This paper aims to examine the role that the various vehicles of marketing communications can play with respect to communicating, publicising and highlighting organisational CSR policies to its various stakeholders. It will further endeavour to evaluate the impact of such communications on an organisation's corporate reputation and brand image. The proliferation of unsubstantiated ethical claims and so-called 'green washing' by some companies has resulted in increasing consumer cynicism and mistrust. This has made the task of communicating with, and more importantly (...) convincing, an organisation's stakeholders vis-à-vis its CSR credentials even more difficult. This paper argues that marketing communications tools can play a major role in conveying a company's CSR messages and communicating a more socially responsible image. (shrink)

This paper aims to examine the role(s) that the various vehicles of marketing communications can play with respect to communicating, publicising and highlighting organisational CSR policies to its various stakeholders. It will further endeavour to evaluate the impact of such communications on an organisation's corporate reputation and brand image. The proliferation of unsubstantiated ethical claims and so-called 'green washing' by some companies has resulted in increasing consumer cynicism and mistrust. This has made the task of communicating with, and more importantly (...) convincing, an organisation's stakeholders vis-à-vis its CSR credentials even more difficult. This paper argues that marketing communications tools can play a major role in conveying a company's CSR messages and communicating a more socially responsible image. (shrink)

Chinua Achebe, the contemporary Nigerian novelist, is considered as one of the prominent figures in African anti-colonial literature. What makes his works specific is the way he approaches the issues of colonization of Africa in an objective manner and through an innovative language which aims at providing a pathology; a pathological reading meant to draw on the pre-colonial and colonial history without any presumptions so as to present the readers with possible alternative African discourses in future. His first novel Things (...) Fall Apart can be taken as the best representative of such a penchant in Achebe. The present study seeks to approach Things Fall apart by reflecting on those discursive features which have provided the ground for constructing such a pathological reading and an alternative to the colonial discourse. To this end, some key terms introduced by Homi Bhabha and Mikhail Bakhtin such as ‘hybridity’, ‘otherness’ and ‘polyphony’, constitute the cornerstone of this study. Presumably, such an innovative reading of Achebe’s Things Fall Apart is to lead to a better understanding of his discourse and the efforts made by him to help the African readers figure out how to piece together what once fell apart; what they can rely on for building an independent future in the so-called postcolonial era. (shrink)

Ce volume envisage l'amour en tant qu'objet polymorphe : Eros, Philia, Agapé, mais aussi Storgé. Les mots grecs rendent compte, du large spectre amoureux : amour romantique, amour sexuel, amour de soi, de l'autre, pour l'autre... des catégories qui placent les manifestations du sentiment amoureux dans un espace de contraintes et de possibilités qui relève du social et du discursif. Les travaux qui sont ici réunis s'attachent ainsi à interroger des genres artistiques et discursifs dans lesquels s'ancre l'amour, ils abordent (...) la littérature et le cinéma, mais aussi l'histoire, l'histoire des idées, la sociologie l'ethnologie ou la psychologie. Ces recherches mettent en avant que l'amour constitue une manière d'appréhender et d'expliquer le monde puisqu'on peut lire à travers lui les rapports qui définissent nos sociétés et qui le définissent à leur tour. (shrink)

Priscian of Lydia was one of the Athenian philosophers who took refuge in 531 AD with King Khosroes I of Persia, after the Christian Emperor Justinian stopped the teaching of the pagan Neoplatonist school in Athens. This was one of the earliest examples of the sixth-century diffusion of the philosophy of the commentators to other cultures. Tantalisingly, Priscian fully recorded in Greek the answers provided by the Athenian philosophers to the king's questions on philosophy and science. But these answers survive (...) only in a later Latin translation which understood both the Greek and the subject matter very poorly. Our translators have often had to reconstruct from the Latin what the Greek would have been, in order to recover the original sense. The answers start with subjects close to the Athenians' hearts: the human soul, on which Priscian was an expert, and sleep and visions. But their interest may have diminished when the king sought their expertise on matters of physical science: the seasons, celestial zones, medical effects of heat and cold, the tides, displacement of the four elements, the effect of regions on living things, why only reptiles are poisonous, and winds. At any rate, in 532 AD, they moved on from the palace, but still under Khosroes' protection. This is the first translation of the record they left into English or any modern language. This English translation is accompanied by an introduction and comprehensive commentary notes, which clarify and discuss the meaning and implications of the original philosophy. Part of the Ancient Commentators on Aristotle series, the edition makes this philosophical work accessible to a modern readership and includes additional scholarly apparatus such as a bibliography, glossary of translated terms and a subject index. (shrink)

In this text, which employs the analytic-comparative method, we read the Poetics of Aristotle in a new way to take an example of translation as an artistic creation. We can present the result of the essay as a metaphor called “the art of translation”, and then we refer to four evidences which can support our metaphor: reading the text as seeing the world, understanding the meaning as perceiving the main action, representing the text as recreating an image, and word making (...) as the art of poetic. If we want to explain the useful dimension of our research, it can be said: every translation has a moral dimension which depends on its imitation of the author’s line and reader’s culture, and also has an artistic dimension that attends to the beauty of text and new vision of culture. According to Moderation theory of Aristotle, an ideal intercultural translation sees the right of author and reader by the equal criterion. Then it shows a production that is combined with “representation”, a term which can embrace the beauty and ethic in the art of translation. Keywords: poetics, representation, artistic creation, art of translation, cultural relationship 1. Mimesis in art and translation As Aristotle has said about art and poetry, they are based on Mimesis or imitation. It means that he believes art is Mimesis. But his theory about this issue is totally different to Plato’s thought. He thinks that Mimesis is not imitation of Ideas as Plato thought. Mimesis in his thought is imitation from the existence, aspect or form of things in this world. So he emphasizes that Mimesis is imitation of something or maybe happenings outside of man. After collecting all of Aristotle’s thoughts, especially about poetry, it seems clear that the imitation or Mimesis is a representation of the subject of imitation in which sometimes the subject of imitation has been represented better than its fact, like tragedy, and sometimes worse, like Comedy. It seems that we can see translation as imitation, understanding the latter as in Aristotle’s conception of art mentioned above. Indeed, a translator at the beginning of is translation process looks at the text deeply and tries to understand it as well as possible. After that, he thinks about the value of translations. In this step, if the text has repeatability in other languages and cultures, the translator starts the imitation from an original text to create another text. It seems that this process is like what an artist does to create artworks. 2. resemblances between art and translation On the basis of Aristotle’s Poetics, we want to explain some resemblances between art and translation to describe our conception of translation as an art. We think those resemblances can convince us to see translation as an art. The first resemblance between creation of artworks and translation is at the first step of them. The first resemblance between the artistic creation and translation is in their first step. Viewing the environment and finding something for imitation is the first step of artistic creation, which is like confronting and reading a text for translation. It is clear that viewing the environment deeply and reading a text carefully are necessary for artistic creation and translation because a surface of them cannot be suitable and helpful for Mimesis or imitation. The second step of artistic creation and translation is the accurate understanding of the subject of imitation. In Fact, deep and accurate understanding is necessary for exact imitation. Without comprehensive understanding, imitation of things is not possible. Both artist and translator in the process of imitation should take this step. In the other words, it seems that by deep and exact understanding they can find the direction of similarity between subject of imitation and artwork or translated text. Rewriting text in a new language like representing an image is the third step of imitation that is visible in the process of artistic creation and translation. In this step, combining their understanding and viewing the environment, translator and artist try to create the subject of imitation in a new style and a new form. The last step of imitation in artistic creation and translation is that of choosing colors in art and words and other literary elegances in translation, and using them. In this step, paying attention to details of their work, artist and translator try to create a new thing that is similar to the subject of imitation, although it is a new thing and there may be some differences between them. As was stated, the understanding of the subject of imitation by artist and translator is a very important step, in which, however, their thought of the subject of imitation is not totally the same as it, and so, during creating the new thing their understanding and thought can affect the form and the style of the new thing. 3. conclusion In conclusion, it seems that, because of the similarity between art and translation based on Aristotle’s conception of art, we can move from ethical and aesthetic functions of art, and artist’s moral duty in creating art, to the same aspects in translation and translator. In other words, based on Aristotle conception, while translator makes a faithful imitation and a creative presentation of the source, after the ethical decision to translate and promote the original text, he should pay attention to linguistic and cultural details of his translation. In this regard, while observing his audience in the target language, he also refreshes his insights and attitudes because this two-sided view, the center of gravity of moderation, will take into account the aspects of beauty and ethics in the cultural interactions of societies. References - Aristotle,, Ethics of Nicomachus, translation of Mohammad Hasan Lotfi, Tehran, New Design. - Aristotle,, About the Art of Poetry, Translated by Soheil Mohsen Afnan, Tehran, Hekmat. - Aristotle,, Fan al-Sha’r, Abdul Rahman Badawi’s research, Beirut, Dar al-Safat. - Aristotle, Sermon, Translation by Ismail Sa’adat, Tehran, Hermes. - Aristotle,, Metaphysics, Sharaf al-Din Khorasani Translation, Fourth Edition, Tehran, Wisdom. - Plato,, Period of works, translation by Hasan Lotfi, Tehran, Kharazmi. - Bermann, Sandra and Wood,, Michael, Nation, language, and the ethics of translation, Princeton University Press. - Koskinen, Kaisa,, Beyond Ambivalence; Postmodernity and the Ethics of Translation, University of Tampere. - Meschonnic, Henri,, Ethics and Politics of Translating, Translated and edited by Pier-Pascale Boulanger, Benjamins Translation Library. - Venuti, Lawrence,,The Translation Studies Reader, Routledge. (shrink)

Much has been said on the religious pluralism of John Hick but little attention has been given to a key step in his argument for religious pluralism. This key step is the observation that the universe is religiously ambiguous. Hick himself is ambiguous about what he means by ‘religious ambiguity’. In this essay I will attempt to rectify this ambiguity by analysing the notion of ‘religious ambiguity’ and arguing what interpretation of this term Hick must commit himself to.

Four different notions of freedom can be distinguished in Kant's philosophy: logical freedom, practical freedom, transcendental freedom and freedom of choice ("Willkür"). The most important of these is transcendental freedom. Kant's argument for its existence depend on the claim that, necessarily, the categorical imperative is the highest principle of reason. My paper examines how this claim can be made plausible.

John Hick’s theory concerning plurality of religions is an ontologic pluralism according to which all religions are authentic ways for man to attain the "real an sich". Gods of religions are real as perceived and veridical hallucinations; while the “real an sich” has ineffable substantial and trans-categorical properties. Hick’s view suffers from several problems. As a second order analysis of religions, Hick’s view is not a correct one. To reject naturalism, it falls into an epistemological circle, where distinction between formal (...) and substantial properties fades away. It seems that Hick is captured by a category mistake in the presentation of his own theory concerning authenticity of all religions to attain the "real an sich". (shrink)