Arthur Danto’s), of the ontology of art. Vagueness was a locus of contention in a debate between Alan Goldman and Eddy Zemach about the reality of aesthetic properties. This paper’s (...) aim is to advance that debate, by focusing on the relevance of vagueness to the familiar argument that moves from premises about aesthetic disagreement to the conclusion that aesthetic properties are not real. In what follows, it is argued that, vis-á-vis aesthetic disagreement, the vagueness of aesthetic properties can do important theoretical work for aesthetic realism. (shrink)

The text is a commentary to the phenomena in Polish modern art in the final years of the 20th century. It constitutes a “first-hand” account by a participant of the events and the host of the location. The location was the author’s private workshop in the attic of a Łódź tenement house in the very centre of the city, in the circles of artists creating situations, meetings, events and objects, which established Kultura Zrzuty [the Whip-round Culture], a phenomenon which described (...) the activities of artists independent of state institutions and officials patrons in the 1980s. The analysis of the events within the area of independent Okolice Sztuki inspired the author to discuss the form of other artists and his own, who created art in Strych [literally: attic] in an unchanging conflict between physical and social existence and freedom in art. (shrink)

Memory, mother of the Muses by Zeus, has nurtured culture for nearly three millennia while her nemesis, forgetfulness, has been demonized as an agent of destruction. In the modern age, however, memory has grown increasingly burdensome, opening the way for a more positive assessment of forgetfulness. Nietzsche praises animals for an inability to remember that preserves their innocence and happiness, and Freud documents the discontents of a civilization that cannot forget. ;In tracing the recent development of these issues, the dissertation (...) focuses primarily on Walter Benjamin, Hans Blumenberg, and Thomas Pynchon. Benjamin and his anguished "angel of history" show the destructive psychological effects of trying to use human memory as a secular form of redemption. Blumenberg's philosophy of history makes it possible to trace memory's responsibility for redemption to the modern age's inflated notion of the subject. Blumenberg's work also emphasizes the importance of metaphor and narrative in mediating and creating historical understanding, and this aesthetic distance weakens memory's redemptive relation to the past. Pynchon's protagonists, too, find that their desire to make historical meaning fully present is overshadowed by their fear of such presence. By reconciling themselves to a profane aesthetic distance from the past, Blumenberg and Pynchon redeem themselves from the melancholy engendered by an overly ambitious memory. ;Thus the dissertation attempts to recover a more modest and less oppressive memory by understanding it as a way to distance rather than redeem past injustices. This reconception of the function of memory helps establish an equilibrium between the pensive memory of Benjamin's "angel of history" and the innocent oblivion of Nietzsche's animals. ;In addition to the three major figures named in the title, the dissertation devotes sections and excursuses to Friedrich Nietzsche, Sigmund Freud, Ernst Cassirer, Martin Heidegger, Virginia Woolf, Ernst Robert Curtius, Elie Wiesel, Primo Levi, Michel Foucault, and Thomas Kuhn. Translations of two essays by Blumenberg, "Pensiveness" and "Being--A MacGuffin," and a comprehensive Blumenberg bibliography are included as appendices. (shrink)

The definition of art is controversial in contemporary philosophy. Whether art can be defined has also been a matter of controversy. The philosophical usefulness of a definition of art has also been debated. -/- Contemporary definitions can be classified with respect to the dimensions of art they emphasize. One distinctively modern, conventionalist, sort of definition focuses on art’s institutional features, emphasizing the way art changes over time, modern works that appear to break radically with all traditional art, the relational properties (...) of artworks that depend on works’ relations to art history, art genres, etc. – more broadly, on the undeniable heterogeneity of the class of artworks. The more traditional, less conventionalist sort of definition defended in contemporary philosophy makes use of a broader, more traditional concept of aesthetic properties that includes more than art-relational ones, and puts more emphasis on art’s pan-cultural and trans-historical characteristics – in sum, on commonalities across the class of artworks. Hybrid definitions aim to do justice to both the traditional aesthetic dimension as well as to the institutional and art-historical dimensions of art, while privileging neither. (shrink)

Bu araştırma Hz. Peygamber’e izafe edilen “Dünya müminin zindanı, kâfirin cennetidir” rivayetini konu edinmektedir. Zikri geçen hadisle ilgili literatür taraması yapıldığında müstakil bir araştırmaya rastlanmamaktadır. Esasında ilim geleneğimizde tek bir hadisi bütün yönleriyle inceleyen pek çok araştırma vardır. Ancak söz konusu haberin müsellem ve mesajı açık kabul edilmesi hem Arap hem de Batı araştırmalarına konu edilmemesinin gerekçesi olabilir. İlgili rivayetin temel hadis kaynaklarında muhtelif metinlerle, beş ayrı sahâbîden aktarıldığı tespit edilmiştir. Araştırmamızda sözü edilen metin ve senedler ayrı ayrı incelenerek rivayetin (...) hadis ilmi açısından değeri tartışılmıştır. Rivayetin pek çok tariki olduğu için araştırma merfu‘ haberlerle sınırlandırılmıştır. Sözü edilen rivayete temel hadis metinlerinde hangi bâb başlığı altında yer verildiği ve klasik hadis şerhlerinde metne nasıl yaklaşıldığı tetkik edilmiştir. Rivayetin “zühd” konusunun ayrılmaz bir parçası haline geldiği ve buna bağlı olarak vaaz ve irşad literatüründe önemli bir yer tuttuğu tespit edilmiştir. Hadiste müminin dünya hayatıyla ilişkisine dair serdedilen ifadeler, kabaca “fâni olan her şeye yüz çevirmek” şeklinde tanımlayabileceğimiz zühdle ilişkilendirilmesine yol açmıştır. Hadis şârihleri ise mezkûr haberi dünya arzularının cezb ediciliğiyle, süreklilik arz eden meşakkatli ibadetlerle mükellef olmanın verdiği zorlukla ve dünyada bireylerin başına gelen musibetlere karşı sabretmesi gerektiğiyle ilişkilendirmişlerdir. Bu bakımdan musannifler ile şârihlerin hadisi benzer perspektifle değerlendirdikleri görülmüştür. Çalışmamızda, Kur’an ve hadis metinlerinde yer alan metaforik anlatı biçimi göz önünde tutulduğunda hadisi farklı bir bakış açısıyla değerlendirmenin mümkün olup olmadığı tespit edilmiştir. Zira metafor, retorik sanatların önemli bir unsuru olup, benzetme edatlarını kullanmadan farklı konular arasında anlam bağlantısı kurma sanatıdır. İstiare, teşbih, alegori ve kinaye gibi türlerle benzerlikler taşısa da anlatılan konudan ziyade anlatım tarzını vurgulayarak sözleri güçlendirmesiyle diğerlerinden ayrılmaktadır. Metaforlar düşünce dünyasına derinlik katmakla kalmaz, aynı zamanda karmaşık veya soyut kavramların daha anlaşılır ifade edilmesine imkân tanır. Dilin gücünü ortaya çıkarırken, yaratıcı düşünce ve duygusal bağlantılar kurma becerisini pekiştirerek anlatının içerdiği mesajın vurgusunu artırır ve muhatapta daha derin etki bırakmayı sağlar. Tüm bunlardan hareketle ilgili metinde yer alan “zindan” kavramının metaforik bir anlam içerdiği kabul edildiğinde yeni bir yorum denemesine açık olduğu söylenebilir. Özellikle modern dönemde belirgin, açık ve fark edilir düzeyde ortaya çıkan düşünce ve ahlak krizine karşı bir anlamlandırma yolu seçerek ilgili rivayeti “medeniyet ve sünnet” ilişkisini göz önünde tutarak metaforik bir yorum denemesiyle ele aldık. Zira bu sözleriyle Resûl-i Ekrem’in çökmüş ve çürümekte olan medeniyetlerin haksızlık ve sefaletin kaynağı haline getirdiği tek dünyacı anlayışı reddettiği, nimetlere ve mahrumiyetlere karşı gereğinden fazla ya da az değer atfetmeyi kabul etmediği ve ölümle her şeyini kaybedeceğini düşünenlere karşı bilinç uyandırmaya çalıştığı iddia edilmektedir. Bunun yanında modern insanın İslâm medeniyetini yeniden canlandırabilmesini engelleyen bir dizi kriz vardır. Bunlar ruhsal, bireysel, düşünsel, metafizik ve toplumsal krizlerdir. İnsan, ruhsal krizi manevi ilerleme ve aydınlanmayla; bireysel krizi değerleri arzulara bırakmamakla; düşünsel krizi farklı düşüncelere açık bir şekilde eleştirel düşünceyi geliştirmekle; metafizik krizi dünyevi cazibelerden arınarak varoluşsal kısıtlamalara sırt çevirip bilgi ve anlam arayışına yönelmekle; toplumsal krizi toplumdaki değişimlere katkıda bulunarak insan hakları mücadelesi vermekle alt edebilir. Araştırmamızda insanın bu krizlerle başa çıkıp zindandan kurtularak özgürlüğe kavuşacağı ve kendi medeniyetini kurabileceği fikri metaforik bir yorum denemesiyle ileri sürülmüştür. Modern dönemde karşımıza çıkan sorunların tespitinin ve bu sorunlara dair çözüm önerilerinin rivayet kültüründen beslenmek suretiyle yapılmasının mümkün olup olmadığı da bu sayede tetkik edilmiştir. Bu kapsamda “Dünya müminin zindanı, kâfirin cennetidir” rivayetinin ne şekilde anlaşıldığı veya anlaşılması gerektiği etrafındaki tartışmalara temas edilerek yeni bir yorum arayışına gidilmiştir. Söz konusu arayış “deneme” olarak isimlendirilmiş ve sonraki araştırmacıların çok daha kapsamlı denemelerde bulunması hedeflenmiştir. (shrink)

Upon abolition of the sultanate, proclamation of the Republic, and termination of the seemingly existing caliphate position, the 1921 Constitution was replaced with the 1924 Constitution, which would remain in full force until 1961. It is observed that as a result of all such consecutive developments, the no. 677 Law on Preclusion and Abolition of Lodges, Zawiyahs, Tomb Keepers and Some Titles, which had been presented to the assembly with a bill prepared by Refik Koraltan, a member of the parliament (...) from Konya province, along with his friends, accepted in November 30th, 1925 and published in the official gazette in December 13th, 1925, interrupted, in general, the religious Turkish music; and in particular, the music of Mevleviyeh and Bektashism cults -lodge/dervish music- during the production stages, which has been determined to be directly connected with the following problems to be dealt with, and which will constitute the focus of our study. Therefore, our "Music Policies in Turkish Single-party Era: Religious Music Example" titled study, as mentioned above, has been the subject of the research concentrated around especially the no. 677 Law came into force in December 13th, 1925, accepted with a bill, within the scope of transitions paving the way for the proclamation of the republic, and legitimacy of various revolutions implemented, and it is important that the effects of the political mobility experienced in our country between 1923 and 1950 during the single-party era on our society, and the extent of such effects on the music life, in particular Turkish religious music education, culture and art in our country can be observed and evaluated. (shrink)

This study deals with a linguistic phenomenon that has not been fully researched. This phenomenon was mentioned in some of the works of the bedî scholars who called it ittisâ (statements that can be interpreted in more than one meaning – provided that the vocabularies can express these interpretations – without any presence of any presumption in favour of any meaning, often out of the intention of the speaker. -/- Multiples interpretations used for many reasons, may be grammatical, word’s structure, (...) phonetic or written, this linguistic phenomenon deserves in-depth survey. -/- This research examines the phenomenon of ittisâ on two sides: -/- 1- The techniques used by the speaker to produce statements with multiple meanings -/- 2- How the recipient interpret these statements. -/- This research will be a guide showing us the rhetorical art in ittisâ. it will introduce examples of the ittisâ science from the Holly Quraan, the prophet’s Hadith, the words of the companions, and the poems of the Arabs and their proverbs. (shrink)

In the contemporary postmodern era, the boundaries that once rigidly separated well-established genres have become more fluid, resulting in what scholars Raffaella Baccolini and Tom Moylan call ‘genre-blurring’. This phenomenon of incorporating elements from diverse genres represents a challenge to dominant ideologies and expands the possibilities within fictional texts. The dystopian fiction written by feminist writers towards the end of the twentieth century and beyond significantly exemplifies this form of hybrid textuality. In doing so, these writers seek to renovate the (...) dystopian genre by making it both formally and politically oppositional. This article aims to explore Midnight Robber (2000), a feminist dystopian novel by Nalo Hopkinson, a Jamaican–Canadian writer, to illustrate how the author manipulates the generic boundaries of science fiction, fantasy and mythology. By amalgamating Afro-Caribbean religious and cultural beliefs, mythical creatures and traditional knowledge systems with a technologically advanced future world, Hopkinson challenges the essentially White, Eurocentric model of dystopian fiction. The article will also examine how, as an Afrofuturist writer, Hopkinson attempts to challenge and subvert the patriarchal discourse of dystopian fiction, traditionally dominated by White male writers, through a strong Black female character, Tan-Tan, who seeks to resist the patriarchal structures governing her, and finally succeeds in emerging as a female leader figure. For this purpose, Barbara Creed’s insights into the monstrous-feminine are explored, introducing novelty into the discourse of feminist dystopia. (shrink)

Drawing on John Dewey and the later Ludwig Wittgenstein, this book employs philosophy as a conceptual resource to develop new methodological and analytical tools for conducting in situ empirical investigations. Chapter one explores the philosophies of Wittgenstein and Dewey. Chapter two exposits Deweyan ideas of embodiment, the primacy of the aesthetic encounter, and aesthetically expressive meaning underdeveloped in Wittgenstein. Chapter three introduces the method of practical epistemological analysis and a model of situated epistemic relations to investigate the learning of body (...) techniques in dinghy sailing. The concluding chapter introduces a model of situated artistic relations to investigate the learning of artistic techniques of self-expression in the Swedish sloyd classroom. (shrink)

Drawing on recent theories and debates concerning the everydayness of non-artistic and even private aesthetic experiences, this article aims at differentiating new ways of dealing with revulsion at the intersection of negative and everyday aesthetics, as another manner of extending or transcending the scope of traditional art-oriented aesthetics. The paradigms that I will trace in the history of negative aesthetics are not mere occurrences of disgust or repulsiveness in art and in everyday life, but ways of addressing the repulsive in (...) relation to the culturally variable scope of art and aesthetics. Besides the classical paradigm that associates repugnant subjects with their pleasure-inducing imitations in art, and the transgressions of modern and contemporary art that increasingly shocked their audience, revulsion can also be regarded as a form of displeasure linked to the quotidian, yet aesthetically relevant forms of life. By virtue of this ordinary nature, which is not unfamiliar to other (non-Western) cultures, revulsion could be placed at the core of everyday aesthetics, since it confirms both the transition from contemplation to action in recent aesthetics, that is, the practical preoccupation with the aesthetic quality of living, and the broader redefinition of aesthetics in terms of sensory reactions. (shrink)

In 2007, the artist Josiah McElheny stumbled across a reference to a little-known short story by Paul Scheerbart, “Der Lichtklub von Batavia: Eine Damen-Novellette” (“The Light Club of Batavia: A Ladies’ Novelette”) (1912). McElheny, recognized for his work with glassblowing and elaborate sculptural installations consisting of glass and mirrored objects, was already familiar with Scheerbart’s utopian treatise on glass architecture, which called for the creation of a spiritual environment built from new technology, “the new environment [that] . . (...) . must bring with it a new culture.”1 The artist’s fascination with Scheerbart’s writing extended beyond a shared interest in the medium of glass. In his work, McElheny .. (shrink)

I was born on 7 November 1952 in Moscow. I studied at the Historical-Archival Institute, from which I graduated after writing a dissertation titled The Commission for the Preservation of the Monuments of Art and Antiquity of the Trinity-Sergius Lavra, 191 8-1 925. Survey of Materials [Komissiia PO okhrane pamiatnikov iskusstva i stariny Troitse-Sergievoi lavry. 1918-1925. Obzor materialov].

Everyone knows the statement of Servius that Virgil was compelled by Augustus to alter the second half of the Fourth Georgic after the fall of Gallus, and that he substituted the story of Aristaeus for the laudes Galli. This statement, often doubted by older generations, has had such a remarkable success in recent years that anyone who ventures to impugn it must feel that he is pleading with a halter round his neck before a one-sided jury. It is notable, (...) however, that these jurors, though one-sided, are by no means united, save in their determination to uphold the credit of Servius. One group will assure us that the episode of Aristaeus shows obvious signs not only of haste but of immaturity, and they draw a pathetic picture of the grief-stricken Virgil, ordered to bring out a second edition minus the praises of his friend Gallus, and half-heartedly throwing together some bits of juvenile stuff which he happened to have handy. Others assure us that the tale of Aristaeus shows us a more mature Virgil, nearer to the Virgil of the Aeneid. But the Servians really cannot have it both ways. They must make up their minds in the one direction or in the other if they are to be taken seriously. They make it doubly difficult for us to take them seriously when they try to tell us what Servius meant—but of that more anon. The present paper is an attempt by a converted Servian to examine frankly the arguments which have been advanced in support of Servius. Most of these may be found in Skutsch, Aus Vergils Frühzeit, pp. 140–147. One is very reluctant to use disparaging words about an eminent scholar who has served the cause of learning in so many ways; but it can scarcely be denied that the work just mentioned, in spite of its ingenuity and enthusiasm, shows a lamentable lack of three great essentials—a judicial temper, accurate statement of facts, and cogent reasoning. There is also at times a regrettable vagueness of expression, suggesting that the author is concealing inward doubts or shrinking from thought. All these deficiencies are to some extent present in the section with which this paper is concerned. (shrink)

_A Companion to Nietzsche_ provides a comprehensive guide to all the main aspects of Nietzsche's philosophy, profiling the most recent research and trends in scholarship. Brings together an international roster of both rising stars and established scholars, including many of the leading commentators and interpreters of Nietzsche. Showcases the latest trends in Nietzsche scholarship, such as the renewed focus on Nietzsche’s philosophy of time, of nature, and of life. Includes clearly organized sections on Art, Nature, and Individuation; Nietzsche's New Philosophy (...) of the Future; Eternal Recurrence, the Overhuman, and Nihilism; Philosophy of Mind; Philosophy and Genealogy; Ethics; Politics; Aesthetics; Evolution and Life. Features fresh treatments of Nietzsche’s core and enigmatic doctrines. (shrink)

The book seeks to illuminate Bergson's view that philosophy is the discipline of thinking that makes the effort to think beyond the human condition so as to extend our perception of the universe. In the book I explore Bergson on time and freedom, on memory, on his reformation of philosophy in Creative Evolution, on religion, on ethics, and on education and the art of life.