Bu kitapta, Ebû İshâk es-Saffâr’ın (öl. 534/1139) kelâmî görüşleri, Telḫîṣü’l-edille li-ḳavâʿidi’t-tevḥîd adlı eserinde Allah’ın isimlerinin anlamlarını açıklarken yaptığı yorumlar çerçevesinde ele alınmaktadır. Ebû İshâk es-Saffâr, 6./12. yüzyıl Hanefî-Mâtürîdî âlimlerinden biridir. Kelâma dair Telḫîṣü’l-edille eserinde esmâ-i hüsnâ konusuna ayrıntılı olarak yer vermektedir. İki cilt hâlinde yayımlanan bu eserin yaklaşık üçte birlik bir kısmını esmâ-i hüsnâ konusu oluşturmaktadır. Bu kısım incelendiğinde, Saffâr’ın Allah’ın varlığı, birliği ve sıfatları ile ilgili konular başta olmak üzere pek çok konuyu 175 esmâ-i hüsnâya dayanarak izah (...) ettiği görülmektedir. O, esmâ-i hüsnâ bölümünde yer vermediği bazı isimlere ise müstakil başlıklar altında değinmektedir. Örneğin el-Mütekkelim ismi kelâm sıfatını bağlamında ve halku’l-Kur’ân ile icâz’ul-Kur’ân gibi konularla ilişkili bir şekilde ele almaktadır. Bu isimler de listeye dahil edildiğinde sayı 178’e ulaşmaktadır. Bu durumda eserin yarısını esmâ-i hüsnâ konusu teşkil etmektedir. -/- Saffâr, esmâ-i hüsnâ bölümünde alfabetik bir sıra içerisinde ele aldığı ilâhî isimleri öncelikle lugavî (semantik) yönden izah etmektedir. Sonrasında ise değerlendirdiği ilahî ismi, bir kelâm konusu ile bağlantı kurarak kelâmî perspektifle açıklamaktadır Esmâ-i hüsnâ temelinde ele alınan konuların hilâfet meselesi hariç diğer kelâm bahislerini kapsadığı görülmektedir. Saffâr öncesi Hanefî-Mâtürîdî kelâm literatürü içinde esmâ-i hüsnânın bu kadar kapsamlı ele alındığı başka bir eser bilinmemektedir. -/- Bu kitap; üç ana bölümden oluşmaktadır. “Metodolojik Çerçeve” başlıklı giriş bölümünde çalışmanın konusu, önemi, amacı, yöntemi ve kaynakları hakkında bilgi verilmiştir. Birinci bölümde Saffâr’ın yaşadığı sosyokültürel çevre olan Mâverâünnehir bölgesi ile Buhara ve Merv şehirlerinin siyasî, sosyal ve dinî durumu ortaya konulmaya çalışılmıştır. İkinci bölümde esmâ-i hüsna konusunun anlaşılmasına temel oluşturan isim, tesmiye, müsemmâ, sıfat ve vasf gibi kavramlar ile esmâ-i hüsnânın sayısı ve ihsâsı gibi kelâmî tartışmalara değinilmiştir. Sonrasında Saffâr öncesi dönemde kaleme alınan esmâ-i hüsnâ litaratürü hakkında bilgi verilmiştir. Bölüm sonuna Saffâr’ın rivayet ettiği 178 ilahî isme dair ayrıntılı bir tablo eklenmiştir. Üçüncü bölümde öncelikle, Saffâr’ın esmâ-i hüsnâyı izah ederken dikkate aldığı kelâmî ilkeler tespit edilmeye çalışılmıştır. Sonrasında ise Saffâr’ın Telḫîṣü’l-edille’de ilâhî isimleri açıklarken ortaya koyduğu kelâmî görüş ve değerlendirmeler belirlenerek sistematik bir şekilde kategorize edilmiştir. Bu kapsamda ele alınan her konunun sonuna ilgili ilâhî isimleri ve bağlantılı olduğu tartışmaları içeren tablolar eklenmiştir. Sonuç bölümünde ise Saffâr’ın esmâ-i hüsnâ anlayışına dayanan kelâm yöntemine dair ulaştığımız sonuçlara yer verilmiştir. Bu kitapta onun, esmâ-i hüsnânın %75’inde kelâmî yorumlarda bulunduğu ve bilgi-varlık bahsinden âhiret hayatına kadar bütün kelâm konularını esmâ-i hüsnâ ile bağlantılı yorumladığı tespit edilmiştir. Ulaşılan bu sonuçlar, Saffâr’ın kelâm anlayışının ilâhî isimlerin yorumuna dayandığını ortaya koymaktadır. [his book discusses the theological views of Abū Isḥāq al-Ṣaffār d. 534/1139), within the framework of his comments on the meanings of Allah’s names, provided in his work titled Talkhīṣ al-adilla. Abū Isḥāq al-Ṣaffār is one of the Ḥanafite-Māturīdite scholars in the 6th/12th century. In his work titled Talkhīṣ al-adilla li-qawāʿid al-tawḥīd on kalām, he spared extensive space for al-asmāʾ al-husnā. Approximately one third of this work, published in two volumes, is devoted to al-asmāʾ al-husnā. An examination of the related section reveals that al-Ṣaffār explains many issues, particularly those related to the existence, unity and attributes of Allah, based on 175 al-asmāʾ al-husnā. He mentions some of the names that he does not include in the al-asmāʾ al-husnā section under separate headings. For example, the name al-Mutakallim is addressed within the context of the attribute of kalām and in relation to subjects, such as the khalq al-Qurʾān and i‘jaz al-Qurʾān. Upon the addition of these names to the list, the number names reaches 178. This means that half of the work deals with the subject of al-asmāʾ al-husnā. -/- al-Ṣaffār lists the divine names in alphabetical order and explains them semantically in the chapter of al-asmāʾ al-husnā. Then he goes on to clarify each divine name through a theological lens with a specific reference to the subject of kalām. In the pre-Saffar Ḥanafite-Māturīdite theological literature, there is no other work that addresses al-asmāʾ al-husnā in such an extensive way. -/- This book consists of three main sections. The first section titled “Methodological Framework”, elaborates on the focus, significance, purpose and method of the study, along with the sources used. The first part describes the political, social and religious status of Transoxiana (Mā-warāʾ al-Nahr) region and the cities of Bukhara and Marw, the sociocultural environment in which Saffar lived. The second chapter addresses various concepts, which promote the understanding of al-asmāʾ al-husnā, such as name, tasmiya, musammā, attribute and qualification in addition to the theological debates such as the number and iḥṣāʾ of al-asmāʾ al-husnā. Then, it provides information about the al-asmāʾ al-husnā literature produced in the pre- Ṣaffār period. The end of each chapter comes with a detailed table with the 178 divine names mentioned by al-Ṣaffār. In the third chapter, the author initially discusses the theological principles that al-Ṣaffār considered while explaining the essence of al-asmāʾ al-husnā. This section also determines and systematically categorizes the theological views and evaluations put forward by al-Ṣaffār while explaining the divine names in Talkhīṣ al-adilla. The tables with the divine names and the related discussions can be seen at the end of the discussion for each subject. The last section presents the conclusions reached, regarding the kalām method based on al-Ṣaffār’s understanding of the essence of al-asmāʾ al-husnā. The present study revealed that he made theological interpretations in 75% of the al-asmāʾ al-husnā and interpreted all theological issues ranging from the subjects of knowledge and existence to the Afterlife in connection with the al-asmāʾ al-husnā. These results indicate that al-Ṣaffār's understanding of kalām is based on the interpretation of the divine names.]. (shrink)

Three of the great sources of meaning in life are the good, the true, and the beautiful, and I aim to make headway on the grand Enlightenment project of ascertaining what, if anything, they have in common. Concretely, if we take a (stereotypical) Mother Teresa, Mandela, Darwin, Einstein, Dostoyevsky, and Picasso, what might they share that makes it apt to deem their lives to have truly mattered? I provide reason to doubt two influential answers, noting a common flaw that (...) supernaturalism and consequentialism share. I instead develop their most plausible rival, a naturalist and non-consequentialist account of what enables moral achievement, intellectual reflection, and aesthetic creation to confer great meaning on a person's life, namely, the idea that they do so insofar as a person transcends an aspect of herself in some substantial way. I criticize several self-transcendence theories that contemporary philosophers have advanced, before presenting a new self-transcendence view and defending it as the most promising. (shrink)

Miguel de Unamuno’s theory of tragic sentiment is central to understanding his unique contributions to religious existential thought, which centers on the production of perhaps the most unavoidable and distinctive kind of human feeling. His theory is rightly attributed with being influenced by the gestational thought of, inter alios, Schopenhauer, Kierkegaard, and Nietzsche, but within these pages I should like to suggest a peculiar kinship between seemingly strange bedfellows, namely, between Unamuno and Immanuel Kant. Although the relationship between Unamuno and (...) Kant is conflicted, ranging from clear indications of influence to expressions of antipathy, there has been relatively little comparative research done on these two thinkers. Moreover, this scant literature has mainly explored connections between Unamuno’s existential thought and Kant’s first two Critiques. In these works, however, feelings are regarded as inclinations and thus receive no serious consideration. In what follows, I therefore juxtapose Unamuno’s analysis of tragic feeling in The Tragic Sense of Life with Kant’s discussion of the feelings of beauty and the sublime in the Critique of Judgment. (shrink)

Exchange rate movement is a mostly debatable issue amongst economists and strategic financial planners in the economies as a vital phenomenon, of every economy in the developing the world. This study sets out to examine the impact of cash conversion cycle, Size, Age, and exchange rate movement on firms’ financial decisions. The estimation used techniques of static panel data analysis in this study; pooled OLS, random effects, and fixed effects. Interaction techniques are applied to check the impact of the exchange (...) rate by multiplying this variable with the main variables of cash conversion cycle, that is receivable in days and payables in days. The results depict there is a significant negative relationship between return on assets and exchanger rate during the period of review while the beta of cash conversion cycle has negative value; age and size are positive and significant at 1% level with return on assets. Therefore, it is recommended that organizations that have some measure to agreement in foreign currencies can adopt some advanced hedging technique to occupy the exchange rate movements risk to improve firm’s performance. (shrink)

The article examines the participation and assistance of the Orthodox Church in solving problems that allowed to give a scientific justification for the cooperation of health care and Orthodox religious institutions, to determine their role in the historical context and structure of modern healthcare in Russia. The article presents an algorithm for organizing sisters of mercy, their system of upbringing. Particular attention is given to the possibility of teaching the course "Foundations of Orthodox Culture" in secular educational institutions. -/- Research (...) materials can serve as a basis for the formation of morally sound positions of medical workers and the population on the main problems of medical activity. -/- Based on the study, the authors published a series of articles in which the experience of the work of the Orthodox Church in the charitable sphere has been summarized. This experience can be used to create new charitable institutions, including those who provided medical assistance. -/- In preparing the article, the authors used concrete historical, civilizational, formational and social methods of research that allowed us to uncover facts, phenomena and processes in the interconnection and unity of the past, present and future. (shrink)

A major part of Ordinary Aesthetics has been to include the traditionally marginalized aesthetic categories excluded when studying beauty, truth, and goodness. These “negative aesthetics” are implicated in the construction, presentation, and sustenance of marginalized identities. For the purposes of my article, I will be focusing on the effort to incorporate the aforementioned in the study of aesthetics, essentially arguing for them to be inherently valuable and not for the sake of producing a “positive.” To this end and keeping up (...) with the thrust to include other traditions within aesthetics, my article will explore certain strands of Sufi poetry, namely the tradition of Qalandariyat, which present marginalized social identities to our awareness and not for the sake of changing or improving them. I will present some samples from the Persian poetry of Hafez and Rumi, as well as Punjabi couplets of Bulleh Shah and Shah Hussain, for a hermeneutic study that grounds the aesthetics of their Qalandari-themed literature in the usage of “negative” aesthetic categories. This exercise contains the promise of expanding the horizons for our field of sensibilities, by engaging with those social identities that have remained outside them and that too on their own terms. (shrink)

Why are moral actions beautiful, when indeed they are? This paper assesses the view, found most notably in Schiller, that moral actions are beautiful just when they present the appearance of freedom by appearing to be the result of internal harmony (the Schillerian Internal Harmony Thesis). I argue that while this thesis can accommodate some of the beauty involved in contrasts of the ‘continent’ and the ‘fully’ virtuous, it cannot account for all of the beauty in such contrasts, (...) and so needs to be weakened considerably (to the Internal Harmony Thesis). To account for the remaining beauty that cannot be fully accommodated even by this revised thesis, as well as the beauty contained in contrasts that involve agents who experience internal conflict as a result of being sensitive to different sources of moral value to an appropriate extent, a number of further theses need to be posited: namely, that the beauty of some moral actions is to be accommodated in terms of internal disharmony (the Internal Disharmony Thesis), and in terms of a felt harmony between the appreciator of the action and the executor of the action (the Affective Harmony Thesis). As such, in contrast to Schiller, I suggest that we need to take a pluralist and context-sensitive approach to accommodating the beauty of moral actions. (shrink)

My observations here are meant to address a current lacuna in discussions of Kant's aesthetics, namely the beauty of poetry. There are, I admit, numerous treatments of poetry considered in the light of Kant's aesthetic theory, but what may not be noticed is that in discussions of poetry and Kant's aesthetics, the topic of poetic beauty only rarely comes up. This virtual silence on the beauty of poetry is surprising, given that the beautiful is obviously one of the two (...) foundational aesthetic categories in Kant's aesthetics. This silence stands out all the more given that Kant himself explicitly mentions that poems can be beautiful and furthermore declares poetry to be the highest form of fine art. Why, then, is the beauty of poetry almost never discussed in relation to Kant's aesthetics? Ultimately, I will be arguing that this silence on the beauty of poetry is a motivated one, albeit an unintentionally motivated one, namely because Kant's conception of free beauty militates against its being applied to poetry. In other words, this lacuna in discussions of Kant's aesthetics rests on a lacuna in the field of products of fine art to which the Kantian conception of free beauty can be applied. It seems that this lacuna has been overlooked in the literature principally because Kant himself overlooks it; in addition, interpreters of Kant may well independently overlook it for the same reasons that Kant apparently did. Johann Gottfried Karl Christian Kiesewetter's book, Immanuel Kant's Critik der Urtheilskraft für Uneingeweihte (1804), serves to bring the discussion into higher focus. (shrink)

What is kitsch? The varieties of phenomena which can fall under the name are bewildering. Here, I focus on what has been called “traditional kitsch,” and argue that it often turns on the emotional effect specifically captured by Edmund Burke’s concept of “beauty” from his 1757 'A Philosophical Enquiry into the Sublime and Beautiful.' Burkean beauty also serves to distinguish “traditional kitsch” from other phenomena also often called “kitsch”—namely, entertainment. Although I argue that Burkean beauty in domestic decoration allows (...) for us to see “traditional kitsch” as resting on natural and even healthy impulses, I also argue that an all-too-common political function of traditional kitsch directs it to dangerous ends. (shrink)

A discussion of how Hegel manages his classification and ordering of specific religions, and a critique of his method.

Today, many people have realized that the climate change and biodiversity loss issues lie in how and to what extent humans consume products for their lives in the Anthropocene era. Consumerism has pushed natural resource exploitation to its peak, and the depletion of resources is becoming increasingly prevalent. The beauty and personal care industry has a large market and high profits, especially in the high-income segment. However, this advantage also carries the risk of facing scrutiny, investigations, and criticism from civil (...) society organizations, environmental activists, and consumers. More than anyone else, the industry is vulnerable to the perils of unfavourable societal assessments, particularly the repercussions of consumer-led boycott actions. In this discourse, we suggest that, given the current circumstances, it is imperative for multinational beauty corporations to take a proactive role in allocating resources towards the development of sustainable agriculture practices. This entails not only advocating for the widespread adoption of environmentally conscious production methods but also dedicating efforts towards conducting research and innovation in the area of nature-friendly manufacturing techniques. Doing so will help demonstrate their commitment to the environment and actively provide convincing evidence to consumers of their social responsibility through emission reduction and biodiversity conservation activities. (shrink)

How "red", "green" were defined? Through analyzing how two children with congenitally inverted color sensations corresponding to red flags and green grass accept their grand mothers’ teaching about colors, the paper get opposite conclusions against logical empiricism. The “red” and “green” and other names of properties of objects were defined by objective physical properties (or together with behavior, such as in defining “beauty”), instead our sensations. So language directly points to things in themselves passing through sensations and presentative world. (...) It is not that things in themselves are unknowable, but that sensations and presentative world cannot be exactly described by daily language. (shrink)

People can come to seem to us more beautiful the better we get to know their personalities. Some have taken this to show there is a moral kind of beauty. According to the moral beauty view, moral personality traits realise moral beauty in people. Here I present a problem for the standard articulation of the moral beauty view, namely that it is not a logical truth that people inherit the beauty of their virtues. I call this the ‘inheritance problem’. (...) I present an alternative articulation of the moral beauty view that does not give rise to the problem. On this alternative articulation, the moral beauty view is not as revisionary as it is standardly taken to be. (shrink)

The Jinn, which is regarded as the third kind of entity apart from the angel and the human being, has been the subject matter of several separate works written by both Muslims and non-Muslims in the past and present. In short, such works deal with the nature of jinns and their characteristics, and they cover matters such as the beliefs about jinns in several religions and cultures and their relationship with human beings. Apart from the fact that the primary source (...) of Islam, namely, the Quran, has a separate chapter called al-Jinn (The Jinn) /72, it provides information about jinns in many verses in several other chapters. Traditions also provide plenty of information about jinns. One example of such information is on the question whether the Holy Prophet have met with jinns. A study of the traditions on this matter reveals the fact that there are ṣaḥīḥ (authentic) traditions that appear to be in conflict with each other and/or with some of the verses in the Quran. In this paper, we have analyzed and evaluated the relevant traditions in order to reconcile these contradictions, thus we aimed to clarify the matter. The question on whether the Holy Prophet met with jinns is often discussed within the context of narrations coming from Ibn al-Masʿūd and Ibn ʿAbbās. While the traditions coming from Ibn al-Masʿūd indicate that the Prophet met with jinns, a tradition narrated by Ibn ʿAbbās says the opposite. In the present work, we have analyzed the outwardly conflicting traditions narrated by both companions along with traditions narrated by other companions on this matter in the light of the chronology of the revelation of the Quran. As a result, we have concluded that the Holy Prophet have met with jinns as narrated by Ibn al-Masʿūd and that the report narrated by Ibn ʿAbbās was about the first years of Islam. (shrink)

One of the ṣaḥābīs of Prophet Muḥammad is ʿUrwa b. Masʿūd from the Ṭāʾif tribe of Thaqīf. He belongs to the Ahlâf part of the Thaqīf tribe and he is the ruler of this part. ʿUrwa’s ancestry is known without any controversy until Kasî (Thaqīf). According to a narrative his epithet was Abū Yaʿfur and another of his epithet was Abū Masʿūd. Father of ʿUrwa an important person too. He is one of the leaders of his tribe and he commanded (...) his part (Aḥlāf) in wars of Fijār. Mother of ʿUrwa is Subay’a bt. ʿAbd Shams from Banū Umayya. In this way ʿUrwa has kinship both with Banū Umayya and Prophet Muḥammad. So ʿUrwa has a very important position because of his lineage, his mother and father. Thefore, his connections with Mecca and Quraysh strengthens his position. In our sources there is no information about his dates of birth and death. It is likely to be over middle age when he became a muslim, considering that he was the leader of his tribe and his son become a muslim after he died. There is too little information about weddings of ʿUrwa. According to narratives, he had ten wives before becoming Muslim. After becoming a Muslim Prophet Muḥammad warned from him to prefer four out of ten wives. One of his four wives is the daughter of Abū Sufyān. Howev-er, there is no information about the names of his wives. Names of his sons: ʿĀṣim, Abū Murra, Abū Mulayḥ, Dāwūd, Hammām and Hishām and names of his daughters: Umm Saʿīd (married with Ḥaẓrat ʿAlī) and Ḥalīma. We could see he served as embassy before the treaty of Hudaybiyah. His embassy duty shows us the superiority of his position. Also, this embassy duty was very effective at peace negotiations. He mentioned kinship relations which connects about Mecca. He said that it could be beneficial to talk to Prophet Muḥammad himself. The Meccans mentioned about their trust in ʿUrwa. During the time of his embassy, he expressed that both sides should be away from war. In this context, he told the Meccans: The people around Prophet Muḥammad are very loyal to him and he told to Prophet Muḥammad: People around him could disintegrate easily. This mission shows us he is intelligent, respectable and had high persuasion skills. ʿUrwa, observed loyalty of ṣaḥābīs to Prophet Muḥammad. He confessed this loyalty can not be for any ruler. This observa-tion probably affected ʿUrwa’s conversion to Islam. Because of the conquest of Meccah and the events that followed, the people of Ṭāʾif were very worried. Because of this reason people of Ṭāʾif took part in the side of Hawāzin’s and they bat-tled with Muslims. In this time they sent ʿUrwa b. Masʿūd and Ghaylān b. Salama to the city of D̲j̲aras̲h̲ of Yemen, to learn about some war machines and techniques. Therefore they did not join wars of Hunayn and Ṭāʾif. Prophet Muḥammad ended the siege of Ṭāʾif and went to Medina. Meanwhile, ʿUrwa and his friend returned from Yemen. According to narratives when the Prophet Muḥammad returned Medina or he was way in Medina ʿUrwa visited him and became Muslim. Some people tell about the date of ʿUrwa’s being Muslim at before or after Abū Bakr’s emirate of Hadj. However, when the narrations are examined, it can be said he became Muslim after four or five months from Prophet’s siege of Ṭāʾif and before three or four months from Tabūk expedition of Rabīʿ al-awwal or “Rabīʿ al-ākhir” (July or August) in the year 9/630. As for the conversion of ʿUrwa, basic sources report that “Allah, inspired Islam to the heart of ʿUrwa and he changed his situation. He went to the Messenger of Allah and he became Muslim.” They do not give a specific reason. But after this period the narratives tell the reason for ʿUrwa’s becoming a Muslim as due to an experience he had while travelling to Najrān for trade. In this travel, two mysterious young girls and the priest in Najrān said the last prophet came and ʿUrwa must be subject to him and ʿUrwa became Muslim after he returned. But this narrative is prob-lematic with regard to evidence and text. After being Muslim, ʿUrwa wanted permission from the Prophet to invite his tribe to accept Islam. The prophet did not want to accept this at first. Because the people of Ṭāʾif had an arro-gant stance against Islam, and he said that the people of Thaqīf could kill ʿUrwa. Eventually ʿUrwa went to his hometown with permission of Prophet and invited people to Islam and they did not accept this invitation and cursed ʿUrwa. The next morning ʿUrwa read adhan of fajr and people of Ṭāʾif killed him. ʿUrwa b. Masʿūd was likened to Prophet Jesus by the Prophet Muḥammad. It is generally accept-ed that ʿUrwa b. Masʿūd el-Thaqafī is “one of the biggest from two cities” expressed in sūra Zukhruf. Only two weak narrations were reported of Urwa who could live as a Muslim for a few days and was matyred by his tribe. (shrink)

In Poetics 13, Aristotle claims that the protagonist in the most beautiful tragedies comes to ruin through some kind of ‘failure’—in Greek, hamartia. There has been notorious disagreement among scholars about the moral responsibility involved in hamartia. This article defends the old reading of hamartia as a character flaw, but with an important modification: rather than explaining the hero's weakness as general weakness of will (akrasia), it argues that the tragic hero is blinded by temper (thumos) or by a (...) pursuit for fine, good and desirable things—that is, by what may be labelled ‘qualified’ weakness of will. The upshot is that hamartia ends up as being less blameworthy than ‘proper’ akrasia, but still explains why morally outstanding people are unsuitable for the most beautiful tragedies. (shrink)

Greek philosophical tradition, not only the Aristotelian one, is strongly associated with proportion (Eco, 1993: 90). This principle of symmetry is generalisable; forasmuch as it is used as a normative rule in figurative arts. Nonetheless, the proportion for Ancient Greeks does not only describe a mathematical relation, but also represents a metaphysical principle. Thus, beauty is the measurement of the elements of the external form (in the case of tragedy, the meter, the symmetry of the parts, the number of syllables, (...) the number of verses) as well as the aesthetic harmony which the play transmits as total to the spectators (in the same case, the content must be neither superior nor inferior to the chosen form; otherwise the form would give the impression of grotesque or inadequate). (shrink)

This collection of poetry named The Book of Lips, which is in Persian and some in Arabic, is a small subset of the complete set of my quatrain poems and it includes poetry about the lips and kiss of the loved one. In the future, I will publish my complete set of quatrain poems in a separate book or within my collection of all poems. One can have two different perspectives toward this collection. The first perspective is the mystical point (...) of view which considers the loved one, the lips, and the kiss as God, metaphor for His grace, and moving toward Him, respectively. The second point of view is a romantic one in which the loved one, the lips, and the kiss are a beautiful girl, her lips, and kissing her, respectively. Furthermore, one can read this collection of poetry having both perspectives in mind. (shrink)

Many people know Jesus Christ and believe he is the Savior, even though that person calls the word God. But many also today claim that the word 'Allah' only has a certain group and is a proper name. This situation created the birth of two groups that were pros and cons in using the word Allah. What is the answer for Christians who keep using the word God? Is it sinful to mention the word Allah? what is (...) the meaning of the word God in the Christian faith? Then how is the history of the word God used? These questions will be answered in the following article. The following article is expected to help believers understand the answers to these problems. (shrink)

In this paper, I propose a solution to a notorious puzzle that lies at the heart of Kant’s Critique of Judgment. The puzzle arises because Kant asserts two apparently conflicting claims: (1) F→J: A judgment of beauty is aesthetic, i.e., grounded in feeling. (2) J→F: A judgment of beauty could not be based on and must ground the feeling of pleasure in the beautiful. I argue that (1) and (2) are consistent. Kant’s text indicates that he distinguishes two feelings: (...) the feeling of the harmony of the cognitive faculties that is the ground of judgments of beauty (F1 → J), and the feeling of pleasure that is its consequence (J → F2). I develop and defend a view of Kant’s account of the structure of judgments of beauty that incorporates this crucial distinction. Next, I argue that my view resolves another long-standing problem for Kant’s “Deduction” of judgments of beauty: it allows him to claim that the harmony of the faculties is a condition of judgment in general without implying, absurdly, that all judgments are pleasurable. (shrink)

Imagine a deep philosophical conversation about a beautiful shot by a college player in a Final Four basketball game!

This thesis explores the concept of timbre through the lens of analytic philosophical aesthetics and philosophy of music. I argue that timbre should be thought of as providing the grounds for artistic and aesthetic values in music. To this end and firstly, I critique the physical sense of timbre in favour of two anti-realist senses of timbre. These two are the qualitative and the semantic senses which are developed from two of Siedenburg and McAdams’ four senses of timbre. I argue (...) that the qualitative sense of timbre is the experience of the unique qualities of sounds. The semantic sense is that which associates timbres to objects and concepts. Within the semantic sense, I argue for what I call a genealogical sense of timbre which relates timbres to sources and concepts through a history of built up associations. Secondly, these two senses are situated within the artform of music by demonstrating the functions they may fulfil there and how these ground artistic and aesthetic values. Regarding these values, I employ Robert Stecker’s definitions of artistic and aesthetic value. Finally, I summarise the two arguments for why we should think that timbre can provide grounds for aesthetic and artistic value in music. (shrink)

In the context of the perpetual reproduction of consumerism in contemporary western societies, the varied and often contradictory principles of third wave feminism have been misunderstood or redefined by the dominant economic discourse of the markets. The lack of homogeneity in the theoretical debates of the third wave feminism seems to be a vulnerable point in the appropriation of its emancipatory ideals by the post-modern consumerist narratives. The beauty norm, particularly, brings the most problematic questions forth in the contemporary feminist (...) dialogues. In this paper I will examine the validity of the concept of empowerment through practices of the body, practices that constitute the socially legitimized identity of women in a consumerist western society. My thesis is that the beauty norm is constructed as a socio-political instrument in order to preserve the old, patriarchal regulation of women’s bodies. Due to the power of invisibility of the new mechanisms of social control and subjection, the consumerist discourse offers the most effective political tool for gender inequality and a complex discussion about free will and emancipation in third wave feminism debates. This delicate theoretical issues question not only the existent social order, but the very political purposes of contemporary feminism. (shrink)

Abstract: Folktale is universal. It is found in all parts of the world. One of the outstanding characteristics of folktale is the possession of trickster. Trickster has different name in the tales of different ethnic groups of the world. In Hausa, he is “ereke”, in Yoruba he is “ijapa”, in Ashanti (Ghana) he is “ananse”, in Trinidad, he is fox, in other parts of Europe, he is either rabbit, monkey or hare etc. A trickster is often something of a rogue. (...) He manages to extricate himself from intrigue and sometimes saves himself from dangerous situation by a display of mental ability. The trickster of the folktales of the Igbo people of Nigeria is tortoise ‘Mbe’. Tortoise is not an outstanding animal. In the case of gathering of animals, he would least be noticed. There are large, ferocious, and beautiful animals that would make the presence of tortoise unnoticed. But when it comes to folktales, tortoise is the smallest among the characters. He so much defeats other characters by his deceptions. His greatest weapon is lies. Most of Igbo folktales are moral tales. They teach moral, yet trickster plays prominent role in the tales of Igbo people. In other words trickster is used in the education of the young. The writer investigated to find reasons for such development through reading books and journals relating to the topic. She studied six Igbo folktales and also through oral interviews of some prominent Igbo people of ages ranging from 20-70 yrs of age. The writer found out amongst other things that Igbo world view on life is responsible to the use of tricksters in their education of the young. (shrink)

The semantic issues that Saul Kripke addressed in Naming and Necessity overlap substantially with those that were addressed by Michel Foucault in “What Is an Author?”. The present essay examines their area of overlap, with a view to showing that each of these works affords a perspective on the other, from which facets that are usually obscure can be brought into view. It shows that Foucault needs to take some assumptions from Kripke’s theory of naming in order to secure one (...) of his arguments for treating authorial names as special. It then shows that, once it has been placed on these Kripkean foundations, Foucault’s position avoids the metaphysically peculiar commitments that are sometimes thought to be essential... (shrink)

Despite confident assertions by science and religion, no one can be absolutely certain what is going on in this drama we call existence. We are haunted by the realization that we are finite, vulnerable, mortal, and perhaps meaningless creatures. The ambiguity in all experience leaves us in a state of fundamental uncertainty, with a buried anxiety underlined by fear of mortality. However, the ability to consider consciousness as a personal creation enables us to appreciate experience for its own sake, despite (...) uncertainty and anxiety. It is the basis of art, and also of tolerance, epistemic responsibility, and the creative ability to think, perceive, and act outside the box. (shrink)

The feminist performance art of the controversial French artist named Orlan is discussed in this interview with the artist.

For years now, unionization has been under vigorous attack. Membership has been steadily declining, and with it union bargaining power. As a result, unions may soon lose their ability to protect workers from economic and personal abuse, as well as their significance as a political force. In the Name of Liberty responds to this worrying state of affairs by presenting a new argument for unionization, one that derives an argument for universal unionization in both the private and public sector from (...) concepts of liberty that we already accept. In short, In the Name of Liberty reclaims the argument for liberty from the political right, and shows how liberty not only requires the unionization of every workplace as a matter of background justice, but also supports a wide variety of other progressive policies. (shrink)

In this paper I explore the relationship between the idea of possible worlds and the notion of the beauty of God. I argue that there is a clear contradiction between the idea that God is utterly and completely beautiful on the one hand and the notion that He contains within himself all possible worlds on the other. Since some of the possible worlds residing in the mind of the deity are ugly, their presence seems to compromise God's complete and (...) utter beauty. (shrink)

A crux of Plato’s Symposium is how beauty relates to the good. Diotima distinguishes beauty from the good, I show, to explain how erotic pursuits are characteristically ambivalent and opaque. Human beings pursue beauty without knowing why or thinking it good; yet they are rational, if aiming at happiness. Central to this reconstruction is a passage widely taken to show that beauty either coincides with the good or demands disinterested admiration. It shows rather that what one loves as beautiful (...) does not appear good, a proposal with ramifications for ethical psychology. (shrink)

The article presents Hanslick’s aesthetic formalism as the starting point of the contemporary aesthetics of music. His book, written in the 19th century, is considered contemporary because it still proves to be influential and fruitful in the contemporary theoretical circles, especially in the modern analytic aesthetics of music, where it is widely cited and discussed. The article positions Hanslick’s book in relation to his nearest predecessors Kant and Herbart, and to the neighbouring area where the formalistic view appeared, namely in (...) Fidler’s visual formalism in fine arts. It is shown that by being the first piece of writing to attempt to systematically and comprehensively determine the essence and the content of music, and the criteria for evaluation of musical worth, Hanslick’s book sets the foundation for a rigorous examination of the aesthetics of music, and also breaks off with the widely ingrained preconceptions of music, which were in themselves an obstacle to establishing the aesthetics of music as a scientific discipline. (shrink)

This paper explores the neglected ‘harms-to-others’ which result from increased attention to beauty, increased engagement in beauty practices and rising minimal beauty standards. In the first half of the paper I consider the dominant discourse of beauty harms – that of ethics and policy – and argue that this discourse has over-focused on the agency of, and possible harms to, recipients of beauty practices. I introduce the feminist discourse which recognises a general harm to all women and points towards an (...) alternative understanding; although it too focuses on engaging individuals. I argue over-focusing on harms to engaging individuals is somewhat surprising especially in liberal contexts, as this harm can broadly be regarded as ‘self-harm’ (done by individuals to themselves, or by others employed by individuals to do so). The focus on engaging individuals has resulted in the neglect of significant and pressing harms-to-others in theory, policy and practice. In the second half of the paper I turn to actual and emerging harms-to-others. I focus on three particular harms-to-others as examples of the breadth and depth of beauty harms: first, direct harm to providers; second, indirect but specific harm to those who are ‘abnormal’; and third, indirect and general harm to all. I conclude that, contrary to current discourses, harms-to-others need to be taken into account to avoid biased and partial theorising and counter-productive policy-making. I advocate recasting beauty, in a parallel way to smoking, as a matter of public health rather than individual choice. (shrink)

The article re-visits the different scholarly approaches to Hegel's end-of-art scenario, and then proposes a new reading whereby ending and finitude are presented as essential features of beautiful art. The first and most determinant of art's endings is the death of the Christly art object, not representations of Christ, but the actual death of (the son of) God himself as the last classical artwork. The death of God represents the last word in Greco-Roman art, the accomplishment of the (...) class='Hi'>beautiful individuality and its failure to present the Absolute in a singular, naturally infected, lively, human (made) form. The ending of art brings about a new form of the sacred: the representational language of revelatory religion. The ongoing production of modern artistic forms is a feature of actuality ("Wirklichkeit") and as such is condemned to an infinite approximation of what has been. Such actuality nonetheless "ends" in the ironic discourse of contemporary artistic expression, which Hegel qualifies as a "Vereitelung". The final realization of the beautiful art form, as a human-informed singularity embodying absolute content, may well be the Encyclopedia of Philosophical Sciences, whose performative iteration takes place in the form of "worship" practiced in the modern, state university. (shrink)

What account of evaluative expressions, such as ‘is beautiful’, ‘is generous’ or ‘is good’, should a Fregean adopt? Given Frege’s claim that predicates can have both a sense and a reference in addition to their extension, an interesting range of only partially explored theoretical possibilities opens to Frege and his followers. My intention here is to briefly present these putative possibilities and explore one of them, namely David Wiggins’ claim that evaluative predicates refer to non-natural concepts and have a (...) sense which is sentiment-involving. In order to defend this claim against objections which aim at showing that evaluative concepts do not really exist, I shall suggest that our awareness of evaluative concepts involves affective (or emotive) states. (shrink)

This essay offers an update on the author's thoughts on the French feminist performance artist ORLAN, analyzing her visual representations as a new category of feminist visual art, namely, virtual hybrid beauty.

Every discourse about the nothing seems fully and ultimately empty. However, this cannot be true precisely because it is language – that is, discourse – which always brings forth the nothing, the word of the “Nothing”. The language therefore speaks about the nothing and perhaps also “speaks nothing”. In its primary – and abstract – appearance, the nothing is precisely “that” “which” it is not. However, its word is still there in the words of most languages (for we cannot know (...) all). What is more, since it is not, at a first sight all the nothing has is its word, its name... and this is precisely what protrudes. But the word of the nothing utters in language only that which has no being. That is therefore not just any kind of negation, but the negation of being, the name of the negation of being. The “nothing” is therefore the mere word of the negation of being. Which lives standing in languages. As deeply that its translation presents no problems. The German ¬¬das Nichts can be translated unproblematically to the English nothing, the French rien or néant, the Slavic nić, the Romanian nimic or the Hungarian semmi, etc. However, if we go on deeper into the problem, it shows that, despite the unproblematic translation, being and (its) negation articulates in different ways in the names of the nothing. The writing analyses this in detail, with special emphasis of the Hungarian word of Nothing [Semmi]. It concludes by initiating a philosophical dialogue with a poem of Attila József. (shrink)

RésuméEn réponse à l'article de D. C. Matthew, « Racial Integration and the Problem of Relational Devaluation », j'examine la politique de la beauté physique à l'intersection entre les catégories de race et de genre. J’évalue et je rejette l'affirmation de Matthew selon laquelle être perçu comme physiquement attrayant se traduit à coup sûr soit par un bon traitement, soit par une haute estime de soi. Je soutiens que, au contraire, le genre peut fonctionner comme un moyen de contrôle social, (...) dans lequel le désir du corps des femmes n'apporte aucun bon traitement ni n'améliore leur estime de soi. Ce problème peut persister au sein des communautés raciales intragroupes autoségréguées. (shrink)

Could Christians and Muslims be referring to the same God? For an account of the reference of divine names, I follow Bogardus and Urban (2017) in advocating in favour of using Gareth Evans’s causal theory of reference, on which a name refers to the dominant source of information in the name’s “dossier”. However, I argue further that information about experiences, in which God is simply the object of acquaintance, can dominate the dossier. Thus, this demonstrative use of names (...) offers a promising alternative avenue by which users of the divine names can refer to the same referent despite having different conceptions of God. I also respond to Burling’s (2019) worship-worthiness view. (shrink)

According to a number of contemporary theorists, aesthetic reasons can invite or entice us but never compel us. In this paper, I develop a Kantian account of the normative force of aesthetic reasons. While Kant would likely agree that aesthetic reasons do not give rise to obligations, his account nevertheless gives us the resources for explaining how aesthetic reasons can still have more force than merely enticing reasons. This account appeals to the distinct normativity of aesthetic judgments on Kant's theory (...) and the way in which this kind of normativity structures aesthetic exchanges with other judging subjects. I argue that, in addition to the moral reasons we have for appreciating and preserving beauty, Kant’s account can accommodate distinctly aesthetic reasons for doing so that stem from our membership in aesthetic communities. (shrink)

Ramayan Through Kundalini Yoga Shodasi is an ideal read for Sanskrit-literate readers who are open to eclectic yogarthas and connotative meanings -------- So you thought Vyasa was before Valmiki, Mahabharat was before Ramayan, Rama a Vishnu avatar, and tantrism distinct from vedism? Think again. In Shodasi: Secrets of the Ramayana, Telugu poet Seshendra Sharma re-reads the Ramayan to come up with a number of new conclusions. Much of the book sets out to prove that Ramayan was written before the Mahabharat. (...) Sharma discusses how Indra is cited more often than Vishnu, thus placing the context of the Ramayan closer to Vedic than Puranic thought. He quotes from the Mahabharat to show how it follows descriptions of hills, rivers from the Ramayan. The Mahabharat has some prose, and therefore, it must have been composed after Ramayan, which is entirely in poetry. These are only some of the numerous reasons that Sharma offers to suggest a new sequence of our itihasas. Sharma’s book is also an experimental reading of the Ramayan through the interpretive lens of what he calls Kundalini yoga. Hanuman’s flight to Sri Lanka gets a new interpretation. “Charana Charite Pathi” is interpreted as the path of Kundalini, and the first verse of the Sundara Kanda “Tatho Ravana Nithayah” is interpreted by Sharma to refer to Hanuman traversing the sushumna nadi of the Kundalini. Trijata’s dream becomes the Gayatri mantra through an imaginative recasting of words as numbers. Gaja (elephant) means eight, danta (teeth) means thirty-two, and maha-gaja-chaturdantam somehow also adds up to 32 syllables, which is the number of syllables in the Gayatri mantra. That Trijata’s dream is halfway through the Ramayan also becomes significant for Sharma, he calls it the ‘central bead’ in the Ramayan garland of 24,000 beads. Identifying 32-syllables as the Gayatri follows a convention, for mantras are referenced by the number of syllables; however, it is the “secret” yogartha—or mystical, anagogical translations—derived by Sharma that becomes problematic, unless he is considered an authority in his own right. conclude that the name Sundarakand is unrelated to any descriptions of beauty of any of the main characters in the Ramayan. However, Soundarya and Tripura-Sundari are well-known conventions in the tantric tradition and hence, Sharma concludes that Sundarakand derives its name from Shakti’s beauty, and “Sundara-Hanuman” means “Hanuman who is a devotee of Devi” (117). A coda in this book is about the benedictory verse in Kalidasa’s Sakuntalam which has traditionally been understood to refer to Ishwara. Sharma re-interprets this verse highlighting the “eight forms” of the last line as the eight forms of Devi that please Ishwara. This book is suitable for a reader who is Sanskrit-literate and open to eclectic yogarthas and connotative meanings. Sharma cites substantially from the Ramayan in roman but without diacritics, this is difficult to follow; and he does not always include translation. Sharma often cites commentators without citing names and sources. It is not clear why the book is called Shodasi—readers may note, this book is not about the Srividya tradition. Even if the reader is unconvinced by Sharma’s reasoning or methodology, the free flow of references may prove absorbing for a reader interested in the subject. This could also be an eclectic reference for a scholar researching tantric elements in the Ramayan. - Mani Rao The Sunday Standard Magazine The New Indian Express 29th November 2015 . (shrink)

This paper pursues the philosophical significance of a relatively unexplored point of Platonic aesthetics: the social dimension of beauty. The social dimension of beauty resides in its conceptual connection to shame and honour. This dimension of beauty is fundamental to the aesthetic education of the Republic, as becoming virtuous for Plato presupposes a desire to appear and to be admired as beautiful. The ethical significance of beauty, shame, and honour redound to an ethically rich notion of appearing before others (...) which corresponds to a public conception of virtue. I suggest how this dimension of beauty in Plato – particularly the emphasis on beautification – proves fruitful for reconsidering the scope and the nature of aesthetic experience. (shrink)

This paper examines the narrative techniques; setting, focalization and flashback, employed by Adekunle Mamudu and Sophia Akhuemokhan in The Beauty of Madness and Changing Colors respectively, to arouse deep meanings and intense emotions. These techniques contribute to the message the writers intend to pass across to the readers. While Akhuemokhan uses these techniques in Changing Colors to teach morals and promote ethnic principles, Mamudu’s aim in The Beauty of Madness is to expose some ills revolving in the society and launch (...) sanity back to the society. (shrink)

This article offers a comprehensive and critical analysis of Eric Heinze’s book Hate Speech and Democratic Citizenship (Oxford University Press, 2016). Heinze’s project is to formulate and defend a more theoretically complex version of the idea (also defended by people like Ronald Dworkin and James Weinstein) that general legal prohibitions on hate speech in public discourse compromises the state’s democratic legitimacy. We offer a detailed synopsis of Heinze’s view, highlighting some of its distinctive qualities and strengths. We then develop a (...) critical response to this view with three main focal points: (1) the characterisation of democratic legitimacy as something distinct from (and whose demands aren’t identical with those of) legitimacy per se; (2) the claim that the requirements of democracy are hypothetical, rather than categorical, imperatives; and relatedly (3) the question of how we should reconcile the requirements of democratic legitimacy with the costs that may follow from prioritising democratic legitimacy. We argue that there are significant difficulties for Heinze’s account on all three fronts. (shrink)

In recent decades, Western philosophy, including personalism, has had to face the question of how to respect the otherness of the personal Other, a challenge issued most famously by Emmanuel Levinas. In his Totality and Infinity, Levinas's conclusions about alterity are stark. The Other is beyond all conceptualization and precedes my activity as a subject. It is the Other who founds my own independent subjectivity as an "I."1 These are indeed radical conclusions, but they raise the question, Does the very (...) term Other itself fully capture the alterity Levinas wishes to do justice to? The term Other (autrui) has a certain unavoidable generality and abstractness to it. Any person who is not myself, the world's population minus one, can be referred to by this term. Yet the Other is always richly distinguished in each case, for each Other is unique. I will argue that the personalist philosophy of Dietrich von Hildebrand reveals that the alterity of the Other rests on the more fundamental uniqueness of the content of our personhood. This content, which is a value, is disclosed in love, and it is indicated in the personal name. It is the name that, better than the term Other, captures the alterity of the personal Other. (shrink)

Logic systems that can handle contradictions were being used for some time without having a general technical name. One of the main proposers of these systems, Newton da Costa, asked Francisco Miró Quesada to suggest him a name for those systems. In the historical letter that here we translate into English for the first time, Miró Quesada suggests three names to da Costa for this purpose: ‘ultraconsistent’, ‘metaconsistent’, and ‘paraconsistent’; explaining their pros and cons. -/- Paper based on a (...) letter by Francisco Miró Quesada Cantuarias to Newton da Costa, edited, translated, and annotated by Luis Felipe Bartolo Alegre. (shrink)