'When Macbeth comes from the murder of Duncan, his hands are covered in King's blood; he looks at them, and feels that all the waters in the ocean cannot wash away the blood, but that- "this my hand will rather The multitudinous seas incarnadine, Making the green one red.,"... -/- (http://philpapers.org/profile/112741 ).

A complete self analysis on portrait of different dimensions through human characters in the society still...

"Men have died from time to time, and worms have eaten them, but not for love."Satyajit Ray Wikipedia The Free Encyclopedia 2015 .

"But he that filches from me my good name Robs me of that which not enriches him, And makes me poor indeed." (Othello) -/- ( http://philpapers.org/profile/112741 ).

Machiavelli’s work is a commentary on the power politics that frame Shakespeare’s tragedies and histories, and Shakespeare’s villains bring to life the inherent dangerousness of Machiavelli’s philosophy. Because their writings appear to illuminate each other in this way, because they constantly remind us of each other, several questions arise: what did Shakespeare know about Machiavelli? What did he think of Machiavelli’s philosophy as it’s normally construed, that is, as a kind of completely unscrupulous political realism? To what extent had the (...) figure of the Machiavel already been articulated within the Elizabethan literary world when Shakespeare got a hold of it? Was the Tutor sense of Machiavelli’s thought accurate? If not, what was the pervasive sense of Machiavelli in Shakespeare’s culture? (shrink)

This chapter presents the core challenge before Hamlet as that of achieving authenticity in the face of inner multiplicity. Authenticity—which this chapter will take to mean (1) acting on the (2) knowledge of (3) what one truly is, beneath one’s various masks and social roles—becomes a particularly pressing need under conditions of (early) modernity, when traditional forms of action-guidance are at least halfway off the table. But authenticity is highly problematic when the self that is discovered turns out to be (...) multiple. Which self, exactly, should one be true to? Hamlet’s solution, this chapter suggests, is an “actor’s ethos,” in which each of his aspects is given its day in the sun, granted full commitment by means of what we now call “method acting.” That is what Hamlet learns from the players—and that too is what we stand to learn from _Hamlet_: not an idea but a method. (shrink)

The verses have constituted a living document upon which our various forebears, seeking to discover and revitalize for themselves identities in the world, have left behind a succession of exegetical imprints.

The so-called `no-thesis' view is without a doubt one of the most immediately puzzling philosophical features of Nāgārjuna's thought and also largely responsible for ascribing to him either sceptical or mystical leanings (or indeed both). The locus classicus for this view is found in verse 29 of the Vigrahavyāvartanī: “If I had some thesis the defect [just mentioned] would as a consequence attach to me. But I have no thesis, so this defect is not applicable to me.” That this (...) absence of a thesis is to be regarded as a positive feature is stressed in a passage from the Yuktiṣaṣṭikā, where Nāgārjuna remarks about the Buddhas: “For these great beings there is no position, no dispute. How could there be another's [opposing] position for those who have no position?” Now it is important to observe that when considered in isolation it is very hard to make any coherent sense of these passages. For even if we assume that the Buddhas do not hold any philosophical position anymore (having perhaps passed beyond all conceptual thinking), how are we to make sense of the first quotation which, in the middle of a work full of philosophical theses claims that there is no such thesis asserted at all? (shrink)

Sutton's review of Renaissance Magic and the Return of the Golden Age.

This is the English translation (with a brief introduction and relatively detailed commentary) of a long excerpt from Mikhail Bakhtin's notes titled "Additions and changes to Rabelais", written in the mid-1940s with reworking his then unpublished manuscript on François Rabelais in mind. This excerpt is most notable for being the only extant text in which Bakhtin discusses and analyses Shakespear's tragedies at relative length—a discussion interesting not only as a reading of Shakespeare, but also as an unusual and revealing example (...) of Bakhtin's thought. In addition to Shakespeare, the text deals briefly with Dostoevsky's novels and with Goethe's Faust, as well as with several themes Bakhtin develops in his better-known works, such as Menippean satire, seriousness, and laughter. (shrink)

In the introduction, Dadabhoy begins by questioning Shakespeare’s engagement with Islam, asking, “What does Shakespeare say about Islam?” Here, Dadabhoy observes that references to and representations of Muslim characters in Shakespeare’s works are minimal and often limited to marginal figures, such as the Prince of Morocco in The Merchant of Venice and Othello. Dadabhoy argues that the erasure and marginalization of Islamic culture in Shakespeare’s works reflect a broader European tendency to exclude non-European and non-Christian narratives from their worldview. This (...) is not only about the absence of Muslim characters but also about how the Islamic world is often ignored or negatively portrayed in European literature and culture. For Dadabhoy, this erasure is part of a broader cultural strategy to reinforce European identity and superiority. (shrink)

Shakespeare's works present intriguing explorations of law and legal theory. They help demonstrate the flaws in command-theory positivism, natural law theory and prediction theory accounts of the law. This is a simultaneously-published abbreviated version of a longer article published in Acta Iuridica Olomucensia in 2010.

Wittgenstein's lack of sympathy for Shakespeare's works has been well noted by George Steiner and Harold Bloom among others. Wittgenstein writes in 1950, for instance: "It seems to me as though his pieces are, as it were, enormous sketches, not paintings; as though they were dashed off by someone who could permit himself anything, so to speak. And I understand how someone may admire this & call it supreme art, but I don't like it." Of course, the animosity of (...) one great mind for another has its own interest. But the interest here is increased by two factors: (1) Wittgenstein's brief but specific critique of Shakespeare's similes, of interest particularly since he identifies his own philosophical strength half-deprecatingly but still seriously as one of crafting beautiful similes; and (2) Wittgenstein's and Shakespeare's shared concern, as revealed in Stanley Cavell's writings, with the human impulse to skepticism. The present paper considers the importance of these two factors in weighing Wittgenstein's judgment. It suggests that Wittgenstein's frequent charge that Shakespeare is "completely unrealistic" is not a misunderstanding of the Bard (Wittgenstein distinguishes his "failure to understand" from others' willingness to misunderstand Shakespeare) but rather an expression of Wittgenstein's anxiety over Shakespeare's wholly original use of language to represent the sound of the raw motives to skepticism. (shrink)

the Cathedral's central prop as a war trophy, tribute from the client state Judea. also: the First Folio as Royalist propaganda.

This contribution addresses issues of interpretation and translation in Derrida’s reading of Shakespeare’s Merchant of Venice in relation to the supposed opposition of the letter and the spirit of the law. Rather than supporting a supersession of the law’s letter in favor of its spirit and advocating a sublation of the law by means of mercy, as a traditional reading suggests, this essay’s reading of Shakespeare’s play suggests that it deconstructs the underlying opposition. By linking the insistence on “the letter (...) of the law” not to a kind of literalism or blind compliance with the law, but instead to an insistence on the textuality of the law, such a reading elucidates the law’s need for interpretation and highlights how the attempt to surpass the letter of the law involves a threat of a fundamental injustice. (shrink)

The article focuses on a philosophical issue of the Renaissance humanism in William Shakespeare's Hamlet. The humanist tradition originated in Greece with the famous statement “Of all things man is the measure” (Protagoras of Abdera, 485-415 BCE), but it was not until the Renaissance that it reached its peak and became a doctrine. The article focuses on the humanism of the Renaissance, with its glorification of the image of the "giant man," which is mainly expressed in the work of (...) William Shakespeare. By pointing out the nature of Renaissance humanism, the article emphasizes Hamlet's play as a typical work of Renaissance humanism. (shrink)

The Divine Comedy of Dante Alighieri, and its initial part of Inferno, includes several medical terms and descriptions, whose accuracy sometimes overcomes that of a layman. The genial poet has used locutions illustrating pain and sorrow more than forty times in Inferno alone, with words like dolor, dolente and doloroso, that have caused perplexity among translators. The panoply of translations – here we are dealing only with the English versions – will prove that not only the contextual meaning but also (...) the historical setting might create interpretative difficulties. Without obviously giving medical value for granted to all verses that include words like dolor and its derivates, however Dante’s work has been as well under the focus of medical scholars, with many publications of interest. Through comparing the original text mainly with the Oxford’s English version, we have tried to bring into the reader’s attention the painful sensations that Dante abundantly inflicted upon his characters, as an indirect way to test the poet’s perception of this strange and infernal sensation. (shrink)

It has long been recognised that great art, whether visual art, literature or music, has a special capacity to “live on” – to endure – long after the moment of its creation. Thus, our world of art today includes, for example, ancient Mesopotamian sculpture, Shakespeare’s plays, and the music of medieval times. How does this capacity to endure operate? Or to ask that question another way: what does “endure” mean in the case of art? The Renaissance concluded that art endures (...) because it is timeless – impervious to change, “eternal”, “immortal” – and this solution, which was ratified without question by Enlightenment philosophers of art such as Hume and Kant, still lingers on in some quarters today. But developments since the nineteenth century have gravely weakened the credibility of the proposition that art is immortal, and the idea is now effectively dead. This leaves us with a major dilemma: if art is not impervious to change, how exactly does it endure? If the time-honoured solution of immortality is no longer viable, what alternative explanation can we find to replace it? -/- This paper explains why immortality is dead, describes our contemporary dilemma, and briefly canvasses a possible solution. (shrink)

Interpreting Shakespeare’s seminal work ‘Hamlet’ through the lens of biocentrism offers an illuminating paradigm shift from traditional analyses. Biocentrism, a philosophical standpoint positing the intrinsic value of all living beings and the fundamental interconnectedness of life, contrasts sharply with the anthropocentric viewpoint that places humans at the centre of the universe’s hierarchy. This re-evaluation not only enriches our understanding of the play’s enduring themes, characters, and narrative arcs but also aligns Shakespeare’s work with contemporary environmental and ethical discussions. At the (...) heart of ‘Hamlet’ lie profound contemplations of existence, morality, and the human condition—themes that resonate deeply with biocentric philosophy. (shrink)

Tom Stoppard’s 1966 play (and 1990 movie) /Rosencrantz and Guildenstern are Dead/ is a metatext – as a text, it interprets, builds upon, and refers to another text, Shakespeare’s Hamlet. Similarly, David N. Reznick’s /The Origin then and now: An interpretative guide to the Origin of Species/ (Princeton UP, 2010) is also a metatext. In this review, I turn to the history of science to evaluate whether Reznick’s book shares three families of virtues with Stoppard’s play: (i) brevity and precision, (...) (ii) intrigue and appeal, and (iii) a genuine value-add to the original. (shrink)

Michael Ryan's Literary Theory: A Practical Introduction, Second Edition introduces students to the full range of contemporary approaches to the study of literature and culture, from Formalism, Structuralism, and Historicism to Ethnic Studies, Gender Studies, and Global English. Introduces readings from a variety of theoretical perspectives, on classic literary texts. Demonstrates how the varying perspectives on texts can lead to different interpretations of the same work. Contains an accessible account of different theoretical approaches An ideal resource for use in introductory (...) courses on literary theory and criticism. Designed to function both as a stand-alone text and a companion to Rivkin and Ryan’s Literary Theory: An Anthology, Second Edition. (shrink)

“But when you meet her again,” he observed, “in Heaven, you, too, will be changed. You will see her spiritualized, with spiritual eyes.”1Dante is not a philosopher, although George Santayana sees him as one among a very few philosophical poets.2 The Divine Comedy deals in terza rima with issues that are philosophically urgent, including the relation between reasoning well and happiness.3And as one of the few great epics in Western literature, the Comedy offers its readers the pleasures of world-class poetry, (...) fabulous beasts from classical literature, good people and sinners from Dante’s Italy, and the prolongation in verse of Thomas Aquinas’s summa Theologiae and Summa contra Gentiles. In some ways, Dante’s epic .. (shrink)

This paper reconsiders the Idealistic aesthetics of tragedy from an unconventional point of view. It investigates the relationship between theory and dramatic canon by focusing on those works and authors that are excluded from the canon by the theoretical discourse. My aim is to show that Idealist philosophers and Romantic critics concur in constructing a unitary model of the tragic conflict that is partly defined through its contraposition to the ‘Senecan’ conception of tragedy as a representation of suffering and as (...) a dialectic of passions. Seneca here stands for an entire line of European dramaturgy, which involves Shakespeare and culminates in French Classicism. This contrast does not merely concern a literary model, but also, more generally, the conception of subjectivity underlying the dramaturgy of passions. This paper thus helps to shed light on the controversial relationship between the idealistic philosophy of the tragic with modern tragedy at large. -/- Keywords: Theory of Tragedy, Idealism, Seneca, Hegel, Pathos . (shrink)

After viewing a painting, reading a novel, or seeing a film, audiences often feel that they improve their cognitive standing on the world beyond the canvas, page, or screen. To learn from art in this way, I argue audiences must employ high degrees of epistemic autonomy and creativity, engaging in a process I call ‘insight through art.’ Some have worried that insight through art uses audience achievements to explain an artwork’s cognitive and artistic value, thereby failing to properly appreciate the (...) cognitive and artistic achievements of artists. I move against this worry by arguing that in order to learn via insight through art audiences must collaborate with artists, sharing the labour and credit for the cognitive achievements they co-produce. I claim this co-productive outlook reveals that our appreciation of art’s cognitive and artistic value involves far more audience participation than has hitherto been realised. (shrink)

Ayurveda is science of living being. Aim of Ayurveda is mantainance of healthy life and pacification of diseases of diseased ones. Dharma, artha, kama and moksha these four are together called chaturvidha purushartha which is achieved by arogya (health).Ayurveda holds view of its independent darshanika viewthough it has shades of nearly all six astika darshanas. Mimamsa’s first verse implies its motto to explore Dharma. Ayurveda considers dharma as one of basic component to health. Dharma has been described under trieshana (...) by acharya Bhela. Various conducts are described under sadavritta, achararasayana, moksha marga, naishtikichikitsa. Ayurveda describes three types of treatment which are yuktivyapshraya, daivavyapashraya and sattvavajaya. This daivyapashraya includes mantra, ausadhi, mani, mangal, bali, upahaar, homa, niyama,prayashchita, upawaas, swastyayana, pranipata, gamana etc. These type of methods are widely described in karma kanda of mimamsa darshana. This treatment method has been used in curing of diseases like unmada,graharoga. Methods of yagya has been described as well as used in putreshti and punsawansamskara described in charakasamhita. With this paper karma kanda widely used in treatment has been described in Ayurveda. (shrink)

This dissertation is an attempt to find a single framework for understanding two seemingly conflicting aspects of Nabokov's Russian novels---the metaphysical and the existential. The metaphysical aspect is analyzed according to Leibniz's "Monadology," with its key concepts of the monad, pre-established harmony, the optimization of the universe, and sufficient reason. The existential aspect is examined according to Sartre's theory of the gaze from "Being and Nothingness"; its main notions are being-for-another, radical individuation and intersubjective struggle. Concern with the level of (...) being is assumed to be the most basic and unifying element of the Nabokovian worldview. It is shown that Nabokov conceives individual being as value, and that he understands self-authorship as self-ownership. The value of individual being is threatened by intersubjective contact: the other, via the gaze, can undermine its property status, and eventually alienate it. All particular plots are derived from these underlying premises. The key Nabokovian themes of blindness, non-transparency, loss, memory and art are demonstrated to refer back to the root concepts of the gaze and self-protection. ;The dissertation develops two original conceptual tools: a theory of unreliable focalization and a theory of paranoid experience ;Close readings of Nabokov's texts have resulted in several philological findings. Structural and textual parallels have been discovered between "Mashen'ka" and Shakespeare's "Hamlet," as well as between "Priglashenie na kazn'" and Descartes' "Meditations." It has also been shown that the protagonist's story in "Zashchita Luzhina" is repeated four times and not two. (shrink)

In his political treatise, Mabadi ara ahl al-madina al-fadhila, Abu Nasr Alfarabi, the medieval Muslim philosopher, proposes a theory of virtuous city which, according to prominent scholars, is modeled on Plato’s utopia of the Republic. No doubt that Alfarabi was well-versed in the philosophy of Plato and the basic framework of his theory of city is platonic. However, his theory of city is not an exact reproduction of the Republic’s theory and, despite glaring similarities, the two theories do differ in (...) many aspects. In both, Alfarabi’s Mabadi ara ahl al-madina al-fadhila and Plato’s Republic, the theory of virtuous city is accompanied by a theory of the soul. Since the theory of soul plays a foundational role in both theories of the virtuous city, the present article intends to provide an explanation for the differences between the two theories of the city in terms of the differences between the two theories of the soul. (shrink)

This paper will first provide a synopsis of Thompson's understanding of ideology and then apply it to two selected verses (Mt 5:3 & 4) from the Sermon on the Mount. An attempt will be made to reveal the existence of an ideology in the text, determine its symbolic form and construction, and confirm the suitability of Thompson's modes of operation of ideology and depth hermeneutics as tools of interpretation to be applied to the text. This methodology will disclose how one (...) could control the masses with an ideology that claimed to benefit them; how the text can be presenting an opposing ideology to the prevailing ideologies and finally show that the text also reveals an asymmetrical relation of power and dominion between God and the hearers of the text that ultimately will benefit them. Reading the text in its particular social-historical setting this article will endeavour to disclose and draw attention to symbolic phenomena that serve and sustain relations (domination being one aspect of this association) between God and his people who are the oppressed and persecuted. (shrink)

Musical works change. Bruckner revised his Eighth Symphony. Ella Fitzgerald and many other artists have made it acceptable to sing the jazz standard “All the Things You Are” without its original verse. If we accept that musical works genuinely change in these ways, a puzzle arises: why can’t I change Bruckner’s Eighth Symphony? More generally, why are some individuals in a privileged position when it comes to changing musical works and other artifacts, such as novels, films, and games? I (...) give a view of musical works that helps to answer these questions. Musical works, on this view, are created abstract objects with no parts. The paradigmatic changes that musical works undergo are socially determined normative changes in how they should be performed. Due to contingent social practices, Bruckner, but not I, can change how his symphony should be performed. Were social practices radically different, I would be able to change his symphony. This view extends to abstract artifacts beyond music, including novels, films, words, games, and corporations. (shrink)

Quality of Zionism`s formation Written by: A.M. Abstract One of the most important discussions in every school of thought is the subject of recognizing the enemies against the given school. Every being in the world should know their enemies in order to be able to secure their survival and provide the necessary means of defend against the enemies. Even the animals follow the same rule; no animal was trapped by the hunter except when it acted ignorantly. Concerning this subject, Imam (...) Khomeini Says no freeman officially recognizes Israel. The Quranic verse (82, surah: Ma`edeh) explains the subject of knowing the enemy and prioritizes it as, “Latajiddana Ashad Al-Nas” The first important enemy is the Jews and if one day the Quran would change the first important enemy changed. Any mention of the Jews in the Quran should be interpreted as the Zionism. The second important enemy is “Al-Ladina Ashraku” which means the polytheists. Another Quranic verse says that the Christians are also the Muslims` enemies, “Wa lan Tarza ankel Yahud Wa la Nasara Hatta Tattabe`a Mellatahom Qol Inna Hada Allah Wa laen Ittabaat Ahwa`ahom Bad Al-Ladi Jaaka Min Al- Elme Ma laka Men Allah-e Men Waliye Wala Nasir” meaning that the Jews and Christians will never be satisfied with you [so that you surrender to their wants] and follow their [distorted] religion. Say: Guidance is only the God`s guidance! And if you follow their desires, after becoming aware of it, there will be neither divine guardians nor any companions for you. (Surah: Baqareh, Verse 120). This article has mostly dealt with the basic formation of the Zionism. The subject has been divided and discussed in 4 categories, namely civil Zionism, Zionism in economy, policy, and religion. The article studies the importance of the Middle East in the viewpoint of “Lord Rochild” and the issue of laying the groundwork for controlling the Middle East as the best option for founding the Jew government. The Zionism`s four mentioned aspects were effective and aimed at creating a powerfull united Zionist government and later and as the result of these efforts the Israel promised state was founded. The author points to the serious problems of Zionism and indicates that the Post-Zionism, who had entered the scene to solve these problems, could not succeed in doing this mission. چگونگی شکل‌گیری و پیدایش صهیونیزم//Quality of Zionism`s formation//تأسیس الصهیونیة و ظهورها Keywords: Zionism, Economic, Political, Cultural and Religious Zionism, Israel, Rothschild, Instantly. (shrink)

İksîrü’s-seâdât fî esrâri’l-İbâdât was written by Burhaneddin Ahmed es-Sivasî who is one of the most important figures of Turkish Islamic history and a scholar, sufi, poet, judge and ruler on the year h.798/m.1396 in Sivas. In this book, mysteries of the worship are explained after three complementary introductory chapters regarding the conception of being. The author first deals with the being, its nature and its reason in order to clarify the mysteries of the worship in human mind with a meaningful (...) framework. Then he explains the mysteries of worship by means of verses from the Quran and hadiths. Kadı Burhaneddin interprets the real meanings of worship for human being with the concept of poise. He thinks that worship is the most important means that secure human being against deviations from poise. Putting forward why the religious orders are imposed is a scholarly activity and this activity is broad enough as comprising all religious decrees. Wisdoms, beauties, benefits and utilities within religious orders are known through this activity. This book which is the basic reference of our paper can be included within the scope of the science of hikmetü’t-teşrî (reason of legislation) that explains the causes behind the orders and prohibitions of the religion. Some explanations put forward here should be evaluated having regard to theories of appearance and manifestation. (shrink)

Ācārya Pūjyapāda’s (circa 5th century CE) Samādhitantram is a spiritual work consisting of 105 verses outlining the path to liberation for the inspired soul. Living beings have three kinds of soul – the extroverted-soul (bahirātmā), the introverted-soul (antarātmā), and the pure-soul (paramātmā). The one who mistakes the body and the like for the soul is the extroverted-soul (bahirātmā). The extroverted-soul spends his entire life in delusion and suffers throughout. The one who entertains no delusion about psychic dispositions – imperfections like (...) attachment and aversion, and soul-nature – is the introverted-soul (antarātmā). The knowledgeable introverted-soul disconnects the body, including the senses, from the soul. The one who is utterly pure and rid of all karmic dirt is the pure-soul (paramātmā). Samādhitantram expounds the method of realizing the pure-soul, the light of supreme knowledge, and infinite bliss. Realization of the pure-soul is contingent upon discriminatory knowledge of the soul and the non-soul, and meditating incessantly on the pure-soul, rejecting everything that is non-soul. Samādhitantram answers the vexed question, ‘Who am I?’ in forceful and outrightly logical manner, in plain words. No one, the ascetic or the householder, can afford not to realize the Truth contained in the treatise, comprehend it through and through, and change his conduct accordingly. (shrink)

Ratnakarandaka-śrāvakācāra, comprising 150 verses, is a celebrated and perhaps the earliest Digambara work dealing with the excellent path of dharma that every householder (śrāvaka) must follow. All his efforts should be directed towards the acquisition and safekeeping of the Three Jewels (ratnatraya), comprising right faith (samyagdarśana), right knowledge (samyagjñāna) and right conduct (samyakcāritra), which lead to releasing him from worldly sufferings and establishing him in the state of supreme happiness. The treatise expounds an easy-to-understand meaning of ‘right faith’: To have (...) belief, as per the Reality, in the sect-founder or deity (āpta or deva), the scripture (āgama or śāstra), and the preceptor (guru). It specifies criteria to distinguish between the real and the counterfeit enabling one to eliminate follies attributable to wrong faith. Only the householder who has right faith establishes himself on the path to liberation. Right faith is the treasure chest of whatever is propitious and worthy; wrong faith of whatever is inauspicious and contemptible. After laying the foundation called the right faith, Ācārya Samantabhadra goes on to complete the superstructure known as the Three Jewels (ratnatraya) with the remaining two elements, right knowledge and right conduct. The householder who has attained right faith on the destruction of darkness of delusion is fit to attain right knowledge and right conduct. He gets rid of the conduits of demerit (pāpa) comprising injury, falsehood, stealing, unchastity, and attachment to possessions. Further, he observes three subsidiary vows (guņavrata), and four instructional vows (śikşāvrata). Giving up of the body in a manner that upholds righteousness (dharma) on the occurrence of a calamity, famine, senescence, or disease, from which there is no escape, is called the vow of sallekhanā. Sallekhanā has been termed as the final fruit or culmination of penance (religious austerity) and, therefore, all persons with right faith, the ascetic as well as the householder, look forward to attaining voluntary, passionless death at the appropriate time. The treatise finally describes the eleven stages (pratimā) of the householder’s conduct. (shrink)

Bārasa Aņuvekkhā – ‘The Twelve Contemplations’ – of Ācārya Kundakunda (circa 1st century BC) contains 91 verses (gāthā). ‘Aņuvekkhā’, ‘aņupekkhā’, ‘anuprekşā’, and ‘bhāvanā’ are synonyms; these terms are used in Prākrit, Apabhramśa, Sanskrit and Hindi languages, respectively. Contemplation means ‘meditating on the nature of the Reality’. The uniqueness of Ācārya Kundakunda’s exposition is that he has described each contemplation both from the empirical (vyavahāra) as well as the transcendental (niścaya) points-of-view (naya). These contemplations help a man practise moral virtues, like (...) forbearance (kşamā), and lead to highly effective stoppage (samvara) of karmas. He who does contemplation observes properly the moral virtues and also endures the afflictions. (shrink)

Acarya Samantabhadra’s Svayambhustotra (2nd century CE) is a fine composition in Sanskrit dedicated to the adoration of the Twenty-four Tîrthankara, the Most Worshipful Supreme Beings. Acarya Samantabhadra was one of the most impelling proponents of the Jaina doctrine of anekantavada, a philosophical system which maintains that reality has multifarious aspects and that a complete apprehension of it must necessarily take into account all these aspects. Non-appreciation of this jewel of Jainism has caused the other philosophical systems fall into the trap (...) of one-sided, incomplete, and unsustainable dogmas that fail to explain the Truth. Through its 143 verses Svayambhustotra not only enriches reader’s devotion, knowledge, and conduct but also frees his mind from blind faith and superstitions. Rid of ignorance and established firmly in right faith, the reader’s mind experiences ineffable tranquility and equanimity. As proclaimed by Acarya 108 Vidyanand Muni, Svayambhustotra is an essential reading for all – ascetics and laymen. (shrink)

In a very literarily complicated setting, Frater Taciturnus sets a remark about Hamlet not being a Christian tragedy. After unpeeling that literary setting and noting that Taciturnus' remark aims more at Jacob Börne than at Shakespeare, the paper shows how Frater Taciturnus' remark calls into question the religious project of a certain danish author. For, Taciturnus' primary concern is to show that religious drama is not possible, or at least "ought not be." This general law applies to Hamlet as well, (...) and if Shakespeare was attempting a religious drama he a) shouldn't have because such a thing is essentially undramatizable, and b) failed because he did not begin (which would be possible) by showing the hero's religious presuppositions. Frater Taciturnus himself has given considerable thought to the extent and the manner in which the religious can be represented; in fact the letter to the reader is his proof of how perfectly his own narrative, "Guilty/Not Guilty," was constructed with precisely these problems in mind. The play is not the thing that Taciturnus is really interested in, nor is he interested in the playwright's intentions, he considers that the play's the thing that catches out Börne's misunderstanding of the religious, and it is this field—in particular, that area where the religious life and literary art intersect, that is the brother's interest and forte. But if Taciturnus is correct in his criticism of Börne, it should be impossible for S. Kierkegaard to produce a religious authorship as well. (shrink)

Résumé -/- Cet article vise à expliquer comment Shakespeare articule une philosophie de la nature dans Le Conte d’hiver. Nous suggérons que la spécificité dramatique de la pièce ainsi que son schéma narratif expriment cette philosophie. D’une part, l’histoire racontée par la plume de Shakespeare peut montrer d’abord un éloignement de la nature pour laisser suivre une redécouverte et une renaissance de la nature – d’abord par son acception simple, brute, puis dans la compréhension téléologique de celle-ci. D’autre part, la (...) succession de la tragédie, la comédie et la romance illustre ces trois étapes. Le triomphe de la romance indique le triomphe d’une philosophie de la nature dont les causes les plus importantes sont d’ordres téléologique. -/- Abstract -/- This article aims to explain how Shakespeare shows a philosophy of nature in The Winter’s Tale. We suggest that both the dramatic and narrative specificities of the play express this philosophy. On one hand, the story told by Shakespeare’s writing can show a remoteness from nature which is to be followed by a rediscovery and a rebirth of nature – first with its rawest meaning and finally in its teleological understanding. On the other hand, the succession of tragedy, comedy and romance illustrates those three steps. The triumph of romance indicates the triumph of a philosophy of nature in which the most important causes are the teleological ones. (shrink)

Ācārya Kundakunda’s (circa 1st century BCE) ‘Samayasāra’ is among the most profound and sacred expositions in the Jaina religious tradition; it is perhaps the finest spiritual texts that we are able to lay our hands on in the present era. The original text is in Prakrit language and contains a total of 415 verses (gāthā). ‘Samayasāra’ is the exposition of the Pure (śuddha) ‘Self’ or ‘Soul’. It is the exposition, from the transcendental point-of-view (niścaya naya), of the ‘Real Self’ or (...) it is the ‘Essence of the Soul’. The assertions that the soul (jīva) gets bound to the karmic matter (dravya-karma) or that it does not get bound to the karmic matter are made from different points-of-view (naya). But that which transcends all points-of-view is the ultimate truth, the ‘samayasāra’, absolute and pure soul-substance. (shrink)

The hermeneutic pragmatism explored in this article timely examines how “post-truth” claims over-estimate semantic freedoms while at the same time underestimating semantic and pre-semantic restraints. Such pragmatism also timely examines how formalists err by committing the reverse errors. Drawing on insights from James, Peirce, Putnam, Rorty, Gadamer, Derrida, and others, such hermeneutic pragmatism explores (1) the necessary role of both internal and objective experience in meaning, (2) the resulting instrumental nature of concepts required to deal with such experience, (3) the (...) related need for workability to apply to the “the collectivity of experience’s demands, nothing being omitted,” (4) the inherent role of morality and other norms in measuring such workability, (5) the semantic as well as experiential nature of our workable realities, (6) the semantic freedoms involved in constructing, framing, and retaining our workable realities and concepts, and (7) the semantic, pre-semantic, and other restraints on constructing, framing, and retaining our workable realities and concepts. -/- Such hermeneutic pragmatism also introduces Eunomia, a real-world alternative to Dworkin’s superhuman judge Hercules. Named after the Greek goddess of good order, the human Eunomia represents the reasonable judge excellently versed in (among other things) legal theory, legal practice, linguistics, and philosophy of language. Additionally, in its appendices, this article surveys the pragmatic restraints of “implementives” and provides a detailed overview of pragmatic “workability” restraints for both law and fact. -/- (By “sense” the title of this article means not only “meaning conveyed or intended” but also “capacity for effective application of the powers of the mind as a basis for action or response.” See Sense, MERRIAM-WEBSTER’S COLLEGIATE DICTIONARY (11th ed. 2014) “Workable” has the broad meaning discussed in Sections II, IV, and Appendix C of the Article, and "good" is further explored in the section on Eunomia, namesake of the Greek goddess of good order.) -/- Keywords: Pragmatism, Hermeneutic, Truth, Rule of Law, William James, C.S. Peirce, Hilary Putnam, Richard Rorty, Gadamer, Habermas, Derrida, Lon Fuller, H.L.A. Hart, Post-truth, Postmodernism, Trump, Rhetoric, Meaning, Interpretation, Metaphor, Category, Lifeworld, Formalism, Framing, Deconstruction. (shrink)

In Feminist Edges of the Qur’an, Aysha Hidayatullah argues that certain Qur’anic verses are incorrigibly male-privileging and are themselves privileged. Hence, egalitarian readings of the Qur’an are unsupported and unsupportable. If, as egalitarians propose, such verses are unjust, then either the Qur’an is not God’s word or God is unjust. By contrast, I argue that no evidence suggests any such verses are incorrigibly male- privileging. Further I indicate egalitarian rereadings for relevant contenders and note that, in any case, no Qur’anic (...) evidence warrants the primacy of such verses. Finally, since controverting egalitarian readings of such verses are available, the logical form of Hidayatullah’s argument merely shows that if they are read to exhibit injustice, those readings cannot be God’s word. Since believers hold that the Qur’an is God’s word, there is no option but to reread them. (shrink)

The canonical text ‘Dravyasamgraha’ is believed to have been composed either by the Most Worshipful Ācārya Nemicandra ‘Siddhānta Cakravartī’ (circa 10th century CE) – the celebrated composer of Texts like Gommatasāra, Labdhisāra, and Trilokasāra – or by his later namesake Muni Nemicandra ‘Siddāntideva’ (circa the end of 11th century CE). Ācārya (Muni) Nemicandra’s Dravyasamgraha consists of just 58 verses. In 116 lines of 58 verses, the author has described the six substances (dravya), five with bodily-existence (pañcāstikāya), seven realities (tattva), nine (...) objects (padārtha), and the path to liberation (mokşa), from both the empirical (vyavahāra) as well as the transcendental (niścaya) points-of-view (naya). The treatise ends with a brief description of the five Supreme-beings (pañca-parameşthī) and of meditation (dhyāna). The ‘Explanatory Note’ against each verse comprises excerpts from the most authentic Sacred Jaina Texts. This is a thoroughly revised second edition of an earlier work published in 2013. (shrink)

ABSTRACT: Mullā Ṣadrā’s (c 1571-1640) commentary on Uṣūl al- Kāfī is one of the more famous commentaries on this significant Shi‘i hadith collection. For his philosophical and Sui background, Ṣadrā’s approach to the hadith is slightly different and in some ways contrary to the earlier commentators such as`Allāma Majlisī in Shi'a and Ibn Taymīyya in Sunni Islam. This paper aims to shed light on the way, Ṣadrā interprets al-Kāfī and particularly to determine his understanding of the ʿaql (intellect) at the (...) cosmic (as first created being) and human levels as presented in the Kitāb al-ʿAql wa al-Jahl (The Book of Intellect and Ignorance). Ṣadrā, already well-versed in the philosophical discourses on ontology and cosmology find al-Kāfī as a fertile ground to develop and extend his vision of cosmos and existence. This paper, furthermore, investigates and reviews some later and contemporary scholars’ critiques of Ṣadrā’s view on hadith and intellect. (shrink)

Using William Shakespeare’s Hamlet and the play-within-the play, The Murder of Gonzago, as a case study, this essay argues that theatrical utterances constitute a special case of language usage not previously elucidated: the utterance of a statement with propositional content in theatre functions as an event. In short, the propositional content of a particular p (e.g. p1, p2, p3 …), whether or not it is true, is only understood—and understood to be true—if p1 is uttered in a particular time, place, (...) and situation (i.e. during a theatrical event); otherwise, the propositional content in those theatrical utterances can either be false or contingently true. (shrink)

Analytic philosophers have a tendency to forget that they are human beings, and one of the reasons that P. F. Strawson’s 1962 essay, “Freedom and Resentment”, has been so influential is that it promises to bring discussions of moral responsibility back down to earth. Strawson encouraged us to “keep before our minds...what it is actually like to be involved in ordinary interpersonal relationships”, which is, after all, the context in which questions about responsibility arise in the first place. In this (...) essay I explore what we can learn about ordinary interpersonal relationships from three works of literature – Shakespeare’s King Lear, Jane Austen’s Persuasion, and Graham Greene’s The End of the Affair. My intention is to try to heed Strawson’s advice without imposing upon the data any particular theoretical agenda, and my hope is that the data collected will prove useful for future theorizing about responsibility. (shrink)

This article focuses on the use of one verse from the Biblical Songs of Songs in central passages of Giordano Bruno's first published book on the art of memory. De umbris idearum [On the Shadows of Ideas] not solely aims at improving mnemonic capacities, it also envisages the preconditions and limits of cognition in Bruno's new inifitist cosmology. Taking relevant scholarly literature on the topic as a point of departure, this contribution presents De umbris in the context of Bruno's (...) philosophy in general; it focuses on Bruno's evocation of Origen's commentary on that passage in the Song of Songs. The article analyzes in detail the reasons for Bruno's subversion of the traditional exegetic tradition that was massively influenced by Origen's spiritualized reading of the Song of Songs. Bruno's misappropriation of the Origen's commentary turns out to be a mise en abyme, a mannerist strategy of representation. It not only reflects the very method that underlies Bruno's art of memory, but is also to be understood as a conscious subversion of exegetic traditions in general. (shrink)

The aim of this paper is to explore the metaphysical foundations of Throne of Blood , Kurosawa's reworking of Shakespeare's Macbeth . Using Hegel's theory of tragedy, I develop the distinction between Greek and modern tragedy, with their differing bases in ethical and subjective freedom. I then show that Noh drama also includes a very different metaphysical account, stemming from its theoretical roots in Buddhism. I then use these three differing accounts (Greek, modern and Noh drama) to explore the (...) effect of Kurosawa's use Noh aesthetics in Throne of Blood on the metaphysical ground of the film itself. (shrink)

जिनशासन प्रणेता आचार्य समन्तभद्र (लगभग दूसरी शती) ने इस ग्रंथ "स्तुतिविद्या" में, जिसका अपरनाम "जिनशतक" अथवा "जिनस्तुतिशतं" है, अत्यंत अलंकृत भाषा में चतुर्विंशतिस्तव किया है। यह गूढ़ ग्रंथ आचार्य समन्तभद्र के अपूर्व काव्य-कौशल, अद्भुत व्याकरण-पांडित्य और अद्वितीय शब्दाधिपत्य को सूचित करता है। जिनेन्द्र भगवान की स्तुति करने का कारण यही है कि उनके द्वारा प्रतिपादित मोक्षमार्ग की अमोघता और उससे अभिमत फल की सिद्धि को देखकर उसके प्रति हमारा अनुराग (भक्तिभाव) उत्तरोत्तर बढ़े जिससे हम भी उसी मार्ग की आराधना-साधना करते (...) हुए कर्म-शत्रुओं को जीतने में समर्थ हो सकें और निःश्रेयस (मोक्ष) पद को प्राप्त कर सकें। सच्ची सविवेक भक्ति ही मार्ग का अनुसरण करने में परम सहायक होती है और जिसकी स्तुति की जाती है उसके मार्ग का अनुसरण करना ही स्तुति को सार्थक करता है। सारांश यह है कि हम जिनेन्द्र भगवान की स्तुति अपने स्वयं के परिणामों को निर्मल बनाने के लिए करते हैं। स्तुति वास्तव में एक विद्या है। सम्यक स्तुति घने-कठोर घातिया-कर्म रूपी ईंधन को भस्म करने वाली समर्थ अग्नि है। ‘Stutividyā’ by Ācārya Samantabhadra (circa second century CE) is the adoration of the twenty-four Tīrthańkara, the Most Worshipful Supreme Beings. In his earlier masterpiece work ‘Svayambhūstotra’, Ācārya Samantabhadra had expressed his devotion to the twenty-four Tīrthańkara in a highly analytical manner, establishing the supremacy and inviolability of their Doctrine. ‘Stutividyā’, however, is the epitome of poetic dexterity; in its 116 verses, Ācārya Samantabhadra has used the most amazing figures-of-speech – alańkāra – that make the composition highly ornate, inviting and, at places, extremely difficult to comprehend. Such adroitness is possible only in the Sanskrit language; perhaps that is the reason some consider Sanskrit as the most scientific language in the world. (shrink)

The main foci of this paper are to delineate the distinction between appearance and reality in the light of Sree Sankara’s Advaita Philosophy and to look at how Sankara’s notion of appearance and reality is enjoying a contemporary revival, and it is important to try to develop an understanding of why this is so. The central theme of the notion of Sankara philosophy is that Brahman or the absolute spirit is the only reality and everything else is an illusory appearance (...) of Brahman. The major essence of Sankara’s Philosophy can be expressed in the form of a half verse, ‘Brahma Satyam Jagat Mitya Jivo Brahmaiva Na apara' which means ‘Brahman is real the world is unreal and the so-called jiva nondifferent from Brahman'. In the current consciousness study, Sree Sankara’s notion of Brahman and Jagat is so conundrum in the material life of postmodern people. But it is inevitable to believe that Sree Sankara’s philosophy is not a conundrum for common people in contemporary society but the very conundrum for the non-common people. (shrink)