Islamic philosophy; Ibn al-Muṭahhar al-Ḥillī, al-Ḥasan ibn Yūsuf, 1250-1325; Muslim scholars; 13th century; history.

The first poems about the Prophet Muḥammad appeared while he was alive. These first examples, which are panegyrics (madīḥ, i‛tiẕār, fakhr and ris̱ā), largely reflect the characteristics of the pre-Islamic qaṣīda poetry. Due to the developments in the following centuries, the number of poems about the Prophet increased. And thus, a separate literary genre was formed under the name al-madīḥ al-nabawī. Especially the fact that sufi leaning poets contributed to the literary richness in this field. Another factor is the beginning (...) of the tradition of writing mawlid poems in memory of the birth of the Prophet Muḥammad. The thirteenth century was an important period for poems praising the Prophet Muḥammad. Two important poets emerged in this century. One of them is Egyptian poet al-Būṣīrī and the other is Baghdad's famous poet, Yaḥyā al-Ṣarṣarī. Even after his death, Ṣarṣarî’s works with high literary value were read and memorized in the circles of science, literature and Sufism. Due to his competence in the field, al-Ṣarṣarī was known as the poet of the Prophet and Ḥassān b. Thābit of his time. However, it is understood that his poems, which lost their importance in literary circles over time, were not studied as much as they deserved in the modern period. In this article, his life and works are introduced and basic language and stylistic features of his poems are examined. Also, the image of the Prophet in his poems was determined within the framework of the political conditions of the period.Summary: In the field of madīh nabawī, which first appeared in the ‘Asr al-Sa’āda and has continued to the present day, especially two names stand out in the 7th/13th century, when famous poets such as Macduddīn al-Vitrī (d. 662/1264), Ibn al-Muraḥḥal (d. 699/1300) and Ṣafiyyuddīn al-Ḥillī (d. 749/1348) were also raised. One of them is the Egyptian poet al-Būṣīrī (d. 695/1296), who left his mark on the field of madīh nabawī with his many poems, especially Qaṣīda Burda, and the other is the Iraqi poet Yahya al-Ṣarṣarī (d. 656/1258), who was named Shā‘iru Rasūlillāh (The poet of the Prophet) and Ḥassānu Vaḳtihī (Ḥassān of that period) because of the quality of his poems in this field.al-Ṣarṣarī, was born in the village of al-Ṣarṣar, near Baghdad, spent most of his life in the shadow of Baghdad’s political instability and the social collapse that developed in parallel. He was killed in 656/1258 by the Mongolian forces that invaded Baghdad. al-Ṣarṣarī was extremely knowledgeable in fiqh, hadith, language, and ‘ilm al-qirāa. Our poet adopted the views of the Hanbalī law school. In addition, he turned to Sufism and became a murīd (disciple) of Ali ibn Idrīs al-Ya‘kūbī, a student of Abdalqadīr al-Gīlanī who was accepted as the founder of Qādiriyya. He was closely attached to the Sunnah of the Prophet and was fond of reading the Quran. He was chaste and patient and was content with what he had himself. All his works are poetic and they all concern the madīh nabawī or fiqh.Since his poems, almost all of which are about the praise of the Prophet, have a high literary value, they were read, memorized and narrated for a long time in the circles of science, literature and Sufism. In terms of its structure, his poems are based on the traditional forms of Arab qasīda. In the introductory sections of his poems, he often expresses his longing for Madina. The main subject in poems is usually the Prophet and his superior features. In the last part, he usually says salāt for the Prophet and seeks help from him. It can be said that he used simple language in his poems. The vocabulary reflects the characteristics of the urban life in which he lived. The source of inspiration for his poems are the Qur’an and especially the hadith of the Prophet. He uses the potential of literary arts as much as possible while conveying his feelings. But he does not allow the correct information to be lost due to these arts on a serious subject such as depicting the Prophet. We can see a lot of badī‘ (creative) art in some of his poems. But we can immediately understand that these arts do not spoil the beauty of his expression. The poet provides rhythm and harmony in his poetry with the meter and rhyme in accordance with the classical Arabic qasida rules. In addition, he strengthens the musicality in poetry with puns (jinās) and repetition.The influence of the instability of the region where al-Ṣarṣarī lived on his poems is obvious. According to him, the main reason for the terrible situation that Muslims were in was that they were away from the way of the Prophet. He thought that it would be possible to go back to the old peaceful days by following the way of the Prophet. Perhaps as a result of this opinion, he allocated his qasīda to the narration of the Prophet and his Companions. In his poems, he describes the Prophet with his names, superior qualities, physical and moral characteristics. He says that the sentences describing the Prophet are the ornament of poems and believes that praising him is a mean of salvation in the next world. He also hoped that the poems he said in order to achieve spiritual ascension would protect himself against the troubled events of the period.In his poems, especially on the occasion of mawlīd, al-Ṣarṣarī mentions the Prophet’s physical characteristics and likens his smiling face to a bright full moon, his brows to the letter nûn, his teeth to pearls. He describes the Prophet as a man with black eyes, broad shoulders, born with kohl-lined eyes, and who emanates a beautiful scent as a requirement of his creation. The poet, who also touches on the Prophet’s powerful address, states that his speech is more effective than Luqman’s wise words by virtue of his jawami‘ al-kalim (comprehensive speech) and faṣl al-khiṭab (clear speech), and that his soft address, which states nothing other than the truth, is a blessing from Allah. He additionally describes the Prophet’s plain words, easy to understand by all, as more valuable than jewels. al-Ṣarṣarī, who praises the Prophet in terms of morality with basic human virtues such as bashfulness, justice, modesty, and courage, emphasizes that he is, a paragon of patience, perseverance, kindness, and compassion through analogies such as, “his clothes are peace and perseverance”, his “cover is kindness and forgiveness”. In his world of imagery, the Prophet’s benevolence is so abundant like the rain that the clouds cannot compete with him. Also, he does not shame anybody for what he gives. He bestows the most valuable possessions like gold and camels. Even the respectable personalities of the tribe benefit from his grace. He is so generous that he is giving even when the clouds are stingy about giving rain during times of drought. He welcomes with a smile those who approach him with requests. The donations he makes privately are entirely satisfying.The image of prophethood in al-Ṣarṣarī’s poems, is centralized around the thought of nūr Muhammadī (prophetic light) and the miracles of the Prophet. He reminds that the Prophet never gave up despite the calamities he encountered and that he was supported with extraordinary events in various stages of his life since he was born, and reflects the understanding that the prophet is spiritually supporting the community with his nūr, and in the case the community follow his sunnah, overcoming the Mongolian attacks, which seems like a miracle, is possible. The mention of Qattāl (warrior), Māḥī (eliminator of disbelief), Ẓāhir, Ẓāfir, Manṣūr and Muẓaffar (victorious) among the Prophet’s names, especially those that evoke the superiority he gained in his fight against the disbelievers, giving greater prominence to his courage and valor among his virtues are also related to the political and social conditions of the period. The couplets about the Companions of the Prophet following the couplets that describe the Prophet’s valor, the emphasis of their aid to the Prophet, and the particular mention of their fighter spirit may be considered in the same context. Perhaps, in this way, the poet aims to boost the courage of the Muslims who are exposed to Mongolian attacks with respect to protecting their spiritual and holy values against the enemy. (shrink)

Islamic philosophy; Ibn al-Muṭahhar al-Ḥillī, al-Ḥasan ibn Yūsuf, 1250-1325; Muslim scholars; 13th century; history.

Even though International Humanitarian Law (IHL) is, strictly speaking, a branch of international law serving as the body of laws governing the conduct of armed conflicts, it functions also, and perhaps to a greater extent, as a moral system (either followed or rejected) for the armies involved in armed conflicts. As utilitarians already noticed, the development of legal systems was powerfully influenced by moral opinion, and conversely, moral standards had been profoundly influenced by law, so that the content of many (...) legal rules mirrored moral rules or principles. Law, like morality, is interested in creating a good society: enabling people to live together in a community and inculcating a sense of social responsibility. However, despite these similarities between the systems, law and morality differ in some of their objectives and in the methods they use for achieving their goals and sustaining human behavior. The application of this conclusion to IHL and the analysis of both its historical nascence in the nineteenth century and the philosophical concepts informing it suggests that IHL serves more the purposes of a moral system than those of a legal system. This claim is strengthened by the analysis of two examples of legal rules of IHL: the proportionality principle in causing collateral damage and the instruction that preventive (or targeted) killings should be used as a last resort. (shrink)

Background:Within nursing, the concepts of home and homelike have been used indiscriminately to describe characteristics of healthcare settings that resemble a home more than an institution.Objectives:The aim of this study was to investigate the concept of home. The main questions were as follows: What does the concept of home entail etymologically and semantically? Of what significance is the meaning of the concept to caring science and nursing?Design and methods:This study had a qualitative design with a hermeneutical approach guided by Gadamer. (...) Eriksson’s model of concept determination was partly used to determine the etymology and semantics, the essence and epistemic category of the concept of home. In this study, etymological dictionaries and 17 Swedish language dictionaries published between 1850 and 2001 were investigated.Ethical consideration:In all parts of this study, ethical guidelines have been followed concerning both gathering data from dictionaries and other sources and during the interpretation of these sources.Findings:The home, framed as the ethos of caring, can be drawn as a three-dimensional picture where the three dimensions have a common core, enclosed and inviolable. Symbolically, the picture of home can be seen as the ethos of the human being’s innermost room, the human being’s manner of being and the tone expressed in the external or abstract room where the human being lives and interacts with others.Conclusion:Based on the findings in this study, we conclude that home as ethos is an inner ethical dimension within the human being. Human beings who are in contact with their ethos, the self, feel at home and dare to follow the voice of their heart. Nurses who experience at-homeness have an ability to invite the patient into a caring relationship. The home and the feeling of being at home have significant meaning in terms of human beings’ health and well-being. (shrink)

Nursing is a complicated and multifaceted profession that sets high demands in preparing nursing students for the profession. In today's education, the emphasis is often on knowledge and skills, that is, epistemology. In caring science another approach is sought, an approach based on human sciences in which knowledge will serve a more profound understanding, that is, the ontology. Consequently, the question of what this ‘understanding’ in clinical education is and how it is promoted in clinical nursing education becomes important to (...) clarify. Therefore, the aim here is to explicate the phenomenon of understanding in clinical education as experienced by third‐year undergraduate nursing students ready for graduation. This study, with a hermeneutic approach, is based on a secondary analysis of focus group interviews with undergraduate nursing students. The analytical expansion of the original material suggests three interrelated themes that illuminate the phenomenon of understanding in clinical education. These findings are deepened and enriched through philosophical abstraction. In the process of understanding, episteme, techne and phronesis can be viewed as inherent parts of the structure of thought in nursing. The perspective advanced in this study adds new aspects to the phenomenon of understanding and its meaning and significance in the dynamic process of formation and becoming in clinical education. The focus in clinical nursing education should be on learning reflective, critical thinking and the ways of being a nurse, rather than drilling students on particular skills. In the rapidly changing world of the 21st century, an understanding‐based education is needed as a more meaningful and authentic approach. Therefore, an ontological turn in nursing education, through which the main focus shifts from a traditional epistemology to an epistemology in the service of ontology, is suggested. Further studies are needed in the development and implementation of an understanding‐based, interpretative education in nursing. (shrink)

J. Hillis Miller (1928–2021) was one of the most prominent figures in literary criticism and theory. After receiving his Ph.D. from Harvard University, he taught at Johns Hopkins University, Yale University and the University of California at Irvine. He retired as Professor Emeritus in 2002. Miller was president of the Modern Language Association of America in 1986 and contributed significantly to professional academic institutions and organizations throughout his career. As an important representative of the Yale School, he had close relationships (...) with Derrida, Paul de Man, Geoffrey Hartman and Harold Bloom. Dr. Ning Yizhong did postdoctoral research under his supervision at UCI from 1997 to 1998. This is part of his interviews with Professor Miller during that time. In this interview, Miller talks about the Yale School in general, and Jacques Derrida, Paul de Man and Harold Bloom in particular. 1. (shrink)

fusion theory challenges efforts to see theory as inhibiting by presenting an approach that is innovative, eclectic, and subtle in order to draw out competing and constellating ideas and opinions. This collected volume of essays examines fusion theory and demonstrates how the theory can be applied to the reading of various works of Indian English novelists.

A poem encrypts, though not predictably, the effects it may have when at some future moment, in another context, it happens to be read and inscribed in a new situation, in ‘an interpretation that transforms the very thing it interprets’, as Jacques Derrida puts it in Specters of Marx. In Wallace Stevens's ‘The Man on the Dump’ (1942), we are told: ‘The dump is full/Of images’. The poem's movement is itself a complex temporal to and fro that aims to repudiate (...) and even annihilate these images. This renunciation leaves the man on the dump ‘The Latest Freed Man’, as the title of another Stevens poem puts it. Like Walter Benjamin's Angel of History, he has his back toward history and has rejected its images in ‘disgust’ in order to face toward a future that will, he hopes, be purified of ideology. Yet Stevens knows that more such images will come and will need in their turn to be rejected and junked, in an endless task of purification. In a now impossibly outdated way, Stevens nevertheless wanted the poet – that is, himself, the man on the dump – to be the begetter of a new ideology, or a new fiction that would, in a powerful speech act, replace all those outworn images on the dump. In the context of potentially catastrophic climate change (as the result of something like a global auto-immune disorder), the second part of the essay complements this commentary on the poem with a free reading; a performative reading, reading as work or as oeuvre that does something with words, for which Jacques Derrida calls. This reading sees Stevens's text as somehow the proleptic foretelling of a present situation. Such future chiming is also, it is argued, a sign to sign relation, an anticipatory allegory or prophecy, or, perhaps, a miniature apocalypse in the etymological sense of an enigmatic unveiling of what has not yet happened. (shrink)

Answers some commonly asked questions about God with appropriate Bible passages.

Derrida has been perennially concerned with hands and touching. This interest finds its most concentrated form in On Touching—Jean-Luc Nancy. This text outlines a number of concerns Derrida has in that book which might be extrapolated as exemplary of Derrida's reading strategies in general. It concludes with a consideration of what is revealed about the Derrida-Nancy relationship in this book.

Background Previous studies have shown that the rapid transition to emergency remote teaching due to the COVID-19 pandemic was challenging for healthcare teachers in many ways. This sudden change made them face ethical dilemmas that challenged their values and ethical competence. Research aim This study aimed to explore and gain a deeper understanding of the ethical dilemmas healthcare teachers faced during the COVID-19 pandemic. Research design This was an inductive qualitative study using a hermeneutic approach. Semi-structured interviews were conducted and (...) analysed thematically. Participants and research context Healthcare teachers ( n = 20) from eight universities and universities of applied sciences in the Nordic and Baltic countries participated. Ethical considerations This study was based on the research ethics of the Norwegian National Research Ethics Committee for Medicine and Health Sciences and approved by the Norwegian Agency for Shared Services in Education and Research. Findings Healthcare teachers faced several ethical dilemmas due to restrictions during the COVID-19 pandemic. The analysis revealed three main themes: How should I deal with students’ ill-being, and what can I as a teacher do?; What can I demand from myself and my students, what is good teaching?; How do I manage the heavy workload and everyone’s needs, and who gets my time? Conclusions This study highlights the importance of healthcare teachers’ continuous need for pedagogic and didactic education, especially considering new technology and ethical issues. During the pandemic, the ethical consequences of remote teaching became evident. Ethical values and ethical dilemmas should be addressed in healthcare education programmes at different levels, especially in teacher education programmes. In the coming years, remote teaching will grow. Therefore, we need more research on this issue from an ethical perspective on its possible consequences for students and healthcare teachers. (shrink)

Debates rage over what kind of literature we should read, what is good and bad literature, and whether in the global, digital age, literature even has a future. But what exactly is literature? Why should we read literature? How do we read literature? These are some of the important questions J. Hillis Miller answers in this beautifully written and passionate book. He begins by asking what literature is, arguing that the answer lies in literature's ability to create an imaginary world (...) simply with words. On Literature also asks the crucial question of why literature has such authority over us. Returning to Plato, Aristotle and the Bible, Miller argues we should continue to read literature because it is part of our basic human need to create imaginary worlds and to have stories. Above all, On Literature is a plea that we continue to read and care about literature. (shrink)

International economic law is peculiar. It claims universal character, yet eschews engagement with many, if not all, the racialised features of the global political economy. Its scholars mostly ignore imperialism, colonialism, and capitalism; they exclude slavery, predation, and racism altogether. In the following article, we draw upon Walter Rodney’s dialectics of development to offer a racial capitalist critique of international economic law. The disciplinary boundaries and operative logic normalised by its denizens corral us in a white, Eurocentric episteme. Ahistoricism, decontextualisation, (...) and externalisation are three epistemic devices at the forefront of the exclusionary discourse of IEL. In this space, the histories and epistemologies of Black peoples are ghettoised, treated as alien to the framework. After identifying this bias, we use the Black Radical Tradition to evaluate IEL’s amenability to the racial capitalism critique. (shrink)

There are few examples in the literature of objective measures for the assessment of donor willingness. The author describes the scoring system in use at his own renal transplant unit which has brought objectivity to the process of determining the willingness of living related donors. In this system, a total score to determine the degree of willingness or unwillingness is calculated based on responses to a series of questions. The author believes that with minor modifications this system could be implemented (...) by transplant units in different countries and cultures to screen out donors who are acting under duress. (shrink)

-/- For I have to remind you, somewhat bluntly and simply, that my most constant interest, coming even before my philosophical interest I should say, if this is possible, has been directed towards literature, towards that writing which is called literature. -/- What is literature? –Jacques Derrida, “The Time of a Thesis, Punctuations” -/- Literature is everywhere in Jacques Derrida's writing. It is there from one end to the other of his work, even in essays or books that superficially do (...) not seem to involve “literature.” If Derek Attridge had not already invented or borrowed the phrase “Acts of Literature” as the title for his fine anthology of Derrida's writings about literature I might have called this chapter “Derrida's Acts of Literature.” The phrase “acts of literature” is a double genitive, subjective and objective at once. It names acts performed by literature, and at the same time acts that create or comment on literature. In what sense can literature, or writing about literature, or writing literature, or reading literature be an “act”? That is one of my main questions here. -/- Derrida, along with all the other things he is (as this volume testifies), is one of the great literary critics of the twentieth century. (shrink)

At one point in "Rationality and Imagination in Cultural History" M.H. Abrams cites Wayne Booth's assertion that the "deconstructionist" reading of a given work "is plainly and simply parasitical" on "the obvious or univocal reading."1 The latter is Abrams' phrase, the former Booth's. My citation of a citation is an example of a kind of chain which it will be part of my intention here to interrogate. What happens when a critical essay extracts a "passage" and "cites" it? Is this (...) different from a citation, echo, or allusion within a poem? Is a citation an alien parasite within the body of its host, the main text, or is it the other way around, the interpretative text the parasite which surrounds and strangles the citation which is its host? The host feeds the parasite and makes its life possible, but at the same time is killed by it, as "criticism" is often said to kill "literature." Or can host and parasite live happily together, in the domicile of the same text, feeding each other or sharing the food? · 1. Critical Inquiry 2, no. 3 : 457-58. The first phrase is quoted from Wayne Booth, "M.H. Abrams: Historian as Critic, Critic as Pluralist," ibid., p. 441. J. Hillis Miller's contributions to Critical Inquiry are "Ariadne's Thread: Repetition and the Narrative Line" and "Theory and Practice: Response to Vincent Leitch". (shrink)

Human cooperation is highly unusual. We live in large groups composed mostly of non-relatives. Evolutionists have proposed a number of explanations for this pattern, including cultural group selection and extensions of more general processes such as reciprocity, kin selection, and multi-level selection acting on genes. Evolutionary processes are consilient; they affect several different empirical domains, such as patterns of behavior and the proximal drivers of that behavior. In this target article, we sketch the evidence from five domains that bear on (...) the explanatory adequacy of cultural group selection and competing hypotheses to explain human cooperation. Does cultural transmission constitute an inheritance system that can evolve in a Darwinian fashion? Are the norms that underpin institutions among the cultural traits so transmitted? Do we observe sufficient variation at the level of groups of considerable size for group selection to be a plausible process? Do human groups compete, and do success and failure in competition depend upon cultural variation? Do we observe adaptations for cooperation in humans that most plausibly arose by cultural group selection? If the answer to one of these questions is “no,” then we must look to other hypotheses. We present evidence, including quantitative evidence, that the answer to all of the questions is “yes” and argue that we must take the cultural group selection hypothesis seriously. If culturally transmitted systems of rules that limit individual deviance organize cooperation in human societies, then it is not clear that any extant alternative to cultural group selection can be a complete explanation. (shrink)

1. A Profession of Faith -- 2. Who or What Decides, for Derrida : A Catastrophic Theory of Decision -- 3. Derrida's Destinerrance -- 4. The Late Derrida -- 5. Derrida's Remains -- 6. Derrida Enisled -- 7. Derrida's Special Theory of Performativity --8. "Don't Count Me In" : Derrida's Refraining -- 9. Derrida's Ethics of Irresponsibilization ; or, How to Get Irresponsible, in Two Easy Lessons -- 10. Derrida's Politics of Autoimmunity -- 11. Touching Derrida's Touching Nancy -- 12. (...) Absolute Mourning : It Is Jacques You Mourn For -- Notes -- Index. (shrink)