Sekülerleşmeye dair yapılan çalışmalar incelendiğinde, genel olarak sekülerleşmeyi bir sosyal olgu düzeyinde ele alan çalışmaların, sekülerleşmeyi teorik tartışmalar çerçevesinde irdeleyen çalışmalara nazaran çok daha az sayıda olduğu gözlenmiştir. Hem sekülerliğin hem de desekülerliğin yaşandığını ileri süren çalışmaların, sekülerleşmenin toplumsal görünümlerine ilişkin olgusal veri sunmada yetersiz olduğu görülmekle birlikte şüphesiz her araştırmanın sekülerleşme literatürüne katkı sağladığı göz ardı edilmemelidir. Sekülerleşmenin toplumsal yapıda ne düzeyde ve hangi konular özelinde gerçekleştiğinin tespiti için olgusal verilere/araştırmalara ihtiyaç vardır. Sekülerleşmenin Makyavelist davranışları tetikleyici bir faktör olabileceği (...) varsayımından hareketle gerçekleştirilen bu çalışmanın amacı, seküler tutum ve Makyavelist davranış arasındaki ilişkiyi seküler normlara sahip alanlarda eğitim gören, sekülerleştirici/dönüştürücü eğitimin etkisiyle daha seküler yorumlar benimsediği ve dolayısıyla Makyavelist davranışlar sergileyebileceği varsayılan üniversite öğrencileri örnekleminde tespit etmektir. Seküler tutum ile Makyavelist davranış arasında bir ilişkinin olup olmadığını, üniversite öğrencilerinin hangi ölçüde seküler tutum ve Makyavelist davranış sergilediğini ölçmek bu araştırmanın temel problemidir. Bu nedenle çalışmanın kavramsal çerçevesi, klasik sekülerleşme teorileri tartışmalarından beri olup, seküler tutum ve Makyavelist davranış ekseninde oluşturulmuştur. Nicel araştırma deseni oluşturularak yapılan bu çalışmada ilişkisel tarama yöntemi, örnekleme yöntemi ve online anket tekniği kullanılmıştır. Araştırma kapsamında Osmaniye Korkut Ata Üniversitesinde (OKÜ) lisans düzeyinde öğrenim gören öğrencilere e-mail atılarak gönüllü bir şekilde ankete katılmaları istenmiş ve elde edilen 710 adet anket verisi ile analizler yapılmıştır. Elde edilen verilerle yapılan korelasyon analizi sonuçlarına göre Makyavelist davranış ile seküler zihniyete kayma arasında düşük düzeyde de olsa anlamlı ve pozitif yönde bir ilişki vardır. Ölçeğin diğer boyutlarından olan gündelik hayatta dini hassasiyetleri sürdürme ve siyasi otoritenin sekülerleşmesiyle Makyavelist davranış arasında ise yine düşük düzeyde de olsa anlamlı ve negatif yönde bir ilişki olduğu tespit edilmiştir. Seküler tutum boyutlarının Makyavelist davranışa etkilerine bakmak için yapılan regresyon analizi sonuçlarına göre sadece seküler zihniyete kayma boyutunun Makyavelist davranışı anlamlı bir şekilde etkilediği görülmektedir. Diğer alt boyutlardaysa düşük düzeyde bir ilişki olsa da etkileşim gözlemlenmemiştir. (shrink)

The long debate -- Aesthetics and ethics : basic concepts -- A conceptual map -- Autonomism -- Artistic and critical practices -- Questions of character -- The cognitive argument : the epistemic claim -- The cognitive argument : the aesthetic claim -- Emotion and imagination -- The merited response argument.

The thought that creativity is a kind of virtue is an attractive one. Virtues are valuable traits that are praised and admired, and creativity is a widely celebrated trait in our society. In philosophical ethics, epistemology, and increasingly aesthetics, virtue-theoretical approaches are influential, so an account of creativity as a virtue can draw on well-established theories. Several philosophers, including Linda Zagzebski, Christine Swanton and Matthew Kieran, have argued for the claim that creativity is a virtue, locating this claim within a (...) broader picture of intellectual, ethical and aesthetic virtues respectively. Moreover, a prominent research programme in psychology, led by Teresa Amabile, holds that people have an intrinsic motivation when they are creative, and this seems seamlessly to fit with the view that creativity is a virtue, for it is often held that a requirement for a trait to be a virtue is that the virtuous agent acts from an intrinsic motivation. (shrink)

Moral pluralism of the kind associated with W. D. Ross is the doctrine that there is a plurality of moral principles, which in their application to particular cases can conflict, and that there is no further principle to determine which of these principles takes priority in cases of conflict. Two objections are commonly advanced against this kind of pluralism: that it proposes a rag-bag of moral principles lacking a unifying basis; and that it offers no way to adjudicate moral disputes (...) when our intuitions about what to do conflict. The present paper replies to both of these objections, in particular by responding to versions of them advanced by Brad Hooker. The tying together and justification of different moral principles may be achieved by a general rational justification procedure, rather than by a further moral principle; and such a rational justification procedure can help to adjudicate moral disputes. (shrink)

A wide-ranging and accessible study of cinema as an art form, discussing traditional photographic films, digital cinema, and videogames.

This paper surveys some of the central issues in the philosophy of creativity and argues that an adequate treatment of them requires attention to the rich psychological literature on creativity. It also shows that the range of interesting philosophical questions to be raised about creativity is much wider than concerns its role in art. Issues covered include the definition of ‘creativity’; the relation of creativity to imagination; whether the creative process is rational; whether it is teleological; the relation of creativity (...) to knowledge; whether creativity can be explained; computational and Darwinian theories of creativity; whether creativity is a virtue; the relation of creativity to tradition; the aesthetic value of creativity; and whether creative activity is different in science and art. (shrink)

Repetitions (takrārs), which in the dictionary means ‘the repetition of something one after the other and its renewal in terms of wording and meaning’, are one of the most basic stylistic, address and textual structure features of the Qur’ān and at the same time one of the structural problems that have troubled the commentators. Repetitive nouns, verbs and letters in many verses, as well as sentences and phrases that sound like rhymes are of this kind. Although some of the benefits (...) of repetitions in the Qur’ān have been described in our tradition, it has also been stated by some that this is tiresome for a good and faṣīh word, far from any benefit, one of the disasters and defects of words that do not correspond to a mūciz word. At the same time, it has also been suggested that this is one of the things that indicate the corruption and weakness of the Qur’ānic naẓm and the existence of confusion in its naẓm. For this reason, literary scholars, linguists and commentators have considered the absence of repetition in phrases as one of the conditions of its feṣāhat (eloquence). In addition to all these, some in our tradition have treated these repetitive expressions not as a problem, but as a divine, transcendental style, and have sought a wisdom, a literary wit and a secret related to meaning. On the contrary, some have argued that the Qur’ān was revealed in the patterns of language use of the Arabs of that period, that the divine meaning and message was formed according to the speech patterns and styles of their words, advice and addresses, that the similarities of the patterns repeated in the Qur’ān were also found in their poetry, and for this reason, they associated the repetitions with the customs and habits of language use and literary tastes of the Arabs of the Hijāz region in daily speech and types of literature. Therefore, as some scholars in our tradition have argued, are these repetitions really a defect of expression, an artistic beauty? or structures that the Arabs of the nuzūl period did not know, were not familiar with, and did not hear, and that contain various subtleties of meaning? or on the contrary, are these expression patterns that were present and well-known in daily speech patterns and uses, in the literary genres of the Arabs of that day, and that were formed and manifested within the framework of their linguistic customs and traditions and literary tastes? İn this article, within the framework of these questions and problems, the relationship of the repetitions in the Qur’ān with the language usage customs, literary tastes, and linguistic cultural anthropological structures of the Arabs of the period of its revelation is examined. Therefore, as a result of this research, which is thought to be different from the existing academic studies, original and authentic, and the literature review method is used, ıt is clearly understood that the repetitions in the Qur’ān are ‘expressive structures related to the literary tastes, linguistic customs and traditions of the Arabs of the nuzūl period’ in terms of address/textual structure. (shrink)

This paper replies to objections from Thomas Adajian, Stephen Davies, and Robert Stecker to my claim, defended in ‘"Art" as a Cluster Concept’, that ‘art’ is a cluster concept and so cannot be defined. The paper also clarifies and extends the arguments of the earlier paper and locates its position in relation to the work of Morris Weitz.

Group creativity is vital in overcoming the numerous challenges that the world faces. Yet group creativity is deeply puzzling. It seems plausible that only agents can be creative, so group creativity requires group agency. But how could groups possess the mental states required to be agents, let alone the rich range of them required to be creative? It appears more reasonable to hold that group creativity is not a real phenomenon, but is merely the summed creativity of the individuals forming (...) the group. There is also much empirical evidence that groups are no more creative than their members. In this paper I examine the conceptual and empirical challenges to group creativity, defend its existence, and offer an explanation of how it is possible. (shrink)

Considerable methodological difficulties abound in neuroimaging, and several philosophers of science have recently called into question the potential of neuroimaging studies to contribute to our knowledge of human cognition. These skeptical accounts suggest that functional hypotheses are underdetermined by neuroimaging data. I apply Mayo’s error-statistical account to clarify the evidential import of neuroimaging data and the kinds of inferences it can reliably support. Thus, we can answer the question “What can we reliably learn from neuroimaging?” and make sense of how (...) this knowledge can contribute to novel construals of cognition. (shrink)

Felsefe tarihi, Heidegger’e göre, varlık sorusu etrafında inşa edilmiştir. Büyük filozofların neredeyse tamamı yüzeydeki tüm farklılıklara rağmen esasında bu ontolojik soruyla ilgilenmişlerdir. Bununla birlikte özellikle özgün düşünce geleneğinde bir kırılmanın yaşandığı Platon’la birlikte “varlık sorusu”, gitgide sahihliğinden uzaklaşmış ve Descartes’ın modern felsefenin de başlangıcı olmak bakımından tepe noktasını oluşturduğu bir çizgide, özne ile nesnenin karşılıklı konumlandırılarak yorumlandığı bir epistemolojik soru haline dönüşmüştür. Epistemolojik yaklaşımın öne çıkan özelliği, özne-nesne ilişkisinde bilginin koşullarını belirleyerek öznenin bilme sınırlarını saptamaya çalışmaktır. Bu yaklaşımda nesne özneye (...) aşkındır; dolayısıyla öznenin nesneyi bilmesi ancak kendinden yola çıkmasıyla olanaklıdır; çünkü öznenin kendisine ilişkin bilgisi doğrudan gerçekleşen, içkin bir bilgidir. Dolayısıyla bu yaklaşımdaki temel varsayım, özne ile nesnenin birbirini dışladığı, nesnenin özneye tâbi kılındığı ikili bir dünya varsayımıdır ve bu varsayımda ortaya çıkan karakteristik sorun, dış dünyanın varlığının kanıtlanması/bilinmesi sorunudur. Sonuç olarak bu makalede Heidegger’in bu problemi “varlık sorusu” bağlamında nasıl bir çözüme kavuşturduğu gösterilmeye çalışılacaktır. (shrink)

This paper studies miniatures from two copies of Ibn Husam Husafi’s Haveranname. The first one is from the Tahran Gulistan Palace Library, which consists of four pages, and the one-paged work is from the Museum of Riza Abbasi. These miniatures have been produced by Ferhad of Shiraz School of Miniature and his apprentices, in which Ali is depicted in a fierce fight with a dragon. Four of these miniatures have been published but not thoroughly examined. No published information is available (...) about the other miniature, studied here. It is evident from the quality of the drawing that the miniature has been produced by Ferhad. In the miniature, Ali is portrayed on his horse, Duldul, in an open field, attacking a seven-headed dragon with his sword, Zulfikar. The miniature also contains some poetry as well as some depictions of people and imaginary creatures. The miniatures from Haveranname have been auctioned in various parts of the world. In the book of the record, there is no detail about how the museum has retrieved it. As a result of the analyses in the current research paper, it is proposed that the miniature originates from the copy of Haveranname of the Gulistan Palace Library and has been acquired in an auction. (shrink)

One of the most basic stylistic characteristics of the Qur’ān is the agree-ment between syllables, sounds, lines and rhymes repeated at the end of the verses and give the same harmony. The question/problem “Are these words that have pleasant melodic structures and superior arts something that the Arabs of the 7th century Hejaz Region did not know, were not familiar with and did not hear, or are they expressions that existed in oral and literary types in their daily vocabulary formed (...) and embodied within the framework of well-known lexical customs and literary tastes?” is discussed in this article. For this purpose, the study examines the seciʿ and rhyming word structures in the verbal and literary discourses of the Jahiliya period Arabs. Then, based on the data in the ancient Islamic Literature, it examines the dialectical relationship of the melodic structures at the end of the verses of the Qur’ān with the characteristics of the seciʿ and rhyming literary products in the poems of the Arab poets of ignorance, and for the choice that the Arab society made it a custom and habit at that time to observe at the end of the words, and whether some rules of comparison of the language were abandoned or not. Of course, although the dialectical relationship between the seciʿ expression structures of the Qur’ān and the literary tastes of the Arabs of that period was addressed in the former literature with a weak and feeble voice between the lines, unfortunately, this has not been examined in modern studies yet. For this reason, we hope that the present study, which we think is original and authentic, will contribute to this field and as a result of the study, in which the literature review method was used, whether the harmonious, rhythmic, melodic sound and meter structures of the Qur’ān at the end of the verses are related to the literary tastes, lexical customs and traditions of the 7th century Arabs, or rather, these expressions were unknown to the Arabs of that day, will be uncovered along with the question whether it existed in a wonderful, transcendent and transcendent language and style that they were not familiar with, or in a local, regional, cultural anthropological nature that was compatible and agreeable with their tastes and expectations in that time. (shrink)

Although creativity, from Plato onwards, has been recognized as a topic in philosophy, it has been overshadowed by investigations of the meanings and values of works of art. In this collection of essays a distinguished roster of philosophers of art redress this trend. The subjects discussed include the nature of creativity and the process of artistic creation; the role that creative making should play in our understanding and evaluation of art; relations between concepts of creation and creativity; and ideas of (...) tradition, metaphor, genius, imagination and genre. This is an important collection that will be eagerly sought by philosophers of art as well as theorists in art history, cinema studies and literary criticism. (shrink)

In this important and impressive book, Gregory Currie tackles several fundamental topics in the philosophy of film and says much of general interest about the nature of imagination. The first part examines the nature of film representation, rejecting the view that spectators are subject to any kind of cognitive or perceptual illusions. Currie also argues against Walton’s transparency claim, which holds that when we look at a photograph we are literally seeing the object photographed. He instead defends perceptual realism, the (...) thesis that photographs resemble the objects they depict, where the resemblance is a matter of photographs triggering the same recognitional response as would the object photographed. He also argues convincingly that films should not be thought of as a language-like form of communication. (shrink)

Lamarque and Olsen argue for a “no truth” theory of fiction and literature, holding that there is no essential connection between the concepts of truth and those of fiction or of literature. Instead, they argue for a broadly Gricean account of both. The core of their characterization of the fictionality of a text is that it be the product of an intention that its reader adopt the fictive stance towards it, and the producer of the text intends there to be (...) a mutual belief that the reader adopt this stance partly because of her recognition of the producer’s intention. To adopt the fictive stance is, at its most basic level, to entertain the sense of the text and to make-believe its truth and reference. Because appeal is made not to belief, but make-belief, there is no essential connection between fictionality and truth. Fictional content is aspectival, fictional objects being constituted by the properties expressed by the descriptions associated with the names of the objects. The account of literature is structurally similar to that for fiction. A text is literary when it is produced with the intention that its audience adopt the literary stance towards it, and a similar mutual belief condition holds. To adopt the literary stance to a text is to read it for literary aesthetic value, that is, with an expectation of finding humanly interesting content presented in a complex and coherent form. There is no requirement that the content be true, and hence there is no essential connection between literature or literary value and truth. Within this broad framework, Lamarque and Olsen develop a number of further points of interest, including a broadly Gricean account of metaphor that avoids the pitfalls into which Searle’s proposal stumbles, a distinction between different senses of “fiction” that usefully shows that logical fictions are distinct from make-believe fictions, and a sustained attack on structuralist and poststructuralist literary theories that one hopes will fall into the hands of aficionados of those theories. (shrink)

Introduction -- Unintended consequences -- The origin of money -- Segregation -- The invisible hand -- The origin of money reconsidered -- Models and representation -- Game theory and conventions -- Conclusion.

In Economics Rules, Dani Rodrik (2015) argues that what makes economics powerful despite the limitations of each and every model is its diversity of models. Rodrik suggests that the diversity of models in economics improves its explanatory capacities, but he does not fully explain how. I offer a clearer picture of how models relate to explanations of particular economic facts or events, and suggest that the diversity of models is a means to better economic explanations.

While there are legal regulations prohibiting smoking in indoor areas in Turkey, there is none for outdoor areas. Many non-smokers are exposed to environmental tobacco smoking against their will in Turkey. Numerous research efforts have documented the fact that environmental tobacco smoke poses risks to human health because it pollutes the environment by releasing dangerous chemicals into the air that non-smokers breathe. This means that tobacco smoking poses risks to a safe environment and people’s lives. People have a right to (...) the environment, as guaranteed by the Turkish Constitution. Since Stockholm Declaration, many countries have recognized that people have a right to a safe environment or that a safe environment is essential to the enjoyment of human rights, including Turkey. However, how non-smokers perceive of the impacts of environmental tobacco smoke on the enjoyment of the right to the environment enshrined within the Turkish legal system has not been studied to date. Accordingly, this research aims to explore how issues relating to environmental tobacco smoke can be approached from an environmental human rights perspective. To achieve this purpose, a qualitative case study was conducted in Istanbul. The results of this analysis show that non-smokers do not enjoy the right to the clean environment guaranteed by the Turkish Constitution due to the ETS. (shrink)

This article aims to study Sufism (taṣawwuf) and inspiration (ilhâm), which is the main means of the mystical knowledge, in the thought of Ibn Taymiyya who is known generally as an exponent of a tradition grounded on the understanding of Salaf. He is considered by majority to be a rigid opponent of Sufism because of his unconventional interpretations of Sufi terminology. Also, since Ibn Taymiyya constantly offers the Qur’ān, ḥadīth, and the opinions of Salaf as the base of religious knowledge, (...) the idea that he does not lean toward inspirational and rational knowledge and he does not give a place for them in his epistemology came out and has grown in the course of time. As a result of our research, however, we realize Ibn Taymiyya admits the epistemological value of inspiration along with Sufism conditionally. While he divides Sufism into Early and Later periods, he examines inspiration in the context of knowledge (bâb al-ʿilm) which is considered to be a subcategory of supernatural events. Ibn Taymiyya, who believes that inspirational knowledge must be tested by means of the Qur’ān, Sunna, and the opinions of Salaf, without rejecting its reality, assesses the subject matter in detail through his own criteria. Therefore, this article, in which the subject is elaborated critically and descriptively, focuses on the approach of Ibn Taymiyya to Sufism and inspiration that is the basic element of Sufi knowledge. (shrink)

With this book, any teacher can start teaching philosophy to children today! Co-written by a professor of philosophy and a practising primary school teacher, Philosophy for Young Children is a concise, practical guide for teachers. It contains detailed session plans for 36 philosophical enquiries - enough for a year's work - that have all been successfully tried, tested and enjoyed with young children from the age of three upwards. The enquiries explore a range of stimulating philosophical questions about fairness, the (...) environment, friendship, inclusion, sharing, right and wrong, manners, beauty, pictures, the emotions, dreaming and reality. All the stories, drawings and photographs that you'll need to carry out the enquiries are provided and can be used with your children directly from the book. Each step-by step enquiry includes: The philosophical topic and the aim of the enquiry The stimuli you'll need Questions to ask the children Possible answers to help move the discussion forward Ideas to help you summarise and extend the enquiry. If you are an Early Years or primary school teacher, this complete resource will enable you to introduce philosophy to your children quickly and with confidence. (shrink)