Excerpt from Some Phases in the Development of the Subjective Point of View During the Post-Aristotelian Period, Vol. 3 1. The Difference In Philosophic Standpoint Between Aristotle And St. Augustine In St. Augustine's philosophy the starting-point is the same as in the beginning of modern thought, namely, the certainty of inner experience. Not even the Skeptic, says St. Augustine, can doubt sensation as such; moreover, this very experience reveals not only the content that had formed the basis of relativistic or (...) positivistic interpretations, but also the conscious self, the perceiving subject. For Aristotle and his contemporaries, perception was essentially a cognitive process, apprehending the forms of sensible objects without the matter. Such apprehension of external objects was regarded as direct, the awareness as awareness of the objectively real character of things. A mind as such perceiving was foreign to their modes of thinking; the person, composite of body and soul, thinks and knows, was their view. There is ample evidence that self-consciousness was recognized by Plato in his theories of sensation; and that Aristotle made a psychological analysis of it as a mental phenomenon, though he utterly disregarded it in his metaphysics and epistemology. In the earlier period, therefore, mind was studied in its manifestations in nature and society; with the close of ancient speculation, the investigation was based predominantly on introspection and the analysis of mental operations of the individual thinker. It is accordingly an interesting inquiry how this change of viewpoint was effected and what were the consequent alterations in scientific method. Though such a development cannot be treated in isolation from the social life, the scope of this paper will allow only most general and cursory references to the social, political, and religious influences affecting the philosophic thought of the post-Aristotelian period. 2. Indications Of Interest In Inner Experience During The Pre-Aristotelian Period The Ionian philosophers viewed physical reality as a concrete whole; there was no antagonism between human nature and universal nature in either theory or practice. Heraclitus revolted from the conception of the world established by tradition and the theories of teachers, over against which he set up the claims of reason. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works. (shrink)

This paper attempts to listen to Scott Walker and Sunn O)))’s respective music, and their collaboration Soused, by way of Maurice Blanchot’s notion of disaster which is framed in relation to the ‘a...

el-Mevârîs fi’ş-Şerîati’l-İslâmiyye fî dav’i’l-Kitâbi ve’s-Sünne. Muhammed Ali Sâbûnî. Kahire: Dârü’l-hadîs tarih yok.

In lieu of an abstract, here is a brief excerpt of the content:Contemporary IlluminationsReading Donne's "A Nocturnall upon S. Lucies Day through Three Twenty-First-Century PoemsTheresa M. DipasqualeIn his contribution to the 2017 volume John Donne and Contemporary Poetry, edited by Judith Scherer Herz, Jonathan F. S. Post explores "a nearly endless landscape of comparisons and contrasts" that unfolds between Stephen Edgar's 2008 poem "Nocturnal" and Donne's "A nocturnall upon S. Lucies day, Being the shortest day."1 Post's essay illuminates what Calvin (...) Bedient, in the same volume, calls the "great glacier-gloom" of Donne's "Nocturnall," its devastated "solemnity."2 In doing so, Post renders largely moot many questions that have preoccupied critics of Donne's poem: whether or how this poem reflects Donne's experience; whether the woman lamented by the speaker is a fiction or a historical person lamented by the poet; and if the latter, whether the poem mourns the 1617 death of John Donne's wife, Anne More Donne; the 1627 death of Donne's patroness Lucy, Countess of Bedford; or the Countess' near-fatal illness in 1612–13.3 These biographical and historical questions are not without value, but they draw the critic's attention away from more compelling questions regarding the "I" of the poem—a persona who claims not to be a person at all, but an inscription, a grave, "A quintessence" derived or "expresse[d]/... even from nothingnesse."4In this article, I widen and intensify the pool of light cast on Donne's "Nocturnall" by Post's presentist and intertextual analysis of Edgar's poem, examining three of the many other twenty-first-century poems that tap into Donne's poem, allude to it, quote it, adopt its structure, or respond to the anguish it expresses.5 Each of the three I discuss is [End Page 1] luminous in its own right but also a potent critical response to Donne's five-stanza poem. Each teaches something different about Donne's lyric. The poets whose work I consider—Liz Lochhead, Jay Wright, and Meena Alexander—all address twenty-first-century concerns; they grapple with questions and sorrows beyond the scope of Donne's conscious imagining yet latent in his poem. Each picks up where critics leave off when they "assume," as Alison R. Rieke notes, "that the speaker... is a husband or lover, possibly Donne, who experiences grief upon his wife's or mistress' death."6 Each takes up the challenge that Donne's persona issues when it denies that it is either "a man" (30) or any other living thing.In the first stanza of "A Nocturnall upon S. Lucies Day," this anti-persona observes that "all" other things around it are "Dead and enterr'd" and "yet" that "all these seeme to laugh, / Compar'd with mee, who am their Epitaph" (8–9). If it is an incised text rather than a human being, the poem's "mee" can no more speak than laugh; it is as silent as the grave it marks or as the dead flesh interred there. Indeed, it goes on to claim that it is "every dead thing" and that love's alchemical "art" has "expresse[d] / A quintessence even from" this mass of nonliving objects, this "nothingnesse" (12, 14–15). Struggling to define its anti-essential essence, it declares itself a mass burial site: "I, by loves limbecke, am the grave / Of all, that's nothing" (21–22). An epitaph, dead things, nothingness, a grave: all these are silent. And yet, in Donne's poem, they strenuously assert their nonbeing; they pulse with a paradoxically audible sense of self. After "Compar'd with mee" in the final line of the opening stanza, the reader encounters sixteen additional instances of the first-person singular in the poem's forty-five lines: "my" appears once, "mee" five times, and "I" eleven times. And the "I" issues a directive to readers: commanding, in the opening line of stanza 2, "Study me then, you who shall lovers bee" (10). But those who obey this order, making themselves students of the poem's inscribed nothingness, find themselves dismissed in the poem's final stanza. Having insisted that its "Sunne" will never "renew... (shrink)

Al-Jaṣṣāsis a pioneering scholar who wrote the first work of methodology according to the Hanafi/fuqaha method and influenced the fiqh and hadīth scholars who came after him with his methodology work. The theory of khabar comes first among the subjects that al-Jaṣṣās dealt with theoretically and practically in his work al-Fuṣūl fi al-uṣūl and influenced the methodologists who came after him. In his theory of khabar, khabar al-wāhid, which is in the interest of both jurists hadīthists, has a special importance. (...) Al-Jaṣṣās explains the khabar al- wāhid in practice, independently of the theoretical framework, under the title of “specification of general utterances by khabar al- wāhid”. Under this title, al-Jaṣṣās mentions an important feature with the notion of acceptance, which affects the value of khabar al-wāhid and raises it to the level of mutawātir. In this study, it is aimed to reveal the value of the meaning that al-Jaṣṣās attributed to the concept of acceptance in terms of kahbar and the place of the phenomenon of acceptance in the methodology of hadīth. İn the research, firstly, the concepts of as-sunne as-sābite, mutawātir khabar and āhād khabar that al-Jaṣṣās used in relation to khabar were examined. Then, issues such as the understanding of acceptance, which affects the view of the khabar at the level of tawātur; within the framework of this understanding, the information value of the khabar al-wāhid, the examples of the khabar al-wāhid; who is meant by the concept of “people/ummah” in the expression of “تَلَقِّي ‌الْأُمّةِ/الناس بِالْقَبُولِ” and the concept of accepted khabar according to hadīth methodologists are discussed. (shrink)

I dette nummeret av Etikk i Praksis belyses et etisk dilemma om premiering eller sanksjoner for deltakelse/ikke-deltakelse i nasjonale screeningprogram for kreft, i artikkelen «En etisk diskussion af screening for kræftsygdomme» av John Brodersen, Peter Laurs Sørensen, Fía Lindenskov og Lonny Henriksen. Dette er belyst gjennom intervjuer hvor divergerende meninger gjenspeiler at vi har svært begrenset kunnskap om både kort- og langtidseffekt av screening for kreft. Den politiske viljen til å innføre screeningprogram har utvilsomt vært sterkere enn viljen til å (...) fremskaffe vitenskapelig bevis for eventuell nytteeffekt gjennom randomiserte studier. Randomiserte studier på screening er svært dyre og har ofte et langt tidsperspektiv før resultater kan foreligge og danne et relevant kunnskapsgrunnlag for en nasjonal screeningstrategi. Resultatene kan også være kulturavhengige. Det understreker behovet for flere randomiserte studier. Det må også poengteres at ethvert land som har råd til å vurdere innføring av et screeningprogram, har også råd til å finansiere randomiserte studier i forkant. En omfattende randomisert studie på fleksibel sigmoidoskopiscreening for tarmkreft har vist at deltakelse i screeningprogram kan føre til et redusert egenansvar for sunn livsstil og dermed økt risiko for livsstilssykdommer. Her ligger det altså en pedagogisk utfordring som kan variere fra land til land og mellom forskjellige screeningmetoder. (shrink)

Aesthetic Noise: The Philosophy of Intentional Listening considers the complex nature of noise within the framework of philosophical filtering, examining how, if noise is engaged with aesthetically, it can produce profound experiences and understandings. Applying the philosophies of Edmund Burke, Martin Heidegger, Jacque Derrida, and Julia Kristeva to works by Luigi Russolo, John Cage, Steve Reich, Alison Knowles, Annea Lockwood, Alyce Santoro, and Sunn O))), this book explores noise as an art material, and ultimately how it can become a tool (...) for activism and expanded creative possibilities. It demonstrates that, by engaging multiple philosophies in concert, the value of aesthetic noise is amplified, thus allowing the listener to better appreciate noise and its possibilities. Providing greater insights into noise as an aesthetic material, Aesthetic Noise will be of interest to researchers and students of sound studies, philosophy, and sound art, as well as sound designers, artists, musicians, and composers. (shrink)

Ayn Rand's Atlas Shrugged is not just a fully actualized rendition of her Objectivist philosophy, but a symbol of the possibility of postfeminism in a postindustrial world. Rand's postfeminist signifier, Dagny Taggart, is able to attain this ideal of equality only through the catharsis of the physical relationships with men whom Dagny considers her spiritual equals. The men in Dagny's life each contribute a new awakening to her about herself as she, at the same time, awakens them.

This article seeks to examine recent popular fiction on Richard of Gloucester (1452–1485), later Richard III. Of particular focus is the portrayal of Richard's pet hounds — specifically the Irish wolfhound depicted in Sharon Penman's novel, The Sunne in Splendour (1982). The article investigates the dialectic between the mythology of Richard as overplayed villain and as domestic family man, with the wolfhound as the centre-piece of this domesticity — an iconography which is at odds with the traditional stereotypes of (...) Richard. (shrink)

This article seeks to examine recent popular fiction on Richard of Gloucester (1452–1485), later Richard III. Of particular focus is the portrayal of Richard's pet hounds — specifically the Irish wolfhound depicted in Sharon Penman's novel, The Sunne in Splendour (1982). The article investigates the dialectic between the mythology of Richard as overplayed villain and as domestic family man, with the wolfhound as the centre-piece of this domesticity — an iconography which is at odds with the traditional stereotypes of (...) Richard. (shrink)

Atlas Shrugged is a novel about business and the people who create businesses. This article describes Ayn Rand’s treatment of business and entrepreneurs in the novel. It begins with an explanation of how Atlas Shrugged demonstrates that wealth and profit are creations of the human mind. The next section compares the worldviews of the novel’s business heroes and villains. This is followed by an in-depth analysis of the novel’s main business protagonists—Dagny Taggart and Hank Rearden. The next part provides (...) summaries of other business characters. The last section examines how the novel is used in college-level business courses. (shrink)

Manifesto "is the projection of an ideal man. The portrayal of a moral ideal, as my ultimate literary goal, as an end in itself - to which any didactic, intellectual or philosophical values contained in a novel are only the means" (162). That she largely succeeded in her goal is attested to by the fact that her novels have enabled countless readers to reshape their lives. The story of Kira in We the Living, the image of Howard Roark in The (...) Fountainhead, the example of Dagny in Atlas Shrugged - all these have given readers the courage to free themselves from destructive circumstances or to make the right decisions in pivotal moments of their lives, and undergirded their conviction that only a life of moral integrity is a truly successful life. The story of the life and character of Howard Roark is, perhaps, the best known and most influential of Rand’s stories. (shrink)

Purpose. Based on actualization of gender discursive features, the current piece aims to clarify and accentuate the manifestation of gender-philosophical ideas interaction: feminism in the framework of objectivism. The source material for the current article is a novel by Ayn Rand "Atlas Shrugged", which is a philosophical work on objectivism. Theoretical basis. The development of the gender discourse, in particular the discourse of feminism is researched from the retrospective angle. This piece is an attempt to underline peculiarities of female artistic (...) images representation in Rand’s work and the way Rand’s novel influenced the logical development of feminist discourse. Discourse of feminism is a rather peculiar notion for Objectivism, where the notion of gender is, theoretically, annihilated as far as gender is irrelevant for both personal and professional growth, however, practically, gender representation and actualization is ubiquitous in Rand’s philosophy. Originality. The distinctive features of gender discourse in Objectivism are highlighted in this piece; the results are based on the application of comparative analysis. It is argued that philosophy itself may well be perceived through a literary work of fiction, thus making artistic images prototypes of philosophy functionaries. Conclusion. "Atlas Shrugged" is not merely a literary fiction, but rather a philosophical treatise on Objectivism, which is a philosophy of individual struggle and achievement. The main female protagonist of "Atlas Shrugged", Dagny Taggart, is a staunch supporter of Objectivism. In Rand’s opinion Dagny Taggart is a prototype of a true woman of utopian American capitalist society, and it is her artistic image that was misinterpreted by supporters of feminist movement ideas and Dagny Taggart became an icon of feminism, whereas in reality Dagny’s discourse is rather a discourse of femininity, for Dagny despises everything that is connected with feminist ideas and practices, and, it is an error to weave her discourse into a much wider feminist discourse. (shrink)