This chapter contains sections titled: 1 2 3 4 Acknowledgment Notes.

Gödel's Philosophical Legacy Kurt Gödel's contributions to philosophy extend beyond his incompleteness theorems. He engaged deeply with the work of other philosophers, including Immanuel Kant and Edmund Husserl, and explored topics such as the nature of time, the structure of the universe, and the relationship between mathematics and reality. Gödel's philosophical writings, though less well-known than his mathematical work, offer rich insights into his views on the nature of existence, the limits of human knowledge, and the interplay between the (...) finite and the infinite. His work continues to inspire and challenge philosophers, mathematicians, and scientists, inviting them to explore the profound and often enigmatic questions at the heart of human understanding. -/- Kurt Gödel's Broader Contributions to Philosophy Kurt Gödel, while primarily known for his monumental incompleteness theorems, made significant contributions that extended beyond the realm of mathematical logic. His philosophical pursuits deeply engaged with the works of eminent philosophers like Immanuel Kant and Edmund Husserl. Gödel's explorations into the nature of time, the structure of the universe, and the relationship between mathematics and reality reveal a profound and multifaceted intellectual legacy. -/- Engagement with Immanuel Kant Gödel held a deep interest in the philosophy of Immanuel Kant. He admired Kant's critical philosophy, particularly the distinction between the noumenal and phenomenal worlds. Kant posited that human experience is shaped by the mind’s inherent structures, leading to the conclusion that certain aspects of reality (the noumenal world) are fundamentally unknowable. Gödel’s incompleteness theorems echoed this Kantian theme, illustrating the limits of formal systems in capturing the totality of mathematical truth. Gödel believed that mathematical truths exis t independently of human thought, akin to Kant's noumenal realm. This philosophical alignment provided a robust foundation for Gödel's Platonism, which asserted the existence of mathematical objects as real, albeit abstract, entities. -/- Influence of Edmund Husserl Gödel was also profoundly influenced by Edmund Husserl, the founder of phenomenology. Husserl's phenomenology emphasizes the direct investigation and description of phenomena as consciously experienced, without preconceived theories about their causal explanation. Gödel saw Husserl's work as a pathway to bridge the gap between the abstract world of mathematics and concrete human experience. Husserl's ideas about the structures of consciousness and the intentionality of thought resonated with Gödel's views on mathematical intuition. Gödel believed that human minds could access mathematical truths through intuition, a concept that draws on Husserlian phenomenological methods. -/- The Nature of Time and the Universe Gödel's philosophical inquiries extended to the nature of time and the structure of the universe. His collaboration with Albert Einstein at the Institute for Advanced Study led to the development of the "Gödel metric" in 1949. This solution to Einstein's field equations of general relativity described a rotating universe where time travel to the past was theoretically possible. Gödel's model challenged conventional notions of time and causality, suggesting that the universe might have a more intricate structure than previously thought. Gödel's exploration of time was not just a mathematical curiosity but a profound philosophical statement about the nature of reality. He questioned whether time was an objective feature of the universe or a construct of human consciousness. His work hinted at a timeless realm of mathematical truths, aligning with his Platonist view. -/- Mathematics and Reality Gödel's philosophical outlook extended to the broader relationship between mathematics and reality. He believed that mathematics provided a more profound insight into the nature of reality than empirical science. For Gödel, mathematical truths were timeless and unchangeable, existing independently of human cognition. This perspective led Gödel to critique the materialist and mechanistic views that dominated 20th-century science and philosophy. He argued that a purely physicalist interpretation of the universe failed to account for the existence of abstract mathematical objects and the human capacity to understand them. Gödel's philosophy suggested a more integrated view of reality, where both physical and abstract realms coexist and inform each other. -/- Gödel's Exploration of Time Kurt Gödel, one of the most profound logicians of the 20th century, ventured beyond the confines of mathematical logic to explore the nature of time. His inquiries into the concept of time were not merely theoretical musings but were grounded in rigorous mathematical formulations. Gödel's exploration of time challenged conventional views and opened new avenues of thought in both physics and philosophy. -/- Gödel and Einstein Gödel’s interest in the nature of time was significantly influenced by his friendship with Albert Einstein. Both were faculty members at the Institute for Advanced Study in Princeton, where they engaged in deep discussions about the nature of reality, time, and space. Gödel's exploration of time culminated in his solution to Einstein's field equations of general relativity, known as the Gödel metric. -/- The Gödel Metric In 1949, Gödel presented a model of a rotating universe, which became known as the Gödel metric. This solution to the equations of general relativity depicted a universe where time travel to the past was theoretically possible. Gödel’s rotating universe contained closed timelike curves (CTCs), paths in spacetime that loop back on themselves, allowing for the possibility of traveling back in time. The Gödel metric posed a significant philosophical challenge to the conventional understanding of time. If time travel were possible, it would imply that time is not linear and absolute, as commonly perceived, but rather malleable and subject to the geometry of spacetime. This raised profound questions about causality, the nature of temporal succession, and the very structure of reality. -/- Philosophical Implications Gödel’s exploration of time extended beyond the mathematical implications to broader philosophical inquiries: Nature of Time: Gödel questioned whether time was an objective feature of the universe or a construct of human consciousness. His work suggested that our understanding of time as a linear progression from past to present to future might be an illusion, shaped by the limitations of human perception. -/- Causality and Free Will: The existence of closed timelike curves in Gödel’s model raised questions about causality and free will. If one could travel back in time, it would imply that future events could influence the past, potentially leading to paradoxes and challenging the notion of a deterministic universe. -/- Temporal Ontology: Gödel's work contributed to debates in temporal ontology, particularly the debate between presentism (the view that only the present exists) and eternalism (the view that past, present, and future all equally exist). Gödel’s rotating universe model seemed to support eternalism, suggesting a block universe where all points in time are equally real. Philosophy of Science: Gödel’s exploration of time had implications for the philosophy of science, particularly in the context of understanding the limits of scientific theories. His work underscored the importance of considering philosophical questions when developing scientific theories, as they shape our fundamental understanding of concepts like time and space. -/- Legacy Gödel’s exploration of time remains a significant and controversial contribution to both physics and philosophy. His work challenged established notions and encouraged deeper inquiries into the nature of reality. Gödel’s rotating universe model continues to be a topic of interest in theoretical physics and cosmology, inspiring new research into the nature of time and the possibility of time travel. In philosophy, Gödel’s inquiries into time have prompted ongoing debates about the nature of temporal reality, the relationship between mathematics and physical phenomena, and the limits of human understanding. His work exemplifies the intersection of mathematical rigor and philosophical inquiry, demonstrating the profound insights that can emerge from such an interdisciplinary approach. The Temporal Ontology of Kurt Gödel Kurt Gödel's profound contributions to mathematics and logic extend into the realm of temporal ontology—the philosophical study of the nature of time and its properties. Gödel's insights challenge conventional perceptions of time and suggest a more intricate, layered understanding of temporal reality. This essay explores Gödel's contributions to temporal ontology, particularly through his engagement with relativity and his philosophical reflections. -/- Gödel's Rotating Universe One of Gödel’s most notable contributions to temporal ontology comes from his work in cosmology, specifically his solution to Einstein’s field equations of general relativity, known as the Gödel metric. Introduced in 1949, the Gödel metric describes a rotating universe with closed timelike curves (CTCs). These curves imply that, in such a universe, time travel to the past is theoretically possible, presenting a significant challenge to conventional views of linear, unidirectional time. -/- Implica tions for Temporal Ontology Gödel's rotating universe model has profound implications for our understanding of time: Eternalism vs. Presentism: Gödel’s model supports the philosophical stance known as eternalism, which posits that past, present, and future events are equally real. In contrast to presentism, which holds that only the present moment exists, eternalism suggests a "block universe" where time is another dimension like space. Gödel’s rotating universe, with its CTCs, reinforces this view by demonstrating that all points in time could, in principle, be interconnected in a consistent manner. Non-linearity of Time: The possibility of closed timelike curves challenges the idea of time as a linear sequence of events. In Gödel’s universe, time is not merely a straight path from past to future but can loop back on itself, allowing for complex interactions between different temporal moments. This non-linearity has implications for our understanding of causality and the nature of temporal succession. Objective vs. Subjective Time: Gödel’s work invites reflection on the distinction between objective time (the time that exists independently of human perception) and subjective time (the time as experienced by individuals). His model suggests that our subjective experience of a linear flow of time may not correspond to the objective structure of the universe. This raises questions about the relationship between human consciousness and the underlying temporal reality. -/- Gödel and Philosophical Reflections on Time Gödel’s engagement with temporal ontology was not limited to his cosmological work. He also reflected deeply on philosophical questions about the nature of time and reality, drawing on the ideas of other philosophers and integrating them into his own thinking. Kantian Influences: Gödel was influenced by Immanuel Kant’s distinction between the noumenal world (things as they are in themselves) and the phenomenal world (things as they appear to human observers). Gödel’s views on time echoed this distinction, suggesting that our perception of time might be a phenomenon shaped by the limitations of human cognition, while the true nature of time (the noumenal aspect) might be far more complex and non-linear. Husserlian Phenomenology: Gödel’s interest in Edmund Husserl’s phenomenology also informed his views on time. Husserl’s emphasis on the structures of consciousness and the intentionality of thought resonated with Gödel’s belief in the importance of intuition in accessing mathematical truths. Gödel’s reflections on time incorporated a phenomenological perspective, considering how temporal experience is structured by human consciousness. Mathematical Platonism: Gödel’s Platonist views extended to his understanding of time. Just as he believed in the independent existence of mathematical objects, Gödel saw time as an objective entity with a structure that transcends human perception. His work on the Gödel metric can be seen as an attempt to uncover this objective structure, revealing the deeper realities that underlie our experience of time. (shrink)

“Artworks are not being but a process of becoming” —Theodor W. Adorno, Aesthetic Theory In the everyday use of the concept, saying that something is grotesque rarely implies anything other than saying that something is a bit outside of the normal structure of language or meaning – that something is a peculiarity. But in its historical use the concept has often had more far reaching connotations. In different phases of history the grotesque has manifested its forms as a means of (...) subversive resistance against society’s prevailing notions of form and power. What aids this impact and distinguishes two of its basic stylistic features is the grotesque’s dissolution of form and its hyperbole. Such grotesqueries, however, soon solidify into new forms, new structures of meaning, hierarchy and practice, and in this sense the history of the grotesque is, on one hand, a continual opposition and transgression of the prevailing notions of art as well as of God and humanity, while on the other hand it offers continual resistance to its own solidifying process. As such the grotesque will not and cannot be contained in form without it losing the very thing that makes it grotesque. Even though it is somewhat easy to point out certain stylistic features of the grotesque, the sum of those features tell us very little about what is at play within it. Definitions concerned with the grotesque’s content rather than its form faces similar difficulties. Throughout history, expressions relating to the grotesque have been used in defense of a whole host of different social and cultural discourse including, for instance, Catholicism (See Erhard Schön’s Der Teufel mit der Sackpfeife , 1536), Protestantism (See Lucas Cranach’s Der Papstesel , 1523), a material folk culture (see Mikhail Bakhtin’s Rabelais and his World , 1984) and an idealistic romantic structure of meaning (see Wolfgang Kayser’s The Grotesque in Art and Literature , 1957). Thus though the grotesque cannot be reduced to the expression of certain forms or meanings, in order to examine what the grotesque is about one has to try to see how it’s relationship to flow and process and how, by maintaining this relationship, it attempts to avoid solidifying into form and meaning. The process of the grotesque alluded to here revolves around a play between periphery and center, the marginalized and the dominant. Most often this is expressed as a direct negation of the center of power. In the medieval grotesque tradition of the carnival, for example, it is expressed by its emphasis on the nether regions of the body as the center of creation of meaning. Spirit does not come from above, but from the belly, buttocks and genitals, and there is, expressed in this manner, a mockery of the predominant Christian notion of truth and meaning. Such inversions of the sites of meaning most often explicitly express an increased interest in materiality instead of ideal content which comes to the fore through the play between periphery and center. Even in early grotesque Renaissance art (for example in the works of Raphael) the depiction of the mythological or ideal reveals an exploration of the possibilities of the material. The works of art thus explore their own boundaries rather than act as vessels of the divine and in this way the grotesque explores the limits of form and materiality. This in turn brings to the fore a metaphysical dimension in the workings of the grotesque: It is an immanent exploration of its own boundaries. Materiality and metaphysics are joined together, because it is through the awareness of itself as a structuring (dis)order that it places itself in opposition to the prevailing notions of form and power. This way the grotesque expresses an awareness of the division of sign and reality and a search for this reality. It implicitly expresses the awareness that meaning is not something God-given and static, but fluctuating and man-made. In modern explorations of the history of the grotesque it is commonly seen as a form of realism that manifests a shift from the ideal towards the material, freeing art from representing some hidden higher order and instead making the work of art the very site of creation and meaning. Going even further, the grotesque actively opposes the notions of the ideal by marking a shift from an ahistorical view of the world towards the historical. However, this also makes clear why the grotesque has a tendency to solidify into new static forms of meaning, for by establishing itself as a subversive counterforce there is an idea of transgression and emancipation. That is why the grotesque often historicizes and relativizes only to repeat the mistakes of that which it negates: putting itself in the king’s chair. The exploration of the material seems to create new forms and notions of the ideal. The representation of an otherness outside the prevailing notions of meaning and truth becomes a positive manifestation of this otherness as truth itself. Thus the historical “truths” of the grotesque are superseded by history itself. When the expressions of the grotesque solidify into static form and meaning, they become mere objects like anything else in the world. Instead of being this elusive thing of process and flow, it becomes tangible to the existing hierarchy of power as well as history itself. In this way the grotesque can be expunged, included or simply revealed as yet another false notion of truth, which is precisely what has happened with the grotesque throughout the course of history. If from the beginning the expression of the grotesque has not already been in the service of some structure of meaning and truth, it has quickly been included or has quickly included itself in such a structure. But by doing so it rejects its own basis: the tension between periphery and center is replaced by the attempt to create a new center, a new structure of meaning and truth. The doubleness, ambiguity and flow of the grotesque are then rejected by the grotesque itself. THE NON-FORM OF FORM In the critical thinking of Theodor W. Adorno (1903-69) the problem of art, caught between a reductive and prevalent notion of truth and meaning and a peripheral and alienated otherness, is reexamined and reformulated. For Adorno, the instrumental rationality of Enlightenment itself reverts into a new form of mythology which is every bit as static and exclusive as the hierarchies of religion it supersedes. All is excluded that is non-identical to the instrumental mastery of the objects of the world, "For the Enlightenment, anything which cannot be resolved into numbers, and ultimately into one, is illusion; modern positivism consigns it to poetry." 1 As such the non-identical has been banished from the realm of thought and action, and banished specifically to the realm of art. But the realm of art is not able to provide a decent home for it because even modern art is not something entirely autonomous. While it is excluded from the notions of truth and meaning provided by instrumental rationality, it still originates from society. Just like instrumental rationality art is about mastery, structuring and exclusion. Therefore, the problem for art is that it cannot directly provide a space for the non-identical because its mode of operation is similar to that of instrumental rationality. Even worse, art has very few possibilities to free itself from this. If it becomes l’art pour l’art it is at the same time reduced to the very thing instrumental rationality claims it to be: a subjective judgment of taste.expressionism also stands as an example of this. Conversely, art cannot work within the framework of the identity-thinking of society, because any notion of freedom or emancipation would reproduce the exclusive practices of instrumental rationality. For example: Explicit socialist literature may establish itself in opposition to instrumental rationality while at the same time reproducing it. Its language may seem different, but in reality it merely provides a different set of reductive schematics for human life and experience. The problem for the art of the grotesque was, as I mentioned earlier, that far too often it was merely a symbolic manifestation of a notion of otherness—not otherness itself. Because of this the subversive character of the grotesque ends up shaping and containing otherness instead of providing a space for it. According to Adorno the only way to avoid this is to radicalize the grotesque. In order to avoid solidifying into form the work of art has to be an object which cannot be contained in thought or form—a non-form of form. The work of art has to work in a way that it strives for autonomy but without entirely leaving a discernible reality. In other words, it has to pull in two directions at once. Thus the work of art is a paradox. It is autonomous in the sense that it closes itself off from everything outside of the work of art, trying to shy away from the contaminating influence of the identity thinking of instrumental rationality. At the same time though the work of art is heteronomous in the sense that it originates from a specific historical context and is bound to be what society is not. Autonomy and heteronomy are inseparably intertwined. Unable to display otherness itself, but still trying to be a refuge for it, there is only one option for art: It has to turn against itself and destroy its own logic of form, thereby demonstrating how any representation of otherness is impossible. Art becomes a lamentation of the victims of the identity thinking of instrumental rationality and shows the traces of the otherness that is unable to appear. Adorno’s pessimistic theory of art and history stages art as a negative dialectical process where the work of art closes itself off and rejects everything outside, while the individual elements in the work of art destroys its very own logic of form from within: Artworks synthetize ununifiable, nonidentical elements that grind away at each other; they truly seek the identity of the identical and nonidentical processually because even their unity is only an element and not the magical formula of the whole […]. The resistance to them of otherness, on which they are nevertheless dependent compels them to articulate their own formal language, to leave not the smallest unformed particle as remnant. This reciprocity constitutes art’s dynamic; it is an irresolvable antithesis that is never brought to rest in the state of being. 2 Relative to a traditional understanding of the grotesque, Adorno radicalizes the tension between center and periphery, autonomy and heteronomy. In the traditional understanding of the grotesque, as we find it for example in the writings of Mikhail Bakhtin, the grotesque establishes the display of otherness as a new center of meaning and truth. However Adorno rejects such notions and argues instead for a modernism of the grotesque in which both center and periphery are included in a negative dialectical process and continually synthesizing and destabilizing each other’s positions. A modernism of the grotesque works on the inside of the sign or the artwork, continually outlining and questioning the boundaries between materiality and form. This moves the focus away from the relation between the sign or work of art as a conceptual manifestation on one side and the object it refers to on the other side. Instead it implicitly points to the amorphous mass from which the signs and thereby meaning have been carved, the remnants that have been left behind. Modernism of the grotesque does not imply that it is emancipatory or that it reconciles man with nature, and does not represent a new position or a new ideology. It merely remembers and insists on the double nature of man and art: to write or paint yourself or an artwork whole by inscribing meaning in life or by applying form on a canvas is at the same time both creation and destruction. The very signs we use to center meaning in our lives carry its own alienation in them. Meaning surfaces only when process and flow comes to a halt—solidifying, but at the same time excluding parts that do not fit into that particular structure of meaning. NOTHING DONE AND NOTHING UNDONE It has always been difficult for art historians to find a suitable category for the works of the Danish artist Leif Lage (b. 1933). In his paintings the sensitive figuration seems so fragile that it is on the verge of turning into abstraction. Or conversely: the figurative emerges cautiously and hesitantly out of abstraction. As an art critic once wrote, he can almost paint things away. 3 Working in some undefinable space between abstraction and figuration, the Lage’s works shy away from the realm of words, and as a result few critics have been able to write anything meaningful about his works. In fact even fewer have been able to write more than one or two pages. The Danish author and art critic Leif Hjernøe is one of those few, but even he starts off by saying how impossible it is to write about Lage, confessing that his works exist both as process and in a field of in-between which words cannot reach. He writes: Always you find yourself in a place where nothing is done and nothing left undone, and where the elements of the work of art rest in a continuous motion. Always there is the open wound, where infection rather than surgical intervention is considered as an opportunity. And the conflict between matter and antimatter makes all diagnoses uncertain and allows conditions of uncertainty to spread in a place of raw presence. 4 The art works against the diagnosis and the certainty. Words are being eaten up by what is outside the realm of words: tension, process and doubleness. An approach to an understanding of the work of Lage could be to follow his connection to Samuel Beckett (1906-89). One can note, therefore, that Lage has illustrated several of the Danish translations of Beckett’s works. Though one is an author and the other a painter both seek a place where figuration, where the word, erodes. For both this entails an attempt to question and examine and so move in behind the façade of the surface in an exploration of that something or nothing that may be behind representation. At the same time even in the vanishing point of figuration or words, the meaningless words or the disjointed lines still stand as signs of human activity—signs of movement in emptiness. With very few exceptions Lage’s artworks revolve around one motif: Man—most often “en face.” But unlike traditional portraitures Lage’s people are found within. The artworks do not sense the reality of appearances, but rather the existential dimensions within man. As a seismograph they are sensitive to the utmost subjectivity in order to display an objective, sensuous depiction of the very problem of subjectivity. Instead of a static façade of a man, Lage’s “en face” shows the process-character of man. The people in Lage’s paintings are always in process—in the midst of becoming or dissolving. I will take a closer look in the following at the ways in which Lage establishes this sense of being in constant process, of being in-between modes or categories. THE DOUBLENESS OF THE STROKE Lage’s etchings attract attention in particular for the tension conveyed there between the material and the form. The material physically opposes the violence of the needle. But instead of embracing the violence of the needle and the victory over matter—instead of making the artistic creation and figuration express a heroic mastery of the background it is made out of—Lage uses the stroke to express the very tension between stroke and material, figuration and background. In the drypoint etching Untitled from 1983, which illustrated the Danish translation of Beckett’s Ill Seen, Ill Said , the needle tears up the material in long rough lines: Together, the primarily horizontal and vertical lines form a face. Thus the force needed to etch a line in the metal-plate draws attention to itself: It is there in the absence of curves and nuances. Man emerges on the metal-plate after great exertion and in a very simplistic form. This way Lage enhances the nature of the material, as the material’s resistance is not something to overcome. On the contrary the figuration is smitten by its very resistance and as such expresses the violence of its own becoming. Even more pronounced is the fact that the lines do not just show the violence of creation—it actively erases figuration in the same process that creates it. For example the mouth consists of 8-10 horizontal strokes, of which some seem to be connected to each other as if the mouth has been quickly scratched out. The mouth speaks of the inability to speak. In the same way, the eyes are black holes due to a large amount of criss-cross cuts, which together form a dark middle. Those lines, at the same time, form the eyes of the figuration and scratch out the eyes of the figuration. The extroverted aspects of the face—connected to speech and sight—are portrayed as introverted as well. Just as the etchings down into the metal-plate makes something appear. Leif Lage, Untitled , 1983 (etching) The figuration of the etching is connected to creation. It expresses that something is wrought into existence out of nothing by sheer artistic force. However, this force is at the same time presented as a violence of creation, which makes it impossible for form to truly emerge. Herein lies one of the basic principles of Lage’s art, namely that art cannot be that nothing or something behind the realm of words or signs. Without form, art would lose its ability to express anything at all. Form is a necessity if art is to avoid becoming as devoid of expression as the reality is that we cannot reach behind the appearance of things. On the other hand, art cannot raise itself above its own material in joyous celebration of the beauty of form. This would use the material in the manner of an instrument and thus would suppress the otherness it attempts to rescue. When art becomes mere form, any traces of otherness will have dissolved. Then art would be a question of technique, in no way different from the instrumental rationality of society. Therefore art works in a particular space between form and non-form. As Hjernøe says of the works of Lage, it is in the center of the event, in the in-between where things neither are nor are not, "And everything takes place just before it changes character. As the blood just before it coagulates, as the milk just before it separates, as fried egg just before it turns white […]." 5 The precise emphasis on the in-between of Lage’s art points in particular to the work of art as both outside of and in time. The work of art is a singular point in time, but at the same time it is continually in process. In the borderland between form and non-form, between creation and destruction, it shimmers like a fata morgana . The work is done but at the same time undone. It is only there as a cry in response to the inability to come into being. Akin to the etching is the drawing, but while both, of course, use the stroke or line as their main instrument, the paper does not resist the line in the same sense as the metal-plate of the etching. As a result in Lage’s drawings the stroke frolics in a space with almost no tension at all. There is nothing there to keep the pencil stroke at bay, but at the same time this means that there is nothing there to keep it together. One of the more expressive examples of this is found in an untitled drawing from Tegninger og Text ( Drawings and Text ) from 1999. The drawing consists of one unbroken pencil stroke. It is as if the stroke is confused—it darts around on the paper making doodles on the way or gathers itself in more straight lines in the center of the paper. It is in this manner that the semblance of a body is established. A couple of small circles serve as eyes and are the reason that the rest can be read as both face and body instead of pure abstraction. In fact the unbroken stroke serves as both abstraction and figuration as on the one hand it is the stroke that seemingly outlines the shape of a figure, while on the other hand the unbroken stroke dissolves any truly recognizable figuration by continuously, without end or aim, overflowing the boundaries of the figure. Seen again here is a doubleness to the stroke and the act of creation. In the etching it was all about the tension between the resistance of the material which created the doubleness. Here it is the opposite. It is the lack of tension. The stroke is free to do anything, but has no aim: without some kind of resistance, there is nothing to hold figuration together. It threatens to dissolve into nothingness. Conversely, the drawing can also be seen as a process of becoming. Like a form of automatic writing, the pencil darts around until it finds a point of densification. But even in such an interpretation of the drawing, the figuration appears artificial—it points to itself as the result of the artistic act of creation. The stroke is primarily stroke and only secondarily figuration. With its wild movement it calls attention to itself as stroke. Thus the figuration never becomes something in its own right. It points to the basic principle of creation: Someone has drawn me, I am the result of artistic endeavors, and therefore I am not for myself but always overflowing the boundaries that contain me. It is the stroke that in the very same movement creates figuration and dissolves it. Leif Lage, Untitled , 1999 (drawing) THE LIGHTNESS OF COLOR, THE DENSITY OF PAPER Often the watercolor is used as a precursor for larger paintings, because it has an immediacy in which one can quickly paint the main lines of a composition. However, Lage’s watercolors are not temporary points in a process leading to another final painting. They are not sketches, later to be filled with details in another material. For him watercolor is an end in itself. This also implies that he doesn’t try to work against the paper’s absorption of the water color and its tendency to absorb detail. On the contrary, he examines the possibilities inherent in this blurring of the line and absorption of color. As in the previous examples, there are of course recognizable shapes in Lage’s water colors. But these shapes are rarely separable from color, line or even paper. In other words: the figurative and the abstract more or less become one. One of the reasons for this is that Lage often works on wetted paper which means that the paper hungrily absorbs color into its fabric instead of it being on top of the paper. The paper becomes line because it is the absorption of the color which, together with the brush stroke itself, separates the colors from each other. The line is also color and the color is also line, because there is no separation between the different colors other than the colors themselves. At times this results in almost complete abstraction. In such cases Lage add lines with a pencil as if he wants to hold some sort of figuration together. At other times it is the other way around: the strokes of the pencil are a being dissolved by the water color blurring out the figuration. Untitled 1 from 1999 displays various tones of green. The contour of the colors appears unusually rough. Most of all it is reminiscent of a shoreline which has found its form through the work of thousands of years between water and land. Pockets of resistance surface as islands not yet drowned in color—as paper or color not yet consumed by the dominant color. The shape of the colors does not seem created by the hand of the artist, but rather by the inner workings of the watercolor: color against color over time has resulted in this very image, as if it is all a part of a natural process of change and decay. Despite the fact that there are no strong differences in color there seems to be a struggle taking place in the watercolor. For example, inexplicable holes in the dark color, which cover most of the right side of the watercolor, appear as if the underlying color is eating away the dark color, or that the dark color is in the process of covering up the underlying color. The small pockets of resistance demonstrate a process and development that, almost as a happy accident, evokes a couple of small eyes and a large mouth. Behind the colors a few slanted lines can be discerned, but the hand of the artist has long ago disappeared behind the life of the colors. Thus the watercolor seems to be held at precisely the point in time where figuration randomly appears. The small eyes and wide mouth seemingly express the realization of the figuration’s temporality. It is just a moment in time, soon to be consumed again in the life of the colors. The nature, the background it stems from and is part of, moves on undeterred, continuing its everlasting process of creation and decay. In this sense, the watercolor provides an experience of how neither artist nor man is able to transcend the materiality they consist of. The colors of man, the materials man consists of are “becoming” and “progress” but also “decay” and “disappearance”. The artist’s pencil strokes have been eaten up long ago, and the figuration is living on borrowed time. Human or artistic activity is about creating form, transcending mere matter by shaping and applying meaning to it. But Untitled 1 shows the doubleness of such creation: the transience and fragility of human life. Should the figuration come into being, should it rise and transcend the material, which binds it to its temporal existence, it would become nothing because its very existence is conditioned by the life and work of the colors. In the same sense man cannot escape his own temporality. He too, for better or worse, must accept a life in the volatility of sensation. Leif Lage, Untitled 1 , 1999 (watercolor) In most of Lage’s watercolors there seem to be a stronger artistic control than in Untitled 1 . Most often both the arrangement of colors and the technique in which they are painted express the hand of the artist. An example of this is Untitled 2 from 1999. While figuration in Untitled 1 seemed to appear as a happy accident, the figuration is much more “created” in Untitled 2 . Here the most important parts of the figuration, the eyes, the mouth and part of the skull, are colored black and painted on top of the background’s play of colors. The background primarily consists of blue and yellow tones. Only parts of the paper are covered in color, however, which yet again stresses the act of painting: There is a surface which is being filled by color by an artist. The blue tones are concentrated in the figuration, while the yellow tones surround it. All this means that the figuration stands out more clearly in this watercolor. This is also underlined by the fact that the blue and dark tones cover part of the yellow tones as spots here and there. Thus it is not a background which is in the process of consuming figuration, but rather the emerging figuration which blots out the background. Such an understanding is even suggested by how the mouth and eyes are placed in the larger blue color field. The eyes and mouth are in the center of the watercolor, while the blue color field is placed from center out towards the left side. This gives the impression of a face turned slightly to the right and slightly upwards, which again makes the mouth appear to emerge from the paper. It also helps that the mouth cuts the center axis of the watercolor. In other words, the arrangement of the blue and black colors create some depth and perspective which gives the illusion of a figuration, seen partially in profile, emerging from the background. Seen in profile, the eyes and mouth seem extroverted—they almost seem as if they are put on top of the face. But at the same time they are painted as black holes, sucking in the gaze of the onlooker. The watercolor is even more challenging if one follows what may be the faint outline of the skull, which, on the right side of the watercolor, no longer works together with the blue color, but rather alone postulates the outline of the skull. If not the blue color field, but this line, is the outline of the skull, then all of a sudden the face is not in profile but “en face”—staring directly towards the onlooker. Outline and color seemingly work against each other and establish two different expressions. Without the slightly upward tilted expression of the profile, the eyes and mouth do not seem to emerge from the paper. On the contrary, seen “en face,” the eyes and mouth are really gaping pits of darkness. In this sense Untitled 2 is at the same time surface and depth of perspective. The line gives form but at the same time it dissolves the form created by the colors, and vice versa. Leif Lage, Untitled 2 , 1999 (watercolor) As the last example of Lage’s artistic method, I have chosen another untitled work (as indeed nearly all of Lage’s artworks are)—this time from 2000. This is perhaps one of the most figurative watercolors Lage has created, though that doesn’t tell us too much. The painting depicts a human face in blue and green tones on a yellow toned background. The colors create a clear demarcation between the figure and the background, which compensate for the watercolor’s lack of outline. Beneath the face darker tones imply the beginning of the torso, and nuances of color even hint at something which could be a collar. The hair is in even darker tones and its structure is emphasized using pencil strokes on top of the water color. One eye is marked by a brown spot with a darker spot in the middle, while the other eye is added by pencil. The mouth is a round, red dot. In Untitled from 2000 the work between abstraction and figuration is much less pronounced than in the previous examples cited here. Nonetheless the watercolor has a delicacy to it which almost makes the figuration disappear, even as it appears. This has something to do with the fact that all the individual brush strokes have dissolved. The only outlines are those created by the clash of colors. Even the red mouth seems to be more paint than mouth—unable to be formed truly as anything other than a speck of color with some small semblance to a mouth. In contrast to the other watercolors, there is no movement, no progress or decay, just a vibrating standstill. The figure is not emerging or disappearing but embedded in and as surface, and as such it makes the figure seem stuck in its condition rather than freed by the act of giving form: mouth open as a wound. Pencil strokes add detail and life to the hair as an attempt to help the figure emerge. But all this does is create two levels in the watercolor: The pencil strokes are put on top of the figuration rather than being part of it. Thus they end up highlighting the endless distance between the movement and form-giving of the pencil strokes and the static and stuck figure behind these strokes. Leif Lage, Untitled , 2000 (watercolor) MAN AND THE VIEW OF THE ONLOOKER Lage’s works seem at the same time to be an examination of tensions between form and material in art and a display of an image of man full of the same tensions. This is because the people who are emerging in Lage’s images are not just in his works, They are his works. This means that man is not something emerging from a background but is part of this background and vice versa. The art of Lage inscribes man in its surroundings and background. Man is not the ruler of nature. Man does not rise above matter; there is no truly transcendent position for man to occupy in the art of Lage. Instead man is a part of the very matter, it, at the same time, tries to distance itself from in order to distinguish itself from its surroundings. Man emerges in an attempt not to be line, stroke, color. In an attempt to free itself of matter. Should it succeed in this, however, it would turn into nothing. On the other hand, if man fully accepted itself as mere matter it would disappear in it—in instincts, urges and lack of reflection. The appearance of man is thus subject to a state of being in-between. Only in the tension between material and its negation can the outlines of man be traced. However this also means that in the art of Lage man is never something in itself but always in process—on the way to its freedom and its loss. However, Lage’s art is not just about showing the tensions inherent in man but also about showing such tension on the verge of breaking point. In the moment before everything is done, or when nothing yet has been done, the delicate tension between form and material has been stretched to its utmost in such a way that man’s character of process emerges and is contained on the paper or canvas. Therefore, Lage’s art contain traces of human life. Not only is it an autonomous unity of tensions where man is stretched out between its singularity and the surroundings it is a part of. It is also this pulsation between figuration and material which brings about the traces of human endeavor and activity. Even when man almost seems to have disappeared into the material, strokes and lines are still there as a reminder of human activity and potential creative power—as a reminder that hope is still possible and that man is still there. The view of the onlooker seeks out forms and meaning. It seeks outlines and edges. But first and foremost it is the eyes in Lage’s works of art that allow the onlooker to decode the figuration at play. This creates a distinctive relationship between the onlooker and the artwork. The onlooker tries to wrest the enigma from the artwork, tries to reduce it to solid, meaningful form. But the very same moment that hints at such a possibility sees the view of the onlooker confronted with a gaze of its own. The eyes of the figure in the work of art are most often dark pits, as if they were an illustration of the violence committed against the eyes of the onlookers and their search for meaning. Or as if they were a dark reflection of the onlooker’s failed attempts to delineate the traces of life in the artwork to a solid meaningful form. Therefore, the gaze of the figuration speaks not only of its own powerlessness but also of the powerlessness of the onlooker. When the view or sight has trouble finding solid meaningful forms, it has something to do with the fact that the precondition for sight, light, no longer stems from something transcendent. In Lage’s art there is nothing outside the works of art, nothing outside of human life, and as such nothing to shed light on the works of art or human life and reveal solid meaningful forms. All light comes from within. In a western context, light as a medium for sight is central to the understanding of meaning. People speak of the clarity of thought, while knowledge is tied together with enlightenment, and so forth. But the light no longer originates from a divine point of view. It originates from man, who has created himself in the image of God. The problem with this is that light always covers up its own base. Light illuminates something but at the same time it hides itself. 6 While it was previously God who was unknowable, now it is man. It is also problematic that sight and the medium of sight stem from the same place. Following this thought one can posit two final problems. Firstly, the immediacy and presence established by light by making forms and objects accessible to sight is fake. Light is not some independent entity which present things in a neutral manner for the onlooker. It is inextricably tied together with the gaze’s desire after meaning. In other words: Light perverts the appearance of things because it doesn’t originate from some objective entity which allows them to appear as they are. Instead light is based upon and originates from the subject and its conquering gaze, seeking out meaning and form constantly. Secondly, the joining of sight and light makes introspection within human life impossible. Everything can be illuminated by its use value for the subject but only as long as it is separated from the subject, as long as it is an object. But the subject itself cannot be illuminated. Lage’s art tears down such a dividing line between subject and matter, but it does so without reestablishing a divine position from where the light emanates. Therefore, the light in Lage’s art may not illuminate very well. It may not have the certainty presented by modern science or the religions of yesterday. But it does show what such light tries to hide, namely, the subject as it is in its material reality—inscribed in time and death, which are the basic conditions of materiality, but at the same time also full of life in its joy and will to create. For the onlooker the meeting of the gaze in Lage’s works of art is thus also a destruction of the view of the onlooker. The ability to see is challenged in a radical way. Those outlines will not solidify into static form, as if the light was too dim to see. Just as in Lage’s figurations, the view of the onlooker turns to black: turns towards the onlooker in recognition and becoming—or disappearance. NOTES Max Horkheimer and Theodor W. Adorno. Dialectic of Enlightenment . (Palo Alto: Stanford University Press, 2002): 4-5. Theodor W. Adorno. Aesthetic Theory . (London & New York, 2002): 176. Carsten Bach-Nielsen. “Mere glæde end gru.” Kristeligt Dagblad . September 24, 2002. Leif Hjernøe. “Den yderliggående inderlighed.” LEIF LAGE—Retrospektiv udstilling 1983 . (Copenhagen: Brøndum, 1983): 18. Ibid. Maurice Blanchot. The Infinite Conversation . (Minneapolis: University of Minnesota Press, 1993): 162-163. (shrink)

Spatial models dominated memory research throughout much of the 20th century, but in recent decades, the concept of memory as a form of mental time travel (MTT) to the past has gained prominence. Initially introduced as a metaphor, the MTT perspective shifted the focus from internal memory processes to the subjective conscious experience of remembering. Despite its significant impact on empirical and theoretical memory research, there has been limited discussion regarding the meaning and adequacy of the MTT metaphor (...) in accounting for memory. While previous work has addressed the general limitations of the MTT metaphor in explaining memory (Trakas, 2022), the objective of this article is more focused and modest: to gain a better understanding of what constitutes MTT to the past. To achieve this objective, a detailed analysis of the characteristics of MTT to the past is presented through a comparison with time travel (TT) to the past. Although acknowledging that TT does not refer to an existing physical phenomenon, it is an older concept extensively discussed in the philosophical literature and provides commonly accepted grounds, particularly within orthodox theories of time, that can offer insights into the nature of MTT. Six specific characteristics serve as points of comparison: (1) a destination distinct from the present, (2) the distinction between subjective time and objective time, (3) the subjective experience of the time traveler, (4) their differentiation from the past self, (5) the existence of the past, and (6) its unchangeability. Through this research, a detailed exploration of the phenomenal and metaphysical aspects of MTT to the past is undertaken, shedding light on the distinct features that mental time travel to the past acquires when it occurs within the realm of the mind rather than as a physical phenomenon. By examining these characteristics, a deeper understanding of the nature of mental time travel is achieved, offering insights into how it operates in relation to memory and the past. (shrink)

In The Langoliers, passengers on an airline flight wake to find that they’ve mysteriously travelled a few minutes back in time… a few minutes behind everyone else. They find that the world still exists, after ‘the present’ has moved on, but only for a short duration before the Langoliers—the timekeepers of eternity—arrive to remove it permanently from existence. This story prompts two interesting questions: How should we understand the nature of time in The Langoliers? Could the nature (...) of time in our world be the same as in The Langoliers? And, are the characters in The Langoliers really time travellers? In answering these questions, we can gain a greater understanding of the world depicted in The Langoliers, as well as of our own world. (shrink)

A monumental new biography of a pivotal yet poorly understood pioneer in modern philosophy. When a painter once told Goethe that he wanted to paint the most famous man of the age, Goethe directed him to Georg Friederich Wilhelm Hegel. Hegel, the most famous figure in modern philosophy, arguably its father, believed that to philosophize is to learn to live freely. He was slow and cautious in the development of his philosophy; yet his intellectual growth was like an Odyssey (...) of the mind, and, contrary to popular belief, his life was full of twists and turns, of suspense and even danger. In this landmark biography, the philosopher Klaus Vieweg paints a new picture of the life and work of the most important representative of German idealism. His vivid portrait provides readers an intimate account of Hegel's times and the milieu in which he developed his thought, along with detailed, clear-sighted analyses of Hegel's four major works. What results is a new interpretation of Hegel through the lens of reason and freedom. Vieweg draws on extensive archival research that has brought to light a wealth of hitherto undiscovered documents and handwritten notes relating to Hegel's work, touching on Hegel's engagement with the leading thinkers and writers of his age: Kant, Fichte, Schelling, HoÌ⁸lderlin and others. Combatting cliche̹s and misunderstandings about Hegel, Vieweg also offers a sustained defense of the philosopher's more progressive impulses. Highly praised upon its release in Germany as having set the new biographical standard, this monumental work emphasizes Hegel's relevance for today, depicting him as a vital figure in the history of philosophy. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The Ethics of Revenge and the Meanings of the Odyssey by Alexander C. LoneyEmily P. AustinAlexander C. Loney. The Ethics of Revenge and the Meanings of the Odyssey. New York: Oxford University Press, 2019. Pp. xii +265. Hardcover, $78.00. ISBN 978-0-190-90967-3.The Ethics of Revenge and the Meanings of the Odyssey places Odysseus' climactic act of revenge where it belongs: at the center of our interpretation (...) of the Odyssey. With admirably clear prose, Loney traces out the recurring pattern of tisis narratives woven through the poem. The accumulation of these revenge stories demonstrates that, in Loney's words, "tisis breeds endless further plots, making an epic of revenge fatally open-ended" (225, emphasis mine). Although the focus is simple, Loney's comprehensive account of the workings of revenge narratives commands the reader's interest. I, for one, was unprepared to recognize how systematically the poet sets up its readers to be disturbed by the ending—although I have long found the final books of the Odyssey troubling. On Loney's reading, the Odyssey sets up the terms of revenge's justice such that, on those very terms, the execution of vengeance is always ambivalent. For anyone with interests in Homer or revenge narratives, Loney's book has much to offer.The Ethics of Revenge begins with archaic conceptions of vengeance (tisis) (chap. 1). Loney distinguishes between "positive" reciprocity, which aims at balance through the ostensibly free exchange of benefits; and "negative" reciprocity, which is blatantly transactional: tisis is a form of negative reciprocity, where harm is met with immediate and (supposedly) equivalent harm. But as Loney shows, the returning harm is equivalent to the initial harm only insofar as someone judges it to be so. This insight is essential to understanding the inconclusive quality of vengeance: one person's retributive act is, potentially, another person's harm received. The justice achieved by such retributions is limited to the perspective of the one judging.Loney turns to such overlapping stories of tisis in the Odyssey in chapter 2. These overlaps prime the audience to notice ethical complexities among different characters' claims about wrongdoings and merited punishments. For Loney, Zeus' story of Orestes in Book 1 is the paradigmatic tisis narrative of the Odyssey. From this story, Loney distills the elements of all tisis narratives in the poem: absence (Agamemnon away) → unheeded warning / recklessness (Aigisthos ignores Hermes' warning) → preparation for offense (Aigisthos woos Klytaimnestra) → offense (Aigisthos commits adultery with Klytaimnestra and murders Agamemnon) → preparation for retribution (Orestes returns to Mycenae) → retributive act (Orestes kills Aigisthos and Klytaimnestra) → just order restored (Aigisthos has repaid in full). [End Page 535] Loney emphasizes how the unheeded warnings contribute to the ideal of immediate equivalence in tisis: when an offender chooses to perpetrate harm despite a warning (often marked by the term ἀτασθαλίαι), he or she effectively chooses to suffer retribution. The narrator of the tisis story moreover stresses equivalence—in the Orestes paradigm, killing for killing.In the next four chapters, Loney masterfully applies this theoretical and philological work to his interpretation of the poem. Chapter 3 follows three narratives of divine vengeance: Zeus avenging the companions' offense against Helios; Poseidon avenging Odysseus' blinding of Polyphemos; and Poseidon taking vengeance on the Phaiakians, who helped Odysseus. With clear analysis of story patterns and intratextual resonance, Loney shows how these stories evoke latent meanings through their parallels, echoes, or mutual implications. So, for example, Odysseus complicates the narrative of Poseidon avenging Polyphemos with his own story of Polyphemos' wrongs against him and his companions; and the vengeance of Poseidon on the Phaiakians is left literally open-ended, with the poet never telling us if Zeus destroys the island or not. As a result, by the time we get to the central tisis narrative of the poem (chap. 4), Odysseus' vengeance against the suitors comes to us against a varied backdrop of inconclusive and intertwined stories of retribution.In chapter 4, Loney explicates the key aspects of tisis in Odysseus' "terrifying revenge" (cf. Plato's Ion 535c7). For example, the suitors receive five of the poem's nine attributions of ἀτασθαλίαι, marking their wrongdoings as "precipitating harm" that... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Art of Teaching in the MuseumRika Burnham (bio) and Elliott Kai-Kee (bio)A class is studying a small painting by Rembrandt in the galleries of the J. Paul Getty Museum in Los Angeles. The museum educator has been inviting the assembled visitors to look ever more closely, guiding the class toward an understanding both of the painting itselfand of our reasons for studying it. The class has been anything (...) but passive—indeed, it has been lively. The painting is The Abduction of Europa (1632), a picture that depicts in delicate detail a story from Greek mythology, the kidnapping of the Phoenician princess Europa by Zeus in the guise of a white bull. The visitors have shared their observations, speculations, ideas. As the class concludes, the museum educator asks the participants to speculate on the painting's larger meaning, to say what they think this work is, finally, about, as revealed by their long discussion. The group's experience has clearly moved beyond the telling of a single story. One participant suggests that Rembrandt's work is about the fearlessness of traveling into the unknown. Another says that it concerns the story of the soul's leaving the earthly for the heavenly realm. When the class comes to an end, people move closer to the painting and continue their discussions.In the same museum, another museum educator is also conducting a group of students through the galleries. He begins with a Roman statue of Venus, followed by an eighteenth-century French terra-cotta bust of Madame Récamier by Joseph Chinard. For each sculpture, he asks the students to focus on only one detail, the hands. The students are encouraged to observe and take note of the sculpted figures' gestures, much as if they were studying a person. Time seems to slow as perception sharpens. The educator listens patiently as the students begin to "read" the sculptures as a whole through the expressiveness of the hands. The group moves on to a mysterious portrait by Millet in which the students discuss the nature of love, and [End Page 65] then to a painting of a Russian princess by Winterhalter, in which the artifice of all the details is suddenly theatrical, dazzling, and delightful. At the end, no one wants to leave.As museum educators we teach in many kinds of programs, and teach in many ways. Every museum educator brings unique gifts to the art of teaching through works of art. The two classes described above might seem at first glance quite different. The first museum educator stays with a single work of art for the entire session, constructs her class around the observations and ideas of the students, and trusts that through their collective experience, a larger meaning will emerge. The second educator inspires his students with a feeling of confidence by guiding their observations of a single feature common to several works, and then allows a main idea to emerge. The two classes, however, are also alike in certain essential ways. In both cases, the students and the instructor are animated, concentrated, focused, and active. Their investigation is tightly focused on the works under discussion, and the group together reaches for a sense of the artworks as a whole. At the end, when the participants cluster around the works of art, still wanting to continue the experience of discovery, the instructors know that theirstudents have understood that engagement with a work of art is a beginning, not an end.The opportunities museum educators have to teach and learn are granted to us by the collections of objects in the care of the institutions in which we work, and by the students and visitors we invite to consider these objects. These artworks also impose upon us a great obligation, to bring them alive for those we lead through the galleries. For ultimately, it is our devoted attention that keeps artworks alive generation after generation.This essay is the result of our work as museum educators. It began with a casual discussion about what constitutes good teaching, and what we can do to guide ourselves and our docent colleagues toward consistent and principled teaching in our museums. We... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Rhetoric of Narrating Communal History in the Nineteenth-Century Finnish Historical NovelMari Hatavara (bio)Det var en mulen och dyster afton om våren 1718. Klockan knäppte fem minuter till sex i salen på den ståtliga herrgård, som tillhört den stolte Baronen Göran Boije, och som nu ägdes af hans enka, fru Catharina Boije. I detsamma hördes en klocka ringa gårdsfolket tillsamman för aftonbönen. I nedra ändan af salen samlades med (...) sakta steg allt gårdsfolket i tyst förbidan. Nu slog vägguret sex. […]It was a cloudy and dreary evening in the spring of 1718. The clock turned five to six in the great hall of the stately manor which once had belonged to the proud Baron Göran Boije, and which now was in the possession of his widow, Lady Catharina Boije. At the very moment, a bell was heard to summon all the folk together for an evening prayer. The servants gathered in the lower end of the hall with silent footsteps in a quiet waiting. The clock struck six now. […](All translations mine.)Finland's first historical novel, Fredrika Runeberg's Fru Catharina Boije och hennes döttrar (Lady Catharina Boije and Her Daughters) (1858),1 begins with this passage after a short frame narrative. The very first sentence provides the date where the story-world is set, and the lines following describe a setting suitable for that period of time. This is in accordance with the generic tradition of the historical novel. Even if the historical novel has very few characters whom theorists would agree upon, most theories of historical novel concur on the statement that the genre is "by definition referential, gesturing toward a world commonly understood to have existed" (Maxwell 545). This emphasis on the story-world has dominated the study of the historical novel. What I want to stress, however, are the specific ways in which a historical novel—to use Richard Maxwell's words—gestures toward this commonly comprehensible, preexistent world. How is the story-world made understandable to a reader and offered as the past? I want to demonstrate the importance of the literary means that help mediate between the past of the story-world and the present of the reader.The passage above begins with the retrospective view: the narrator refers to a date over two hundred years ago, and the passage is in the past tense. The text does, however, also apply expressions like "now." This indicates a point of view that is present in the story-world, at least in terms of temporality. The impression of a viewpoint present in the story-world is further emphasized by the frequent references to aural experience; the [End Page 21] sounds heard (the bell and the clock) and not heard (silent footsteps and quiet waiting) offer the reader an interpretative position that takes her into the story-world through experience. The origin of the experience, however, is not specified. Two questions arise that are crucial to my argument: Is the experiencing subject located temporally in the story-time or in the narrator's retrospective time? Is there a single experiencing subject? While the first question tackles the relationship between the past tense and the deictic markers indicating the present ("now"), the second question is concerned with features like the hearing of the sound of the bell in the passage: because the hearing is depicted in the passive mode, the hearer could be anybody or everybody.These two questions, the first about temporality and the second about the experiencing subject, intersect in the study of narrative identity. Alan Palmer suggests that in current research on narrative literature the individual consciousness has been emphasized at the expense of the social, and he stresses the importance of studying the latter (136). Still, individual and social modes of narrativizing one's past and present share common features, with the most important one perhaps being the need to mediate between different levels of time. Whereas self-narrations attempt to bridge the gap between the former, experiencing I, and the present, narrating I, historical narratives attempt to bridge the gap between characters experiencing the... (shrink)

continent. 1.1 (2011): 60-67. At the beginning of Martin Heidegger’s lecture “Time and Being,” presented to the University of Freiburg in 1962, he cautions against, it would seem, the requirement that philosophy make sense, or be necessarily responsible (Stambaugh, 1972). At that time Heidegger's project focused on thinking as thinking and in order to elucidate his ideas he drew comparisons between his project and two paintings by Paul Klee as well with a poem by Georg Trakl. In front (...) of Klee's Saints from the Window and Death of Fire —though we wouldn’t absolutely understand what we were seeing—he writes, “we should want to stand…a long while.” In a similar manner, of Trakl’s poem “Septet of Death”—although it is likely we are unsure in what we hear—Heidegger states that, “we should want to hear…[it] often.” Heidegger further states that in appreciating these, “we “should abandon any claim that [they] be immediately intelligible” (1). So also we must we approach, Heidegger continues, the realm of theoretical physics, in which the difficult work of Werner Heisenberg, be listened to “without protest” and without “any claim that he be immediately understood.” These works, like his own project, merit the time they take to be originally (mis)understood. But this is not necessarily true for philosophy, Heidegger advises, because, “That thinking is supposed to offer ‘worldly wisdom’ and perhaps even a ‘way to a blessed life’” (1). Philosophy is in the unique position of being both abstract (what do we talk about when we talk?) and at the same moment, useful. There are demands that it make sense, that it be, grounded, immediate, and most importantly, rational. Heidegger draws these comparisons between the works of Klee and Trakl and Heisenberg not to claim that philosophy is totally irresponsible. He does not claim that the poet, the painter, nor the physicist have acted irresponsibly. Rather, he would say, they are rising to the highest levels of intelligibility, though it is perhaps an intelligibility that is commonly unavailable to us. In Trakl’s case, as we shall see, mastery is the end result of difficult words. Instead, Heidegger seems be making pleas: for a period of uninterrupted unintelligibility (pure unintelligibility); and that there is a time (that time is now) when, “thinking is…placed in a position which demands of it reflections that are far removed from any useful, practical wisdom” (1-2). Heidegger argues that philosophy requires a period of time in which, instead of focusing on the practical—or even on the worldly—the discipline draw its “determination” instead from the place of painting and poetry and physics. In doing so, “we should have to abandon any claims to immediate intelligibility” (2). But Heidegger doesn’t offer this as a way out. We still have to turn up, we “still have to listen, because we must think what is inevitable, but preliminary” (2). The point for Heidegger, is not to listen to a series of propositions, but instead to “follow the movement of showing” (2). I. … Maybe we're here only to say: house, bridge, well, gate, jug, olive tree, window— at most: pillar, tower … but to say them, remember, oh, to say them in a way that the things themselves never dreamed of existing so intensely.… Rainer Maria Rilke, “The Ninth Elegy” There is little more fundamental, preliminary, in the world than language. We use language, in the form of speech, constantly, whether we are saying anything or not. “Man speaks,” Heidegger writes, and goes on to describe in his essay “Language” (2001) the constant speaking that we do. “We are always speaking, even when we do not utter a single word aloud, but merely listen or read, and even when we are not particularly speaking or listening but are attending to some work or taking a rest” (187). Speaking is expression, an utterance of something internal. It is a recognition of a world. It is a way of communicating thought and it is an activity that we all do, inevitably. Speaking separates the human from the animal world, and despite advances in primatology that seek to give ‘voice’ to primates and other non-human animals, it can safely be said that our form of communication—what we call speech and know as language—is the most advanced, the most complicated. We use it to present and represent the world around us; through actual utterances (vocalization) or through the written word or through ‘unvoiced thoughts’ and dreams. We use language, but more specifically speech—naming—to transmit moods, thoughts, desires, aversions, and feelings. These expressions, mere utterances, nearly always find a source in words, whether spoken or not. Heidegger writes that this common view of language means “that only speech enables man to be the living being he is as man. It is as the one who speaks that man is—man” (187). Speaking then—utterance—surrounds us constantly, whether in the form of careful thought—in the form of an academic paper, say—or in the half mutterings and forgotten thoughts of a nearly remembered dream. Like scaffolding, the apparatus of speech sustains and explains the world, making, in a sense, the world rational, making it apparent. When we speak, we describe, and in doing so, name the world. We use words, through this process of naming, to interpret and sustain the world we see, and the world we imagine. Like Rilke’s naming of jug, and bridge, and window, and stream, we describe—and inscribe upon—the world through an activity of naming. Are we here, perhaps, to name? Is it possible not to name? Is it possible to regard and to view and to look around without naming what we see? Is it possible to feel—to experience—world without giving utterance to that feeling, that process? Sadness, grief, joy, ecstasy, hunger, thirst. Desk, light, room, pen, book, world. White, black, tomorrow, today. Each of these words is a name given to a thing I see in front of me, or a concept that I imagine (in the case of tomorrow or world). What arises in my mind has already existed. If I imagine it, it is named. The word for ‘tomorrow’ and ‘desk’ and ‘light’ precedes me, and precedes my concept of it. The idea of it is already pre-informed, and I must, in a certain sense, bend my ideas to it. When I imagine a table, I imagine my own table (or I imagine an idea of table) but that imagining must follow certain general rules; while, perhaps, it might not always require four legs and a horizontal surface, it must, at least not be, say, a pool of water, or a pile of excrement. It must have some tableness to it to be a table. It must, with Heidegger, table. Otherwise, speech is reduced to gibberish. For Heidegger however, the discussion of language points to something deeper than its “scientific and analytic” study as a communicative device. Indeed, Heidegger seeks to understand language not in reference to man or woman, not as an utterance of humanity, but in reference to itself. In doing so he abandons the conversation—that is, he casts away the traditional arguments surrounding philosophy of language; that it is a means of expression; that it is a human activity; and that it is somehow a representation of something that is—in order to seek to understand language as language, on its own terms. Heidegger is not a philosopher of language, but a philosopher of world, of being. Despite these “correct ideas” holding sway “over the whole field of the varied scientific perspectives on language…they ignore completely the oldest natural cast of language” (191). What is this “oldest natural cast of language? It is the act of language itself. Language is language and language speaks. “Most often,” Heidegger writes, “and too often, we encounter what is spoken only as the residue of a speaking long past” (195). Speech, as we normally encounter it, is like Echo herself calling out to Narcissus, doomed to repeat what has already been said, a mere remnant of what was once language, a trace left behind in the gathering silence of becoming. In both the essay “Language” and in his three lecture course “The Nature of Language” (1982), Heidegger attempts to unpack the seeming tautology of language as language. In each, he focuses on poetry as a way out, or into, a true discussion of the oldest natural cast of language. Poetry is pure speech. In poetry, language is brought to language and language speaks ( Die Sprach spricht ). In the act of poetry, the act of pure speech, the poet names (on the surface not different from how I name this table, this computer) but in the poet naming, the naming does not “hand out titles,” “apply terms,” but rather the naming is a call, a calling forth of entities that bring them into their own, allow them to take their place purely, without compromise. This calling, Heidegger (2001) states, “here calls into a nearness. But even so the call does not wrest what it calls away from the remoteness, in which it is kept by the calling there. The calling calls into itself and therefor always here and there—here into presence, there into absence” (196). II. Window with falling snow is arrayed, Long tolls the vesper bell, The house is provided well, The table is for many laid. Wandering ones, more than a few, Come to the door on darksome courses. Golden blooms the tree of graces Drawing up the earth’s cool dew. Wanderer quietly steps within; Pain has turned the threshold to stone. There lie, in limpid brightness shown, Upon the table bread and wine. Georg Trakl “A Winter Evening” Heidegger is often given short shrift as an abysmally difficult writer, as one that makes no sense and is needlessly difficult. In doing this though, we forget sometimes his eloquence, his simple beauty in writing. Of the above opening stanza, “Window with falling snow is arrayed/ Long tolls the vesper bell.” he writes (2001), This speaking names the snow that soundlessly strikes the window late in the waning day, while the vesper bell rings. In such a snowfall, everything lasts longer. Therefore the vesper bell, which daily rings for a strictly fixed time, tolls long. The speaking names the winter evening time (197). The speaking names the winter evening time. It is almost impossible to comment on that one line by Heidegger. It is as though it must exist on its own completely, without elucidation—as though in front of it we must stand as we do in front of a painting by Klee, that is, we must abandon any claim . Silent and devoted. The speaking of the poem here is not clearly different from common speech ( rede ) yet there is, via Heidegger, an invitation to experience that auracular quality of light and stillness that a gentle, dusk tinged snowfall gives; words evoking a quality so clear, so poignant that, in a sense, Heidegger’s work, at this moment, has been done. But what does this naming accomplish? What does the call call? Remember, it is not the poet that calls, but the naming which calls. The poet has only brought the words forward; it is now the words— snow, vesper bell, window— that take new life in the pure language of the poem. Entities are called forth into presence, like the speaking that names the winter evening time. Not to be present amongst us now, however; naming ‘table’ in the poem does not place it in front of us in this room. Rather, the naming places entities into a gathering which is also a sheltering. The naming brings them to be. In an act of appropriation, things come to be purely as their own, unimpeded by a predetermined expectation. They are called to themselves into an arrival. In Being and Time (1962), Heidegger famously describes the movement between present-at-hand and ready-to-hand in his analysis of the hammer, and of equipment in general. This analysis is already known, if not always clear, to most readers of Heidegger. Briefly, a hammer is ordinarily zuhanden or ready-to-hand; it is part of the background of the world, equipment used and never thought about, like this desk, this sheet of paper, this room. Our interaction with it is temporary and it is historically different for each entity and each relation. We need a hammer, we use a hammer. If all goes according to plan, the hammer remains ready-to-hand; it remains, in a sense, undisclosed and certainly unobtrusive. Our world is undisturbed by the hammer. Only when the hammer or the car or the computer is broken (or sometimes unused or unrecognized or missing) does it intrude into our world, become conspicuous as an object present-at-hand, or vorhanden . In this case, we reach for the hammer, it is broken and we suddenly notice it’s being, broken though it is. The thing which was always ready to hand—handy—is suddenly abstract, something to be examined, if only in its absence or disfunction. This can be exhibited for all entities, and it is important to note that in this analysis the zuhanden / vorhanden split is not restricted to a specific form of constructed material; zuhanden does not refer to the car, and vorhanden the sunset. No entity is ever exclusively ready-to-hand or present-at-hand; they are instead, interpenetrated with each others mode of being, one informing the other in a way that both brings things forth into the world—discloses is the word Heidegger chooses—and at the same time conceals them. As one mode is coming to be so another mode is withdrawing. This flux and movement between modes is precisely what brings the world forward, and what makes it manifest. It exists beyond where we tread and before man took dubious control of the world. We go to find a book or turn on the computer and it is missing or broken and we become aware of the object, as though for the first time. We walk to the water to glimpse the sunset and miss it, or it is less than stellar; in the sunset’s grayness, we become aware of it’s being sunset. The thing is disclosed in its withdrawal. Echoing Heraclitus, we can say that as something is coming to be, it is already becoming something other. Of similar importance to the fact that things are never all of one, or all of the other, they are also never alone. The hammer is never a single object, but is in relation always to the whole. Heidegger (1962) states, Equipment—in accordance with its equipmentality—always is in terms of its belonging to other equipment: ink-stand, pen, ink, paper, blotting pad, table, lamp, furniture, windows, doors, room. These ‘Things’ never show themselves proximally as they are for themselves…What we encounter as closest to us…is the room; and we encounter it not as something ‘between four walls’ in a geometrical, spatial sense, but as equipment for residing…it is in this that any ‘individual’ item of equipment shows itself. Before its does so, a totality of equipment has already been discovered (97). Equipment resides—dwells—in its relations, in its proximal being to other beings. Within the structure of totality, a series of relations is always occurring. The hammer is on the workbench in the carpenter’s hand in the workshop in the village under the sky and under the sun. It doesn’t stop there. Equipment surrounds us and the focus is not on what it does, or what one does with it—the carpenter with the hammer, the writer with laptop—but with the fact that it is. Equipment occurs in relation and is always occurring around us overhead, underfoot, by the stream and in the city. There is a constant exchange of relations happening, and as this occurs, so the world occurs, so the world both discloses and withdraws, into and out of itself. In a very real sense, language is also equipment. It is the thing that we use most often without thought, it is ready-to-hand (except when it’s not.) As we re- cognize the world around us, as we offer names for things and make lists, we are using language much like we might use a hammer, that is, bluntly. Most of the time it is invisible and we draw on it without wondering how we are going to say something. When language does intrude, it does so in an awkward moment, that moment when we can’t remember the right word, when we forget a phrase. At that second, it “speaks itself as language,” it reveals itself as malfunctioning equipment, and we “undergo” an experience with language, in Heidegger’s famous formulation. Language is not a tool anymore that we use to bludgeon an object, but something instead that we submit to, that we experience. In “The Nature of Language,” Heidegger (1982) writes, But when does language speak to us as language? Curiously enough, when we cannot find the right word for something that concerns us, carries us away, oppresses or encourages us. Then we leave unspoken what we have in mind and, without rightly giving it a thought, undergo moments in which language itself has distantly and fleetingly touched us with its essential being (59). The poet’s words become themselves, become appropriate, only when they no longer function in the prosaic world; they instead intrude as they come to be. Language itself brings itself to language. Names, like the entities they indicate, are always becoming something else. As noted above, language, through the poet, has brought forth entities from words previously “known.” I thought that I knew snow, but through Trakl’s re- presentation of the word, language calls forth a new image of snow, indeed calls forth snow itself. The vesper bell tolls longer, the table is for many laid. In bringing forth things , language has brought the world to presence. In everyday naming, word occludes world, preventing, in its everydayness, its coming forth, its disclosing. But what is this world that word has been brought forth into? In the same way that language speaks, world worlds. World, left alone, un-interfered with, comes into itself. It worlds. Again, this sounds like a tautology, but it is essential to Heidegger’s thought (and in my mind is more of a “god killer” than Nietzsche.) One of the most overlooked (and under-appreciated) aspects of Heidegger is his later examination and enthusiasm for the “fourfold,” or the system through which things come to be, through which things thing in a world worlding. The fourfold is the interaction of earth and sky, mortals and gods. Things come to be in the interstices and gathering of the fourfold. The fourfold provides both a place of being, and a sheltering, a place to dwell. Heidegger writes that “the things that were named, thus called, gather to themselves sky and earth, mortals and divinities. The four are united primally in being toward one another, a fourfold.” The poet has called, through the act of pure naming, things to come forth. In the purity of the fourfold—that is, when that is all that there is, when there are no other distractions, definitions, things—entities themselves can come to be. It is important to note that Heidegger is not saying that there are four formal things in the world, autonomous entities unto themselves. He is not evoking a pre-Socratic formula as to what makes up the world; instead, the four mirror each other constantly. (Heidegger calls this the ‘mirror-play.’) They interpenetrate in the same way that the modes of being of things interpenetrate themselves. There is no discrete exclusivity in being or the fourfold. What makes up things is not a precise recipe of the four main components; what makes up things is the action of the fourfold coming together, the movement of the fourfold which is a becoming. Heidegger (2001) writes that “this gathering, assembling, letting stay is the thinging of things.” And he later adds that “thinging, things are things. Thinging, they gesture—gestate—world” (197). Language brings the world to be. It works not again as a recipe added to things, but instead it is a bridge, or more precisely, a relation. Language relates world to thing, brings world to thing. In a sense, it does not say anything; rather it allows, or calls in its movement. Heidegger (2001) writes that, The intimacy of world and thing is not a fusion. Intimacy obtains only where the intimate—world and thing—divides itself cleanly and remains separated. In the midst of the two, in the between of world and thing, in their inter, division prevails: a dif-ference (199). It is in this inter that language prevails. Language is difference, it is the differential aspect between world and thing that brings world to thing. In the final stanza of Trakl’s poem “The Winter Evening,” Trakl evokes this difference in the second line when he writes, “Pain has turned the threshold to stone.” Christopher Fynsk, in his essay “Noise at the Threshold,” draws attention to this point when he writes “it is the figure of the threshold that is language itself, inasmuch as language is defined as the articulation of difference by which difference comes about” (25). Language, as used in the pure language of the poem, draws together world and thing, bridging relation between entity and world. The calling of language calls world to thing, world to being. Heidegger (2001) describes this difference as unique; “of itself, it holds apart the middle in and through which world and things are at one with each other” (200). III. Neither reading nor writing, nor speaking—and yet it is by those paths that we escape what has been said already, and knowledge, and reciprocity, and enter the unknown space, the space of distress where what is given is perhaps not received by anyone (99). Maurice Blanchot The Writing of Disaster So far, we have allowed Heidegger to put forward what language does, how it functions as a relation and how it operates as a threshold, as a bridge. What interests me is what happens beyond language, beyond the relation. What happens to the thing without the naming, without the poet, or even without the everyday chatter—Fynsk calls this ‘noise’—intruding on being? If language allows things to become by bringing thing to world, what happens when we remove this bringing, this threshold turned to pain? In “The Nature of Language,” Heidegger examines the work of the poet Stefan George, specifically “The Word”: Wonder or dream from distant land I carried to my county’s strand And waited till the twilight norn Had found the name within her bourn— Then I could grasp it close and strong It blooms and shines now the front along… Once I returned from happy sail, I had a prize so rich and frail, She sought for long and tidings told: “No like of these depths unfold.” And straight it vanished from my hand, The treasure never graced my land… So I renounced and sadly see: Where word breaks off no thing may be. That final line, “Where word breaks off no thing may be” is evoked on nearly every page of Heidegger’s essay. It is the line to which he returns over and over and bears repeating. Where word breaks off no thing may be. Where naming ends, no thing. We can interpret this in two ways (at least.) Where word—naming—breaks off, then there is nothing . Or, as I choose to read it, where word breaks off no thing may be. In this I see a hint forward, a marker left behind by Heidegger. What could this look like? What does no thing look like? Like a zen koan ( there is no mirror ) it is as thrilling and horrifying as contemplating what preceded the Big Bang. Because language as naming wasn’t always here; we weren’t always here. One or maybe two aspects of the fourfold (depending on your view of gods) were not always here, and there is no guarantee that we will always be around. What then? Heidegger (1982) describes the landscape that the poet finds, “It names the realm into which the renunciation must enter: it names the call to enter into that relation between thing and word which has now been experienced” (65). The poet, in renouncing, allows for the “may be” of “where word breaks off no thing may be.” This “may be” becomes “a kind of imperative, a command which the poet follows, to keep it from then on.” No thing is lacking. Where word breaks off, there may be, a totality, a completion. If we place the emphasis on may be , we make it affirmative, make it positive. One allows it. No thing is where the word, that is the name, is lacking. If we remove then (if we can remove) the word, the name, than that is where no thing is, that is where no thing may blossom, enrich, belong, become. What is no thing? Heidegger writes that “thing is anything that in any way is.” And just after this he writes that the “world alone gives being to the thing.” But what happens if there is no word? Word, in this formulation can be seen as an enframing, a challenging of language. By naming, by drawing a perimeter around an object, we hold it, by its definition (that is a brick) to an ordered future. If we borrow from Heidegger’s essay “The Question Concerning Technology” (1993) the idea of this standing-reserve of an ordered future, we see that “everywhere everything is ordered to stand by, to be immediately on hand, indeed to stand there just so that it may be on call for a further ordering” (322). What happens if there is no naming of the thing? Silence perhaps. Stillness. We can name—and do name—that which we know. We equate knowledge with knowing the name of something. A brick is a brick, a hammer is a hammer, the universe is the universe. By naming a thing, we create, and draw its parameters, the parameters of the thing, not as thing thinging in the fourfold, but as blunt object apparent. In the four dimensions relatively available to us, we observe (and name) that the brick takes up possibly six by four by two inches and is, in the sense that it currently occupies this time slot. It fulfills its destiny, its being, its brickness, it bricks . But what happens when we remove the name for this brick. We no longer know what to call this no-thing (if indeed we can even arrive at the point of uncalled calling.) In fact the it (this brick) is no longer a thing in the sense that by not naming—by removing the name—it still occupies the same dimension but is indiscernible from the world. It simply is , un-reliant, un- needed by me. By removing the subject (me) from it (the brick) do I not then also remove the object—or at least the duality objectifying it? Why is this important? Why does this matter? I have not really removed anything. I have not changed any thing , per se . The brick still occupies the same space in geographic and temporal dimensions. I have literally not even touched the brick sitting on my desk. But what I have done is removed the name, removed the word (the bridge, according to Heidegger) and in this (again, if this is even possible) there is something vertiginously liberating, not only for me (and my way of thinking) but also for the brick itself. Like the poet who calls the thing forward, by refusing to name, by avoiding any thing that demands me to name it, I release the thing into the fourfold. I am no longer challenging the thing to be there for me ; I do not en frame it through language. Rather I, in an act of extreme responsibility, am refusing the challenge. By refusing the name (refusing to name) one allows, (or no one allows no thing) the brick to be all things , to manifest its manifold being, to incorporate all things into its thinging . It becomes, quite literally, every thing . Because, in its infinite manifestness, it incorporates everything; the mud that gave it its current being, the water that formed the mud, the sun, the stars, the universe and it also allows it to become mud again, to become landfill, to become again, water and sun and stars and universe in an endless, infinite cycle of coming to be some thing (else). Perhaps this is what Heidegger is suggesting when he talks about the stillness at the end of his essay, “Language” (2001): The dif-ference stills particularly in two ways: it stills the things in thinging and the world in worlding. Thus stilled, thing and world never escape from the dif-ference. Rather, they rescue it in the stilling, where the dif-ference is itself the stillness (206). It is in this stillness that I can imagine a gellasenheit (here I mean both “releasement in the Heideggarean sense, as well as Meister Eckhart’s use of the term meaning “letting the world go and giving oneself to God”) of thing and world, a releasing into the stillness and silence of no thing beyond where word breaks off. It is here where I may no longer be, and yet no thing is, but may be. (shrink)

The Hebrew phrase tikkun olam means repairing, mending or healing the world. Today, the phrase tikkun olam, particularly in liberal Jewish American circles, has become a slogan for a diverse range of topics such as activism, political participation, call and pursuit of social justice, charities, environmental issues and healthy nutrition. Moreover, the presidents of the United States who attend Jewish religious days and Jewish ceremonies state the tikkun olam in its Hebrew origin, pointing out its origin embedded in the Judaism (...) and a religious rule and/or an obligation that is important in Jewish tradition and thought. Nevertheless, when we look at the context of religious literature in which the phrase is used, it is seen that, although it is difficult to make a clear definition, it does not reflect modern/widespread uses and their meanings. Furthermore, tikkun olam is an ignored and even rejected concept by the Rabbinic Judaism which claims to represent the tradition and its current representative Orthodox Judaism. This fact is also seen in the usage and prevalence of the term in the U.S. and Israel. Thus, in this article, especially with reference to the norms of Mishnah, the religious-juristicial contexts and possible meanings of the phrase of tikkun olam, the notion of tikkun olam in Jewish liturgy and its implied meaning and the Kabbalistic understanding of tikkun will be presented, the development, changing and conversion of the phrase in modern age and its contemporary usage areas and reinterpretations will be demonstrated.Summary: Recently and especially in the U.S., the Hebrew phrase tikkun olam are used as a slogan in a widespread manner such as for activism, political participation, social justice, all kinds of charities, environmental issues, counter terrorism and healthy nutrition. Such a common usage of the phrase is largely the result of its literal meaning and ambiguity. Hence, this article aims to explore the place of the concept of tikkun olam in Jewish religious literature and its variations and semantic changes. Tikkun olam, literally means the repairing, mending or healing the world. However, regarding its religious context, it is difficult to determine what it means accurately. In time, some has used the tikkun olam as a legislative justification for changing specific laws, some has attributed to it an eschatological meaning which indicates to the mesianic age, and some has dicussed it in the context of mystical sense. The first usage of the phrase of tikkun olam in the Jewish religious literature was simply in the form of “because of tikkun olam” in Gittin epistle, a tractate of Mishnah and Talmud. Here, the phrase was used as a reason of a judgment concerning to the subjects of marriage, divorcement, slavery, captivity etc. In the context of these subjects tikkun olam indicates to the similar meanings like “repairing, organizing, healing, changing the world; regulating and improving the society, maintaining the social order, and prioritizing the common good. In fact, the concept of tikkun olam as the reason of the judgements in these matters is likely related to a juridical reason that intends to ensure the personal and public welfare such as clarifying the marital status of woman, to prevent the capture and seizure from Jewish society, and to deal with economy and identification of juridical status of the slaves.The other reference to tikkun olam appears in the second part of the aleinu prayer. However, the notion of tikkun olam in the aleinu prayer refers to a situation that happens in God’s Kingdom if Torah and halakhah are followed carefully. Hence, the aleinu prayer’s tikkun olam points out eschatological expectation which desires a messianic age, but not the socio-political and ecological concerns of the world as in the current fields and meanings.The modern idea of tikkun olam is also associated with the Jewish mystical movement, Kabbalah. Nonetheless, the concept of tikkun in Kabbalah is not a concept related to the socio-political circumstances of the world where we live in, but it is related to the restoring of the divine world. In order to restoring the divine world, human should fulfill the commands by studying Torah and have a spiritual and moral rehabilitation process by engaging in ascetic practices.The use of the phrase of tikkun olam gradually progress in the socio-political life of the U.S. The first use of the expression of tikkun olam in the U.S. was in the 1950’s by Shlomo Bardin, the founder of the Brandeis Camp Institute in California. Bardin asserted that the Aleinu prayer was the most important expression of Jewish values, particularly the expression “le-taken olam be-malchut shaddai” that is typically translated as “when the world shall be perfected under the reign of the God.” Bardin suggested that these words referred to the obligation of Jews to work for a more perfect world. The concept of tikkun olam entered contemporary usage by the way of its being preferred as a name to those such as social justice and charity programmes which was launched by the Reformist and Conservative groups in the second half of the twentieth century. In 1970s, United Synagogue Youth which is the national youth foundation of the conservative movement adopted the expression of tikkun olam and changed the title of its social action programs from “Building Spiritual Bridges” to “Tikkun Olam.” Nowadays, United Synagogue Youth proceeds all of its social activities and tzedakah programs through the tikkun olam project.By the end of 1970’s, New Jewish Agenda, an organization devoted itself to the religious and social values, acknowledged the slogan of “Tikkun Olam” as the spirit of its ideology. In 1986, Michael Lerner entitled a left-oriented liberal publication with the concept of Tikkun by claiming that this concept represented the origin of Judaism, and he take an important role on making the concept have a prevalence.Pittsburgh Platform organized in 1999 by the Reformist Jewish Movement emphasized that people must perform the most significant moral principles in the relationships with all non-Jewish people and all other creatures. This platform also stated that making the world a better place with the help of God would quicken the upcoming the messianic age. The tikkun understanding of the Reformist movement evolved to more universal realm by embracing the non-Jewish people, as well. Over the last two decades, successive presidents of the U.S. who attended in the ceremonies of Jewish religious days and Jewish assemblages have contributed to the prevalence and usefulness of tikkun olam by mentioning the phrase of tikkun olam in Hebrew, expressing that this is an essential principle of Judaism and addressing that this has a central role in Jewish tradition and thought. On the other hand, this concept does not have an important or a central place in Rabbinic Judaism and even in Orthodox Jewish communities which are the current representatives of Rabbinic Judaism. Moreover, Reformist, Conservative, and Reconstructionist American Jews who are considered on the liberal side of the politics has put the concept on the current use and the world’s agenda. Thus, the phrase of the tikkun olam is more popular in non-Judaic milieux in the U.S. than the Jews in Israel. In Israel where the Orthodox doctrine is dominated and shaped the people, tikkun olam is regarded as a western value and is ignored. (shrink)

continent. 1.4 (2011): 286—310. This mad play of writing —Stéphane Mallarmé Somewhere in between mathematics and theory, light and dark, physicality and projection, oscillates the poetry of Alessandro De Francesco. The texts hold no periods or commas, not even a capital letter for reference. Each piece stands as an individual construction, and yet the poetry flows in and out of the frame. Images resurface from one poem to the next, haunting the reader with reincarnations of an object lost in the (...) grass or a representation of a pear in a Dutch still life, embedded in cycles of cinematic close ups and multiple dimensions. As a whole, De Francesco’s oeuvre suggests, to use the title of one of his works, a redefinition —linguistic, epistemological, personal. The poem The End (un’agenda) (The End (an agenda)) opens with a quote by literary theorist Maurice Blanchot, which may be translated as follows: Speaking is not seeing. Speaking frees thought from this optical imperative that in the Western tradition, for thousands of years, has subjugated out approach to things, and induced us to think under the guaranty of light or under the threat of its absence.[1] In writing, De Francesco seeks to redefine our approach to things. His poems, like Blanchot’s writings, speak to both illuminate and to obscure. The reader hangs in an absence of reality within language that necessitates an attempt at interpretation, yet renders such a search ultimately futile. De Francesco draws the anonymous images that appear in this poem from the city of Paris, his current home. The fragmented narrative depicts an inner doubt of realness, calling for a confirmation of a physical existence beyond verbalization and cogitation. Cyclical references to film throw into question the reliability of the reality he creates. The light, sometimes red and safe, other times absent and murky, cannot necessarily be trusted as a guaranteed means of illumination. Blanchot’s distinction between language and visualization, and the relationship of each to reality, though linked specifically to The End (un’agenda) , can be a lens through which to read any of the three works that follow. assente obliqua (absent oblique) is composed of descriptions of six still life paintings, ranging from Dutch masterpieces of the seventeenth century to 1960s minimalism. The actual images of the paintings are absent, and the text is the sole source and object of a virtual reality created around the artwork. “Absent oblique” refers to the light source placed outside of the frame, which both informs and distracts viewing of the scene. Although mere description can be unreliable and unsatisfying in its necessary limitation, the representational act of description is shown as more than just a human want. It is a need, a means by which to grapple with an unsure reality. As the illustrations progress, they descend into abstraction and chaos. The precariously placed plate triggers the movement: the bottle bursts and the objects collapse into the movement of a tracking film camera. corpo estraneo in moto ascensionale (foreign body in ascending motion) is prose poetry in action. Its objective tone of description is skewed by the subjectivity of the narrative as horrific images are relayed in fragmented but matter-of-fact manner. A “foreign body” is both a mass of cancerous cells, and a corporeal description, and the poem takes the reader on a journey back and forth between the two, destination unclear. Beyond a questioning of the real, corpo estraneo in moto ascensionale is an examination of the possible. De Francesco’s poetry becomes a camera obscura through which to observe the constant flux of light and dark that blurs our reality. His work is colored by the idea of apo koinou , a Greek term meaning “from the common” that involves a construction of two clauses with a shared word or phrase. Through such melting of meaning, De Francesco creates a fluid ambiguity that is nonetheless grounded in bodily concepts. In assente obliqua , the reader is confronted with a description of a still life that rapidly transforms into a more chilling scene: the membrane of the mushroom in the basket emerges behind the white cloth a body could hide itself that asks for help In the realm of pure description, there is a mushroom that peeks out from behind a white cloth in a basket. Behind the white cloth, too, there could be a body, hiding, asking for help. Such an elision elicits disorienting mistrust in temporality, but also expands the planar possibilities of syntactical meaning. A white cloth is not merely a construct in still life painting, but veil that both shields and reveals potential mysteries. It is a proposed alternative to a traditional Western binary of subjectivity and objectivity. The apo koinou construction is rare in modern English, having slipped out of use after its resurgence in Old English poetry. De Francesco reintroduces this blur of object and subject relations into a modern light. He draws inspiration from a device used by Gruppo 63 founder and avant-garde poet Antonio Porta tended toward repetition of phrases in third person perspective. In Italian, it is perfectly grammatically correct to omit the subject, including only a verb conjugation. Gender, even humanity unknown, the subject dissolves into the action, thus giving to the poetry the power to change the reader’s perception of who or what is actually acting. To further push the relative boundaries of experience, De Francesco expands his written poetry into what he calls “reading environments.” In these sound experiments, De Francesco’s voice reading his poetry is manipulated by real time digital voice processing. The written is transformed to the spoken, and then injected with currents of electric sound. “At each activation of word in the darkness,” (from The End (un’agenda) ) language is permutated into a nonphysical yet all-encompassing being. In these projects, realized all over Europe, De Francesco continues his examination of the word’s potency beyond the page and into an “n-dimensional space,” where the lines between nature and affect are intertwined. To publish excerpts of De Francesco’s oeuvre is to show screen shots of full-length film, to read pull quotes from a philosophy treatise. In these poems, there are questions, not to be answered, but to be questioned again. The words will oscillate in and out of the square construction found in his poems, out of the borders of the page, out of the rectangle of the laptop screen. NOTES (1) Blanchot, Maurice. The Infinite Conversation . Trans. Susan Hanson. Minneapolis: University of Minnesota Press, 1993. 27. EDITORS' NOTE The .pdf above contains about twenty pages of translation and the original Italian poetry. Below we provide only a brief account. The End (an agenda) Parler, ce n’est pas voir. Parler libère la pensée de cette exigence optique qui, dans la tradition occidentale, soumet depuis des millénaires notre approche des choses et nous invite à penser sous la garantie de la lumière ou sous la menace de l’absence de lumière. —Maurice Blanchot in this n-dimensional space i could spy on myself from the cracks while going back and forth from the summer to the wardrobe from the night to the parking lot but something filters in through the half-closed shutters becomes an event enunciation we stay without explanation like parallel curves on the back of a solid growing older she enters the garden always repeats certain phrases the elevator to be redone the neighbor’s music the steps the pavement furls like the leaves of a fern when touched she is framed from behind while she moves rocking she covers distances slowly a bag overflows from the wardrobe something stirs inside but then the suitcase comes open not even by my hand it’s the objects that are starting to filter out the little red haired monster watches idling the appointments written on one of your agendas two years old still seem urgent each letter holds itself upright on the page with flourishes and arabesques each angle has its own geography i’m trying to describe the path the fingers trace on the carpet the zipper takes the opposite route we are suspended on the stairs above the water in the center is the summer seen from above the darkness of the city passes from one headlight to the next the surfaces of our arms cohere and are shiny underneath the blinking of a sign each pore is an open expanse the body dreams the hair gives form to the possible some daring swimmers were throwing themselves into the seine they swam upstream up to the first quay look there could exist behind the screen a room where even when the lamp is out and the curtains drawn even when the suitcase wasn’t closed everything seemed red everything calm construction of a four-dimensional tetrahedron by R. Courant – H. Robbins, What is Mathematics? Oxford University Press, 1941  . (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Nietzsche’s Rhetoric on the Grounds of Philology and HermeneuticsAdrian Del Caro"The philosopher believes the value of his philosophy lies in the whole, in the structure: posterity finds it in the stone with which he built."Human, All Too Human, 1.201"All science only achieved continuity and constancy when the art of correct reading, that is philology, reached its height."Human, All Too Human, 1.270The complexity of Nietzschean rhetoric demands first a basic (...) working definition of rhetoric. In the etymological sense of Greek rhe¯torike¯, the art of oratory, and extrapolated to include the art of communicating effectively through writing, Nietzsche's rhetoric is a highly stylized, deeply self-aware manner of expression designed to convey meaning and to appeal. In the more limited sense of my essay, Nietzschean rhetoric is furthermore a discourse whose communicative and appealing aspects are aimed at the earth for the purpose of grounding human beings. By "rhetoric" I do not mean the negative connotation associated with "insincere or grandiloquent language" (Webster's), though it is certainly the case that Nietzsche's rhetoric frequently takes flight and requires grounding. It is to be expected that a classical philologist by training, and both a teacher and a writer by profession, would have a close understanding and practiced application of rhetoric; the particular challenge in explicating Nietzsche's rhetoric lies in the task to which his rhetoric is put, as well as in the zeal with which he pursued his task. I am not primarily concerned with what Nietzsche had to say about rhetoric while lecturing at the University of Basle, though I agree that Gilman, Blair, and Parent are right to emphasize the importance of rhetoric for the interpretation of Nietzsche's writings and in its own right as a competitor with philosophy (1989, xii, xvi, xx), rather, I am concerned [End Page 101] with the practice of rhetoric that distinguishes Nietzsche's writings from the early 1870s until the so-called Wahnsinnszettel (postcards and letters of madness) written in early January 1889. I also agree with Moore, who analyzes the specifically biological and medical idiom of Nietzsche and concludes "that new light can be thrown on [Nietzsche's] thought by situating it within the historical context of nineteenth-century theories of evolution and degeneration" (Moore 2002, 1-2).1In an early aphorism entitled "Origin of faith" Nietzsche concluded: "Habituation of spiritual principles [Grundsätze] without grounds [Gründe] is called faith."2 I provide the German to demonstrate that whenever possible, Nietzsche drew on the Germanic Grund in his discussions of grounding, even though he was keenly aware of Greek and Latin alternatives and could have used them. So for example Nietzsche's translator (say Holling-dale) could have chosen to use English "grounds" for German Gründe, but chose instead to use "reasons," which is also correct though not exactly in the spirit of Nietzsche's etymological nuance.3 Grundsätze, literally "grounding propositions," given idiomatically as "principles," has no comparable etymology in English. What one becomes accustomed to or adopts as a habit based on faith versus grounds, cannot by definition be grounded, whether or not it is a principle. Based on this example, living with grounds or reasons is living with foundation, with base and support. Living without grounds is simply acquiring habits, living by faith, living groundlessly. A similar usage is involved in English "grounds for dismissal," whereby "grounds" equals "reasons." Even the words founded and unfounded preserve some of the strength of "grounded" and "ungrounded" as I use them. In German "unfounded" is unbegründet or grundlos, participle and adjective respectively, and Nietzsche availed himself whenever possible of German expressions based on ground.The aphorism immediately following "Origin of faith" relies even more on Grund, and its translation into English deserves close attention. "Aus den Folgen auf Grund und Ungrund zurückgeschlossen" becomes "Reasons judged a posteriori on the basis of consequences,"4 which I would render as "grounds and ungrounds retroactively concluded from consequences." Nietzsche uses Grund twice already in the title, and in the body of this "aphorism" of thirty lines a variation of Grund occurs six more times (Gründe, Gr... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The Realm of Mimesis in Plato: Orality, Writing, and the Ontology of the Image by Mariangela EspositoDoug Al-MainiESPOSITO, Mariangela. The Realm of Mimesis in Plato: Orality, Writing, and the Ontology of the Image. Boston: Brill, 2023. xiv + 173 pp. Cloth, $143.00This manuscript grew out of the author’s original interest in Platonic aesthetics, itself developing into a more particularized examination of Plato’s account of beauty. Plato’s interest in (...) the arts is famously bound up in a broad criticism of their imitative nature; the relation between the original and the imitation, or the eidos and the eidolon, is the core topic of this book. When this binary nature of mimesis is emphasized, it is difficult not to see the two poles as opposed to each other, and indeed there are several passages in the Platonic corpus that tell us directly to value the eidos over the eidolon. “The critique of the arts, in general terms, is based on the assumption that they produce multiple, false, sensorial images (eidola ) that are far removed from the truth, while the truth is a process through which multiplicities are gathered together into an intellectual unity (eidos).” While this duality shows up in the dialogues in numerous ways, Esposito seeks to show a method that transcends it, a method that depends on the experience of [End Page 347] beauty. Beauty is the entity that allows for a transition from the sensual to the intellectual, a point Plato makes in both the Symposium and the Phaedrus, and thereby supports the view that the binary pair of image and original are not so discrete as we might originally believe.Esposito’s analysis of the relation between image and original is made concrete through its application to writing and speech. The book is divided into an introduction, three chapters, and a conclusion that track the progress of our ascent to the eidos, with the first chapter devoted to Plato’s critique of writing, the second to the critique of speech, and the third to an analysis of how beauty facilitates going beyond their opposition. The main sources for the critique of writing are the Phaedrus and the Seventh Letter; Socrates in the Phaedrus explicitly declares writing to be an imitation of speech and the Seventh Letter supports this position. Esposito follows Derrida’s famous essay, Plato’s Pharmacy, stating, “In Derrida’s account of the Phaedrus, this is the main charge against the written word: first, it imitates the original, and then—its second crime—substitutes itself for the original.” The ability of the copy to substitute itself for the original shows a sensitivity on Derrida’s part to the kind of project that Esposito wants to engage in, and indeed a major theme of Derrida’s work was his use of the concept of the pharmakon as something that transgressed a boundary between seemingly discrete opposites; the term pharmakon could refer to either a poison or a cure. But Esposito claims that focusing on the opposition between speech and writing ensures that it will never be overcome, and so this criticism of writing (as an imitation) must be demoted in importance. Esposito therefore ultimately distances herself from Derrida and also spends time taking on the importance of the so-called Unwritten Doctrines, especially as outlined by the Tübingen School. The Tübingen School straightforwardly accepts the criticism of writing in comparison to speech and so develops a theory of unwritten doctrines that Plato would only transfer orally. Given her project of synthesizing the tension between writing and speech, it is unsurprising that Esposito would be hostile to the project of the Tübingen School, “which this work does not consider sustainable.”In the second chapter Esposito moves on to the critique of speech. Here the core of her analysis is given to the Sophist, which provides us with “the best ontological expression of the criticism of image making.” The wider criticism of the Sophist is centered on the observation that appearances are bound up with nonbeing itself; “the biggest challenge posed by the sophist and the main danger of the mimetic mechanism is revealed: both allow the pseudos... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Rhetoric 33.3 (2000) v-vii [Access article in PDF] On Feminizing the Philosophy of Rhetoric Molly Meijer Wertheimer When asked to define his editorial policies in choosing articles to publish in Philosophy and Rhetoric, Henry W. Johnstone Jr. disavowed following any strict editorial guidelines; instead, he gave two examples to show how selection worked as a process. In one case, he agreed to publish an "off the wall (...) article" by a distinguished classicist; in another, he accepted an unusually long article--a "behemoth"--by an eminent rhetorician. These examples demonstrate what was to me one of Henry's most unusual and endearing traits as an editor and scholar: he was willing always to go wherever the argument led. It was probably in this spirit that he agreed to publish a special issue on "Feminizing the Philosophy of Rhetoric." I want to thank him posthumously for that decision. As "guest editor" of the issue, I feel privileged to present four well-written essays and two reviews that lead the readers of Philosophy and Rhetoric to consider some philosophical issues that emerge when we overlap concepts of "gender," "culture," and "rhetoric."The essays in this issue explore tactics women have used to get their messages across to others who would not--even could not--entertain speech seriously if presented by a woman. In the first essay, "Unveiling Esther as a Pragmatic Radical Rhetoric," Susan Zaeske reads the Book of Esther as a rhetorical manual of exile and empowerment. She traces features of the narrative that were useful as a model of rhetorical behavior early on, as well as appropriations that were made throughout the Middle Ages, Antebellum South, and even in our own day. Her essay emphasizes the riskiness to the speaker that is often entailed by the act of speaking, especially when the listener is "all-powerful" (199); when "his decisions are based not on careful deliberation, but on who influences him the most, usually by prodding his sense of power and manliness" (200). In the narrative, the speaker, Queen Esther, is depicted as utterly thoughtful, careful, well planned and well timed. She seems very much in control of an "indirect" rhetoric. Says Zaeske, "[T]he book teaches that direct, resistant rhetoric is ineffective, even dangerous, while clever, indirect, noncon- frontational methods will succeed in gaining the desired end--power" (202). [End Page v] This is a "conciliatory strategy wise women are forced to use in the patriarchal world" (qtd. on p. 202). And this kind of strategy is contrasted to the defiant rhetoric of Vashti, the former queen, Esther's predecessor, who was banished for saying no to one of the king's commands. Silence and supplication, according to Zaeske, when adopted self-consciously as strategies, are effective with hostile, neanderthal-type auditors. They are "radical," at least in the sense that they are "extreme."Nan Johnson, in her essay "Reigning in the Court of Silence: Women and Rhetorical Space in Postbellum America," furthers discussion of women's rhetorical options. In Zaeske's essay, women assume positions of supplicants or petitioners, or they stand defiant in the face of an oppressive listener (the king). The former are idolized; the latter are demonized. Centuries later, in the fifty years following the Civil War, similar representations of women appeared in conduct literature. Johnson describes a media blitz of ideas and images in etiquette and other self-help manuals that sought to define rhetorical behaviors and actions appropriate for men and women. Some of the writings idolized the "quiet woman" of the home, who reigned silently as queen stitching together via indirection a rhetoric of nurturance that moved beyond the home only through the actions of husbands and sons. This kind of rhetoric was viewed as a natural consequence of femininity. Other writings demonized the woman who spoke from the public platform as a teacher, preacher, and advocate, and who needed a rhetorical education to do so effectively. Many writings highlighted the negative consequences of rhetorical experience to women (who risked their femininity and the love of their families) and to their families (who risked the true source of... (shrink)

At the present time, when we are experiencing one of the extraordinary conditions in which the basics of life are shaken, exceptional practices concerning the sources of the meaning of the world of life have become one of the urgent issues for the sociology of religion to consider. This study discusses the reactions of people to the effects of the COVID-19 pandemic on the regularity of social life in the early stages in the framework of Muslim religious groups. Since (...) the forms of social organization reveal reactions in their own specific forms, a research design that considers the differences were preferred. The provision that ‘man is social by nature,’ which is the indispensable principle of social sciences, has been the main feature of important issues to elaborate in the restrictions of today’s pandemic. Religious socialization, which is important for the inquiry, is a phenomenon that is desired to be carried out on a continuous basis. Its performative dimension draws attention to important elements that affect the formation and the social ontology of the group, such as consciousness and solidarity. While some religious groups insist on face-to-face interaction and rituals, some of them prefer to use effectively digital tools and channels. This differing approach has become a public issue, especially during the pandemic process. On the other hand, there is a discussion in the context of the digital world of new media tools and the travel possibilities of transportation technology. The theoretical basis of this study, which deals with the insistence of religious groups on face-to-face interaction and rituals is represented from the scope of Erving Goffman. His analyzes face-to-face communication and his comments emphasizing the ritualistic nature of daily life are operationalized through two basic case studies: the first case is the persistence and practice of Tablīghī Djamā‘at, in its annual meetings in the early days of the pandemic. The discussion started with the practice of the religious group in Delhi (Nizamuddin Markaz), since they did not cancel their annual meeting despite the diagnosis of the disease. The second case is based on the ritual insistence of pilgrims in visiting shrines in the Iranian city of Qom. The insistence of the Shiite Islamic understanding on ritual and pilgrimage and the solidarity built with the consciousness based on it is a well-known phenomenon. In the Covid-19 pandemic, the risk of contamination caused by the mobility of the pilgrims coming to the city of Qom from countries such as Pakistan was discussed, as well as the contact and social distance during the Hajj. Two cases were handled with a qualitative design including case analysis method and descriptive analysis technique. The main purpose and intended contribution of the article are to reveal the insistence of face-to-face interaction through the performative based on rituals as an analytical explanatory on the social level. Inferences based on the analysis of religious groups’ response to restrictions in times of emergency build the importance of the issue. Case information identified in the context of the case study shows that groups with traditional interaction forms insist on their own practice in the field of uncertainty and initiative. Unless necessity eliminates the initiative, the determination of this insistence of traditional religious groups is not only theological but also ontological confirmation. It is understood that the members of the group took the initiative to represent their reputation within the group and their extent to dedicate to the group. The fact that Tablīghī Djamā‘at, the largest group of the transnational Islamic da‘wa (call), did not give up on a method based on demographic mobility, has been a matter of discussion. The insistence of the group is because of the methods that require every ordinary believer to accept to convey the da‘wa as his primary duty. On the other hand, Shiism, which stands out with its traditional structure and ritual intensity in the Islamic world, insisted on the initiative process in the pilgrimage phenomenon, on which it attached special importance and built its solidarity and identity on this phenomenon. This insistence aims preserving the dynamics and social ontology of the religious group in the performance of the membership system. Essentially, the individual in the group insists on his position in face-to-face interaction because having a role in a group also means having a face. Thus, this insistence performance by religious groups should also be read as a reflection of self-technologies. In the final analysis, the insistence put forward should be considered essentially in relation to the insistence on the position in social ontology. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Manhandling of Maecenas:Senecan Abstractions of MasculinityMargaret GraverGaius Maecenas was many things: a magnet for wealth, a shrewd political player, a patron of exceptionally sophisticated taste, and to some, at least, a cherished friend. It is disconcerting, then, to see what a one–sided image of him appears in the philosopher Seneca. Although reasonably complete evidence was available, Seneca's account hardly gets beyond Maecenas' mannerisms of dress and deportment, "how (...) he walked, how prissy he was, how he sought the limelight, how he refused to conceal his faults."1 And even these traits are boiled down, in the last analysis, to a matter of prose style: "isn't his prose just as loose as his tunic was unbelted?"2The motive for this reductive treatment is well worth investigating. If Seneca passes too quickly over some aspects of Maecenas' character, it may be that his real object is not Maecenas himself but an abstract principle which Maecenas serves to illustrate. My aim here is to show that Seneca's literary thought does indeed become abstract in this way, and that the principle involved—essentially a point of hermeneutics—holds considerable interest both in literary studies and in moral philosophy. Speaking as a philosopher, Seneca uses Maecenas to explore from the negative side a conception of the ideal condition for the human psyche; speaking as both philosopher and critic, he comments as well on the means by which that condition is to be recognized from without. This ideal condition he calls by the name virtus, a word which retains its culturally determined associations with the male gender and norms of masculine behavior even while it invokes centuries of philosophical and especially Stoic thought on the ethical goal.3 The complexity of virtus can be traced also in his remarks on what he calls the "virile" style, and in other related metaphors extending well beyond those passages immediately concerned with Maecenas. The sometimes peculiar results can be seen as a by–product of the interaction between cultural mores of first–century Rome and serious philosophical thought on questions of character, action, and evaluation.The notion of a "virile" style does not, of course, originate with Seneca himself. Recent work by Gleason and Richlin in particular emphasizes the frequency with which terms borrowed from the realm of gender and sexuality are employed by rhetorical writers, as early as the Ad Herennium author and prominently in the works of Seneca the Elder.4 The younger Seneca differs from his predecessors, however, in that he consistently attaches gender language not to the deportment of speakers but to the style of written works.5 Terms which Cicero had applied primarily to the pitch and modulation of the voice or the grooming, stance, and gestures of the speaker (pronuntiatio), Seneca philosophus transfers confidently to discourse received exclusively by reading: passages from Maecenas' memoirs (Ep. 114.4–8) and Arruntius' histories (114.17–19), a book by his own interlocutor Lucilius (46.1–3), philosophical works of Epicurus and others (33.1–2), his own letters, and those of Lucilius (75.1, 115.1–2).This habit of imputing "virility" (or its absence) to writers, as opposed to speakers, requires Seneca to offer some further explanation of his thinking. For it is not at all clear that features of written style can be [End Page 608] reliably linked with personal characteristics of the author; in fact, there was at Rome a strong current of opinion which regarded this assumption as a particularly egregious fallacy.6 A theorist who insists upon it nonetheless must be either very misguided or very thoughtful. Seneca shows himself to be the latter sort of theorist in two ways: first, in specific passages of the 114th Epistle which attempt to justify the derogation of Maecenas through an unusually careful description of the role of the ingenium or literary talent; second, in a broad parallel between his stated views on propriety of style and his Stoic–derived position on probity of conduct. Given their manner of articulation, even his most derisive remarks on "effeminacy" commit Seneca to a positive notion of stylistic excellence which can be linked to a recognizably Chrysippan... (shrink)

In A Question of Time, Joel Pearl offers a new reading of the foundations of psychoanalytic thought, indicating the presence of an essential lacuna that has been integral to psychoanalysis since its inception. Pearl returns to the moment in which psychoanalysis was born, demonstrating how Freud had overlooked one of the most principal issues pertinent to his method: the question of time. The book shows that it is no coincidence that Freud had never methodically and thoroughly discussed (...) class='Hi'>time and that the metaphysical assumption of linear time lies at the very heart of Freudian psychoanalysis. Pearl¿s critical reading of Freud develops through an original dialogue that he creates with the philosophy of Martin Heidegger and, specifically, with the German philosopher¿s notion of temporality. Pearl traces the encounter between Freud and Heidegger by observing the common inspiration shaping their thinking: philosopher Franz Brentano, who taught both Freud and Edmund Husserl, Heidegger¿s mentor. The book travels down an alternate path, one overlooked by Freudian thought ¿ a path leading from Brentano, through Husserl and onto Heidegger¿s notion of time, which is founded on the ecstatic¿ interrelation of past, present and future. Dr. Joel Pearl specializes in phenomenology and psychoanalysis on which he has published several articles. He teaches philosophy at the Academic College of Communication, Rishon LeZion, Israel. In addition, Pearl is a dynamic psychotherapist and a member of The Tel-Aviv Institute for Contemporary Psychoanalysis. (shrink)

This new study challenges traditional ways of reading Plato by showing that his philosophy and political theory cannot be understood apart from a consideration of the literary or aesthetic features of his writing. More specifically, it shows how Plato’s well-known cosmological dialogues—the _Phaedrus, Timaeus, _and _Critias_—are structured using several books of the _Odyssey _as their shared source text. While there has recently been much scholarly discussion of the relation between poetry and philosophy in Plato’s dialogues, little of it addresses questions (...) central to thoroughgoing literary criticism. Planinc’s work is unique in that it shows the significance of Plato’s extensive refiguring of key episodes in the _Odyssey_ for an interpretation of his political philosophy. Plato’s cosmological dialogues are almost always discussed topically. The _Timaeus _is picked through for its theological or scientific doctrines; the _Critias _is reduced to its Atlantis story, or puzzled over because of its ostensible incompleteness; and the _Phaedrus_ is read for its parallels to modern understandings of erotics or rhetoric. The dialogues are not usually considered in relation to one another, and then only in the context of developmental schemes primarily concerned with distinguishing periods in Plato’s metaphysical doctrines. Planinc argues that the main literary features of the _Phaedrus,_ _Timaeus,_ and _Critias _are taken from books 6 to 9 of the _Odyssey,_ the largest part of the story of Odysseus’s stay with the Phaeacians, from the time he swims to shore and encounters Nausicaa to the time he reveals his identity and begins recounting his earlier travels after hearing Demodocus’s songs. By exploring the full range of the many charming and intriguing things the dialogues present in this literary context, he shows that they are a coherent, unified part of Plato’s corpus. _Plato through Homer_ takes a radically new approach to Plato’s texts that illuminates their literary and philosophic significance and highlights their enduring appeal. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Guibert of Tournai's Letter to Lady Isabelle:An Introduction and English TranslationLarry F. Field, Jacques Dalarun, Sean L. Field, and Guibert of TournaiIntroductionGuibert, from the noble family of As-Piès, was born near Tournai around 1200. From his hometown he traveled to Paris for his art degree, and completed the curriculum in theology there before entering the Franciscan Order around 1240. He may have participated in Louis IX's crusade of 1248, (...) but, if so, was surely back in Paris by 1254 at the latest, since he preached a cycle of sermons de dominicis et de sanctis to the university community before summer 1255.1 His regency as Franciscan master of theology at Paris was probably around 1259–1261,2 about the time he [End Page 31] completed his Eruditio regum et principum for Louis IX,3 and began his most substantial work, the Erudimentum doctrinae.4 Other significant treatises include his De pace et animi tranquillitate (ca. 1275)5 written for Marie de Dampierre, and the Collectio de scandalis ecclesiae, prepared for the Second Council of Lyon.6 Guibert died in Tournai on 7 October 1284.7Sometime around 1254, Guibert wrote a long letter of spiritual advice to Isabelle (1225–70), the sister of King Louis IX.8 Isabelle was herself a remarkable figure. She had rejected several proposals of marriage, including that with Conrad, the heir to Emperor Frederick II, in 1243, in spite of pressure from her family and Pope Innocent IV. But following a bout of serious illness at about that time,9 her family accepted her [End Page 32] decision to remain unwed. There is no evidence, however, that Isabelle ever pronounced a formal vow of virginity. Through the 1250s she simply remained at the Capetian court as a virgin princess with an increasing reputation for piety and indeed holiness, praised in lavish terms by Innocent IV in 1253 and Alexander IV in 1256.10 This piety took a distinctly Franciscan turn by 1254, when Pope Innocent IV granted her request for Franciscan confessors,11 which would ultimately result in her foundation of Longchamp, a house of Sorores minores just west of Paris, by 1260.12 Guibert's letter shows no awareness of such a project, indicating that it must have been written before spring 1255, by which time the land for Longchamp was being purchased on Isabelle's behalf.13 Guibert thus wrote at the moment when Isabelle was forming her first ties to the Franciscans, but well before her move to Longchamp, where she lived out the 1260s as resident lay patron (but never a nun).Guibert's Letter is really a short treatise of spiritual and moral advice, tailored to a celibate princess. It is organized around Psalm 44:14–15, All the glory of the king's daughter is within in golden fringes, clothed around with varieties. In a five-part structure, the king's daughter stands for a heavenly inheritance; glory within represents internal purity; gold indicates virginity; the fringes are a sign of humility; and clothed around with varieties points to honest comportment. The resulting "royal garment," however, is rather unequally woven together, with section one on the "heavenly inheritance" and the intertwined sections three and four on virginity and humility receiving by far the most space. In fact, section one forms a sort of treatise-within-a-treatise, organized as a ten-step ascent to the heavenly inheritance awaiting the daughter of the king. [End Page 33]The Letter to Lady Isabelle was first edited by Alphonse de Poorter in 1931, from a manuscript which contained only part of the text.14 The full text was brought into print by Sean Field in 2003,15 and translated into French by Jacques Dalarun in 2014.16 Yet in spite of these advances, the Letter has remained little noticed by scholars. Anne-Hélène Allirot offered several perceptive pages in 2010, stressing the way Guibert's treatment of hereditas implies that female members of the royal family might be particularly able to embody Capetian claims to holiness.17 That same year, in the only recent article dedicated specifically to this Letter, Rina Lahav... (shrink)

While there are studies of Grant's political philosophy and theology, there is no sustained study of his teaching, and specifically its inextricable relation to his political philosophy and theology. No study to date has drawn extensively on the collected works--including his talks to teachers and his D.Phil. thesis--or upon his biography, letters, and the considerable secondary literature, all of which are referenced here extensively.This is a synoptic text for prospective and practising teachers that shows the significance of the scholarship of (...) George Grant for teaching today. While there are studies of Grant's political philosophy and theology, there is no sustained study of his teaching, and specifically its relation to his political philosophy and theology. No study to date has drawn extensively on the collected works--including talks to teachers and his D.Phil. thesis at Oxford--or upon his biography, the collected letters, and the vast secondary literature, all of which I cite extensively in this comprehensive and original study of the teachings of George Grant. Aside from its synoptic status--it can serve a reference book for students of Grant as well as textbook for students of education--original features include 1) the characterization of Grant as Progressive Christian Platonist, the first term an acknowledgement of his imprinting as a child and of his (inadvertent) affinities with John Dewey, 2) the linking of his critiques of time, teaching, and technology into one critique: idolatry, 3) an extension of his preference for Eastern Christianity and its emphasis upon icons, associated also with his study of Simone Weil, from whose work I quote, 4) the extension of Grant's critique through the elaboration of a concept of attunement, and 5) the explication of one of Grant's keywords: eternity, juxtaposed with time (the subject of Chapter 3). My teaching of Grant emphasizes its timeliness, accenting his prescience, identifying several educational issues today--academic vocationalism, educational technology, privatization of schooling, the ascendency of research over teaching--that Grant identified and critiqued fifty years ago. Grant's prescience is also demonstrated by his concerns over the fate of what he termed particularity within Canada and globally, worried that economic globalization will erase distinctive national histories and cultures. Replacing these would be a world state, universal and homogeneous, representing the worst tyranny humanity has known. Current issues of right-wing populism--notably in the U.K. and the U.S.--Grant foresaw as reactions against these historical tendencies. I conclude with a long epilogue wherein I review the main points and show Grant's profound pertinence for students today. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The Making of Roman India by Grant ParkerJoseph L. RifeGrant Parker. The Making of Roman India. Greek Culture in the Roman World. Cambridge: Cambridge University Press, 2008. xv + 357 pp. 11 black-and-white figs. 3 maps. Cloth, $99.India as a strange land—vast, wild, mystical—has long excited the western imagination, even after the British colonial downfall. This vision of danger and desire has deep roots. While India was nearly (...) out of reach of those great ancient empire-builders, the Macedonians and the Romans, on the distant fringe of the Mediterranean sphere of contact and commerce, it was very much on their minds. [End Page 672] Grant Parker’s The Making of Roman India, like the India of fantasy, is sprawling and full of wisdom, if somewhat untidy. Rather than attempting to reconstruct the historical travels and concrete relations between Rome and South Asia, Parker examines the development of a literary discourse during the Empire, a collection of responses to and representations of that faraway place that were “conceived in terms of power relations in Roman society” (5–7). The scale of the inquiry is breathtaking, encompassing an array of texts in various genres from the Achaemenid background to the Christian reception and beyond, as it were, from Darius I to St. Thomas.Parker’s book, which grew from his Princeton dissertation through a Michigan fellowship and an early career at Duke, marks the culmination of a series of publications that include his co-edited volume, Ancient India in its Wider World (with Carla Sinopoli [Ann Arbor, Mich. 2008]), and several notable articles (e.g., Journal of the Economic and Social History of the Orient 45.1 [2002]: 40–95; Ars Orientalis 34 [2007]: 19–37; Journal of Medieval and Early Modern Studies 37 [2007]: 1–7). This ongoing project has established Parker as an important scholar of the classical tradition, cultural criticism, and travel literature. In his preface, Parker comments on the personal impact of Momigliano’s Alien Wisdom and dutifully notes the broad influence of Saïd’s Orientalism, while cautioning against the transposition of postcolonial theory to a preindustrial setting (8). He belongs to an energetic generation of classicists who are drawing a new picture of how the Greeks and Romans envisioned the East in literature and art. The Making of Roman India shares common ground with other recent studies of the dynamic construction of identity, and how one culture defines another under its own conditions, such as those by Phiroze Vasunia and Ian Moyer on Egypt (The Gift of the Nile [Berkeley 2001] and Egypt and the Limits of Hellenism [Cambridge 2011]) and by Nathanael Andrade on Syria (Syrian Identity in the Greco-Roman World [Cambridge 2013]). Parker has a distinct advantage because India, unlike Egypt or Syria, was an uncharted region of little historical consequence which intellectuals could shape and re-shape in line with their evolving interests. His study stands out for its remarkable blend of erudition, philological rigor, and creative insight.The book unfolds as an exploration of Indography through time. Part 1 (11–65) covers the Greek tradition up to the first century b.c.e. in four stages: Greek historiography out of Asia Minor during the Late Archaic to Late Classical periods; the explosion of knowledge emanating from Alexander’s campaign in 327–325 b.c.e.; the diplomatic activities of the Hellenistic kingdoms (particularly Megasthenes chez Chandragupta); and geographical thought. Parker’s handling of disparate, often challenging, sources is always accurate and incisive. His concluding remarks to individual sections can be less than startling: Hecataeus situated India in an ordered, pre-cartographic model of the world (20–21); Ctesias’ taste for marvels set him up for indictments of mendacity (30–33); Eratosthenes tied the subcontinent into his geodetic calculus (52–53). But the readings serve as reliable introductions to many texts that remain hard to access, and here the whole is more than the sum. Parker’s sweeping juxtaposition of a chain of thinkers effectively [End Page 673] reveals how they defined India as a finite structure for physical measurement, a problem for veridical historiography, and a prodigiously fecund environment for scientific... (shrink)

The problem of evil is the problem of reconciling the world's afflictions with the fundamental attributes and justice of God. Throughout their lives people encounter painful events originating from nature and other individuals. Furthermore, it is believed that God created everything, particularly in divine religions. Scholars and thinkers have debated for centuries why an omniscient, omnipotent, just, and compassionate God would create evil. The problem of evil is sometimes employed by atheists as evidence against religion, and at times as philosophical (...) proof for the absence of God. Nowadays, it exerts a profound impact on people's beliefs within social media platforms. This article aims to address doubts and objections surrounding the problem of evil. Numerous studies have been conducted on this current issue. The subject, which is basically examined as natural and moral evil in the philosophy of religion, has been examined under the titles such as justice and cruelty, goodness and evil, will and power in classical theology. In this study, the subject is examined in terms of the relationship between the subject of evil and its object, and attention is drawn to the role of man in the formation of evil. In this context, a general overview of the problem of evil is presented in the introduction. The second section delves into how the problem of evil is approached in philosophical and theological traditions, specifically examining the viewpoints of classical kalam schools. In the later parts of the study, the subject has been tried to be reinterpreted under different titles. Within this framework, it is suggested that some doubts and questions about the problem of evil arise from a lack of understanding of religion, while others stem from interpretations perceived as religious within the tradition. To propose a solution to the problem, the concept of God, known for its power and authority in classical times, should be reevaluated. In the context of Islam, God should be considered as an entity possessing complete knowledge, absolute will and power, and creating the universe for goodness, possesses justice and mercy and bestows numerous blessings upon humanity. This perspective finds ample support in the verses of the Qur'an. The problem of evil sometimes emerges from misconceiving the relationship between God and nature as equivalent to a God-human relationship. However, God designed the universe's order to support the emergence of life in nature and make it conducive to the lives of all living beings, particularly humans. Natural phenomena and events unfold by the laws set by Allah. Evils such as diseases, fires, earthquakes, floods, storms, volcanic eruptions, rain, and lightning are not events directly orchestrated by God to harm humans. The harm they cause is primarily a result of humans' negative interactions with nature. Precautions can mitigate these harms. Yet, humans who pollute air, water, and forests and build poorly located structures hastily attribute the resulting evils to God. A careful examination of the numerous blessings in nature underscores that the universe was created by God as a benevolent order. God created humanity to undergo tests within such a world, aiming for human happiness in both this world and the hereafter. Thus, the entirety of God's will be goodness. Evil, conversely, arises from humanity's exercise of free will and the potential to commit malevolent acts. Consequently, evil stems from human interactions with nature and fellow beings. Destiny is another frequently misconstrued aspect. It refers to the natural and moral laws established by Almighty Allah to govern the order of nature and human existence. Destiny presents a realm of possibilities and does not coerce anyone's actions. To address the problem of evil, the portrayal of God, whose sole intent is good, must be reconstructed. Additionally, concepts like testing, fate, death, and sustenance need to be reinterpreted in alignment with this conception. Furthermore, methods that facilitate the acquisition of accurate religious information through social media should be developed to suit contemporary requirements. (shrink)

In the 7th century, when Islam emerged, the Arabian peninsula was under the influence of the Sassanid empire, one of the two great world powers, culturally as well as economically/politically. Like the Sasanian/Zoroastrian belief system, the Arabs of the Ignorance period had a dualist cosmology in essence. In the world of the Arabs of Ignorance, who think of man as a being between "good" and "evil" forces, it is believed that evil forces such as "jinn and devils" can have an (...) effect on people, as well as Allah. In the period of ignorance, which is generally accepted to be understood through "idol worship", idols actually function as a form for the embodiment of these metaphysical powers. Therefore, idols themselves are not gods; Just like the manifestation of the human spirit in the body, they are worshiped because they enable metaphysical entities to "take on flesh and bones", that is, to occupy a place in the visible realm. However, in accordance with the dualist belief, the polytheists place idols around the Kaaba in the center of the city so that the angels can be incarnated, they also place idols in the wild and desolate places and build temples and altars for demonic forces. According to Ibn al-Kalbī, for example, the idol of al-ʻUzzā is a female devil and its altar is located in the Batn al-Nahle valley, 45 km northeast of Mecca. As a result, the main characteristic feature of the cosmology of the Age of Ignorance is the belief that evil metaphysical beings can affect human life as well as benevolent forces. What happens to human beings caught between these two metaphysical powers is also explained by the concept of "Dahr", which means time, which occurs as a result of the synthesis of the conflict between the two. Islam flatly denies the ability of a power other than Allah to have such an effect on existence in the universe. Polytheism, which Islam qualifies and condemns as "shirk", is essentially this dualism. In the Qurʾān, this is emphasized as " Take not (for worship) two gods: for He is just One Allah." (an-Naḥl, 16/51.). By making only the will of Allah valid in the universe, Islam also unifies the order in the physical world and the mind. Thus, an important step has been taken towards rational thinking in the universe where the rule of a single mind is valid. Even in the Qurʾān, it is emphasized that the Prophet was a "human" like other people, did not have any supernatural abilities, and did not know the "unseen", that is, events beyond what time or material means allowed. As a matter of fact, since the Prophet did not have any superhuman claims, the polytheists accuse him of "ordinariness" and claim that what he tells is only the "word of man". However, Islam does not stay here either, it declares the end of prophethood with Muhammad. According to this, it will not be possible for Allah to address another person after Muhammad as the carrier of a divine message that must be socially obeyed. From now on, human beings will walk the rest of the way on their own in a world where a single rational, consistent mind is valid. Of course, in this journey, the light of the Qur'an, the last revelation, and all the acquis of humanity up to that time will be benefited, but the guidance of a living prophet will no longer be in question. This situation, which is described as the "sealing of the prophethood" in the classical literature, represents a new stage for human beings in terms of the history of thought. However, all this rationalization fails when the parties to the conflict in the history of Islam after the death of the Prophet tend to justify their political positions with occultist arguments. Especially in the Umayyad period, political legitimacy is based on metaphysical claims rather than being taken from the society itself. According to classical sources, the expression "the shadow of God on earth" is used for the first time for Muʿāwiya. With the same method, it is possible to provide theological explanations for tragic events such as the events in Karbala. This situation leads to the reproduction of the dialectical relationship between good and evil forces, which were known in the Ignorance period and revealed the concept of Dahr, this time by attributing "evil" (shar) to Allah. Objections to all these interpretations also form the basis of the first debates about the essence of God in Islamic thought. (shrink)

According to Descartes, the use of free will is a key way to avoid the errors that arise from the will's attempts to outrun the intellect. The main cause of errors is the combination of infinite will and limited intelligence in man. This combination allows a person to avoid defining the error as an accident and, at the same time, attributing to it the "evil intentions" of God. The author emphasizes that Descartes considers error not only as an epistemological (...) phenomenon, but also as an ontological reality rooted in man. This approach leads to the recognition of error as the basis for distinguishing man as a unique existence that interacts with God and being through a specific relationship to error. (shrink)

One of the theological disagreements in Christianity is the legitimacy of infant baptism. It was not discussed in the early period of Christianity. Nevertheless, it is one of the problems that have been debated especially since the post-reform period. Debates about infant baptism create differences in Christianity. Churches accepting infant baptism, espe¬cially the Catholic Church, acknowledge it as a tradition that has been practiced for thou¬sands of years. According to them, children were baptized by Jesus and the Church Fathers kept (...) doing this ritual. However, most of the Protestant Churches, like Anabaptists, criticize infant baptism as it does not happen based on free will. They claim that such people should get baptized again. According to them, Jesus did not baptize infants and the biblical texts, which are shown as a source of infant baptism, indicate that either Jesus blessed babies or baptized adults. Therefore, theological debates about infant baptism have continued in Christianity. The article discusses the historical process of infant baptism and the arguments presented by different groups about this discussion. The main framework of the article is the discussions between groups about biblical texts and religious identification, especially the post-reform period. Infant baptism is an important issue because it includes modern discussions about differences among churches, Bible interpretation, will, and mind. Since there is no specific study on infant baptism in our country, we can say that the article will contribute to the studies of the history of religions.Summary: The sacrament is one of the controversial topics among Christian churches. It has been discussed structure of the sacraments as well as the legitimacy of these practices throughout the history. Infant baptism is another example over legitimacy debate about the sacraments. Infant baptism is a key topic because it involves fundamental doctrines like salvation, faith, and original sin and conflicts among churches.This study addresses the historical process of infant baptism and the arguments presented by different groups regarding the debates of its legitimacy. It aims to shed light on one of the current debates of various groups in the post-reform period, especially among the Protestants. Initially, we discuss the value of baptism in Christian theology, then the histori¬cal process of infant baptism, and finally the arguments of groups that accept and do not accept infant baptism. Although there are various studies about baptism in our country, there is no specific study assessing infant baptism. Therefore, we think that this paper will augment the existing literature in the field.Baptism is the most meaningful sacrament in Christianity as it is an indicator of being a Christian and the first step of the way to salvation for Christians. It is also a unifying sacra¬ment because it is accepted by the Roman Catholic, Eastern Orthodox, and Protestant Churches. Catholics and Orthodox Churches agree on the seven sacraments (baptism, con¬firmation, Eucharist, penance, anointing of the sick, marriage, and holy orders) with a few exceptions. However, since the Protestants adopt an understanding of religion based upon the Bible, they only accept the baptism and Eucharist mentioned in the Bible as a sacrament. Although the Protestants agree on baptism, they have opposing views about infant baptism. The only source between the Protestant Churches about infant baptism is the Bible. These groups accept only Biblical texts as a legitimate source, not the Church fathers. However, the debate on whether the references in the Bible refer to the baptism of babies or the baptism of adults has reached to today. Since adults were baptized during the spread of Christianity, there was no significant debate about infant baptism in the early period. Generally, Church Fathers did not state infant bap¬tism as a systematic sacrament, but rather as a spiritual blessing. Therefore, baptism was accepted as a ritual that involves the infant, adult, and patient baptism in Christian litera¬ture. However, with the emergence of some heretic groups against infant baptism, the meaning of infant baptism and adult baptism has been used differently by Christians. As a result of the first discussions between heretic groups and the Church Fathers, some defense attempts of infant baptism have started in the Christian world. On the one hand, theologians struggled against those who are against infant baptism; on the other hand, the Church de¬cided to support infant baptism in councils. It was accepted that babies should be baptized even if they cannot speak during the sacrament and cannot answer questions about faith. It became widespread after Christianity was accepted as an official religion by Rome, and it was officially accepted by the Catholic church in the 13th century. Infant baptism discus¬sions have increased again after the Reform. While Catholic, Orthodox, Anglican, Lutheran, Methodist, Presbyterian, and Congressional churches accept infant baptism; groups such as Baptists, Pentecostalists, Anabaptists, Seventh-Day Adventists, Jehovah's Witnesses, and Last-Day Saints are against infant baptism.According to churches practicing infant baptism, babies should be baptized as soon as pos¬sible for God's divine grace and salvation. However, the churches that oppose infant baptism claim that this is a meaningless reason. According to them, baptism was only performed at Easter and Pentecost in the early period and even a candidate who wanted to be Christian was tested for a length of time. This practice reveals the connection of baptism with wisdom and faith. They claim that baptism is a meaningful and dogmatic action, not an ordinary practiceç Therefore, infant baptism, which is not based on reason, weakens faith. These churches point out that this ritual is deceptive, and it will lose children's faith over time since it is not supported by faith. They also criticize the idea that this baptism will make the person a member of the public. In this regard, they emphasize that members of the current society no longer live in villages and do not consist of groups recognizing each other. Thereby, It is clear that the membership of the current society has lost its sociological meaning in the modern society.Criticisms of these churches refusing infant baptismhave become more noteworthy in the recent period by the contributions of authors, Karl Barth (b. 1966) and Emil Brunner (d. 1966). All these criticisms focus on the fact that infant baptism is not based on the essential references of religion, but rather on the practices of church fathers. Therefore, they argue that families, who believe but not investigate, baptized babies only for the tradition. In other words, people care about society, not religious beliefs, but according to these groups, this is meaningless anxiety. These discussions reveal infant baptism is not only theological debate, but also socio-cultural.In our opinion, most of the references in the texts shown as evidence for infant baptism point to the inseparable bond between God and children, like in the Old Testament. We think that claim of these groups that faith requires a level of consciousness is a consistent criticism. In this context, it can be stated that the criticisms of the infant baptism in the post-reform period are effective and that groups who believe in this baptism could not respond to these criticisms through sacred texts and rational proofs. (shrink)

Kerstin Thomas revaluates the famous dispute between Martin Heidegger, Meyer Schapiro, and Jacques Derrida, concerning a painting of shoes by Vincent Van Gogh. The starting point for this dispute was the description and analysis of things and artworks developed in his essay, “The Origin of the Work of Art”. In discussing Heidegger’s account, the art historian Meyer Schapiro’s main point of critique concerned Heidegger’s claim that the artwork reveals the truth of equipment in depicting shoes of a peasant woman and (...) thereby showing her world. Schapiro sees a striking paradox in Heidegger’s claim for truth, based on a specific object in a specific artwork while at the same time following a rather metaphysical idea of the artwork. Kerstin Thomas proposes an interpretation, which exceeds the common confrontation of philosophy versus art history by focussing on the respective notion of facticity at stake in the theoretical accounts of both thinkers. Schapiro accuses Heidegger of a lack of concreteness, which he sees as the basis for every truth claim on objects. Thomas understands Schapiro’s objections as motivated by this demand for a facticity, which not only includes the work of art, but also investigator in his concrete historical perspective. Truth claims under such conditions of facticity are always relative to historical knowledge, and open to critical intervention and therefore necessarily contingent. Following Thomas, Schapiro’s critique shows that despite his intention of giving the work of art back its autonomy, Heidegger could be accused of achieving quite the opposite: through the abstraction of the concrete, the factual, and the given to the type, he actually sets the self and the realm of knowledge of the creator as absolute and not the object of his knowledge. Instead, she argues for a revaluation of Schapiro’s position with recognition of the arbitrariness of the artwork, by introducing the notion of factuality as formulated by Quentin Meillassoux. Understood as exchange between artist and object in its concrete material quality as well as with the beholder, the truth of painting could only be shown as radically contingent. Thomas argues that the critical intervention of Derrida who discusses both positions anew is exactly motivated by a recognition of the contingent character of object, artwork and interpretation. His deconstructive analysis can be understood as recognition of the dynamic character of things and hence this could be shown with Meillassoux to be exactly its character of facticity – or factuality. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:'You Belong Outside':Advertising, Nature, and the SUVShane Gunster (bio)And which driver is not tempted, merely by the power of his engine, to wipe out the vermin of the street, pedestrians, children and cyclists?—Theodor Adorno, Minima MoraliaImages of nature are among the most common signifiers of utopia in commercial discourse, tirelessly making the case that a certain commodity or brand will enable an escape from the malaise and drudgery of (...) urban existence. The invocation of natural themes has been especially prominent in the marketing and promotion of sport utility vehicles over the past decade. Speeding through deserts and jungles, fording raging rivers, and even scaling the heights of Mt. Everest, the SUV is routinely depicted in the most spectacular and remote natural locations. These fanciful themes now attract the scorn of many who draw upon them to underscore the rather glaring contradictions between how these vehicles are marketed and how they are actually used: the irony of using pristine images of a hyper-pure nature to motivate the use of a product that consumes excessive amounts of natural resources and emits high levels of pollutants lies at the core of the growing public backlash against the SUV. While generally sympathetic to this critical perspective, I argue that we need to think through the role of nature in constructing the promotional field of these vehicles in a more [End Page 4] rigorous fashion than is often the case. Otherwise, we risk failing to fully understand the complexity of the SUV's appeal; even worse, simplistic criticism can have the perverse effect of reinforcing the ideological conceptions of nature that constitute a cornerstone of that appeal. Through an examination of recent print and television advertising campaigns, I develop an alternative account of the significance of natural imagery based upon the dialectical relation between nature and society that dominates the SUV's promotional field.1 Instead of reifying the conceptual distance that divides these two categories, we must look to how they flow into and define each other, often blending together into a dense cluster of associations in which the images of one connote and invoke ideas of the other.Welcome to the (not So) Great Outdoors: The Many Faces of NatureSince the emergence of the automobile as a commodity in the early twentieth century, natural themes and imagery have been used to attach a utopian flavor to movement through space. From the 1920s onward, car advertising has often invoked the fantasy of leaving behind the constraints of a crowded, mundane, and polluted urban environment for the wide open spaces offered by nature. In words that have guided advertisers (and urban planners) ever since, Henry Ford once quipped, "we shall solve the city problem by leaving the city."2 Charting the evolution of automotive promotional discourse, Andrew Wernick argues that the reliance upon natural imagery intensified in the 1970s and 1980s as people grew disenchanted with technology (and its militaristic overtones) and expressed concerns over growing traffic congestion, energy consumption, and road construction. Among the easiest tactics for advertisers wishing to deflect the negative associations invoked by the car was, and remains, an image-based rearticulation of cars with nature.3 Invoking nature as the endpoint of vehicular travel affirms one of automobility's most precious and fiercely guarded illusions, namely, that spatial mobility offers access to places, experiences, and events that are fundamentally different from everyday life, that one can escape to somewhere other than where one is now. Furthermore, as Martin Green explains, the use of nature to frame flight to the countryside summons up a powerful nostalgia for the simpler times and lives connoted by idealized scenes of rural life.4Nevertheless, SUV marketing takes the appropriation of natural themes and imagery to new 'heights,' with epic campaigns that place vehicles atop [End Page 5] mountain peaks, in the midst of dense forests, or racing across vast deserts. Leading the way in this appropriation of nature has been the Ford Motor Company. Although its market share has suffered recently, Ford spearheaded the promotion of the SUV in the 1990s with the Explorer which quickly became the best selling family vehicle of the decade, producing immense... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Buddhist-Christian Studies 20 (2000) 54-59 [Access article in PDF] Buddhist Views on Ritual Pactice Mahayana Buddhist Ritual and Ethical Activity in the World John MakranskyBoston College Society of Buddhist Christian Studies Meeting, Orlando, Florida, November 20, 1998 Contemporary attempts to derive a present-day social ethic from traditional Buddhism usually stem from doctrinal understandings and higher practices of meditation, often overlooking Buddhist ritual practice as a source of ethical formation (...) and expression.Philosophical study of Buddhism alone may leave one's capacity for ethical response untouched. Rigorous contemplative practices of Vipassana, Zen, or higher Tibetan meditation are out of the reach of many. Ritual forms have provided ways for Buddhists from all walks of life to become attuned to the same subtle dimensions of body, speech, and mind that higher Buddhist philosophy and meditation engage. Ritual also serves as means to empower and deepen philosophical inquiry and meditation. We do well not to forget the unique power of Buddhist ritual to include the many (not only the elite) in the most profound dimensions of Buddhist ethical understanding, formation, and expression.The relative obscurity of ritual practice in contemporary consideration of Buddhist social ethics may also obscure from view some of Buddhism's past social-ethical expressions, which have sometimes taken symbolic ritual forms, rather than organized social outreach of the sort we are accustomed to identify as social-ethical activity. Buddhist ritual-contemplative forms have been viewed as ways to perform social service within and through the mythico-magical cosmoses of Asian traditions: cosmoses of buddhas, bodhisattvas, and myriad powerful, sacred beings. Since Asian Buddhists understand these cosmoses to interpenetrate our world, many of their ritual-contemplative practices are intended to perform needed social functions, within a broad context of universal salvation: healing, treating pain, treating mental illness, promoting economic well-being, preventing and assisting in disasters, protecting the helpless, easing the transition of death....Contemporary Buddhist ethics tend to de-emphasize the ritualistic and devotional aspects of Buddhism to newly emphasize material resources and strategies for social transformation which can be related to higher Buddhist philosophy. While this is important, there is a danger that contemporary Buddhists, by reinterpreting practice as social service too exclusively in modern, material terms, may dilute rather than reinforce the ontological and epistemological intuitions of Buddhism, losing touch with time-tested means for persons to actually learn to embody an ultimate source of ethical response that transcends ontological assumptions of modern, secular thought. [End Page 54] By experiencing social service as a natural extension of ritual activity, each element of such service symbolically expresses an ultimate source of ethical response within a path of ultimate transformation, reinforcing rather than diluting the deepest intuitions of Buddhism even as Buddhist practice takes new social-ethical expression in our world.As an example, I will focus on one of the earliest and most popular continually practiced Buddhist rituals of Indo-Tibetan Buddhism: the Bhadracaryapranidhana ("resolution of excellent practice") which appears within the Avatamsaka sutra. This practice, further delineated in treatises ascribed to Nagarjuna, Asan(dot)ga, Vasubandhu, S´antideva and many others, consists of seven ritual activities: bowing, offering, confession, ritual rejoicing, requesting teaching, entreating the buddhas to continually manifest, and dedication of karmic merit.The ritual appears at the end of the Avatamsaka sutra, a scripture thousands of folios long in Tibetan translation. What follows is my own condensed commentary on the first portion of the ritual, which aims to correlate its elements with the fuller context of practice and visionary experience described in the sutra as a whole.The ritual takes place set within the nirvanic realms of infinite buddhas, bodhisattvas, and holy beings whose salvific power and activity penetrate all realms of living beings who remain caught in the sufferings of sam.sara. To enter into the ritual is not merely to visualize these intersecting dimensions of nirvanic and samsaric existence, but to have one's body, speech, and mind symbolically entered into the stream of practice of all buddhas and bodhisattvas past, present, and future, to participate through all senses and movements of thought... (shrink)

In the present article, the work of contemporary English writer and screenwriter Neil Gaiman is studied from the point of view of artistic and philosophical reinterpretation of the principles of surrealism. His novels ‘Neverwhere‘, ‘Coraline‘ and the script for the film ‘Mirror mask‘are analysed, in which the interpenetration of the real and unreal world can be traced and the planes of reality and dreams are woven into one inseparable whole. It is emphasized that for the creative style of Neil (...) Gaiman game with space and time is typical: climbing the stairs out of the sewer, you can find yourself on a roof, away from home, you can go back to his door, looking through a window in the world of dream, you can see yourself sleeping. Therefore, the writer often uses the theme of dream, program for the philosophy of surrealism: the characters have dreams that are either echoes of the past or images of predicted future, reflection of dreams or the dream itself turns into a full-fledged reality that is being created by sleeping character. However, it can be noted that the approach of the writer to value of phantasmagoric worlds is changing. If in the novel ‘Neverwhere‘ the world of London below is conceptualized as an alternative to the real world, in the novel ‘Coraline‘, and especially in the movie ‘Mirror mask‘ filmed in 2005, staying in a different world helps heroes to understand the real world better and to seek that fills it with meaning. (shrink)

Survivors of trauma commonly report feeling as though a part of themselves has died. This article provides a theoretical interpretation of this phenomenon, drawing on Waldenfels' notion of the split self. We argue that trauma gives rise to an explicit tension between the lived and corporeal body which is so profoundly distressing that it can be experienced by survivors as the death of part of oneself. We explore the ways in which this is manifest in the posttraumatic phenomena of dissociation; (...) indescribability; and the fragmentation and repetition of time. Acknowledging that the traumatic loss of part of oneself involves significant grief, we then consider whether the bereavement literature might be helpfully applied. We focus specifically upon the continuing bonds model, which emphasizes an ongoing and meaningful relationship with the deceased through an active process of memorializing. In considering how this might be appropriated to the death of the self in trauma, we suggest that the development of an intrapersonal relationship between parts lost and living might, over time, offer a unique way in which to adapt to loss and approach the future. (shrink)

Wallace became a full-time naturalist in 1848, the year when he and Bates set out on their journey to South America. Wallace was twenty-five at the time and over half of his life had been spent in various parts of Wales, the land of his birth. Commentators have tended to gloss over or ignore any formative influences from this early period of his life or even to dismiss them as non-existent. This is surprising as it was during the (...) eight or so years in Wales leading up to 1848 that Wallace's interest in natural history emerged. ‘The importance of this early period in Wallace's life can scarcely be over-emphasized’ wrote Durant in his account of the development of the Wallace personality, but he omitted any specific reference to the significance of the early period in Wales. Those seeking a simple unitary cause for Wallace's conversion to natural history usually locate this in his visit to Leicester in 1844 and his meeting there with H. W. Bates. ‘The odyssey began … in 1844, in Leicester’ wrote Brooks, adding that ‘the more remote parts of … southern Wales had offered little reading material…’ This, and similar claims, are presumably founded primarily on Wallace's belief—expressed sixty years later—that it was at Leicester that he first familiarized himself with Malthus'Essay on the Principles of Populationand Humboldt'sPersonal Narrative of Travels in South America.There is, however, evidence that Wallace was probably familiar with at least one of these books some time before his visit to Leicester and that it was during his period in southern Wales that his interest in natural history emerged and developed. (shrink)

Brindley proposed that we initially generate movements , under higher cerebral control. As the movement is practiced, the cerebellum learns to link within itself the context in which the movement is made to the lower level movement generators. Marr and Albus proposed that the linkage is established by a special input from the inferior olive, which plays upon an input-output element within the cerebellum during the period of the learning. When the linkage is complete, the occurrence of the context (represented (...) by a certain input to the cerebellum) will trigger (through the cerebellum) the appropriate motor response. The movement is distinguished from the conscious movement by its now being automatic, rapid, and stereotyped. The idea is still controversial, but has been supported by a variety of animal studies and, as reviewed here, is consistent with the results of a number of human PET and ablation studies. I have added to the idea of context-response linkage what I think is another important variable: novel combinations of downstream elements. With regard to the motor system and the muscles, this could explain how varied combinations of muscles may become active in precise time-amplitude specifications so as to produce coordinated movements appropriate to specific contexts. In this target article, I have further extended this idea to the premotor parts of the brain and their role in cognition. These areas receive influences from the cerebellum; they are active both in planning movements that are to be executed and in thinking about movements that are not to be executed. From recent evidence, the cerebellar output extends even to what has been characterized as the ultimate frontal planning area, the cortex, area 46. The cerebellum thus may be involved in context-response linkage, and response combination even at these higher levels. The implication would be that, through practice, an experiential context would automatically evoke a certain mental action plan. The plan would be in the realm of thought, and could lead to execution. The specific cerebellar contribution would be one of the context linkage and the shaping of the response, through trial and error learning. The prefrontal and premotor areas could still plan without the help of the cerebellum, but not so automatically, rapidly, stereotypically, so precisely linked to context, or so free of error. Nor would their activities improve optimally with mental practice. (shrink)

The debates now in progress about the interactions of science and art compel one involuntarily to recall that such discussions have been held more than once and were, a long time ago, perhaps no less heated. It suffices to cite virtually at random certain statements of Pisarev, for example , for us to see, as in a cloudy mirror, both today's advocates of scientism and the romantics of art. Does this mean that all we need is to bear in (...) mind the wise words of the past in order to advance, as is believed by Iu. I. Kagarlitskii ? Obviously, that is not the case. The problem of the interactions of science and art is a philosophical one, not one of natural science; and the results achieved in debates of the past do not eliminate the questions of world view that constantly arise anew. Philosophy has no axioms such as exist in mathematics. It is therefore difficult to imagine that subsequent history has added nothing whatever to the understanding of past debates. Yet reference to these debates would appear to be essential today to clarify at least one of the factors of the problem we have posed. It might appear that this factor has been pointed to, but it has constantly been beclouded by the explanations of how science influences artists, and how art influences scientists who are at the same time artists, by references to the unity of the creative character of science and art, and so forth. In my opinion, it is essential, however, to emphasize that the very problematics of the interactions between science and art depend on the social and cultural environment within which they exist and are discussed. Turning to the past, we can see that science and art are not realms of activity handed down to humankind "since the creation of the world." They develop in the "body," if one may put it thus, of a specific socium, a specific culture. It would, of course, be absurd to conceive of any direct contact between science and art without the mediation of human beings, of society, of culture. Moreover, the debates themselves are determined by the level at which science and art are found within a given sociocultural space, by virtue of which analysis of these debates may provide data to the researcher for an understanding of the direction of social development. The RST influences all spheres of human activity, including the esthetic. Today, however, particularly in the West, there is a tendency to elevate the significance of the RST to an absolute, to explain many processes by its direct influence on social consciousness independently of the social conditions in which it occurs. Therefore, it would seem to be methodologically important for today's debates to demonstrate, on the basis of some concrete historical material, the connection between those shifts in social consciousness that sometimes explain the direct influence of progress in science and technology, on the one hand, and certain sociocultural conditions, on the other. (shrink)

In this book, the authors present current research in the study of Cosmic Passion for the Aesthetic. It engages arts from different tradition, showing their cultural contexts and discloses dimensions of awareness that transgress the characteristics of art works. This book delves into the deeper meaning of art, and shows how various cultures attempt to suppress other cultures and their arts, and how the suppressed reappear and reassert themselves in new contexts. It travels through different conceptions, speculations, definitions and (...) portrays how the aesthetic, the expressive, that is not identical with the characteristics of an art work, is what all art works attempt to capture. The aesthetic encompasses the passionate dimension which is not limited or reducible to anything -- it is cosmic. The latter is disclosed by the aesthetic passion that is most apparent in comparative studies of arts, above all through examining the art of India, the text visually captures the aesthetic, cosmic passion. In addition, it questions what is aesthetic value, judgements on art, the authors draw on how the depictions of the cosmic in art can assume a way of understanding specific interpretation of space, time and movement prior to any theological, mythical, theoretical or even scientific explanations and portray a flow of sensuous envelopment which resonates with cosmic passion. This book would interest not only artists, but students of cultures and comparative civilisations, and indeed for those who are interested in the ways that cosmic awareness has been and is being explicated in civilisations. (shrink)

PurposeWe explored two complex phenomena associated with effective education. First, teachers’ professional agency, the volitional actions they take in response to perceived opportunities, was examined to consider individual differences in its enactment. Second, “strong” emotions have been proposed as important in teaching and learning, and we wished to clarify which basic emotions might be involved, besides curiosity, which is a known emotional factor in engagement in teaching. We also explored how agency and basic emotions might be related.ApproachThirteen teachers working in (...) Scottish secondary schools were interviewed at the start of the covid pandemic in 2020 to discuss relevant feelings, thoughts and actions arising from unprecedented changes in their lives and professional practices. Thematic analysis was used to identify aspects of agentic behavior and basic emotions expressed.FindingsTeacher agency was expressed through adaptability, collective agency, constrained agency, and non-action. Four basic emotion percepts were identified, which we label as “CARE”, “CURIOSITY”, “COOPERATION”, and “CHALLENGE”.OriginalityWe extend the definition of agency to include volitional non-action as a response to opportunity. In contrast to prior research emphasizing emotions as an outcome of volitional behavior, we explore emotions preceding agency. We develop four theoretical propositions related to teacher emotions. Four emotion percepts substantially influence teachers’ voluntary motivated behavior. The amount and proportion of emotions experienced varies between individual teachers. The four percepts are experienced concurrently or in rapid succession in engaged teaching contexts. Professional experience and specific situational factors also influence teachers’ behavioral choices. For future consideration, we suggest that awareness of emotion percepts may encourage both teachers’ engagement and their professional agency for the benefit of their pedagogical practice and outcomes for their students. (shrink)

The time of the landscape is not the time when people started describing landscapes in poems or representing gardens in works of art: it is the time when the landscape imposed itself as a specific object of thought. This object of thought was constituted through quarrels about how gardens were to be arranged, through accounts of travels to solitary lakes and remote mountains, or through evocations of mythological or rustic paintings. Jacques Rancière retraces (...) these narratives and quarrels, showing how they gave rise to a form of sensibility capable of modifying the existing configuration of modes of perception and objects of thought. The time of the landscape is the time when both the harmony of arranged gardens and the disharmony of wild nature contributed to a revolution in the criteria of the beautiful and the meaning of the word ‘art’. It coincided with the birth of aesthetics, understood as a regime for the perception of and thinking about art, and also with the French Revolution, understood as a revolution in the very idea of what binds a human community. The time of the landscape was the time when the conjunction of these two upheavals brought into focus, however hazily, a common horizon: that of a revolution that no longer concerns only state laws or artistic norms, but the very forms of sensible experience. This brilliant and wide-ranging book will be of interest to students and scholars in philosophy, literature, the visual arts and the humanities generally, and it will appeal to anyone interested in critical theory and philosophy. (shrink)

This study introduces 'time-specific' analysis of economic processes. Economic processes are conventionally analysed from one point in time to another over a series of time units - days, weeks, or years. By contrast, these time-specific models focus on the temporal character of events within the unit time - their timing, duration, and sequence - utilizing the information that is lost in the macroscopic time perspective of standard economic theory. What time-specific (...) analysis reveals are economic and technological characteristics of goods and services - prices and cost behaviour and temporal mobility or immobility within the unit time - that affect capital productivity and its utilization, optimal schedules of production, work, and consumption, least-cost methods of producing time-shaped outputs, and efficient welfare-maximizing behavior in time-specific, including peak-load, markets. (shrink)

The aim of this article is to reveal with an overall approach, how the psycho-social background, starting from woman image in first periods and reach modern day, is embraced by outstanding theorists of modern psychology, and also how these collected works are reflected in their definitions of woman. If it is considered that woman has been discussed with reflections against and not from primary sources throughout history, it can be seen that the most essential roots of woman narrations can be (...) found in oral culture and the parts of written texts are made over symbol, metaphor, proposition and story. However myths (stories) that take place in oral and partly written culture about primitive man, are sacred tales, they will also present data regarding human image. Therefore with a limited effort of human being to understand the infinite, it can be understood what human being think, feel and how they interpret rather than gods/goddesses ontology. From this point of view, this article that consists of two parts, first of all will mention especially about perception of Goddess in those reflected to image of God, maintaining its efficiency in conscious or unconscious as a system of symbols intrinsic to human nature and cultural code background and then the woman image will be roughly discussed with a descriptive style over the world of mythology, psychology and faith. In the second part, it will be examined in detail how all the written and oral information about understanding woman by modern anthropologists are interpreted with the perspective of modern psychology specific to theorists such as Freud, Jung and Fromm. Eventually, it will be emphasized that past and future are integrated with information, experience and feelings with an active relationship; perception and approach of woman have stayed up to date in time continually; mythology, psychology and religion are important factors within this matter.Summary: Human being has also used historical, temporal and spatial attributions for God. Infinite human being has expressed their thoughts about the finite God by analogy. Despite the dominance of male gender in the images of God in these analogies which are the products of human experience, female Gods that is to say Goddesses are not few. The matter of how the image of goddess come to the fore in a distinctly male-dominant society is a noteworthy matter. The narration of Earth Mother over female symbol in myths in which the harmony is constantly secured within the inner and exterior world and mention about living in harmony with the universe is an important data in order to understand female characteristics attributed to God. Human being has also used historical, temporal and spatial attributions for God. Infinite human being has expressed their thoughts about the finite God by analogy.The woman subject is influenced by transferred life experience within the historical process, and it is an undeniable fact that ancient “woman perception” has reflections to the present day. Within the history of humanity, striking definitions about woman can be seen in sacred statements in symbol language. Therefore, it is proper to examine primarily the image of sacred and then examine female meaning that is charged on that image. The aim of this study can be summed up with two themes: a) try to understand the general framework of reflections of the present image of woman, style of narration and comprehension in psychological, sociological, and religious terms by getting help from myths which mention about ancient image of God, although there is centuries old difference between those stories and us, b) reveal the image of woman in Freud, Jung, and Fromm’s approach which establishes a bond between mythology that is a system of symbols special to human nature and human psychology and discuss this subject by using psychology of religion.When reviewed ancient Far East and Middle East myths and also Ancient Greek mythology, it can be seen that gods are not cloistered supernatural beings who do not have abstract personalities and also do not lead a wholly metaphysic life. The crucial issue here is; the reality that Gods and Goddesses are shown as a model to both man and woman. Psychologists who examine religion in terms of psychology state that first outcomes about the image of God come up not with behavior but with emotion. The attributions of gender, related to the emotion in question are cited during the transfer of those emotions as well. Therefore; philosophers, culture and religion historians, theologians, anthropologists, archaeologists, psychologists, and sociologists have contributed to this transfer when they discuss the cult of God or Goddess throughout the history. It is interesting that the usage of the term of God maintains while the usage of the term of Goddess decreases. Civilization historians claim that the appearance of divine religions particularly quickens the course of transition from goddess to god. According to them, during this period in which there is a transfer from polytheist image of God to monotheist image of God, the quantitative change in the perception of God comes with a qualitative change. According to Fromm, during this power gathering period, there has been a transfer from mother and feminine (woman) centered religion to father and masculine (man) centered religious experience/ God image. According to him, in the second stage of humanity development, “the children of Earth Mother turn into the children of divine father”, there is a transition from unconditional love of mother to authoritarian sympathy of father, from an image of supplemental and surrounding Goddess to authoritarian image of God who makes requests by his nature, lays down principles and laws, and supports the power and search for a successor to deliver the power.The perception of women who led to Prophet Adam deviated from the truth and expelled from heaven is spread around especially the regions of one-God religions. This has strengthened the idea that divine religions have a negative view towards women. Including Islam, the reason of all divine religions’ encountering with claims that they have a negative approach against woman stem from applying to that religions’ human resources rather than essential religious sources which are existing or lost earliest forms.Oedipus complex is an important thesis of Freud which explains the development of religion and morals; establish the base of his psychology, and in fact, important in terms of his making connection with difference of kinds and flow or non-flow of request and needs while explaining human behaviors. According to Freud who points to sexuality and aggression which are the most powerful two instinct in the biology of male or female; the first three or five years of a newly born human- this is the period in which the basic part of personality is formed- the definition of self is extremely influenced by his/her gender (in both biological and sociocultural terms). Freud who put forward father-son conflict in the struggle to survive between Zeus and his sons in Moses and Monotheism (1998c) and Totem and Taboo (1998a), makes an explanation about the origin of religion and humanity over two male characters. Jung pays attention to goddess image as much as the image of god and do not approach this situation only as a polytheism or sociocultural explanation or childish appearances of a primitive mind. He accepts goddesses as a reflection of archetypes in human. Male has a feminine side, female has a masculine side, and a unity occurs when both complete each other. According to Fromm, a taxonomy referring to woman and man is primarily a sociology-based approach rather than a biology-based one. Fromm (1995) thinks that the whole depiction shows individuals’ own desire and needs, that is to say, their psychology rather than a theology. Transition from mother (woman) centered religion to father (man) centered religious experience and God image is essentially one of the most important breaking/inversion points of human being, not humanity. As a result, it can be said that it is an important point to clearly understand the story of mankind to examine that intense freshness at hand and centeredness of quantitative and qualitative changes of divine or God image of ancient societies come down after psychological, sociological, religious, economic, political, and cultural changes. (shrink)

In a dynamic world, mechanisms allowing prediction of future situations can provide a selective advantage. We suggest that memory systems differ in the degree of flexibility they offer for anticipatory behavior and put forward a corresponding taxonomy of prospection. The adaptive advantage of any memory system can only lie in what it contributes for future survival. The most flexible is episodic memory, which we suggest is part of a more general faculty of mental time travel that allows us (...) not only to go back in time, but also to foresee, plan, and shape virtually any specific future event. We review comparative studies and find that, in spite of increased research in the area, there is as yet no convincing evidence for mental time travel in nonhuman animals. We submit that mental time travel is not an encapsulated cognitive system, but instead comprises several subsidiary mechanisms. A theater metaphor serves as an analogy for the kind of mechanisms required for effective mental time travel. We propose that future research should consider these mechanisms in addition to direct evidence of future-directed action. We maintain that the emergence of mental time travel in evolution was a crucial step towards our current success. (shrink)

There is a tension between the “growing block” account of time (closed past, open future) and the possibility of backwards time travel. If Tim the time traveler can someday travel backwards through time, then he has (in a certain sense) already been. He might discover this fact before (in another sense) he goes. Hence a dilemma: it seems that either Tim’s future is determined in an odd way or cases of (temporary) ontic indeterminate (...) identity are possible. Either Tim cannot avoid heading for the past or he is only indeterminately that guy who appeared in the past with many of Tim’s memories. Determinacy in the past implies a degree of determinism in the future; indeterminism about the future seeps back to the past. (shrink)

I propose that we can explain the contribution of mental time travel to agency through understanding it as a specific instance of our more general capacity for narrative understanding. Narrative understanding involves the experience of a pre-reflective and embodied sense of self, which co-emerges with our emotional involvement with a sequence of events. Narrative understanding of a sequence of events also requires a ‘recombinable system’, that is, the ability to combine parts to make myriad sequences. Mental (...) time travel shares these two characteristics: it involves an embodied sense of self and the ability to create novel scenarios. What is unique about mental time travel is that it is a story explicitly about our selves, and it involves metarepresentation. Agency is enabled by narrative understanding when we are able to put our current situation into a larger narrative context, whereby some possible actions, but not others, make sense. However, new features of agency are enabled when we understand stories that are explicitly about our selves: we gain the ability to plan and act on plans. (shrink)

The philosopher Rudolf Carnap, although not himself an originator of mathematical advances in logic, was much involved in the development of the subject. He was the most important and deepest philosopher of the Vienna Circle of logical positivists, or, to use the label Carnap later preferred, logical empiricists. It was Carnap who gave the most fully developed and sophisticated form to the linguistic doctrine of logical and mathematical truth: the view that the truths of mathematics and logic do not describe (...) some Platonistic realm, but rather are artifacts of the way we establish a language in which to speak of the factual, empirical world, fallouts of the representational capacity of language. Carnap was also the thinker who, after Russell, most emphasized the importance of modern logic, and the distinctive advances it enables in the foundations of mathematics, to contemporary philosophy. It was through Carnap's urgings, abetted by Hans Hahn, once Carnap arrived in Vienna as Privatdozent in philosophy in 1926, that the Vienna Circle began to take logic seriously and that positivist philosophy began to grapple with the question of how an account of mathematics compatible with empiricism can be given.A particular facet of Carnap's influence is not widely appreciated: it was Carnap who introduced Kurt Gödel to logic, in the serious sense. Although Gödel seems to have attended a course of Schlick's on philosophy of mathematics in 1925–26, his second year at the University, he did not at that time pursue logic further, nor did the seminar leave much of a trace on him. In the early summer of 1928, however, Carnap gave two lectures to the Circle which Gödel attended, or so I surmise. At these occasions, Carnap presented material from his manuscript treatise, Untersuchungen zur allgemeinen Axiomatik, that is, “Investigations into general axiomatics”, which dealt with questions of consistency, completeness and categoricity. Carnap later circulated this material to various people including Gödel. (shrink)

Using Octavia Butler’s Kindred as both ground and frame, this paper develops a notion of mangrove time as a way to think through how blackness is lived in the violent temporality of anti-blackness. Specifically, I want to suggest that, through the frame of mangrove time, an errant relationship between lived blackness and its black past inserts temporal possibility in and beyond the inertia of white supremacy’s violently anti-black temporality. In other words, contrary to Fanon’s proclamation that (...) only black abjection is to be found in a return to the past of lived blackness, I show that, out of a mangroved conception of temporality, linkages to a black past becomes more than the ontological weight at the core of Fanon’s notion of a historico-racial schema. In foregrounding his own linkage to the past, Fanon’s historico-racial schema determines the past as fixed under the weight of an anti-black time. However, mangrove time recalls what is perhaps hastily forgotten under this schema, which is that, even as lived blackness arrives on the scene of an anti-black imaginary “too late”, it is still able to ‘time travel’ – to zigzag between present and past in a way that rescues lived blackness from the structural determination of its past. As mangroved, this temporality is still one of pain, amputation and fragmentation. But it is also one that opens up this temporality to “imaginative variability”. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.4 (2003) 32-41 [Access article in PDF] Does Art Education Dream of Disneyland? [Figures] Introduction What image can we present when challenged to illustrate art education in the form of a scheme? The word "illustration" literally means to build understanding through an explanatory diagram. In art education or anything [End Page 32] else, the use of a visual image to understand a certain (...) system can be interpreted as a question of human sensitivity and recognition. Translating minute nuances or peculiarities of information into a vibrant image is, however, a confusing and difficult exercise. In this essay, I attempt to portray those elements crucial to the teaching and learning process of art education using Disneyland as a structural as well as a functional metaphor. The Happiest Place on Earth? Disneyland is depicted as "a dream world" and "the happiest place on earth." As described in various incisive essays, Disneyland is a symbol of modern American culture, an ultimate form of the consumer society or the hegemony of entertainment. 1 To start with, the structural elements of this epitome of Walt Disney's vision are outlined.Walt Disney created Main Street USA (the World Bazaar) to make all visitors feel as if they are the leading character in a Disney film, walking through the main street of life. He attempted to remove the ugliness of everyday life from his dream space by eradicating the back streets of the real world. The design of the buildings along Main Street originates from Walt Disney's hometown. The sense of distance within the Disney complex is enhanced by using a smaller scale for the upper stories of buildings and a progressively narrowing street.Sleeping Beauty's Castle (or Cinderella Castle at Tokyo Disneyland) lies beyond Main Street and is modeled on Neuschwanstein Castle in Fussen,South Bayern, Germany. The road leading to the castle ascends slightly which amplifies the anticipation factor for visitors. Sleeping Beauty's Castle is the centerpiece of Disneyland and functions as the hub to guide visitors to various lands. Several attractive spaces radiate from this hub, forming a total of six areas.On the extension line from the Entrance via Sleeping Beauty's Castle lies Fantasyland where Walt Disney has reproduced the world of animation based on European legends and fables. Toontown lies beyond Fantasyland. This is a world of familiar characters, such as Mickey, Minnie, and Goofy. Traveling clockwise, Tomorrowland is next where all kinds of imaginary worlds await visitors. Adventureland, on the opposite side of Main Street, offers worlds of different cultures and spaces for adventure. Beyond Adventureland lies Westernland, designed to invite visitors to return to the Wild West.It is possible to form a hypothesis that there are three axes connecting the six lands. Those axes run through Sleeping Beauty's Castle that acts as the hub and two opposing areas on the same axis with the Castle being the point of symmetry.The first axis could be the axis of "reality." If Main Street is considered to be the "crawling approachway" from the everyday sphere to dreamland,Fantasyland, offering playful space of extraordinary imagination, is set [End Page 33] against the ordinary space for everyday life. The second axis is the axis of "relationship" which connects individual persons to society. Toontown presents a world of fraternity and is a place where people bonded by kinship or friendship can trust each other and feel at ease. Frontierland, located on the opposite side of this axis creates a solitary space where people leave family and friends for the adventure of traveling to unknown lands. The third and final axis is that of "time" from the past to the future. Tomorrowland is a future world based on fantasy and imagination where prophecies becomereality. On the opposite side of this axis lies Westernland embodying the history and traditions of the American past.It is possible to regard each area of Disneyland, structured by these different worlds, as a metaphor to reflect the basic content and structure of art education in the context of the general curriculum. In fact... (shrink)

In this article, the meaning of concept of sharʿī science gained in the conception of education, which was established in Islamic civilization, was studied. The main problem of the research is to evaluate the idea of education in Islamic Civilization, which is closely related to the concept of sharʿī science, with a false perception that it consists entirely of religious education. The beginning of Islamic Civilization is traced back to descent of the Qur'an. The conception of education that started to (...) emerge after this period is based on the understanding of the Qur'an and hadiths at first. In later times, a wide variety of fields, such as language, literature, logic, wisdom, riyāzat, nature, and astronomy, have been included in the concept of education to encompass the whole existence of the entity. In the following centuries, these fields, which were included in the course curriculum of the madrasahs, were examined in detail in the works of classification of sciences. Therefore, the false perception needs to be reconsidered. For this reason, the article focuses on how the concept of sharʿī science is defined. Historical data analysis method was used to solve the problem. The claim of the article is that the concept of shar′i science has wide perspective to cover the world of meaning, mind and essence of man. As a result, this article, it was determined that the concept of sharʿī science has a meaning to cover the majority of information fields that are subject to instruction in our educational conception.Summary: The formation of the conception of education in Islamic civilization has emerged in the long term through a scientific process. During this time, a rich curriculum on the concept of education was shaped. The sciences that form the curriculum have been diversified in later periods compared to the early periods of Islam. With the advent of the different sciences, which provided this diversification and which were not at first, all the existing sciences were classified according to different perspectives by the ulama (muslim scholars). In the classifications, which have important contributions to the conception of education, the sciences were tried to be introduced and their position in the education life was tried to be explained. The sciences classified have not been dealt with against each other but rather to complement each other in different ways. The distinction of sciences in classification; different approaches such as linguistically, religious, secular, mental, transportation, philosophical and sharʿī have been developed.The concept of sharʿī science, which can be expressed as a general definition of the sciences, is given in almost all of the works related to the classification of sciences, even under the name or different titles. When we look at the classification, it is seen that sharʿī sciences are handled in four different approaches. As the first approach, the sharʿī sciences are among the main elements of main division in the classification. Here, the sharʿī sciences, in general, with the linguistic sciences and mental sciences were included in the top title. In the second approach, there are works in their classification that do not include the sharʿī sciences and the distinction between it. In addition, these works collect the sciences within this scope under other scientific compositions or other names. In the third approach, among the works that give information about the general of the sciences, there are those who mentioned all together without classifying these sciences and others. In the last approach, the sharʿī sciences are seen as the upper description of the knowledge fields that are included in the teaching, which covers the majority of the other sciences except for the linguistic sciences.The approaches presented in the classification of sciences indicate the diversity of the issue. In order to have better understanding of the issue, it is useful to look closely at the meaning of the concept of sharʿī sciences. At this point, three definitions of 2nd, 4th and 12th centuries are given respectively. Firstly, for Jābir b. Hayyān sharʿī science is the most useful politics in terms of religion and the world, because it contains the benefits of the world's interests after death.Secondly, al-Ghazali (d. 505/1111) describes the sharʿī science as the knowledge learned from Şārī ʿ and prophets, but not by the experience and hearing. According to this, the sharʿī science is defined as the knowledge of the sunnah that only gives information about revelation. The information fields outside this definition are also considered as the sciences, which are instrumental in reaching to sharʿī science.The perspective of the third definition of sharʿī science is given by Saçaklızāde (d. 1145/1732). He lists the three definitions made before the time of his life from the specific (hās) to the general (ām). Saçaklızāde gave the aforementioned definition of al-Ghazali in the first sense of the concept of sharʿī science. He points out that the meaning given here is allocated. The second definition belongs to Molla Husraw (d. 885/1480). According to him, the sharʿī science is the sciences that can be reached through the sciences of the Şārīʿ. In other words, it is the sciences that are not used except for obtaining the sciences obtained from Şārīʿ itself. This meaning is a bit more extensive since there are no records as described in al-Ghazali. This definition is also included in the sciences benefited from it. Although it is not the first, there is usūl-i fiqh (Islamic legal theory) within this meaning.In the third definition, sharʿī science is the sciences that form the basis for things arising from Şārīʿ or originating from Şārīʿ. This definition belongs to Ibn Hajar el-Haytamī. He did not consider the partial allocation of the second meaning as given above, and included all the instrument sciences in the definition of sharʿī science. Based on the definitions he gave, three sharʿī science approaches made before the time he lived were listed from specific to general. Thus, in a sense, he depicts the general shape of the sharʿī science perspective. With the approach to generalization, we can say that a sharʿī science perspective that encompasses the majority of the fields involved in education is developing. In the third meaning of sharʿī science, it is seen that the majority of the fields of knowledge in education and training are gathered under one roof. The most important factor gathering the sciences together is the effort to understand the purpose of Şārīʿ, who owns the whole area of existence. The fields of knowledge and sciences needed to achieve this aim can be included in the definition of sharʿī science. The effort to understand the purpose of Şārīʿ is also at the center of the idea of Islamic education. Since there are various dimensions of being, each step taken to understand and learn them is directed in a way to Şārīʿ itself. Whether it is language and literary sciences or other sciences, such as mathematics, physics and philosophies, the aim is to recognize and understand Şārīʿ for the collection of things that fall within the scope of all educational activities. With sharʿī science approach, teaching the whole of the area of existence owned by Allah is possible within the concept of education. In the works written for the education curriculum, it is seen that the perspective covering the majority of the sciences in the definition of third sharʿī science is preserved. First of all, the meaning integrity of the sharʿī science concept has been determined. In the definitions of three different periods given here, it is seen that the approach to the sciences, which are the subject of instruction in education is not exclusive but inclusive. Especially because of the width in the third sense, the majority of the instrument sciences and mental science fields in the curriculum are included in the definition of sharʿī science. (shrink)

MacIntyre, Clark, and Heidegger would all agree that the current problem with moral theory is its lack of a satisfactory conception of human telos. This lack leads us to resort to such fictions as rights, interests, and utility, which are “disguises for the will to power.” Ibid., p. 240. These thinkers would also agree that modern nation-states are cut off from the roots of the Western tradition. Modern political economy, with “its individualism, its acquisitiveness and its elevation of the values (...) of the market to a central social place”Ibid., p. 237. is leading us into “the coming age of barbarism and darkness.”Ibid., p. 244. MacIntyre's grim depiction of the future, which Heidegger calls “the time of the darkening of the earth” and “the flight of the gods”,Heidegger, “What Are Poets For?” in Poetry, Language, Thought. can only be met by re-appropriating our own tradition. Although Aristotle has much to tell us, I believe Heidegger is right to turn to Heraclitus for a non-anthropocentric conception of humanity's place in Nature. Other writers, however, such as Arne Naess, George Sessions, and Stuart Hampshire, argue that the writings of Spinoza may offer the most helpful vision of humanity needed to guide our efforts to find a more appropriate basis for our behavior toward each other and toward the non-human world as well.George Sessions, “Spinoza and Jeffets on Man in Nature,” Inquiry 20 (1977):481–528. Sessions' essay was criticized by Genevieve Lloyd in “Spinoza's Environmental Ethics,” Inquiry 23 (1980):293–311. In reply, Arne Naess wrote “Environmental Ethics and Spinoza's Ethics: Comments on Genevieve Lloyd's Article,” Inquiry 23 (1980):313~ 325. Cf. also Stuart Hampshire, Two Theories of Morality (Oxford: Oxford University Press, 1977). Yet Aristotle, Qark, Heidegger, Heraclitus, Maclntyre, and Spinoza all agree that in order to behave fittingly, we must understand what it means to be human. At this time, I would like to acknowledge the importance of the following objection to what I have been arguing here: While it may be true that the concept of human rights is a fiction, it is nevertheless a very useful fiction for changing how human beings relate to each other. Tom Regan has frequently pointed out that even if the concept of rights proves to be ficticious, it can be helpful in protecting non-human beings from abuse by humans. Cf. his essay “Exploring the Idea of Animal Rights,” Animals' Rights - A Symposium (Sussex and London: Centaur Press Ltd., 1979); Regan, “Animal Rights, Human Wrongs,” Environmental Ethics 2 (1980):99–120. The doctrine of the rights of man justified the American and French revolutions, which brought forth new and important human freedoms. Today, most of humanity still lacks the protection afforded by constitutionally guaranteed human rights. Moreover, even in constitutional democracies there are frequent abuses of and attempts to curtail human rights. Until far more people become committed to protecting human rights, it is unlikely that there will be a big movement to extend rights to non-human beings, much less to overcome the anthropocentrism inherent in the concept of rights. What the Buddhist tradition calls “skillful means” is appropriate in our current situation.My thanks to Professor David Levin of Northwestern University for having reminded me of the importance of approaching the question of human rights in a “skillful” way. We must approach people in a way sensitive to their current self-understanding. Before we can pass on to the stage of planetary unity made possible by non-anthropocentric thinking, we need to find ways that promote mutual respect among human beings.On the topic of the relation between spiritual-psychological growth and the shift in human morality, cf. M.W. Fox, “Animal Rights and Nature Liberation,” in Animals' Rights - A Symposium. Out of such respect there can also arise respect for the non-human as well. While largely in agreement with this point of view, I would like to note that our means must be very skillful, indeed, if we are to transform our relationships to each other and to the natural world before irreparable damage is done to the earth, through nuclear war or environmental destruction. The time grows short for the transformation needed to bring us from the stage of anthropocentrism to a deeper awareness of our internal relationship to the whole world. Some people, such as Peter Russell, argue that we are witnessing the evolution of a non-anthropocentric mode of planetary consciousness that will be supported by the revolution in communications and computers. Peter Russel, The Global Brain: Speculations on the Evolutionary Leap tp Planetary Consciousness (New York: J.P. Tarcher, 1983). Other people, such as Jeremy Rifkin, maintain that the coming computer age promises ever greater intrusions into natural processes, such as the drive for control of genetic structures.Jeremy Rifkin, Algeny (New York: Viking, 1983). In my view, while it is important to extend the idea of human rights wherever possible, it is also crucial that we consider seriously the possibility that the idea of human rights is merely a transitional way of conceiving of morality. As we learn more about the interrelationship of human life with all other aspects of the earth's life, our self-understanding will no longer be in harmony with the human-centered morality we know today. We will either learn to respect all beings and act toward them in appropriate ways, or else we will continue down the road we are now headed - a road which seems to have a very disturbing destination. Learning to dwell appropriately on earth is the most pressing moral issue of the day. (shrink)

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

Systems of urban transportation are largely shaped through planning practices. In transport economics, the benefits of infrastructure investments consist mainly of travel time savings calculated using monetary values of time. The economic interpretation of the value of travel time has significantly shaped our urban environment and transportation schemes. However, there is often an underlying assumption of transferability between time and money, which arguably does not sufficiently take into account the specific features of (...) time. In this paper, we analyze the various properties of time as an economic resource using findings in behavioral economics and psychology. Due to limitations in the standard model, it is proposed that an alternative model value should be investigated in which time rather than money is the primary carrier of and the basic features of such a model are outlined. An improved understanding the nature of time as a source of utility puts us in a better position to determine what aspects of time matter. Additionally, the analysis can be applied to further develop modeling where value of time plays a significant role; such as new models for the planning of urban transport. (shrink)

For Vajrayana Buddhism, the now is an interval, a boundary, a point of tension and suspension with an atmosphere of uncertainty. It is a bifurcation point of variable length; its name is “bardo.” The bardo is immersed in the conventional, or “seeming” reality. It emerges from what is called the “unstained” ultimate or primordial emptiness or “basal clear light.” Further, the ultimate is not the sphere of cognition. Cognition, including cognition of time, belongs to conventional reality. Buddhahood, in contrast, (...) is a condition of uncompounded knowledge where basic mind blossoms without temporal or other cognitive distinctions, unmade, unfabricated, luminous and pristine. Cyclical existence involves both the ultimate and the conventional as it moves through six bardos—all of which are the effulgent of the basal clear light—until Buddhahood. The six are: the bardo of this life ; the bardo of dream; the bardo of meditation; the bardo of dying; the bardo of dharmata ; and the bardo of existence. Each realm is both ultimate and conventional, and has specific initiation-based yogas to investigate these differences. The process of transition from one to the next involves at least three bodies, one mind, and aspects of speech. In each bardo, the character of the now as embodiment and temporal knowing varies yet a complete and consistent cross-bardo yogic wisdom leads to its total cessation in the basal clear light; the now is extinguished. The author presents, from the viewpoint of a knowledgeable practitioner of over 30 years, an essay on Vajrayana Buddhist time, drawing implications for Fraser’s time typology. The essay will draw from English translations of significant older, tantric texts on dream yoga, deity yoga, the Chod, tantric time, the bardo of death, and empowerment. Useful practices that can be applied by the audience to test the tradition and author’s assertions will be suggested. (shrink)