Pioneer transcription factors, by virtue of their ability to target nucleosomal DNA in silent chromatin, play crucial roles in eliciting cell fate decisions during development and cellular reprogramming. In addition to their well‐established role in chromatin opening to activate gene expression programs, recent studies have demonstrated that pioneer factors have the complementary function of being able to silence the starting cell identity through targeted chromatin repression. Given recent discoveries regarding the repressive aspect of pioneer function, we discuss the basis by (...) which pioneer factors can suppress alternative lineage programs in the context of cell fate control. (shrink)

Ḥeleḳ Rishon, kerekh 1. Teshuvot ha-shayakhot le-Miḳra Midrash ṿe-deʻot ṿe-tsoraf la-hen Sefer Minḥat ḳenaʼot le-R. Aba Mari de-Lunil [Haḳdamah-pereḳ 37] -- Ḥeleḳ Rishon, kerekh 2. Miḳra Midrash ṿe-deʻot Teshuvot ha-shayakhot le-Miḳra Midrash ṿe-deʻot ṿe-tsoraf la-hen Sefer Minḥat ḳenaʼot le-R. Aba Mari de-Lunil [pereḳ 38-pereḳ 127] -- Ḥeleḳ sheni. Teshuvot ha-shayakhot le-Masekhet Berakhot ṿe-Seder Zeraʻim -- Ḥeleḳ shelishi. Teshuvot ha-shayakhot le-Masekhet Shabat ṿe-ʻEruvin.

Haḳdamat Mesilat yesharim, śiḥah 1 -- Mesilat yesharim, śiḥah 2 -- Mesilat yesharim, śiḥah 3.

Representations of the fingers are embodied in our cognition and influence performance in enumeration tasks. Among deaf signers, the fingers also serve as a tool for communication in sign language. Previous studies in normal hearing (NH) participants showed effects of embodiment (i.e., embodied numerosity) on tactile enumeration using the fingers of one hand. In this research, we examined the influence of extensive visuo‐manual use on tactile enumeration among the deaf. We carried out four enumeration task experiments, using 1–5 stimuli, on (...) a profoundly deaf group (n = 16) and a matching NH group (n = 15): (a) tactile enumeration using one hand, (b) tactile enumeration using two hands, (c) visual enumeration of finger signs, and (d) visual enumeration of dots. In the tactile tasks, we found salient embodied effects in the deaf group compared to the NH group. In the visual enumeration of finger signs task, we controlled the meanings of the stimuli presentation type (e.g., finger‐counting habit, fingerspelled letters, both or neither). Interestingly, when comparing fingerspelled letters to neutrals (i.e., not letters or numerical finger‐counting signs), an inhibition pattern was observed among the deaf. The findings uncover the influence of rich visuo‐manual experiences and language on embodied representations. In addition, we propose that these influences can partially account for the lag in mathematical competencies in the deaf compared to NH peers. Lastly, we further discuss how our findings support a contemporary model for mental numerical representations and finger‐counting habits. (shrink)

According to Uriah Kriegel’s self-representational theory of consciousness, mental state M is conscious just in case it is a complex with suitably integrated proper parts, M 1 and M 2, such that M 1 is a higher-order representation of lower-order representation M 2. Kriegel claims that M thereby “indirectly” represents itself, and he attempts to motivate this claim by appealing to what he regards as intuitive cases of indirect perceptual and pictorial representation. For example, Kriegel claims that it’s natural to (...) say that in directly perceiving the front surface of an apple one thereby perceives the apple itself. Cases such as this are supposed to provide intuitive support for the principle that if X represents Y, and Y is highly integrated into complex object Z, then X indirectly represents Z. In this paper I provide counterexamples to Kriegel’s principle of indirect representation, before going on to argue that we can explain what is going on in those cases in which the subject seems to represent a complex whole by representing one its parts without positing indirect representations anyway. I then argue that my alternative approach is superior to Kriegel’s in a number of ways, thereby rendering his theory of consciousness implausible. (shrink)

continent. 1.2 (2011): 136-140. In early 2011, Cow Heavy Books published The Official Catalog of the Library of Potential Literature , a compendium of catalog 'blurbs' for non-existent desired or ideal texts. Along with Erinrose Mager, I edited the project, in a process that was more like curation as it mainly entailed asking a range of contemporary writers, theorists, and text-makers to send us an entry. What resulted was a creative/critical hybrid anthology, a small book in which each page opens (...) to a new iteration of textual desire. These texts explore the material possibilities of the book. Somewhat parallel to the call of N. Katherine Hayles who, in her book Writing Machines , urges literary theorists to take up the practice of Medium Specific Analysis (to account for the way the medium in which it is presented conditions or at least bears on a literary text). I see in the imagined works of The Official Catalog a call for the innovative writers of today to become Medium-Responsive. This would mean thinking through the specific (materially constrained) possibilities offered by the media in which texts are presented, and in thinking of the literary text as a kind of art in the greater context of other arts and the book as a medium situated within the context of many other media. In doing so, the contemporary writer refutes the chorus of critics who lament the death of the book by consistently reinvigorating literary innovation. The following are selections from The Official Catalog of the Library of Potential Literature that show possible paths for (thinking about) new writing that engages with its medium. —Ben Segal, Editor THE CUBE Even the most radical non-linear texts have tended to exploit or subvert only the sequential possibilities of print—from the continuous loop of Joyce's Finnegans Wake to the shuffled cards of Marc Saporta's Composition No. 1 —but The Cube takes such multiplicities to an entirely new level. Set in a grid, the book's words can be read conventionally, across the page, as well as down each column—with either route making complete grammatical sense. But they can also be read as stacked strata and mined like lexical core samples through the layered pages of the book. Each path tells the same story from a different perspective (the narrative, naturally, hinges on the potential outcomes of a throw of cubed dice). By opening up the z-axis to reading in this way, The Cube recognizes the book as a three-dimensional sculptural space. Taking its lead from Armand Schwerner's (If Personal) and Raymond Queneau's Cent mille milliards de poèmes , The Cube reads like a experiment by Christian Bök precision printed by Emily McVarish. Craig Dworkin is the editor, most recently, of The Consequence of Innovation: 21st Century Poetics (Roof Books, 2008), The Sound of Poetry/The Poetry of Sound , with Marjorie Perloff (U. Chicago Press, 2009), and Against Expression: An Anthology of Conceptual Writing , with Kenneth Goldsmith (Northwestern UP, 2010). He teaches at the University of Utah. HE GOES In He Goes , we read notes, letters and e-mails from a scholar father to his novelist daughter. We read of the father's musings on Beckett, on Pinter, on Anne Frank; his description of a woman hanging laundry from a line. We read about his journey toward dying, followed by a brief, third person account of his death, and his obituary. Then a long series of blank pages that demand to be read in real time, non-sentence by non-sentence, blank page by blank page. Finally—and it is here that this peculiar little book begins to soar—the dead father writes to his as-of-yet-still-living daughter. He does not write from death. He does not write from life. The words unprint, unstamp, unkindle. Still, they require no translation. The father "writes" (for lack of a better word) about the serendipitous, the commonplace; he recommends another book. He jokes. He asks his daughter how her stomach is. He says forget about presence in absence, darling; screw words as memorial and the guys in garbage cans and loss as redemption and I can't go on I must go on. He goes, "Love, Fodder." He goes, "incidentally." He goes, "I thought you might like to know." Elizabeth Graver is the author of a story collection, Have You Seen Me? , and three novels: Unravelling ; The Honey Thief ; and Awake . Her work has been anthologized in Best American Short Stories , Best American Essays , and Prize Stories: the O. Henry Awards . She teaches at Boston College. THE PAPER ARCHIVIST A stunning package and a triumph of imagination, The Paper Archivist at times looks to be less a book than an abstract expressionist painting. Softly bound, its contents unfold to a single sheet of uneven thickness and texture—a canvas splattered with colored lines, stickers, broken sentences, and nonsense pictographs. But by following the directions to fold, dip, smell, rub, scratch, and tear the sheet according to the contingencies of the weather and using only the objects at hand, the reader slowly brings the forces hidden in the noise into a glorious sculptural convergence, processing a different story and shape each time. This is the rare book that continues to stir, whirl, and pop on every new reading. Sean Higgins blogs at BOMBlog where he is responsible for the column Volumes and Territories, as well as Ghost Island , a fledgling collaborative intellectual collective. THE SLOW BOOK The Slow Book , written by an anonymous author at the dawn of literacy, on a minor planet (otherwise notable only as the source of that exceptionally hardy, not very tasty grain called “shef” sowed on hostile planets as an early step to colonization), and encoded into a series of punctures on a strip of copper coiled inside a clever device, something between a player piano and an old-fashioned film projector, is being released into print, as was the author’s intention, at a rate of one word per century (local time). Each word is, across the Forty Galaxies, agreed to be uncannily apt for the century in which it appears—even “of,” in a century during which the highest value was attached to fidelity, whether to ideals, worlds, or romantic love; even “the,” which governed two centuries, one extraordinarily materialistic, during which advances in propulsion and navigation accelerated the exchange of exceptional objects between the remotest planets of the Forty, and one in which the central concern, both of philosophers and the common man, was whether, in an age of rapidly proliferating hypothetical worlds, anyone or anything concretely existed at all. Even those words published long before interstellar contact can be seen in retrospect to have transgalactic pertinence. As a result, attempts to abstract the machine from its publishers, Hobson & Hui, in order to “predict the future” for insight or gain by “fast- forwarding” the copper strip have been many and ingenious. While, in centuries of skepticism (“maybe”), or of unrest (“go”) the book has been nearly forgotten, in others it seems to haunt every thought, every deed, despite the fact that the subject of The Slow Book is still unclear. So far only a few sentences exist in print; everyone knows them, can quote them, offer the standard exegeses and assorted heresies; yet certainties are the stuff of adolescence; mature readers are forced to acknowledge that these sentences are probably only a preamble to the main argument. They contain no proper nouns, nor can we identify any definite theme. There is even disagreement about their tone, whether coolly ironic, as some insist, or ardent. The appearance of an unusual grammatical case, sometimes called the future pluperfect continuous, used to describe events that at some future point will have always been true (but are not yet)—hitherto known to appear only in the synthetic dogmas of the Thanatographical Society, and in certain highly circumscribed religious contexts—has suggested to some scholars that the Slow Book was originally intended for ritual use, but the proximity of the usage to a term designating a small hand plow that, as Pott and Mielcke have convincingly shown, would have borne a distinctly obscene double meaning in its culture of origin in the author’s time, argues otherwise. It is likewise unclear whether the situation that seems to be—with teasing incompleteness—sketched out in these few lines is intended as an illustration of general principles, a case study, a dramatic scene, or an extended metaphor. In short, we have no idea what The Slow Book is about. In our own time, we believe that it is almost certainly a work of fiction, but that may be because we live in the century of “if”. In each age, perhaps, we see the book we most need to read. Some have dared to suggest that the metal strip is blank until, with millennial fanfare, it advances into its new position, that no ur-text exists, that the book itself is brought into being—written—by our need. But that is exactly the sort of thing we would believe, in 7645. Shelley Jackson is the author of the story collection The Melancholy of Anatomy , the novel Half Life , and hypertexts including Patchwork Girl . The recipient of a Howard Foundation grant, a Pushcart Prize, and the 2006 James Tiptree Jr Award, she has also written and illustrated several children's books, including The Old Woman and the Wave ; Sophia, the Alchemist's Dog ; and Mimi's Dada Catifesto . Her stories and essays have appeared in Conjunctions , McSweeney's , The Paris Review , and Cabinet Magazine . In 2004 she launched her project SKIN , a story published in tattoos on 2095 volunteers. THE BOOK OF SOUNDS The Book of Sounds is just that: a book of sounds made when letters are construed in new ways to bring forth out of the alphabet new forms of speech. A book meant to be read out loud, The Book of Sounds is not unlike Laurie Anderson's O Superman or Brian Eno's Music for Airports in its attempt to make music out of the most primary and simplest of methods. It breaks language down to its barest bones and makes out of the page a drum that has never before been beaten upon. Peter Markus is the author of a novel, Bob, or Man on Boat (Dzanc Books) as well as two books of short fiction, Good, Brother and The Singing Fish , both of which were published by Calamari Press. A new collection of stories, We Make Mud , is now available from Dzanc Books. PARADISE OF THE BLIND by Celan Solen Although the reclusive Celan Solen published his first and only book in 1963—paying out-of-pocket for a limited edition of the slim collection No One May Have the Same Knowledge Again —he remained in American obscurity for almost three decades. In 1992 a micro-press in Istanbul brought out No One in Turkish. A German translation followed in 1995. Soon it became clear in literary circles Solen was a world-class (if highly unclassifiable) artist—lyrical, dense, enigmatic—who could undo the conventional short story in 397 words by inventing impossible worlds housed in impossible whirls (in “Small Sadnesses,” a single chartreuse tree frog in Borneo unknowingly holds time together by its very presence in the universe, while each letter of its tale refers, not to itself, but to the one preceding it in the alphabet). By his disappearance last year, Solen was considered master by a generation of writers and critics (except, alas, for those gentlemen in the Swedish Academy). Imagine, then, that generation’s delight at the discovery, locked away in the author’s safe-deposit box, of his second and final composition. Had Lynch’s Lost Highway been book instead of film, and had it been penned by Beckett at his least certain, revised by Barthelme at his most formally deranged, and typeset by Derrida at his most semiotically catastrophic, the result might have been something like Paradise of the Blind : interlacing narratives of a man composed of borrowed organs (whose most cheerless and difficult to locate, god, could only have been invented by an empty heart), a nonexistent medieval painting blamed for the ruin of future hope, and the spread of a philosophy that holds earth a mistake constantly recurring in the dream of a fish lying on the floor of the Atlantic (if the fish wakes, our world winks off)—all contained in a text packed with typed-over passages, torn postcards, poems that can be deciphered only when held up to a mirror, pages ornamented with trompe-l'œil paperclips and coffee stains and buzzing houseflies, some busy with illegible runes that dissolve when exposed to light, three that smell like roses or lemons (depending on whether a man or woman is reading), two that stain with the bloody fingerprints of the those who handle them, one that ignites when brushed with breath, thirteen sewn from baby skin, one that moans when touched, and one that screams—yet all without mass, unimaginable, and invisible. Lance Olsen is author of more than 20 books of and about innovative fiction, including, most recently, the novels Calendar of Regrets (2010) and Head in Flames (2009). He teaches experimental narrative theory and practice at the University of Utah. SUPERSTRUCTURE! by Barbara D'Albi As soon as I opened the third drawer of Barbara D'Albi's wooden novel, everything became hopeless. Now in Ithaca, there was no going back. And it wasn't just the intricate series of shelves, hinged doors and locked drawers which D'Albi layered into the book, no, lo, I was constructed anew by the story. Who else but D'Albi to imagine a God who becomes a carpenter and gets killed?! And makes it good! You want stories? D'Albi is a skyscraper, built with planes and levers. Momentarily I wondered where I could shelve this book, and then I thought: no matter; I couldn't put it down. Adam Robinson lives in Baltimore, where he runs Publishing Genius. He is the author of Adam Robison and Other Poems and Say, Poem. 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Trabajando sobre el género de ¿Historias de los Profetas¿ (Qis.as. al-Anbiya-¿) en el proceso de elaboración de mi tesis sobre Abraham en la literatura islámica, el profesor J. Sadan me envió un manuscrito que había localizado en la British Library relacionado con este género. Posteriormente encontré versiones similares de la misma composición, lo que me animó a profundizar mi investigación sobre sus orígenes. La obra está próxima a la literatura de predicación (wa¿z.), que se ocupa principalmente de la educación moral, (...) pero también incluye historias. Me planteé la posibilidad de que éste formarse un género que hubiera surgido como una ayuda, un material auxiliar concebido para entender la tradición oral y los estudios religiosos para, posteriormente, convertirse en un género independiente, más cercano a la Parénesis o al Specula Regis (Espejos de príncipes). Describiré el manuscrito para intentar alcanzar una conclusión sobre ciertas cuestiones: ¿es éste un género literario diferente?, ¿se trata de un género educativo o solamente es una versión simplificada de historias para ilustrar a niños o principiantes de la lengua árabe?, ¿buscaría el autor un nombre original para su compilación, haciendo referencia al reducido tamaño de la colección y descartando el de Qis.as. al-Anbiya-¿ por ser conocido? (shrink)

This work analyzes the treatment of biblical metaphor in a Jewish exegetical tradition originating in Muslim Spain that was transplanted to Christian Provence, yielding a variety of approaches that integrate Arabic poetics, hermeneutics and logic with indigenous Hebrew modes of reading.

Sefer Hanhagot yesharot -- Mikhtavim meha-motsi la-or -- Sefer Igra de-kalah -- Sheṭar tenaim shel Rabenu ʻArugat ha-bośem, z.y. ʻa.

ḥeleḳ rishon. Sheʼelot u-teshuvot be-ʻinyanim shonim mi-toratenu ha-ḳedoshah shebi-khetav ṿeshe-be-ʻal peh -- ḥeleḳ sheni. Leḳet mikhtavim u-maʼamarim le-ḥizuḳ ṿe-hitʻorerut ba-ʻavodat ha-Shem yitbarakh -- ḥeleḳ shelishi. Leḳet mikhtavim me-a.m. ṿe-r. ha-Rav Ḥayim Shaʼul z. l.l. h.h. Grainiman baʻal ha-ḥidushim u-veʼurim".

Maran ha-g. R. A. Y. L. Shṭinman z. ts. ṿe-ḳ.l. -- Rabotenu meʼore ha-dor -- Ḳiyum ha-ʻolam ʻa. y. Torah be-mishnat rabotenu -- Maran Rabi Gedalyah Aizman z. ts. ṿe-ḳ.l.

Neural complexity and brain entropy have gained greater interest in recent years. The dynamics of neural signals and their relations with information processing continue to be investigated through different measures in a variety of noteworthy studies. The BEN of spontaneous neural activity decreases during states of reduced consciousness. This evidence has been showed in primary consciousness states, such as psychedelic states, under the name of “the entropic brain hypothesis.” In this manuscript we propose an extension of this hypothesis to physiological (...) and pathological aging. We review this particular facet of the complexity of the brain, mentioning studies that have investigated BEN in primary consciousness states, and extending this view to the field of neuroaging with a focus on resting-state functional Magnetic Resonance Imaging. We first introduce historic and conceptual ideas about entropy and neural complexity, treating the mindbrain as a complex nonlinear dynamic adaptive system, in light of the free energy principle. Then, we review the studies in this field, analyzing the idea that the aim of the neurocognitive system is to maintain a dynamic state of balance between order and chaos, both in terms of dynamics of neural signals and functional connectivity. In our exploration we will review studies both on acute psychedelic states and more chronic psychotic states and traits, such as those in schizophrenia, in order to show the increase of entropy in those states. Then we extend our exploration to physiological and pathological aging, where BEN is reduced. Finally, we propose an interpretation of these results, defining a general trend of BEN in primary states and cognitive aging. (shrink)

La vida y la obra de Maimónides; introducción por León Dujovne. -- El imperio de la razón, por Ajad Haam (Ascher Guinzberg) -- Maimon y Maimónides; influjo de Maimónides en la filosofia alemana post-kantiana, por Hugo Bergmann. -- Caracteres de la ética de Maimónides, por Hermann Cohen. -- Doctrina de Maimónides sobre la profecía, por Z. Diesendruck. -- La revelación y la razón en la obra de Maimónides; su crítica de los Molecallemín, por Alfredo Franceschi. -- Maimónides y el espíritu (...) judío, por Alberto Gerchunoff. -- Actualidad de Maimónides, por Jacob Gordin. -- La obra fundamental de Maimónides, por Joseph Klausner. -- Maimónides, médico, por Elías Singer. -- Homenaje a Rambam, por Julien Weill. -- Maimónides en el pueblo, por Hilel Zeitlin. -- Selección de la obra de Maimónides (p. [311]-431). (shrink)

Jehuda ben Isaak Abrabanel, znany jako Leone Ebreo, XVI-wieczny sefardyjski intelektualista, definiuje tytułowe pojęcie w swoim dziele _Dialogi o miłości_ (_Dialoghi d’amore)_. Ten traktat filozoficzny z neoplatońskimi podtekstami, łączący wszystko, co wcześniejsi myśliciele napisali o tym szlachetnym uczuciu, był niezwykle popularny i stał się wzorem dla współczesnych mu pisarzy. Został przetłumaczony na język hiszpański m.in. przez Inkę Garcilaso de la Vega, a Miguel de Cervantes wspomina o nim w prologu do pierwszej części _Don Kichota_, sugerując, że opisana w nim miłość (...) daleka jest od rzeczywistości. Wizja wyidealizowanej miłości, którą kochanek Filon czuje do czystej Zofii, znajduje swoje odbicie w stworzonym przez Sefardyjczyka Eliasa Canettiego portrecie doktora Sonne, jednego z bohaterów _Gry oczu._ Przejawem mistycznej miłości jest miłość do boskiego intelektu, a tę osiągnąć można jedynie przez intelektualny wysiłek włożony w dialog filozoficzny. Leone Ebreo urodził się na Półwyspie Iberyjskim, wyemigrował do Włoch po 1492 r. i najprawdopodobniej (nie ma co do tego pewności) wybrał język nowej ojczyzny dla swojej ekspresji. Elias Canetti, Sefardyjczyk urodzony w Bułgarii (podówczas okupowanej przez Imperium Osmańskie), przed I wojną światową pisał po niemiecku. Postaci te, odległe od siebie w czasie i przestrzeni, łączy pochodzenie judeohiszpańskie i związany z nim bagaż hebrajskiej tradycji egzegetycznej, który prowadzi obu do bardzo podobnej pochwały intelektualnej miłości. Artykuł przedstawia pokrewieństwo myśli obu pisarzy ‒ których można uznać za Hiszpanów ze względu na ich sefardyjskie pochodzenie ‒ w odniesieniu do intelektualnego mistycyzmu wyrażonego poprzez miłość do Intelektu pisanego wielką literą. (shrink)

Jehuda ben Isaak Abrabanel, znany jako Leone Ebreo, XVI-wieczny sefardyjski intelektualista, definiuje tytułowe pojęcie w swoim dziele _Dialogi o miłości_ (_Dialoghi d’amore)_. Ten traktat filozoficzny z neoplatońskimi podtekstami, łączący wszystko, co wcześniejsi myśliciele napisali o tym szlachetnym uczuciu, był niezwykle popularny i stał się wzorem dla współczesnych mu pisarzy. Został przetłumaczony na język hiszpański m.in. przez Inkę Garcilaso de la Vega, a Miguel de Cervantes wspomina o nim w prologu do pierwszej części _Don Kichota_, sugerując, że opisana w nim miłość (...) daleka jest od rzeczywistości. Wizja wyidealizowanej miłości, którą kochanek Filon czuje do czystej Zofii, znajduje swoje odbicie w stworzonym przez Sefardyjczyka Eliasa Canettiego portrecie doktora Sonne, jednego z bohaterów _Gry oczu._ Przejawem mistycznej miłości jest miłość do boskiego intelektu, a tę osiągnąć można jedynie przez intelektualny wysiłek włożony w dialog filozoficzny. Leone Ebreo urodził się na Półwyspie Iberyjskim, wyemigrował do Włoch po 1492 r. i najprawdopodobniej (nie ma co do tego pewności) wybrał język nowej ojczyzny dla swojej ekspresji. Elias Canetti, Sefardyjczyk urodzony w Bułgarii (podówczas okupowanej przez Imperium Osmańskie), przed I wojną światową pisał po niemiecku. Postaci te, odległe od siebie w czasie i przestrzeni, łączy pochodzenie judeohiszpańskie i związany z nim bagaż hebrajskiej tradycji egzegetycznej, który prowadzi obu do bardzo podobnej pochwały intelektualnej miłości. Artykuł przedstawia pokrewieństwo myśli obu pisarzy ‒ których można uznać za Hiszpanów ze względu na ich sefardyjskie pochodzenie ‒ w odniesieniu do intelektualnego mistycyzmu wyrażonego poprzez miłość do Intelektu pisanego wielką literą. (shrink)

Bu çalışmanın amacı Martin Buber etiğinin özgünlüğünü keşfetmek ve geliştirmektir. Buber varlığı ilişki temelinde ele alarak Ben-O ve Ben-Sen ilişkisi olarak ayırmıştır. Ben-O ilişkisi insanın varlıkla sıradan tecrübesine karşılık gelirken, Ben-Sen ilişkisi insanın ötekiyle diyalog kurduğu anda ortaya çıkan daha derin bir ilişkidir. Ötekiyle ilişki; tüm etik değerlendirmeleri içinde barındıran, yaşamın dinamizmine uygun, insanlık tarihinin mitolojik ve etik dinamiklerini de içeren bir ilişkinin temellerini içermektedir. Ben-Sen ilişkisi yalnızca insanın insanlarla kurduğu bir ilişkiyi değil insanın canlı, cansız ve manevi tüm varlıklarla (...) kurduğu ilişkiyi açıklamaktadır. Ben-Sen ilişkisinin sadece insanın insanla olan ilişkiyi ele almaması etik üzerine yapılan çalışmalara yeni bir bakış sağlayacak niteliktedir. Buber’in etik anlayışı; diyalog etiği, ötekiyle ilişki etiği, durum etiği, antropolojik etik, varoluş etiği, meslek etiği, anarşist etik, postmodern etik gibi birçok etik anlayışla bağlantılıdır. Buber herhangi bir ahlaki norm ve etik koda bağlı olmayan, tarihsel, ontolojik ve ilişkiyi öncül kılan geniş çaplı içeriğe sahip bir etiğin temellerini ortaya koymaktadır. (shrink)

Presents collected writings of Slavoj Zizek - one of the world's leading contemporary cultural commentators. Drawing upon a range of his prolific output, the articles here cover psychoanalysis, philosophy and popular culture.

This paper first offers a standard modal extension of dialetheic logics that respect the normal semantics for negation and conjunction, in an attempt to adequately model absolutism, the thesis that there are true contradictions at metaphysically possible worlds. It is shown, however, that the modal extension has unsavoury consequences for both absolutism and dialetheism. While the logic commits the absolutist to dialetheism, it commits the dialetheist to the impossibility of the actual world. A new modal logic AV is then proposed (...) which avoids these unsavoury consequences by invalidating the interdefinability rules for the modal operators with the use of two valuation relations. However, while using AV carries no significant cost for the absolutist, the same isn't true for the dialetheist. Although using AV allows her to avoid the consequence that the actual world is an impossible world, it does so only on the condition that the dialetheist admits that she cannot give a dialetheic solution to all self-refe.. (shrink)

Twenty-five years have passed since the fifth and final volume of the Philosophical Encyclopedia [Filosofskaia entsiklopediia] was published in 1970. This serves as an occasion for us to examine this publication, which in its own way was unique. Neither before nor since its appearance has philosophical scholarship received such thorough and profound expression in our country, and never had it undergone such a thorough updating. The interval over which it was published, from 1960 to 1970, coincides with mathematical exactitude with (...) an epoch in the history of our culture that we are accustomed to call the epoch of the "people of the sixties." A study of the "people of the sixties" is of major and in many respects special interest, since this period differs radically in its productivity from preceding years in the history of Soviet philosophy. When we commence serious research on this history, the study of the collective reason of our country's philosophers that found its expression in the Philosophical Encyclopedia will occupy an honored place. (shrink)

The need for continuing provision of beneficial experimental interventions after research is concluded remains a controversial topic in bioethics for research. Based on the principle of beneficence, justice as reciprocity, concerns about exploitation and fair benefits, participants should be able to have continuing access to benefits beyond the research period. However, there is no consensus about whether or not post-trial provision of beneficial interventions should be mandatory for participants from developing countries. This paper summarises recommendations from international and national guidelines. (...) Ethical principles and practical issues relating to post-trial provision are also discussed. In conclusion, post-trial provision is not necessary in all situations and a set of criteria are proposed to identify the situations that beneficial interventions should be provided beyond the research period. However, mandatory post-trial supply of beneficial experimental interventions should be assured for those who still need and are able to benefit from them but have no alternative access. Mandatory provision is based on universal bioethical principles such as beneficence and justice. Furthermore, difficulties associated with implementation of post-trial provision are not unmanageable. Careful advanced planning and a comprehensive partnership among relevant parties would be very helpful in solving these difficulties in practice, which therefore should not be taken as an excuse to escape post-trial responsibility. (shrink)