This paper aims to analyse Husserl’s texts in order to evaluate his attempt to apply a model of intentionality as interpretation(Auffassung) of a content (Inhalt) he had earlier developed to explain a notion of timeconsciousness. In Husserl’s previous published work the Logical Investigations (1900‐01), he construed perceptual intentionality on the model of apprehending intention and apprehended sensual contents for an ordinary object. For later published work, the so‐called early lectures on The Phenomenology of Internal Time-Consciousness (1928), he continued to apply (...) the model to analyse temporal objects both in the awareness of duration and in the temporal flow. Brough presented that Husserl’s attempt to apply the model culminated in its rejection. The paper postulates that Husserl did not fail, but in fact was a success. Husserl succeeded in applying the model as a foundation method for investigating the occurrence of remembrance of elapsed temporal objects. In the end he found a suitable way to determine what is actually temporal now, before and after in the continuous stream of time‐consciousness. Without interpretation of a content model, the Husserlian phenomenology that everyone is conscious of the same thing, appearing as such, at the same time, cannot be possible. (shrink)

Slavery is as old as human history and is a product of established cultures. To gain profit from captives resulted in slave trade and exploit them as labor force. Although ancient Turks took advantage of slaves, the conditions of Turkish nomadic steppe culture did not allow slavery become institutionalised. During Islamization of Turks, Turkistan witnessed one of the most successful periods of the slave trade because of raids against non-Muslim Turks by Samanids and Muslim Turks. Muslim travellers of X and (...) XI th century emphasize frequently the importance of the Turkish slave trade and its network. Turkish jawari (singular: jariya, an Arabic word, means concubine, female slave and housemaid) were the most demanded in Muslim countries in Turkestan and Near East due to their beauty, which the Muslim travelers mention quite frequently. Their beauty was reflected in epics like the stories of Dede Korkut and Shahnama as well. Turks used a few Turkish and Chinese origin words to mean jariya. Mahmud al-Kaşgari recorded the terms related to jariya in his book, Divan al-Lugat al-Turk. The meaning of some of these words have changed over time but the women referred to by these terms were generally housemaids in family life. All kind of jariya had opportunities such as marriage, being treated like a member of the family and being emancipated. My aim in this study is to address perception and interpretation of jariya and certain practices related to them in Turkish folk culture in the period of Islamization. (shrink)

This study brings together various images of enslaved women characterized as jawārī (sing. jāriya) across Fatimid visual culture to shed light on the frequency with which jawārī are represented in the corpus of Fatimid art and to offer an explanation for their ubiquity in the visual archive. This study argues that the oft-repeated visual motif of jawārī highlights the required visibility of enslaved women in Fatimid society. In addition to their labor being exploited as well as their bodies being sexually (...) accessible to their owners, jawārī were also visually available to those they served. In this sense, the jawārī represented in Fatimid visual culture became mere objects on the surface of objects, things on things, constructed to provide pleasurable experiences for their audiences – their owners, of course, but also members of elite society at large. Carved in wood and ivory, painted on ceramics and walls of architectural spaces, drawn on paper, and crafted in sculptural form, representations of jawārī sought to beautify physical and sexual labor, superimposing an aesthetic element on the representation of enslavement. Representations of jawārī thus reveal less about the day-to-day experience of enslaved women in the Fatimid world and more about the carefully constructed ideologies and desires undergirding enslavement in the period. Slavery and its images were therefore not hidden features of the Fatimid visual landscape but rather spectacles to be commodified, consumed, and enjoyed. (shrink)