This paper attempts a new interpretation of Heidegger’s existential analysis of the phenomena of fear and anxiety. Heidegger is shown to analyze both phenomena as basic states-of-mind . Basic states-of-mind are taken to differ from other states-of mind in that they are formal phenomena, i.e. phenomena that are not apparent or experienced themselves, but only concretize in apparent and experienced phenomena. As an instance of phenomena, in which the formal phenomena of fear and anxiety concretize, the paper presents hüzün, a (...) collective mood described by Orhan Pamuk in his latest novel. (shrink)

Bu makale Orhan Pamuk’un Kar romanından hareketle çağdaş Türk romanında din ve siyaset ilişkisine odaklanmıştır. Çalışma, Türkiye’nin yakın dönemdeki dini ve siyasi tartışmalarına edebi bir kurgu ile yaklaşan Kar’da din-siyaset ilişkilerinin nasıl bir paradigma üzerine oturduğunu ve bu çerçevede Türkiye’de dini ve siyasi kültürün romana nasıl yansıdığını anlama ve açıklama hedefini gütmüştür. Romanda 1980 sonrası yeni bir gelişim ivmesi yakalamış ve 1990’lar boyunca siyaseti daha aktif bir şekilde motive eden sağ, muhafazakar ve İslamcı çevrelerle aslında -yazarın yaklaşımı çerçevesinde- (...) Türkiye’ye bir türlü uğramayan modernizmin Türkiye’dekijakoben ve taşralı temsilcilerinin değerleri arasındaki çatışmalar öne çıkarılmıştır. Postmodern bir bakış açısıyla yazılan Kar İslamcı-laik, Doğulu-Batılı çatışmaları arasında modernleşme çabalarının devam ettiği bu aşamada din ve siyaset ilişkileriyle ilgili önemli fotoğraflar paylaşmıştır. Nihayet romanda din; yoksulluk ve yoksunlukları araçsallaştırıcı, yerine göre değişimi engelleyici karakteri yanında baskın olarak ideolojik yönü ile öne çıkarılmıştır. Siyaset ise orada daha çok jakoben ve laik, modernleşme ile ilişkisi bağlamında da taşralı olarak betimlenmiştir.Özet: Şüphe yok ki imparatorluktan Cumhuriyete geçiş sürecinde edebiyat; özellikle de Batılı bir ürün olarak roman, modern Türkiye’nin bilinç düzeyinin inşasında önemli bir rol oynamıştır. Bu edebi etki belli bir çizgi takip etmek yerine 2 asra yaklaşan maceralı yolculuğu içinde genellikle Türk toplumunun dönemsel tarihi, sosyal, politik şartları ile uyum içinde yürümüştür. Bu bağlamda Türk romanı başlangıçta daha yoğun olmak üzere siyasal yapıyı meşrulaştırıcı bir tavır takınırken özellikle son yarım asırda modernleşmenin ulaştığı noktalar itibariyle farklı iktidar ve ideoloji üretmenin bir aracı olarak da görülmüştür. Fakat bununla birlikte kültürel sistemin önemli bir unsuru olarak din romanın söz konusu yolculuğunda hep ana temalardan biri olmuştur.Makale çağdaş Türk romanında din-siyaset ilişkilerinin din sosyolojisi açısından incelenmesini konu edinmiştir. Çalışmaya örnek olarak Orhan Pamuk’un, ilk baskısını 2002 yılında yapan ve Türkiye’de 1980’li şartların olgunlaştırdığı gerilimli din-siyaset ilişkilerini geniş bir kültürel birikimden hareketle temalaştıran Kar romanı seçilmiştir. Çalışmanın amacı çağdaş Türk romanının Türkiye’de her zaman bir gerilim ortamı yaratmış din-siyaset ilişkilerine yaklaşımını Kar örnekleminde anlamak ve açıklamaktır. Bu çerçevede tarihsel bir karşılaştırma yapılarak Türk romanının siyaset ve din algısında Karın yeri gözden geçirilmiş, bir sosyal kişilik ve yazar olarak Orhan Pamuk üzerinde durulmuş ve daha sonra da romandaki sosyal olay, olgu ve süreçlerin inşa ettiği farklı bilinç düzeyleri fenomenolojik bir perspektiften değerlendirilmiştir.Bu çalışmada Kar modern Türkiye’nin yakın dönem din-siyaset ilişkilerini dini ve siyasi kültürün farklı anlam setleri üzerinden postmodern bir alegori ile işleyen bir roman olarak görülmüştür. Bu yönüyle Kar edebi bir ürün olmanın yanında kendini toplumun dini, siyasi ve ideolojik bilgi gövdesi hakkında farklı bilinç düzeylerine yer veren hatta bugünkü din-siyaset ilişkilerinin köklü sorunlarına ışık tutan bir metin olarak da sunmuştur. Buradan hareketle denilebilir ki roman, edebiyat-toplum ilişkisi bağlamında bir taraftan toplumunun dini ve siyasi değerleri çerçevesinde olayları örgütlerken diğer taraftan bu değerlere postmodern bakış açıları sunmak suretiyle bir zenginlik katmıştır. Nihayet Karda Pamuk Türkiye’de din ve siyaset ilişkilerinin toplum temelinde edebi bir dışavurumunu gerçekleştirmiştir. Ancak bu dışavurum Osmanlıdan Cumhuriyete intikal eden dini ve siyasi birikim yanı sıra kendinin kurumsal bir bagaj etrafında şekillendirdiği sosyal kişiliğinden bağımsız olmamıştır.Açıkça Pamuk, Karda din ve siyasete, onların birbirleriyle olan ilişkilerine bazen farklı karakterler üzerinden bazen de ironi ve eleştiriler yoluyla bir dizi anlamlar yüklemiştir. Postmodern bir paradigma etrafında Kar din ve siyasetin farklı anlam dünyalarını ve bu kadim iki sosyal kurumun farklı görüntülerini felsefi ve sosyolojik bir bakış açısı içinde sunmuştur. Başka bir ifadeyle Pamuk romanın olay örgüsünü, sosyal tiplerini, sosyal sınıfları ve bunların epistemolojik birikimlerini kendi doğal sosyoekonomik, kültürel, dini ve politik ortamlarında ele almıştır. Kar, İslamcı-modernist gerilimi üzerinden şekillenen bir kimlik mücadelesi etrafında kurgulanmıştır. Burada din ve siyasetin bireysel-uzlaşmacı yönlerine yer verilmekle birlikte “Kemalist” ve “İslamcılar”ın dayatmacı, popülist siyaset anlayışları ile dinin dışlayıcı ve ideolojik yönü öne çıkarılmıştır. Dolayısıyla roman 28 Şubat 1997 askeri müdahalesinden esinlenerek Türkiye’de bir karşılığa sahip dini ve siyasi kültüre ışık tutmuş ve nihayet toplumun din ve siyaset kurumlarına ait anlam şebekeleri hakkında bugüne de yansıyan önemli fotoğraflar çekmiştir.Karda din ve siyaset “darbe”, “Kemalizm”, “siyasal İslam”, “türban”, “İslamcı”, “laik” gibi kavramlara yüklenen anlamlar üzerinden işlenmiştir. Romanda “darbe” özelinde ortaya konan sosyal ve politik görüntüler 2000’li yıllar itibariyle Cumhuriyet’in yaklaşık son yarım yüzyılını gösteren bir dizi semboller taşımıştır. Nitekim romanda konu edinilen darbe özellikle 1980 sonrası yaşanan sosyoekonomik, kültürel, siyasi, dini ve etnik sorunlar etrafında örgütlenip güçlenen “dinci”lere karşı yapılmıştır. Öte yandan romanda “Kemalizm” ve onun yaydığı ideoloji, Türkiye’de siyasetin değerlendirildiği diğer önemli bir tema olmuştur. Bu bağlamda farklı kategorik özellikler taşımakla birlikte genel olarak “Kemalizm” ve askeri bürokrasinin topluma ve onun değerlerine bakışı, romanda bireysel hak ve özgürlükleri devlet lehine kısıtlayan jakoben ve elitist bir tavır içinde sunulmuştur.Romanda dinin alt sınıf örüntüsü olma, görece yoksunlukları telafi etme, yerine göre sosyal değişimi engelleme gibi özelliklerine vurgu yapılmakla birlikte daha çok onun darbe ile siyasal, ideolojik, popülist ve araçsal bir kimlik kazanması üzerinde durulmuştur. Nitekim türbanlı kızlar meselesi siyasal İslamcılar tarafından sembol bir dava olarak görülmüş ve onlar bu davayı siyasi bir malzeme yapmışlardır. Karda din ve siyaset ayrı, yerine göre birbirleriyle çatışan sosyal kurumlar olarak değerlendirilmekle birlikte özellikle Şeyh Efendi ve bazı bürokratların çıkar ilişkileri bağlamında söz konusu iki kurumun karşılıklı ilişkilerine de yer verilmiştir. Dolayısıyla Kar Türkiye’de din-siyaset ilişkisinin sembolik düzlemde yerini bulan kadim ilişkilerine de işaret etmiş olmaktadır.Gerek siyasi gerek dini her türlü dayatmaya karşı edebi bir tavır olarak kendini gösteren Kar din ve siyasete çoğulcu bir bakış önerisi getirmiştir. Türk romanı açısından yeni sayılabilecek bu durum aslında bir yönüyle de okuyucuya dinsel ve siyasal kültür konusunda yeni evrenler sunmuştur. Ancak söz konusu öneri ve bakış açıları dini ve siyasi kültürün kendi dinamiklerinden bağımsız şekillenmiş değildir. (shrink)

This article draws out the political implications of some of the avatars of ancient skepticism in modern fiction. It relies on Martha Nussbaum’s claim that fiction can provide some of the best lessons in moral philosophy to refute her claim that ancient skepticism was a bad influence on morals. It surveys references to skepticism from Shakespeare through such diverse writers as Isabel de Charrière, Herman Melville, Mark Twain, Anatole France, and Albert Camus down to recent writers such as Orhan (...) Pamuk and Michel Houellebecq. The most substantial treatment is of Naguib Mahfouz’sCairo Trilogy, which is interpreted in two ways: one, as an example ofisostheniaor equipollence in arguments on both sides of questions about gender in the Islamic world, and two, as the biography of a person who claims to be a self-conscious skeptic. Skepticism emerges as a multi-faceted concept in modern literature, but there are definite references back to the ancient skeptics, including mention of the name Pyrrhonism and knowledge of the writings of Sextus Empiricus. The political implications militate against dogmatic claims to truth and knowledge of a one-dimensional justice. (shrink)

Nations usually define themselves in positive terms; they proclaim themselves strong and victorious, or developed and prosperous. But what does it mean when the opposite is true - when negative feelings like regret, nostalgia, melancholy and fatalism are said to be the true essence of a culture? And what does it mean when these feelings are encapsulated in a single, untranslatable word?Bringing together three such word-concepts from Europe's periphery - saudade in Portugal, the Czech litost of Milan Kundera and (...) class='Hi'>Orhan Pamuk's of Istanbul - this book investigates claims that they embody the historical experiences and character of a people. In each case, it explores the historical, cultural and psychological mechanisms behind the invention of negative autostereotypes to offer new ways of thinking about individual and collective identities. This eclectic and broad-ranging study is not only a historical survey of emotions, but also a meditation on hope, belonging and the search for authenticity in the modern age. (shrink)

What is astro-culture? In The Babylonian Planet it is unfolded as an aesthetic, an idea, a field of study, a position, and a practice. It helps to engineer the shift from a world view that is segregated to one that is integrated - from global to planetary; from distance to intimacy and where closeness and cosmic distance live side-by-side. In this tour de force, Sonja Neef takes her cue from Edouard Glissant's vision of multilingualism and reignites the myth of the (...) Tower of Babel to anticipate new forms of cultural encounter. For her, Babel is an organic construction site at which she fuses theoretical analysis and case studies of artists, writers and thinkers like William Kentridge, Orhan Pamuk and Immanuel Kant. Her skilful interrogations then allow her to paint a portrait of art and culture that abolishes the horizon as a barrier to vision and reclaims it as a place of contact and relation. By combining the Babylonian concept of the encounter and the planetary concept of the whole-earth, Neef creates a space - an astro-culture - in which she can examine topics as varied as language, translation, media, modernity, migration and the moon. In doing so, she instigates a renewed cultural understanding receptive to the kinder forms of cultural encounter and globalisation she hopes will come. (shrink)

Many works of fiction include portraits in their storyworlds. Some of these portraits are themselves fictional, such as the portrait of Dorian Gray in Oscar Wilde's novel. Others are real, such as the Darnley portrait of Elizabeth I in A. S. Byatt's The Virgin in the Garden. When authors invent portraits, they expect us to visualise them. When they refer to real portraits, they exploit our familiarity with how they actually look. Like representations of other real entities in fiction, references (...) to real portraits function to ground the story in the real world. But portraits are more than material entities; they are also representational in their own right. In contrasting the ways real portraits are used in Josephine Tey's The Daughter of Time and Orhan Pamuk's My Name is Red, I argue that authors can be criticised when they mischaracterise the representational features of real portraits. (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)

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)

This paper attempts a new interpretation of Heidegger’s existential analysis of the phenomena of fear and anxiety. Heidegger is shown to analyze both phenomena as basic states-of-mind (Grundbefindlichkeiten). Basic states-of-mind are taken to differ from other states-of mind in that they are formal phenomena, i.e. phenomena that are not apparent or experienced themselves, but only concretize in apparent and experienced phenomena. As an instance of phenomena, in which the formal phenomena of fear and anxiety concretize, the paper presents hüzün, a (...) collective mood described by Orhan Pamuk in his latest novel. (shrink)

ABSTRACT In Power Without Knowledge, Jeffrey Friedman develops a critique of social science to argue that current technocratic practices are prone to predictive failures and unintended consequences. However, he does not provide evidence that the cause he singles out—“ideational heterogeneity”—is in fact a non-negligible source of technocratic limitations, more than or alongside better-known problems such as missing data, measurement issues, interpretive difficulties, and researcher bias. Even if we grant ideational heterogeneity, Friedman’s preferred institutional solution of exitocracy does not necessarily follow. (...) His critical epistemology would also be compatible with radical forms of collective action. (shrink)

The world is facing a once-in-a-lifetime situation: the COVID-19 pandemic. During the pandemic, the World Health Organization announced an infodemic as well. This infodemic caused infollution and sparked many controversies. Pandemics as extraordinary occurrences are always attractive to historians. However, infodemics and biased information threaten objective history-writing. Objectivity as it regards historians is already a much-discussed subject. In this commentary, the fundamental theories about objectivity are delineated. Second, the relationship between the infodemic and COVID-19 pandemic is explained. Lastly, the problems (...) regarding objectivity in the historiography of the COVID-19 pandemic are explored. (shrink)

The catastrophic risks posed by new technologies such as killer robots and geoengineering have triggered calls for halting new research. Arguments for restricting research typically have a slippery‐slope structure: Researching A will lead to deployment; we have decisive moral reasons against deployment; therefore, we should not research A. However, scientific uncertainty makes it difficult to prove or disprove the conclusion of slippery‐slope arguments. This article accepts this indeterminacy and asks whether and when it would be permissible to restrict research under (...) empirical and normative uncertainty. The argument starts from the ethical framework for the regulation of scientific research with human subjects and offers modifications to adapt it to the purpose of restricting new technologies. Two main questions arise in the process: whether it is permissible to impose restrictions at the research stage to prevent harms that will arise from the use of a technology and whether it is permissible to restrict research preemptively on the grounds of public fear and anxiety, before there is sufficient evidence establishing the risk of harm. I answer both questions in the affirmative and defend this position against objections. (shrink)

Will existing forms of artificial intelligence (AI) lead to genuine intelligence? How is AI changing our society and politics? This essay examines the answers to these questions in Brian Cantwell Smith's The Promise of Artificial Intelligence and Mark Coeckelbergh's The Political Philosophy of AI with a focus on their central concern with judgment—whether AI can possess judgment and how developments in AI are affecting human judgment. First, I argue that the existentialist conception of judgment that Smith defends is highly idealized. (...) While it may be an appropriate standard for intelligence, its implications for when and how AI should be deployed are not as clear as Smith suggests. Second, I point out that the concern with the displacement of judgment in favor of “reckoning” (or calculation) predates the rise of AI. The meaning and implications of this trend will become clearer if we move beyond ontology and metaphysics and into political philosophy, situating technological changes in their social context. Finally, I suggest that Coeckelbergh's distinctly political conception of judgment might offer a solution to the important boundary-drawing problem between tasks requiring judgment and those requiring reckoning, thus filling a gap in Smith's argument and clarifying its political stakes. (shrink)

Rachel Friedman’s Probable Justice and Jeffrey Friedman’s Power without Knowledge explore the promises and pitfalls of the application of predictive tools to the solution of social and political problems. Rachel Friedman argues that a fundamental duality in philosophical interpretations of probability allowed social insurance schemes to successfully accommodate two rival visions of liberal justice over the centuries. But in focusing on ideas around probability, she misses the limitations of the experts who put these ideas into practice and threatened to undermine (...) them in the process. Jeffrey Friedman, by contrast, is centrally concerned with the limitations of experts. While he shows how these undermine one rather narrow conception of technocratic legitimacy, he avoids examining their implications for democratic legitimacy understood more broadly. (shrink)

Rachel Friedman’s Probable Justice and Jeffrey Friedman’s Power without Knowledge explore the promises and pitfalls of the application of predictive tools to the solution of social and political problems. Rachel Friedman argues that a fundamental duality in philosophical interpretations of probability allowed social insurance schemes to successfully accommodate two rival visions of liberal justice over the centuries. But in focusing on ideas around probability, she misses the limitations of the experts who put these ideas into practice and threatened to undermine (...) them in the process. Jeffrey Friedman, by contrast, is centrally concerned with the limitations of experts. While he shows how these undermine one rather narrow conception of technocratic legitimacy, he avoids examining their implications for democratic legitimacy understood more broadly. (shrink)

During their educational life, medical students encounter several challenges, the origins and causes of which vary. This paper explores and attempts to scrutinize two of these challenges, before eventually introducing the concept of responsibility. First, this paper describes the general characteristics of medical schools, medical students, and medical education. Second, two different ethical challenges that medical students confront are then delineated: the anxiety of continuously questioning ‘while being trained, do I cause patients to receive suboptimal health care?’ and occasionally feeling (...) obligated, consequently, to breach the ethical boundaries to practice procedures on patients. Finally, the faculty of responsibility and its components are introduced and discussed as a model that can overcome these ethical challenges. (shrink)

The sense of shame is part of human nature. What, then, is the role and significance of such a particular sensation, one that causes mental anxiety in a sick person’s weakest and the most vulnerable state? We know from historical documents going back as far as ancient Greece and Egypt that respecting patient privacy should be regarded as a moral duty for physicians in charge of treatment. However much today’s healthcare may have changed compared to centuries past, we note that (...) patient privacy has not lost its importance. In the current healthcare system, digital recording of private information and images enables others, in principle, to access these personal data quite easily. While we cannot reject the advantages offered by modern medicine, we need to consider how to design a healthcare system that respects patient privacy. What should be the standards of privacy in emergency services where urgent decisions and interventions have to be made? How should we guarantee patient privacy during medical education? The chapters of this book approach questions like these from the perspectives of different disciplines. The writings illustrate the increasing complexity of patient privacy issues in modern healthcare systems, particularly the growing difficulty to protect confidential data. At the same time, we can observe that patients are becoming more aware of their rights and their sensitivity in this area has increased. In our opinion, an approach that requires us to choose between the two values –health and privacy – would be wrong. Therefore, the question we should focus on is: “what kind of healthcare system should be developed to ensure the greatest respect for humans’ natural right to privacy?” If we want to answer this question and find sustainable solutions for these problems, it is crucial to use a multidisciplinary approach. From this perspective, the present volume is a first contribution to be published in Turkey to pursue this aim, including articles offered from various disciplines. (shrink)

The book consists of articles in various fields written by graduate students. The articles were selected among many which applied to the "International Student's Work Competition". Then divided into two categories and published a two-volume "The World After the Pandemic" book series. Articles in this volume are related to "Life Sciences and Medicine", "Lifestyle and Urban Planning", "Technology" and "Education" regarding the world after the COVID-19 pandemic.

Pers İmparatorluğu'ndan miras kalan Pers perspektifi ile birlikte Şiilik, İran'ının jeopolitik eğitimini önemli ölçüde etkilemektedir. Siyasallaşması ile Şiilik, İran'ın ulusal kimliğinin yaratılmasında ve korunmasında en önemli faktörlerden biri, belki de en önemlisi haline gelmiştir. Çeşitli bölgelerde yaşayan Şiiler ile temas halinde bulunan İran bu teması Arap Baharı süreci sonrası yoğunlaştırmıştır. Bu makalede İran’ın Şii Nüfuz Kuşağı Politikası bağlamında Bahreyn’deki Şiiler ele alınmıştır. Makalede ilk olarak Bahreyn’in sosyolojik ve dini yapısı hakkında genel bilgi verilmiş, akabinde Bahreyn’deki Şii gruplar ve liderlerin özelliklerine (...) değinilmiştir. Daha sonra bu grupların İran ile olan ilişkilerini düzeyleri ve faaliyetleri Şii milis gruplar, özelliklerini ve İran adına yürüttüğü çalışmalar incelenmiştir. Araştırma literatür taramasına dayalı olarak gerçekleştirilmiştir. (shrink)

Since its formal inception in the early 20th century, Islamic economicshas been considered a modern phenomenon, even though its foundations canbe traced back to the earliest of Muslim civilizations. However, despite Islamiceconomics being more than half a century old, there are many serious issues,such as epistemological and methodological concerns, that need to be resolved.In order to delve into such matters, a clear understanding of the origins of modernIslamic economics is necessary. Hence, some of the important questions are:who are its initiators, (...) what were they especially interested in, and how have itssubject matter, agenda and intentions changed through different time-periods.Accordingly, the aim of this paper is to focus on and evaluate the course ofthe early development of Islamic economics via two bibliographies of Siddiqi, and Zaim. In order to attain this aim, content analysis usingexcel-generated heat maps are used to facilitate contextualized interpretation.More specifically, heat maps for the two selected works mentioned above arecreated from the two bibliographies in order to make comparisons betweenthem. (shrink)

The Book and the Sunnah are the two main sources of Sharʿī science. These two sources are based on narration which requires an absolute certainty, and this makes the reports, especially the mutawātir reports, important for Sharʿī sciences. Many people were involved in the transmission process of the Sunnah and the Book; therefore, Islamic scholars remained loyal to the technical concept “mutawātir reports” which is used in logic and is not open to doubt in terms of credibility. This is particularly (...) important for the science of kalām, which deals with matters of faith. On the other hand, in the science of fiqh, which deals with the practices of the Muslim individuals such as worship and procedures rather than the matters of faith, only the reports that the believer will accept, rather than those that everyone will approve, are sufficient. In this context, as per the science of fiqh, it is sufficient to form a dominant opinion, rather than an absolute certainty as in the science of kalām, for acting upon reports. Some factors, such as the acceptance of conjecture sufficient in the matters associated with fiqh and the low number of mutawātir reports on fiqh matters, also affected the fuqahā’s understanding of certain knowledge. In the context of transmission of the Sunnah, fuqahā partially changed the nature of the concept “mutawātir reports” by going beyond the technical understanding of tawatur. The most important change made by the fuqahā in the nature of mutawātir reports was the inclusion of the phenomenon “sened (chain of transmission)”, which is used to ensure credibility to ḥadīt̲h̲s, in the understanding of tawatur. So much so that while the number rather than the qualifications of the people who convey the reports is important for the credibility of the mutawātir reports in the science of logic; in the determination of mutawātir sunnah, the number of the narration channels which consist of just and fair-minded narrators was taken as a basis in line with the hadith “Whoever ascribes to me what I have not said then let him occupy his seat in Hell-fire.” Even some methodologists valued the justness and fair-mindedness of the narrators so much that they included the famous reports in the scope of mutawātir reports, even though the first layer was ahad, due to their trust in the narrators in the later layers. However, in technical sense, for mutawātir reports, the qualifications of the narrators or who they are is not important at all. On the contrary, any person from a different religion, sect or disposition can take a role in the transmission of mutawātir reports. However, there is no place for fasiq narrators, let alone non-Muslims, in fuqahā’s concept of sened-centered mutawātir reports. Spiritual mutawātir is one of the subjects affected the most by this new understanding of tawatur based on isnād (reporting the chain of transmission). Normally, spiritual mutawātir is the agreement of the reports, conveyed in different texts by a large number of people who cannot agree on a lie, on a common meaning. However, fuqahā interpreted spiritual mutawātir as ahad ḥadīt̲h̲s with different chains of sened reaching a certain number and denoting the same meaning. What makes these two reports different is that the number of narrators assures the credibility of reports in the first one whereas the trust in the justness and fair-mindedness of the narrators does in the second. As a matter of fact, it is not possible to talk about such a spiritual mutawātir if the trust in the justness and fair-mindedness of the narrators who convey the ahad reports is damaged. This approach of spiritual mutawātir was used by the mutakallimūn as much as by the fuqahā. However, they used this approach of mutawātir mostly for matters that are evidenced by the Sunnah but not associated with the essentials of religion, such as Shafa'ah (intercession), Hawd al-Kawthar (Pond of Abundance), Ru’yat Allah (seeing Allah), and imams’ being from Quraysh. Thanks to this new concept of tawatur, Islamic scholars included many ḥadīt̲h̲s that are normally out of the scope of the technical definition of mutawātir reports, in the scope of spiritual mutawātir, and thus provided a credibility to more ḥadīt̲h̲s. (shrink)

Nazariyat, Journal for the History of Islamic Philosophy and Sciences, issued twice a year in English and Turkish (Nazariyat İslam Felsefe ve Bilim Tarihi Araştırmaları Dergisi), is a refereed international journal. It publishes original studies, critical editions of classical texts and book reviews on Islamic philosophy, kalām, theoretical aspects of Sufism and the history of sciences. The goal of Nazariyat is to contribute to the discovery, examination and reinterpretation of the theoretical traditions in the history of Islamic thought, by giving (...) special attention to the post-classical period of it. **ISSN: 2148-8088 E-ISBN: 2547-9415**. (shrink)

Amaç: Kanserle yaşayan bireylerin (KYB) bakımında, resmiyette görünür olmayan ve çoğunlukla herhangi bir profesyonel donanıma sahip olmayan, ama sürecin başından sonuna, hasta bireye eşlik eden bakım verenler kritik öneme sahiptir. Baş etmesi zor bir hastalık olan kanserle mücadele eden bireylerin bakımında, bakım verenler fiziksel, zihinsel ve sosyal birtakım zorluklarla karşılaşmaktadır. Bu araştırma, KYB’lere bakım veren, yakınlarının karşılaştıkları zorlukları gündeme getirmeyi ve ihtimam etiği perspektifinden, bakım verenlerin bakımına yönelik öneriler sunmayı amaçlamaktadır. Gereç ve Yöntem: Bu araştırma tanımlayıcı ve kesitsel olup araştırmanın (...) evreni Marmara Üniversitesi Pendik Eğitim ve Araştırma Hastanesi (MÜPEAH) Onkoloji kliniğinde takip edilen, 15 Mart-5 Nisan tarihleri arasında kemoterapi ünitesine ve servis hizmetlerine başvuran KYB’lerin bakım veren yakınlarıdır. KYB’lere bakım verenlerin umutsuzluk derecelerini tespit etmek ve bunu etkileyen faktörleri ölçmek için, veri toplama aracı olarak; sosyodemografik sorular, bakım alan bireyin hastalık derecesine yönelik sorular ve Beck Umutsuzluk Ölçeği sorularından oluşan bir anket elden dağıtılmıştır. Anket bakım verene yönelik sosyodemografik sorular 8, KYB’nin hastalığının durumu ile ilgili sorular 7, Beck Umutsuzluk Ölçeği 20 olmak üzere 35 sorudan oluşmaktadır ve yaklaşık 10 dakikada tamamlanmaktadır. Elde edilen veriler önce Microsoft Excel aracılığıyla dijitalleştirilmiş, ardından IBM SPSS 27.0.1 sürümüyle analiz edilmiştir. Verilerin analizinde Ki-kare, Fisher’s Exact testi ve Pearson Korelasyon analizi kullanılmış, istatistiksel anlamlılık değeri için p<0.05 kabul edilmiştir. Bulgular: Ankete katılan 151 bakım verenin 83’ü (%55,3) kadın, 67’si (%44,7) erkektir. Katılımcıların yaş ortalaması 40,09’dur. Bakım verenlerin %41,1’i umutsuzluk düzeyi ölçeğinde “minimal ya da yok”, %39,7'si "hafif düzeyde", %13.2'si orta düzeyde ve %6’sı “aşırı düzeyde” skorunu almıştır. KYB’lere bakım verenlerin demografik özellikleri ile umutsuzluk düzeyi arasında anlamlı bir ilişki bulunmamıştır. Bakım verenlerin yaşı, cinsiyeti, medeni durumu, gelir durumu ve bakım verme süresi ile umutsuzluk skorları arasında anlamlı bir ilişki bulunmazken, eğitim seviyesi ile umutsuzluk skorları arasında anlamlı bir ilişki bulunmuştur. (p=0,019). Sonuç: Bakım verenlerin, umutsuzluk düzeyleri göz önüne alındığında, önemli psikolojik yükler taşıdığına ve bu yükün, özellikle bakım verenin eğitim seviyesi ile hastanın sağlık durumu arasında belirgin ilişkiler gösterdiğine ulaşılmıştır. Bu bilgiler ışığında, sosyodemografik özelliklerin bakım verenleri önemli ölçüde etkilediği görülmüştür. Bakım verenlerin duygusal yükleri, bakım alıcılarla olan ilişkileri ve bu sürecin hem bireysel hem toplumsal düzeyde getirdiği zorluklar ve sorumluluklar, ihtimam etiği kapsamında ele alınmıştır. Araştırma neticesinde bakım verenlerin karşılaştığı zorluklar ve ihtiyaçlarının daha geniş bir toplumsal ve etik perspektiften ele alınmasının gerekliliği ortaya konmuştur. Bakım verenlerin bakımına yönelik öneriler, duygusal destek; teorik eğitim ve bilgilendirme desteği; pratik ve uygulamalı destek; kaynak erişimi ve tahsisi; tanıma ve doğrulama başlıkları altında sunulmuştur. (shrink)