In ‘Equity and Marxist Buddhism,’ Tzu-wei Hung engages with the Marxist Buddhism developed by Taiwanese philosopher Lin Qiu-wu in the 1920s, brings this underexplored theory to the table and discusses a few merits and insights of the theory. Building on Hung’s analysis, this paper paper elaborates on the lessons and insights that Taiwanese Marxist Buddhism provides for modern times. The first three lessons are distinctive points that Taiwanese Marxist Buddhism brings to the discussion on combining Marxism and Buddhism: the connections (...) between the ethical and political, the responsibility for pursuing social justice and the nonviolence means towards social justice. The last lesson comes at the meta-philosophical level, focusing on how Hung’s engagement with Taiwanese Marxist Buddhism sheds light on the issue of diversifying the discipline philosophy. Overall, I argue that Taiwanese Marxist Buddhism not only makes contributions to theoretical frameworks while providing a practical means for pursuing equity and social justice, but it also manifests the epistemic and moral values for engaging with under-represented philosophical traditions. (shrink)

This paper summarizes the evolution of analytic philosophy in Taiwan, examines its impact within and beyond academia, and discusses the future of the discipline. The roots of modern philosophy in Taiwan can be traced back to the Japanese colonial era, and analytic philosophy was introduced to the country in the late 1940s when many intellectuals in China moved to Taiwan. However, massive curbs were imposed on philosophy during Chiang Kai-shek’s dictatorship, and the discipline began to thrive again only after Taiwan’s (...) democratization in the late 1980s. Nonetheless, since its introduction in the colonial era, modern philosophy has made significant contributions in Taiwan, encouraging interdisciplinary engagements, advancing civic education, and promoting the spirit of democracy and political liberation. Philosophy has played a key role in Taiwan’s remarkable transformation from an island colonized for hundreds of years to a country that recognizes democracy, freedom, and human rights. The themes of anti-colonialism and anti-domination seen in the works of modern Taiwanese philosophers not only reflect the discipline’s political and historical underpinnings but also signal how Taiwanese philosophy can acquire a distinct identity, despite being influenced by many other philosophical traditions. While still at a nascent stage, Taiwanese philosophy has the potential to join forces with other philosophical traditions in advancing the vision of decolonizing philosophy. (shrink)

Structural injustice exists when the influence of social structure exposes some groups of people to undeserved burdens while conferring unearned power to others. It has been argued that the responsibility for addressing structural injustices should be shared among those participating in the social structure and can only be discharged through collective action; however, the proper form of collective action does not happen easily. To address structural injustice effectively, we need to gain clarity on the practical challenges that are involved and (...) explore possible means of implementing shared responsibility. This chapter thus aims to contribute to the study of addressing structural injustice in the following two ways. First, building on previous studies, I categorize three forms of practical challenges that have been encountered by existing proposals for discharging shared responsibility for structural injustice. Second, I offer an alternative proposal, which I will refer to as the deliberative mini-public proposal, and argue that it has the potential to mobilize structural change and better overcome the identified practical challenges. (shrink)

Although the idea that sexual violence is a “structural” problem is not new, the lack of specification as to what that entails blocks effective responses to it. This paper illustrates the concept of sexual violence as structural in the sense of containing a type of moral wrong called “structural wrong” and discusses its practical implications. First, I introduce a distinction between two types of moral wrongs—interactional wrongs and structural wrongs—and I argue that the moral problem of sexual violence includes both (...) types, each of which calls for a different set of moral responses. Second, drawing on Iris Marion Young’s social connection model of responsibility, I argue that recognizing the structural-wrong element of sexual violence does not reduce individual perpetrators’ responsibility for it. Instead, it implies that a broader group of agents are required to join collective actions to reform the social structure. I conclude by evaluating some preventive programs against sexual violence through the lens of structural wrongs and providing directions to advance them. (shrink)

Matti Eklund (2017) has argued that ardent realists face a serious dilemma. Ardent realists believe that there is a mind-independent fact as to which normative concepts we are to use. Eklund claims that the ardent realist cannot explain why this is so without plumping in favor of their own normative concepts or changing the topic. The paper first advances the discussion by clarifying two ways of understanding the question of which normative concepts to choose: a theoretical question about which concepts (...) have the abstract property of being normatively privileged and a further practical question of which concepts we are to choose even granting some concepts are thus privileged. I argue that the ardent realist’s best bet for answering the theoretical question while avoiding Eklund’s dilemma is to provide a real definition of this property. I point out the difficulties for providing such a definition. I then argue that even with an answer to the theoretical question, the ardent realist faces a further dilemma in answering the practical question. In sum, though I see no knock-down argument against ardent realism, it may nonetheless die a death by a thousand cuts. I close by considering a deeper reason for why ardent realism is so difficult to defend: every argument starts somewhere. It is unclear how there can be an Archimedean point that makes no reference to any normative concepts that can nonetheless be employed to convince everyone to adopt ours. I then briefly propose two options for someone still inclined towards realism: (i) accept that our normative concepts are normatively privileged without attempting to explain why this is so, or (ii) be less ardent and accept a perspective-dependent account of normativity. (shrink)

What distinguishes low, middle, and high art? In this article, I give an ameliorative analysis of these concepts. On what I call the Capacity View, the distinction between low, middle, and high art depends on the relation between an artwork’s perceiver (specifically her aesthetic responsive capacities) and the perceived artwork. Though the Capacity View may not align perfectly with folk usage, the view is worth our attention due to three attractive upshots. First, it explains how an artwork’s status level can (...) be elevated or lowered over time and why biases can lead to mistaken judgments about such statuses. Second, it sheds light on the idea of cultural inheritance and why certain forms of aesthetic deference may be justified. Finally, it explains how high, middle, and low art each make distinctive contributions to the good life. (shrink)

The rationalist lover accepts that whom she ought to love is whom she has most reason to love. She also accepts that the qualities of a person are reasons to love them. This seems to suggest that if the rationalist lover encounters someone with better qualities than her beloved, then she is rationally required to trade up. In this paper, I argue that this need not be the case and the rationalist lover can have just about as normal if not (...) a better romantic life than anyone could hope for. This is because we often do possess most reason to love our beloveds. To see why this is so, we have to think more carefully about (i) how we come to possess reasons for love and (ii) the higher-order reasons that govern whether we should seek or refrain from possessing said reasons. Reflection on these issues leads to what I call the Possession-Commitment Account of Love’s Reasons. I use this account to address additional worries for love rationalism and highlight how being rational about love can potentially get us out of romantic messes. I conclude that if being a rationalist about love is plausible after all, then we have reason to hope that being rational about other areas of our practical lives is plausible as well. (shrink)

This study explores the connections between time, travel, and creative acts such as painting and poetry, highlighting the similarities that unite these themes. It also focuses on the relationships between the East and the West in regards to these subjects, and posits that travel can be understood as an active form of meditation. The study argues that the meaning of wanderings can be found by learning to make them conscious, and that there has been a deep reflection on time, consciousness, (...) and mobility since ancient times. (shrink)

L’une des activités de l’imagination, opération qui prend sa source dans l’imaginaire, consiste à faire des parcours dans l’espace et dans le temps du monde. Le flâneur parcoure des variations de paysages et d’horizons, comme une séquence imaginative. Il existe une liaison logique entre la marche, le récit, la peinture et le mythe : dans chacun de ces cas, l’imagination est fortement stimulée. Chacun d’entre eux est un moyen de cheminer selon des voies vers une Vérité supérieur. La marche est, (...) pour l’individu, une quête à plusieurs dimensions : quête de connaissances sur le monde, sur soi-même ; quête de sa véritable identité ou quête d’une Vérité supérieure (comme dans le cas des pèlerinages) ; le mythe, la religion, la peinture et l’écriture sont, de même, des expressions des cheminements vers telle ou telle Vérité. Le thème de la marche nous offre donc l’occasion de porter un regard particulier sur l’esprit hétéroclite du voyageur, collectionneur d’objets, de traces. Mais aussi, au contraire, du sujet qui s’évide, comme chez les taoïstes. Cet essai vise réfléchir sur le parcours du voyageur en insistant sur les liens multiples qui président au temps, à l’acte de marcher, et celui de la réflexion esthétique, en spécial, la peinture et la poésie. Cependant, si ces réflexions nous poussent vers une considération sur le temps et la durée, nous essayons ici de les conduire sur les liens entre l'Orient et l'Occident à cet égard. (shrink)

Beyond the eras a dialogue seems to have been established between Bruegel the Elder (1525-1569) and Antonin Artaud (1896-1948). The poet’s wonder at the « painting of the North », both realistic and emblematic, reveals his deepest ideal as an artist : painting, a « magical » operation, deploys a power of expression based on signs and no longer on words, which the theatre is also called upon to seize. The juxtaposition of Bruegel’s Triumph of Death and a famous drawing (...) by Artaud, Le Théâtre de la cruauté [The Theatre of Cruelty], highlights the striking convergences between the two artists. Through their pictorial works, both of them renew over the centuries the funerary and mythical symbolism of death, inherited from the macabre scenes of medieval paintings, but also from ancient times. Studying the references to theatrical iconography in Bruegel’s painting, where carnival and crudity of death reinforce each other, allows us to deepen the meaning of these resonances. For the two artists, form and poetic momentum meet so that representation, as a structure common to painting and theatre, fixes a moment of the world, while animating that moment to infinity, thanks to signs conceived as « true hieroglyphs » (Artaud), a problem that Michel Foucault associated with the strongest truth that the experience of madness carries. (shrink)

In this paper, we argue, grounded on empirical evidence, that enactivism is a promising philosophical stance with great potential to address challenges brought by our rapidly changing world. We then propose Freedom Education, a new form of teaching and learning founded on the enactivist theory. After discussing what constitutes Freedom Education and what it is not, we recommend several principles to establish a learning world of free-dom education.

Edvard Munch (Løten, 1863 — Ekely, 1944), Antonin Artaud (Marseille 1896–Paris 1948): deux artistes bouleversés par des conditions de santé fragile et par des crises nerveuses. Une relation s’instaure entre eux. Chacun, de manière particulière, invite le spectateur à réviser son rapport avec la mort, la mélancolie et les forces de la nature. Tantôt cette relation s’exprime dans les écrits personnels d’Artaud ; tantôt elle apparaît dans le rapprochement que nous pouvons faire entre les oeuvres graphiques d’Artaud, qui mettent en (...) exergue l’influence qui a exercé le peintre norvégien dans sa démarche artistique. Plus tard, l’approximation d’Artaud à la peinture devient plus évidente. Lui-même, non seulement poète et homme de théâtre, est aussi dessinateur et, comme témoigne nombre de ses documents écrits, porte une grande appréciation par l’art d’El Greco, Bosch, Lucas de Leyde, Bruegel et Goya. Cette étude comparative vise analyser le processus d’intertextualité qui accompagne Artaud tout au long de sa vie et qui commence précocement, quand il observe et traduit les références recueillies d’après d’autres artistes. Avec ceux-ci, il est possible de tracer une correspondance, non seulement artistique, mais aussi biographique avec Artaud. Ce projet présente des contributions pour la critique littéraire d'Antonin Artaud. Même si d'autres études ont fait le rapport entre son œuvre et la peinture, et celle d’Edward Munch, il y n’existe aucune étude plus détaillé autour du sujet. (shrink)

Um exemplar do livro intitulado Notas sobre a arte chinesa, publicado pelo colecionador José Vicente Jorge em 1940 e reeditado em 1995 pelo Instituto Cultural de Macau, encontra-se no acervo do Real Gabinete Português de Leitura, o qual pretendemos explorar. Apontamos a obra de um colecionador como ponto de partida para a observação de seu papel como mediador linguístico e cultural. A escolha das obras que compõem seu catálogo de objetos artísticos fornece uma descrição cronológica da arte chinesa e das (...) suas principais produções em cada dinastia. Ademais, analisaremos as obras de um pintor atuante em Macau na época em que Jorge escrevera suas Notas. Assim, veremos de que maneira a obra pictórica de Fausto Sampaio insere-se na tradição naturalista de pintura que, desde meados do século XIX, procura fixar em telas a diversidade dos costumes nacionais. Sampaio vem a ser testemunha ocular do Império ultramarino português. Estudaremos como suas imagens foram instrumentalizadas com fins políticos, desempenhando um papel na construção de uma identidade nacional continuamente evocada pela propaganda do Estado Novo. (shrink)

Cet essai vise réfléchir sur le parcours du voyageur en insistant sur les liens multiples qui président à l’acte de marcher et à celui de la réflexion esthétique, en spécial, la peinture, la poésie et la performance. Si ces réflexions nous poussent vers une considération sur le temps et sa durée, nous essayons ici de les conduire sur les rapports entre l'Orient et l'Occident à cet égard. Nous allons illustrer ces différences et similitudes à travers la comparaison entre l’ascension du (...) mont Ventoux per Francesco Pétrarque (Arezzo 1304 – 1374 Arquà) et l’ascension du mont Lu per François Cheng (né à Nanchang 1929). -/- This essay reflects on the course of the traveler, emphasizing several links that govern the act of walking, aesthetics, with special attention to painting, poetry and performance. We hope to see how the East and the West reflect time and duration. We aim to illustrate these differences and similarities by comparing the ascent of the Mount Ventoux, by Francesco Petrarca (Arezzo 1304-1374 Arquà), and the ascent of the Mount Lu, by François Cheng (born in Nanchang 1929). (shrink)

K. Lüscher, A. Klimczuk, Generations, intergenerational relationships, generational policy: A multilingual compendium, 17 languages, Universität Konstanz, Konstanz 2017, 428pp. TS - BibTeX M4 - Citavi.

K. Lüscher, A. Klimczuk, Generations, intergenerational relationships, generational policy: A multilingual compendium, 17 languages, Universität Konstanz, Konstanz 2017, 428pp. TS - BibTeX M4 - Citavi.

K. Lüscher, A. Klimczuk, Generations, intergenerational relationships, generational policy: A multilingual compendium, 17 languages, Universität Konstanz, Konstanz 2017, 428pp. TS - RIS M4 - Citavi.

The members of the International Network for the Analysis of Intergenerational Relations proudly present the most recent issue of the jointly produced compendium "Generations, Intergenerational Relations and Generational Policy". This new version includes 17 languages: English, French, German, Italian, Spanish, Polish, Portuguese, Swedish, Hungarian, Turkish, Romanian, Lithuanian, Slovenian, Bosnian, Ukrainian, Russian and Chinese. The layout of the compendium is designed for using it to translate the specific concepts and terminology of research on generations and intergenerational relations from one language into (...) another. **** K. Lüscher, A. Klimczuk, Generations, intergenerational relationships, generational policy: A multilingual compendium, 17 languages, Universität Konstanz, Konstanz 2017, 428pp. (shrink)

K. Lüscher, A. Klimczuk, Generations, intergenerational relationships, generational policy: A multilingual compendium, 17 languages, Universität Konstanz, Konstanz 2017, 428pp. TS - BibTeX M4 - Citavi.

K. Lüscher, A. Klimczuk, Generations, intergenerational relationships, generational policy: A multilingual compendium, 17 languages, Universität Konstanz, Konstanz 2017, 428pp. TS - BibTeX M4 - Citavi.

K. Lüscher, A. Klimczuk, Generations, intergenerational relationships, generational policy: A multilingual compendium, 17 languages, Universität Konstanz, Konstanz 2017, 428pp. TS - BibTeX M4 - Citavi.

K. Lüscher, A. Klimczuk, Generations, intergenerational relationships, generational policy: A multilingual compendium, 17 languages, Universität Konstanz, Konstanz 2017, 428pp. TS - BibTeX M4 - Citavi.

K. Lüscher, A. Klimczuk, Generations, intergenerational relationships, generational policy: A multilingual compendium, 17 languages, Universität Konstanz, Konstanz 2017, 428pp. TS - BibTeX M4 - Citavi.

K. Lüscher, A. Klimczuk, Generations, intergenerational relationships, generational policy: A multilingual compendium, 17 languages, Universität Konstanz, Konstanz 2017, 428pp. TS - BibTeX M4 - Citavi.

K. Lüscher, A. Klimczuk, Generations, intergenerational relationships, generational policy: A multilingual compendium, 17 languages, Universität Konstanz, Konstanz 2017, 428pp. TS - BibTeX M4 - Citavi.

K. Lüscher, A. Klimczuk, Generations, intergenerational relationships, generational policy: A multilingual compendium, 17 languages, Universität Konstanz, Konstanz 2017, 428pp. TS - BibTeX M4 - Citavi.

K. Lüscher, A. Klimczuk, Generations, intergenerational relationships, generational policy: A multilingual compendium, 17 languages, Universität Konstanz, Konstanz 2017, 428pp. TS - BibTeX M4 - Citavi.

K. Lüscher, A. Klimczuk, Generations, intergenerational relationships, generational policy: A multilingual compendium, 17 languages, Universität Konstanz, Konstanz 2017, 428pp. TS - BibTeX M4 - Citavi.

Abstract: Background: Coronary artery disease remains the leading cause of morbidity and mortality Worldwide. Previous reviews pointed that nursing interventions are beneficial for coronary artery patients. However, most interventions focused on education and counselling, but not consistent with the outcome set; still did not consider patient’s coronary artery disease risky characteristics. Related studies in China also difficult to find. Therefore this study was conducted to investigate kinds of nursing interventions delivered to coronary artery patients and match them with patient’s risk (...) factors of coronary artery disease. Results of this study were expected to add new knowledge that will alert nurses to consider coronary artery risk factors which in turn might enable the development of appropriate approaches to improve patient’s wellbeing hence reduce frequent coronary artery morbidity and mortality. Methods: A descriptive, cross-sectional, retrospective design using clinical case notes was employed. Study was undertaken in coronary care wards at the teaching hospital in China from November 2017 to September 2018. Structured-literature supported self-designed questionnaire was utilized for data collection. Chi square (χ2) test and multivariate logistic regression for adjusted odds ratio with 95% confidence interval were used to compare the relationship among independent (patient’s risk coronary artery disease factors) and dependent (nursing interventions) categorical variables. Ethical permission was granted accordingly. Results: A total of 300 coronary artery patients’ case notes were audited with mean age 63±11.2 years. Of these 175 (58.3%) were males. 126(42%) were smoking and 224(74.7%) were hypertensive. More evidence based nursing interventions than education and counselling were found to be delivered to these patients. “Administer coronary artery disease medication and their instructions” was mostly delivered to many patients 291(97%) while “counsel to cope with stress” was the least one 60 (20.0%). Three of eight nursing interventions delivered significantly matched with three or all of these patient’s coronary artery risk variables (age, smoking, hypertension and diabetes) (p < 0.05 and/or < 0.01) with Adjusted odds ratio (95% CI) within their significant ranges. Conclusion: This study delivers valuable insight that, nurses in the studied teaching hospital delivered beneficial evidence based nursing interventions to patients with coronary artery disease which significantly matched with their risk factors of coronary artery illness. However, care for stress was low hence needs improvement. Furthermore, research is needed to get consistency of nursing interventions with patient’s end point clinical outcomes for further appraisal of nursing efforts in caring CAD patients . (shrink)

Introduction: The development of advanced sewage technologies empowers the industry to produce high-quality recycled water, which greatly influences human’s life and health. Thus, this study investigates the mechanism of individuals’ adoption of recycled water from the technology adoption perspective. -/- Methods: Employing the mixed method of structural equation modeling and artificial neural network analysis, we examined a research model developed from the extended Unified Theory of Acceptance and Use of Technology (UTAUT2) framework. To examine the research model, this study employs (...) a leading web-survey company (Sojump) to collect 308 valid samples from the residents in mainland China. -/- Results: The structural equation modeling results verified the associations between the six predictors (performance expectancy, effort expectancy, social influence, facilitating conditions, environmental motivation, and price value), individuals’ cognitive and emotional attitudes, and acceptance intention. The artificial neural network analysis validates and complements the structural equation modeling results by unveiling the importance rank of the significant determinants of the acceptance decisions. -/- Discussion: The study provides theoretical implications for recycled water research and useful insights for practitioners and policymakers to reduce the environmental hazards of water scarcity. (shrink)

In a 1967 article, A. C. Graham made the claim that 情 qing should never be translated as "emotions" in rendering early Chinese texts into English. Over time, sophisticated translators and interpreters have taken this advice to heart, and qing has come to be interpreted as "the facts" or "what is genuine in one." In these English terms all sense of interrelationality is gone, leaving us with a wooden, objective stasis. But we also know, again partly through the (...) work of Graham, that interrelationality was of fundamental importance in the early Chinese cosmology and that qing, by later carrying the meaning of "emotions," expressed that interrelationality. I take as my project in this article the recovery of an emotional adumbration in the qing of early Chinese texts, notably the Mencius, from which Graham begins his discussion. With an eye to explicating qing in the Mencius, and with a sensitivity to an implied notion of interrelationality in early texts, I survey early literature from the Shu Jing to late commentaries on the Yi Jing. I find that usages of qing and contexts in which qing is used inevitably illuminate it as key term in the evocation of interrelationality, shading it with emotional overtones. Emotions, of course, are inherently interrelational, and even more so in a Chinese world in which the internal and the external are in constant communication by way of a cosmic interchange of arousal and response among all things. That qing, as a term which later comes to explicitly mean "emotions," should have a centuries old convention of emotional connotation prior to its explicit definition should come as no surprise. The corroboration of this supposition entails a complex investigation and analysis, however, and it is a preliminary step in this investigation and analysis that I undertake here. (shrink)

Western psychology primarily studies human emotions via physiological reactions to external stimuli. Research suggests that cultural variations lead East Asians and Western-heritage individuals to experience distinct emotional patterns beyond bodily responses. A more thorough understanding of affect, involving culturally influenced emotions, remains unexplored in cross-cultural contexts. Influenced by Confucianism, East Asian cultures show unique emotional patterns. Unlike the Western focus on rationality, Confucian philosophy values human affect (qing 情), going beyond conventional emotions. This paper delves into the transformative nature (...) of Confucian affect, specifically its four facets: (1) philosophized (zhelihua 哲理化), (2) moralized (dehua 德化), (3) ritualized (lihua 禮化), and (4) aestheticized (meixuehua 美學化). These dimensions redirect human emotions towards mutual care and moral elevation. Despite limited empirical research, contemporary East Asian experiences shed light on Confucian affect's ongoing significance in daily life. This paper illuminates existing research to elucidate Confucian affect and proposes future directions for exploration. By recognizing the interplay of cultural influences and emotions, a richer comprehension of affective experiences across cultures emerges, offering insights into the intricate tapestry of human emotions shaped by diverse philosophical and cultural foundations. (shrink)

Wang Guowei expressed doubts about Xun Zi’s proposition on “establishing ritual practices in accord with qing,” arguing that it was in direct confict with the philosopher’s famous thesis that “human natural tendency is evil.” The word qing (情) has several connotations in the Xunzi: it may refer to factual truth (实情), sincerity (诚实) or emotions (情感). Readers of the Xunzi tend to view the emotional connotation of qing in a negative light, but in actuality qing as (...) human emotions can also be understood in a commendatory or neutral sense in the Xunzi. I argue that Xun Zi’s proposition on “establishing ritual practices in accord with qing” can only be consistent with his view that “human natural tendency is evil” when qing is used in the neutral sense. In other words, “establishing ritual practices in accord with qing” means to establish, on the basis of actual circumstances, ritual practices and rules that adequately satisfy people’s normal feelings. Xun Zi’s proposition on “establishing ritual practices in accord with qing” can be validated within his own philosophical framework。 -/- . (shrink)

THE IMMORTAL FLY: ETERNAL WHISPERS. WHO IS SHE? Author: Rituparna Ray Chaudhuri. Hello, Recently my book named, ‘The Immortal Fly: Eternal Whispers : Based On True Events of a Family' been published from Partridge (USA) In Association with Penguin Random House (UK) and achieved a separate Google identity. -/- As being # the author of the book, I thought to define self in the book what is definition of 'Depression'. I wanted to explain self in many ways, but the best (...) quotation appeared to me : “My life will end someday, but it will end at my convenience.’’ -/- ***** I am missing "her". By now, years passed without 'her' . Even though, unlike before, everything is becoming to be more scattered, gloomy and desolate. She is no-where whom I share my feelings. Even now, when I do close my eyes, I can visualize the same that I had left years since on 7th February, 2019 at 8.20 A.M. in the hospital struggling a continuous period of fifty days : on the fifty one day, my father said, ”The End of our Fifty Years relationship has been completed with the Fifty Days”….’Whoever’ she was to others , but she is our legend…To me, she is ‘My Ma’. -/- The story could begin, 'I failed preciously on success of my life.' Simplicity, Innocence, Belief, Faith and Personality met unknowingly with filthy waves skillfully immersed in Betray, Sorcery, Jealousy, Greediness, Revenge, Lie... ‘’ ******* The Daughter writes, “I had asked Ma many times, but her ‘impenetrable personality’ and dynamic words to everyone with a tinge of smile as reflected on her face, she was reluctant to continue her conversation with me. I had thought, hence, I must not be indefinite on my spoken words. Who shall I blame!” Based on true story of a family came from South Calcutta (India) to a suburb, on staying at home of the Daughter’s maternal grandmother’s house, this book reveals in facts and true events how Destiny had unknowingly ‘further’ played an abominable role to Fate of The Daughter, when eventually one day on 7th February, 2019 everything was finished within 8.20A.M. The Daughter is, therefore, left alone on terrestrial with immortal words as written in her Diary, ‘Eternal Whispers’: “My words to self that I am to fulfill my Ma’s - wish. ’’ ‘’ -/- • Keywords: 1. Diary and True Events 2. The Chaotic Society 3. Fatality 4. Of A-Family 5. Science , Philosophy and Literature 6. Severe Depression 7. Medical Journey. -/- The Alternative Title of the Book: The Greatest Mistake or Fortune:: The book is mainly carrying with intense words of a journey of the relationship between a Mother with her Daughter has left readers in an abrupt situation where ,perhaps, I can define "Man is the innocent creature with 'his' personality under circumstances..." -/- . (shrink)

The paper contains some algebraic results on several varieties of algebras having an (interlaced) bilattice reduct. Some of these algebras have already been studied in the literature (for instance bilattices with conflation, introduced by M. Fit- ting), while others arose from the algebraic study of O. Arieli and A. Avron’s bilattice logics developed in the third author’s PhD dissertation. We extend the representation theorem for bounded interlaced bilattices (proved, among others, by A. Avron) to un- bounded bilattices and prove (...) analogous representation theorems for the other classes of bilattices considered. We use these results to establish categorical equivalences between these structures and well-known varieties of lattices. (shrink)

It’s natural for hyperbole to mix with metaphor and irony, and other figures of speech. How do they mix together and what kind of compound, if any, arises out of the mixing? In tackling this question, I shall argue that thinking of hyperbolic figures along the lines familiar from ironic metaphor compounds is a temptation we should resist. Looking in particular at hyperbolic metaphor and hyperbolic irony, I argue, they don’t yield a new encompassing compound figure with one figure building (...) on another. Instead, what we have is one dominant figure colored with hyperbolic tinges. So what does hyperbole bring to the mixing pot? I suggest we should think of hyperbole in hyperbolic figures as being an interpretive effect, modulating the working of the partner figure and thus rendering more emphatic. (shrink)

Let us assume that the basic claim of the belief-desire theory of emotion is true: What, then, is an emotion? According to Castelfranchi and Miceli (2009), emotions are mental compounds that emerge from the gestalt integration of beliefs, desires, and hedonic feelings (pleasure or displeasure). By contrast, I propose that emotions are affective feelings caused by beliefs and desires, without the latter being a part of the emotion. My argumentation for the causal feeling theory proceeds in three steps. First, I (...) argue that affective feelings should be regarded as components of emotions because this assumption provides the best available explanation of the phenomenal character and the intensity of emotional experiences. Second, I examine the two main arguments for regarding beliefs and desires as emotion components—that doing so is needed to explain the finer distinctions among emotions and their object-directedness—and argue that they are unconvincing: Emotions can be distinguished by referring to their cognitive and motivational causes, and their appearance of object-directedness could be an illusion. Third, I present three objections against the hypothesis that beliefs and desires are components of emotions: This hypothesis fails, at second sight, to explain the directedness of emotions at specific objects; it has difficulty accounting for the duration of emotional reactions caused by the fulfillment of desires and the disconfirmation of beliefs; and there are reasons to question the existence of the postulated emotional gestalts and the process that presumably generates them. The causal feeling theory avoids these problems. I therefore recommend abandoning the belief-desire compound theory of the nature of emotions in favor of the causal feeling theory. However, a partial reconciliation of the two theories is possible with respect to the concept of “affectively tinged” thoughts. (shrink)

Språket vårt utgjør en stor del av vår identitet. Det er et redskap for kommunikasjon med andre mennesker, men også med oss selv. Vi uttrykker oss gjennom språket, og vi tenker ved hjelp av språket. Men hva er egentlig språk? Gjennom å ta for meg to vesensforskjellige tilnærminger til dette spørsmålet ønsker jeg å vise at det synet vi har på språk, har stor filosofiske betydning. Dette er fordi et språksyn nødvendigvis vil få konsekvenser for hvordan vi tenker om beslektede (...) filosofiske spørsmål, som blant annet: -/- – Hva er forholdet mellom språk og verden? -/- – Hva er sannhet? -/- – Hvordan får vi kunnskap om verden? -/- – Hva gjør vi når vi bruker språk? -/- – Hva er vår rolle som språkbrukere? -/- – Hvordan lærer vi språk? -/- Det er to ting som er viktig å avklare om vinklingen av denne artikkelen: Det første er at når jeg her velger å skissere to ulike filosofiske syn på språk, er det for å belyse de spørsmålene jeg har satt opp ovenfor, snarere enn å angripe eller fremme konkrete filosofiske teorier. Det andre er at når jeg her skriver om forholdet mellom språk og verden, og vår rolle som språkbrukere, vil jeg ta for gitt at dette omfatter alle naturlige språksystemer. Poengene mine er derfor ment å ha overføringsverdi til tegnspråk i sin alminnelighet, og selvfølgelig også til norsk tegnspråk. Dette innebærer at det jeg sier om ord, like gjerne kan sies om tegn. Målet med artikkelen er først og fremst å vise at språket må forstås som et gjennomgripende erkjennelsesmiddel i vårt møte med verden. (shrink)

In paradigmatic Confucian (Ruist) discourses, emotion (qing) has been depicted as co-arising with human nature (xing) and an irreducible constitutive source of human practices and their interpretation. The affects are concurrently naturally arising and alterable through how individuals react and respond to them and how they are or are not cultivated. That is, emotions are relationally mediated realities given in and transformed through how they are felt, understood, interpreted, and acted upon. Confucian discourses have elucidated the ethical character of (...) the emotions and sought to understand and cultivate emotional life as a hermeneutical and ethical task in establishing expectable patterns of human flourishing that orient virtues, roles, and relations. In this chapter, I explore the extent to which classical Ruist and Neo-Confucian discourses offer hermeneutical models for interpreting the complex interconnections between moral psychology and their mediations in the ethical life world. By examining a range of Confucian sources, the author argues that Confucian “moral psychologies” clarify affective dimensions of human existence within the interpersonal nexus of ethical life and indicate ways of cultivating affective awareness for relationally understanding and interpreting others, one’s world, and oneself. (shrink)

In this paper, I argue that the performance stories in the Zhuangzi, and the Butcher Ding story, emphasize an activity meditation practice that places the performer in a mindfulness flow zone, leading to graceful, efficacious, selfless, spontaneous, and free action. These stories are metaphors showing the reader how to attain a meditative state of focused awareness while acting freely in a flow experience. From my perspective, these metaphors are not about developing practical or technical skills per se. My argument challenges (...) a strict instrumental reading. Although instrumental reasoning can easily lead one to focus on the pragmatic outcomes depicted in these stories (See Eno, “Cook Ding’s Dao;” Callahan, “Cook Ding’s Life;” and Robins, “Beyond Skill”), the proposed pragmatic outcomes are merely a kind of collateral result of effortless, free actions, in the flow experience. The metaphors of Butcher Ding, the Lüliang rapids swimmer, the Wheelwright Bian, the Woodcarver Qing, the cicada catcher, the naked artist and so on are used to show the reader a way to engage in free and graceful action in the flow experience. Zhuangzi is not concerned about developing labour skills. He criticizes such skills; seen below when the Butcher claims to have “… left skill behind …” (進乎技矣) (Graham, Chuang-tzu, 63), and chapter five notes that “… skill is a peddler” (工為商) (Watson, Complete, 75). (shrink)

Warren Zevon’s musical career, though brilliant throughout, is particularly notable for its ending: diagnosed with a terminal illness, Zevon refused a potentially debilitating medical treatment to put his remaining energy into recording another album. The resulting record –2003’s 'The Wind' – was in many ways the perfect farewell: songs of dirty, dark, uncompromising, country-tinged rock, blistering guitar solos, all mixed with intelligent, black-as-coal gallows humour. But it was also a moving farewell to his fans, a heartfelt, personal reflection on his (...) life and impending death: it begins with the words “sometimes I feel like my shadow’s casting me” and ends with “keep me in your heart for a while”. 'The Wind' ranks among Zevon’s very best and belongs in the same category as albums like David Bowie’s 'Blackstar' and Leonard Cohen’s 'You Want It Darker': works of great artists that knew the end was coming and made that knowledge musical. But though it had a particular force towards the end, death had always featured as a prominent theme in Zevon’s music. In fact, the albums that preceded his terminal diagnosis – especially 2000’s 'Life’ll Kill Ya' – have a marked preoccupation with death and dying, and many of his song’s characters (gunmen, gangsters, boxers, murderers of all stripes) either dealt death out, died, or both. -/- In this chapter, I argue that Zevon’s music and speech in his late public appearances personify an idea in Martin Heidegger’s philosophy called ‘authentic being-towards-death’. In his landmark text 'Being and Time', Heidegger undertakes a painstaking analysis of human existence. One of its conclusions is that to live a fully authentic life, we must reckon with our mortality, come to terms with it and allow this reckoning to have a transformative effect on how we live and how we think about our existence. This results, Heidegger argues, in a distinct way of being that he calls ‘being-towards-death’ and ‘anticipatory resoluteness’ in the face of death. Authentic being, which involves properly taking ownership of our lives and their meaning, cannot be adequately achieved without a serious confrontation with the fact that we will one day die. I claim that Warren Zevon’s music, with its continual engagement with death which culminates in 'The Wind', is one of the great musical manifestations of exactly this type of project. Heidegger’s writing is often notoriously abstract, but it pertains to the most fundamental issues about what it means to be human. Engaging with it alongside Zevon’s music provides a fruitful opportunity to make it concrete, better able to understand its most important aspects while providing an interesting conceptual toolkit to apply to the music of one of the great songwriters of death. (shrink)

The COVID-19 pandemic paved the way for the emergence of the Boys’ Love (BL) theme and genre throughout various media platforms, causing disruptive visibility to the narratives and representation of gays (Andrada in an interview by Antonio, 2021; Ting, 2020). This disruption may have started a dialogue in social media, but this dialogue was only a limited attempt given that most of the discussions have stereotypical representations of gay men (Celso, 2020). This study analyzes how humor was applied in (...) the online comic, SariSari Story, and how humor is used in the portrayal of the gay characters in this online comic. The analysis uses Grice’s (2012) pragmatic framework of conversational maxims: quality, quantity, manner, and relation. Humor was indicated in the non-observance of one or more maxim(s), which, then, caused the implicatures. The study found that the most non-observed maxims were quantity, manner, and relation. The prominent type of humor present in the comic was the Freudian slip, where the slips contained sexual metaphors mostly associated with the characters’ sexual desires towards each other. As an example of the BL genre, the Sari-Sari Story online comic stereotyped its presentation of gay characters as hypersexual in their relationships with each other. In this, it deviated from the conventions of the Pinoy BL present in the mainstream media. (shrink)

This paper explores the elusive dialectic between concentration and forgetfulness, consciousness and unconsciousness in spontaneous artistic creation favoured by artists and advocated by critics in Chinese art history, by examining texts on painting and tracing back to ancient Daoist philosophical ideas, in a comparison with Kantian and post-Kantian aesthetics. Although artistic spontaneity in classical Chinese aesthetics seems to share similarities with Kant’s account of spontaneity in the art of genius, the emphasis on unconsciousness is valued by classical Chinese artists and (...) critics inspired by the Daoist idea of ‘Wu Wei’ (acting without conscious intention or effort). As the Qing painter Wang Yuanqi (1642–1715) claimed when admitting his failure to copy the Yuan master Ni Zan (1301–1374), Ni Zan’s success in natural and untrammelled expression lies ‘in between having an intention and not having one’. A similar idea about the dialectic of consciousness and unconsciousness in artistic spontaneity was suggested by Heinrich von Kleist’s On the Marionette Theatre (1880), which demonstrated that while self-consciousness might disturb and hinder the naturalness of artistic expression and thus encourage affectation, it does not mean that there is no role for consciousness. Although the views on unconsciousness in art and the co-play of consciousness and unconscious in artistic creation by Schelling, Schiller, Goethe, and even Nietzsche might get inspirations from Kant’s hidden view of the unconscious, Kant’s emphasis on the harmonious cooperation between imagination and understanding disguises his inexplicit idea of the unconscious. This paper will demonstrate that while in both Classical Chinese and European cultural contexts, artists, critics and philosophers talk about the same elusive relation, the philosophical explanations of the same phenomenon are essentially distinctive. (shrink)