In this paper, I present the possibility of some other analytic political philosophy, in contrast to what is usually given this label. I do so by rejecting what I call the dualism between craftsmanship and vision.

It will be a wrong judgment to consider grave stones as an ordinary tradition. When it is viewed in terms of history, art and culture, it can be seen that especially Turkish grave stones are record drawings that include many types of arts and artists’ labor, shed our culture and history and that is precious and unique. Grave stones are the documents that transfer not only the national culture but also transfer people’s beliefs, problems, fears, sadness and different feelings, who (...) breathe the same air and live in the same places. Because of this reason, grave stones are the cultural features that are shaped according to the differences in culture and decorated with life styles. Of course, Of course, having been applied plenty of traditional Turkish plastic arts on the tombstones, have all contributed to the diversity of tombstones in terms of composition and motifs. Rich craftsmanship of gravestones and sarcophagus in the second Bayezid graveyard is almost like an open air museum that shows Turkish motifs. While scarping was used for making gravestones are scarping, and painting were used as the main decoration tecnique is seen on foot stone with the painting technique, inscriptions of stones were coloured. Most of the inscriptions and decorations are relieved. Decoration subjects seen on gravestones are phytomorphic, geometric, objective and calligraphic. On the other side, these tombstones include wide knowledge about the socio-economic, cultural and regional headgears. When evaluating the information on the inscriptions, it can be obtained knowledge about the health conditions or epidemics in that period. Adolf Ebeling, article titled “Turkish cemeteries” in the 1882 the year Gartenlaube journal, when talking about the importance given to the graves by Turks, to say that the Turkish burial tomb can be an example to the world is no need to say more about it. The thomstones as the verbal means service to rebuilt the material world where the man has saved so far and the culture developing in accordance with this. The written tombstones which were formed by the individuals’ cherishing and remembering desires that the cultural, religious and traditional ones shaped, are the carrier elements of the values wich will provide to understand the sterotype requirements and ideologies within the cultural structure. Looking at the overall structure of the Turkish tombstones form shows major differences in male and female gravestones. In the Turkish tombstone tradition, women's elegance, finesse and beauty is reflected as a form of artwork. In fact, women in the Ottoman Empire, although excluded from the social life in very marginalized, especially in women flashy decorations tombstones, can be considered as an indication value which is given to women but unspoken. Since the tombstones have dates, they hold the distinction of being a document for ethnographic and art works. Moreover, inscribed tombstones are living evidences in order to prove that Turkish people lived in this land and also they have ethnographic value. Therefore, tombstones are important while the histories of cities, villages or boroughs are preparing. In short, tombstones are the common products of the environment that are built, religious beliefs, traditions, art, natural, social and economic conditions of the century. In this case they hold key for our culture history in addition to our art history. In this study, besides the effects of Turkish grave stones on our beliefs and daily lives, fruit patterns on the stones are also examined. The reflections traditional architectural and handicrafts motifs and the religious believes on the Turkish ornament art are explained by the examples chosen among gravestones in İstanbul II. Beyazıt Cemetery. In the colloquial language what fruit motifs mean in folk songs ang manias and how it is reflected on the ornaments of grave stones are investigated. (shrink)

The essay reflects on Gadamer’s ambiguous legacy for the philosophy of work. On the one hand, there are times when Gadamer reproduces the problematic distinction between language and labor which short-circuits the very idea of a hermeneutics of work. This is particularly evident in Gadamer’s reflections on technique and craftsmanship in the central sections of Truth and Method, as well as in his descriptions of the “art” of dialogue and the tasks of hermeneutics that separate them emphatically them from (...) the sphere of “making.” I raise some questions about the adequacy of the distinction Gadamer draws between techne and phronesis that structures this account. I argue here that Gadamer’s characterization of the learning process involved in the mastery of a technique, as well as his conception of the instrumentality and monologicality of technical knowledge, is difficult to sustain, especially in view of recent research in the psychology and anthropology of work. I then go on to point out that elsewhere in his oeuvre Gadamer himself is critical of the conception of work that emerges through the lens of the techne / phronesis distinction. Indeed, on these occasions he hints at a conception of work that points beyond the Arendt / Habermas conception towards a critical hermeneutics of working life. This alternative approach to work is particularly apparent in Gadamer’s appropriation of Hegel’s dialectic, in his understanding of play, and in some of his later diagnostic reflections on the spirit of the age. In section four, I offer some suggestions for explaining how the tensions evident in Gadamer’s approach to work came about. Here I am interested in what prevented Gadamer from embracing whole-heartedly the project of a hermeneutics of work that he himself helped to lay the foundations for. I conclude with some brief remarks on why we should seek to build upon these foundations and renew the project of a critical hermeneutics of work today. (shrink)