Liber de orbe, attributed to Māshā'allāh (d.c.815), a court astrologer of the Abbasid dynasty, was one of the earliest Latin sources of Aristotelian physics. Until recently, its Arabic original could not be identified among Arabic works. Through extensive examination of Arabic manuscripts on exact sciences, I found two manuscripts containing the Arabic text of this Latin work, although neither of them is ascribed to Māshā'allāh: Berlin, Staatsbibliothek zu Berlin, Ms. or. oct. 273, and Philadelphia, Pennsylvania University Library, MS LJS 439. (...) In this paper, I describe these two manuscripts in great detail, so that I confirm their originality of theLiber de orbe, and then by analysing the contents of the Arabic text, I deny the attribution to Māshā'allāh, and identify the title and author asBook on the Configuration of the Orbby Dūnash ibn Tamīm, a disciple of Isaac Israeli (c.855–c.955). (shrink)

Le Tractatus particulares est un ouvrage en quatre parties attribué à Abraham Ibn Ezra (ca. 1089-ca. 1161), qui nous est parvenu en deux traductions latines. Le présent article montre que, malgré les attestations dans les incipits et les explicits des deux traductions latines, le Tractatus particulares ne peut pas être un ouvrage authentique d’Ibn Ezra, ni un recueil d’écrits de sa plume. L’essentiel du Tractatus particulares est constitué de traductions de l’arabe en hébreu, réalisées bien après la mort d’Ibn Ezra (...) et associées à son nom par la suite. L’article entend aussi montrer que la source hébraïque du Tractatus particulares était sans doute conçue comme un ouvrage astrologique complet, une sorte d’encyclopédie astrologique médiévale. (shrink)

"Ever Since This World Began" from Love Dog (Penny-Ante Editions, 2013) by Masha Tupitsyn continent. The audio-essay you've recorded yourself reading for continent. , “Ever Since the World Began,” is a compelling entrance into your new multi-media book, Love Dog (Success and Failure) , because it speaks to the very form of the book itself: vacillating and finding the long way around the question of love by using different genres and media. In your discussion of the face, one of the (...) themes of Love Dog , I think there is something to be said about the surfaces media create and how you constantly manipulate them in your work. This seems important for thinking also about your book LACONIA: 1,200 Tweets on Film ; a book on film written in tweets, interposing already three sets of expectations and pushing the boundaries of each medium's faciality, it's surface tension. In Love Dog , is there another kind of facial interaction? Perhaps the discursive faces of approaching love as topic and love as method? If so, how did/do these intersect for you, do/did they drive the creation of this book? MASHA TUPITSYN With LACONIA and Love Dog , I wanted to pay homage to the work modernism has done on subjective time and chronological time by carrying that experiment over into the digital economy. Because LACONIA is a time-based work of cultural criticism that employs the aphorism to look at 21 st century American culture, it is also an archival work of cultural mourning and memory. And in Love Dog , which is also a work about mourning as it relates to love, I wanted to think with all my senses, and to reflect that in the writing itself by using a multi-media form. LACONIA tackled the sound bite and the promotional image--the everyday language of consumer culture--which often wants to communicate ideological agendas through the repetition of a single image or reductive phrase. I had always been interested in the approaches of artists like Barbara Kruger and Jenny Holzer and essayistic, typographical filmmakers, like Chris Marker and Godard. In both cases, I felt it was important to try to compose a book in which deep—critical—thinking happens in so-called immediate, informal, and disposable contexts. That is, in places where you are either not supposed to be serious or are not required to take things seriously. To me the most intervention is needed in every day instances of culture and representation. In order to do that, I had to utilize and interrogate the very structures I was critiquing. In other words, the writing had to materialize in that live, digital, public space. It couldn’t simply happen at home on a piece of paper or in a word document on my computer that no one could see until it was finished. It had to unfold in real time, amidst everything else. And it had to literally be surrounded by the cultural landscape I wanted to assess. In both LACONIA and Love Dog , I wanted to know how and if we can get away from what we cannot get away from? From which there is no respite. Given this, I don’t think hypertexts can really be called hypertexts anymore. Hypertexts are simply the world today. This is not only the way we read the world now. It is the way the world reads. Likewise, interfaciality, as you put it, works on a number of levels for me, both on and off the page. There is my relation to epistemological and phenomenological surfaces—the screen, the body, the face, the voice, gender; the official story. Then there is the way this dovetails formally, and to which the digital adds yet another dimension. It’s also where sound comes into Love Dog (giving the book a sound; giving tonality to the book’s ideas and feelings). As Anne Carson pointed out in her essay “The Gender of Sound,” the two are connected, and of course so are love and gender. In “Ever Since This World Began,” I wanted to think about the phenomenology of the voice, which is why I visualize the sonic in the book and why in my writing about faces, I look at the tonal aspects (the things a face voices and a voice faces) of a face. This was standard to do when images and faces were “silent” in the silent era. Those images/faces were extraordinarily audible. The greatest screen face, to me, is still Falconetti’s in Dreyer’s The Passion of Joan of Arc . We can hear her face—even though there is no actual sound on screen of her speaking. The internet is a similarly “silent” space where actual voices are lacking. So intertextuality goes with interfaciality. I’ve also talked a lot about how categorization worked when it came to the reception of my first book, Beauty Talk & Monsters . How despite the fact that Beauty Talk is a text that crisscrosses form and content in a variety of ways, not pinpointing its exact genre—choosing one genre over another—only made things worse. Fiction was the category people were most adverse to me using, even though of course there is a lot of fiction in the book. Part of how fiction works in Beauty Talk is in the reader not knowing exactly where the fiction resides. In Godard’s 1967 film, Weekend , for example, everything matters. Everything is political, whether it’s real or imaginary, film or reality. In Weekend , life is not a game and neither is the game a game. The game is really life. Either everything is important or nothing is. But many people want clear answers and demarcations so that they can decide what is important and what is not important. My use of the “I,” subjective criticism, made everything “real” in Beauty Talk . But fiction is in the construction. It is in the blending. This is why I perforate the movie screen and connect the onscreen and the offscreen; the official story and the backstory. Although I don’t think there is a difference between onscreen and offscreen anymore. Nor is there a dialectic. It’s all screen all the time now. Non-fiction, on the other hand, was more tolerated as a moniker. Unlike Love Dog , Beauty Talk wasn’t explicitly or tangibly (what is tangible is a question in all these books) working with digital forms or within this digital economy, so some people resisted the book’s hypertextuality or intertextuality because they couldn’t see its other forms, if that makes sense. It was a problem of invisibility; of how to make something appear (this is where Nietzsche, big presence in Love Dog , comes in—the nature of appearances). Something people don’t necessarily want to see. Some readers couldn’t see the way forms were interfacing in that book. On the surface, Beauty Talk was simply a text about media culture—the domination of entertainment as a mode of being and knowing—and most readers could only see that one side of the book. But as Godard puts it in Wim Wenders’ documentary about the future of cinema, Room 666 , “Films are made, images are made, when there’s no one looking. That’s what the invisible is, that which we don’t see. That’s what the incredible is, that which we don’t see. And cinema shows you that which we don’t see, the incredible.” We are living in the aftermath of narrative and temporal collapse, which means we don’t read or feel in the same way. I began to use digital forms in my writing because I don’t see us as traditional book people anymore. I would add that power also resides in the invisible, in the things we make invisible by making them visible. Or it did for a long time. The new face of power is quickly becoming so-called transparency, which is even more corrupt because even though we now live in a behind-the-scenes culture, and see and know how the mechanisms of power and corruption operate, we still don't change. The world still doesn't change. Finally, another important thing that Godard says in Room 666 that relates to Love Dog is: “I’m here in front of the camera, and yet in my body and in my head, I’m behind it. My world is the imaginary and the imaginary is a journey between forwards and backwards.” This idea of visible/invisible, foresight and hindsight , backwards and forwards is an important dialectic in relation to time and the idea of the destinal. This is why I wanted Love Dog to travel, literally, figuratively, and discursively. You have to be open to not knowing. To epistemological, geographical, chronological, and emotional aporias. In Love Dog my story is both visible and invisible to me. Sometimes I could see where I was going. Other times I was completely in the dark existentially. Truth procedure, which love is, as bell hooks and Badiou tell us, requires expedition and openness to possibility. Unless you want a story you already know, but that is not truth procedure. So I tried to create this backwards and forwards journey in the book—this sense of travel and motion, hope and doubt—by jumping between forms, media, time; traveling to different places, texts, and emotional registers. The book’s “Time-Jump series,” which mostly takes the form of music—songs—but also a series of “green” videos that I shot, is the most obvious tribute to this idea of subjective and chronological time. continent. Your work aligns with writers that play with the form of their language, or have assumed the role of performance artist at some point: Kathy Acker, Chris Kraus, Avital Ronell, and Anne Carson to name a few representing varied approaches that show up in Love Dog . At the risk of ossifying the work, or missing the point—as these experimental modes of writing stack-up in piles of published works, do they approach a genre? MASHA As I noted in my book Life As We Show It , in Chelsea Girls the poet Eileen Myles points out, “You can’t get money without a category.” More importantly, you can’t get a category—or respect, rank—without a clear genre. This makes genre and gender an obvious pair. The two words are even linked etymologically and both genre and gender concern taxonomies of legitimacy—of sorting through what and who is valuable. So the words share common prejudices. The things one does not want to read is often synonymous with who one doesn't want to read about. Therefore a break-up of or with genre is maybe the genre or anti-genre that could be said to link these writers. Avital Ronell breaks up with philosophical tradition and modes of inquiry. Like Nietzsche, she revaluates methods of evaluation, testing out things you are not supposed to use philosophy to test (and, by the same token, testing philosophy in ways it’s not supposed to be tested), like drugs and stupidity—where philosophy fails and we fail philosophy. And Chris Kraus does something similar in her experimental fiction, using different forms to put female subjectivity “to the test,” so to speak. All these female writers and thinkers have tried to destabilize the systems that have been set up in (and against) writing. Thus missing the mark with genre, even intentionally, means that we have missed the point in some sense as writers and thinkers. And that to me is a good thing, however difficult. We’ve started at the wrong point and gone somewhere else instead. We’ve acknowledged that writing and thinking are also about failure, and that failure is always embedded in the act of writing and in our reasons for writing. So that missing the point is also the point. Derrida insisted: “We must invent a name for those ‘critical’ inventions which belong to literature while deforming its limits.” But how can you give something that resists and deforms, a name? Wouldn’t the name also be deformed? Isn't this why the aforementioned writers get hyphenated descriptors like ficto-criticism? Do we need a proper name to be able to read something carefully? I don’t think so. I don’t need it as a reader. I’ve always taken a work on its own terms. But for most people, if you don’t have an address, people don’t know how to find you. A lot of time, they won’t even know how to look. And in some cases, they’ll think you’re not even worth finding. You are not on the map because you have to literally make the map in order to exist. In her essay, “The Gender of Sound” Carson asks, “Why is female sound bad to hear?” I think for the same reason something uncategorizable (pedagogically, creatively, racially, and sexually)—Other—is hard to read. *For an audio recording of Florida , read by Masha Tupitsyn click here . continent. : We're also curious to hear know how you see the significance of 'performance' (and why the label sticks to the shoes of these authors like toilet paper) in describing this kind of writing work? MASHA I think I responded to the parenthetical portion of this question in my previous answer. As far as how performance relates to Love Dog , in Acker’s Don Quixote , which is another big presence in the book, she writes, “there is no other reality than anthropomorphism.” In Don Quixote , the dog is human and the human is dog. Which brings us to the title of Love Dog and the totemic function of the dog in the book: giving human things animal characteristics and animal things human characteristics. Rather than investing all our human love ideals into dogs, which we do constantly as a culture of dog lovers, I wanted to put the dog into love. It is the difference between the consumption of love as a patriarchal institution or status position and the essence of a type of radical and liberatory relation that would benefit humans in their bonds with other humans. So the dog in Love Dog is not simply the book’s cover or performative affect, so to speak. Love has always needed the dog, which is why the dog is the very embodiment of belief in love . Recall Argos The Great Dog and Odysseus. Argos is the only one who remembers and recognizes the ragged and old Odysseus even after his 20-year absence. So love is the high ideal and the dog, both common and dependable, is the bridge between the sacred and the profane. The dog is the house of love. And because Love Dog is a digital project, it seemed impossible to think about the post-human, technology, the virtual, or difference (which Badiou says is essential to love in In Praise of Love ) without thinking about animal-being and being-animal. Instead of simply “performing” these ideas and characteristics as literary affects, I’m interested in being-becoming. Which means the book’s tropes, leitmotifs, series, and even its titles are in service of that truth procedure. In other words, I actually want to live this way, not just write this way. And, more importantly, I want to live this way not just think this way. So Love Dog became both my totem animal and my autobiographical animal. This made the book organic, anthropomorphic—beyond literary. See the trailer to Masha Tupitsyn's new book available now from Penny Ante Editions. (shrink)

When courts started publishing judgements, big data analysis within the legal domain became possible. By taking data from the European Court of Human Rights as an example, we investigate how natural language processing tools can be used to analyse texts of the court proceedings in order to automatically predict judicial decisions. With an average accuracy of 75% in predicting the violation of 9 articles of the European Convention on Human Rights our approach highlights the potential of machine learning approaches in (...) the legal domain. We show, however, that predicting decisions for future cases based on the cases from the past negatively impacts performance. Furthermore, we demonstrate that we can achieve a relatively high classification performance when predicting outcomes based only on the surnames of the judges that try the case. (shrink)

In this paper, we discuss previous research in automatic prediction of court decisions. We define the difference between outcome identification, outcome-based judgement categorisation and outcome forecasting, and review how various studies fall into these categories. We discuss how important it is to understand the legal data that one works with in order to determine which task can be performed. Finally, we reflect on the needs of the legal discipline regarding the analysis of court judgements.

In medieval allegory, Body and Soul were often pitted against one another in debate. In _Body Against Soul: Gender and _Sowlehele_ in Middle English Allegory,_ Masha Raskolnikov argues that such debates function as a mode of thinking about psychology, gender, and power in the Middle Ages. Neither theological nor medical in nature, works of _sowlehele_ described the self to itself in everyday language—moderns might call this kind of writing “self-help.” Bringing together contemporary feminist and queer theory along with medieval psychological (...) thought, _Body Against Soul_ examines _Piers Plowman_, the “Katherine Group,” and the history of psychological allegory and debate. In so doing, it rewrites the history of the Body to include its recently neglected fellow, the Soul. The topic of this book is one that runs through all of Western history and remains of primary interest to modern theorists—how “my” body relates to “me.” In the allegorical tradition traced by this study, a male person could imagine himself as a being populated by female personifications, because Latin and Romance languages tended to gender abstract nouns as female. However, since Middle English had ceased to inflect abstract nouns as male or female, writers were free to gender abstractions like “Will” or “Reason” any way they liked. This permitted some psychological allegories to avoid the representational tension caused by placing a female soul inside a male body, instead creating surprisingly queer same-sex inner worlds. The didactic intent driving _sowlehele_ is, it turns out, complicated by the erotics of the struggle to establish a hierarchy of the self’s inner powers. (shrink)

This important and comprehensive work of 18th-century Islamic religious thought written in Arabic by a pre-eminent South Asian scholar provides an extensive and detailed picture of Muslim theology and interpretive strategies on the eve of the modern period.

Time Tells is a grand study of time, technology, performance, the attention economy, and comedy. Using the cinematic time-jump, "a numerical shorthand for a fated intermission," to weave a narrative of chronopolitics, memoir, and cultural study, Masha Tupitsyn constructs a unique literary and visual phenomenology on the loss of time, presence, and attention in the digital age. Structured into two interlocked inquiries--Time and Acting--Time Tells focuses on the internet to talk about the ethics of presence and attention, comedy to talk (...) about timing and the language of critique, and lying masculinity, the double, and acting to talk about performance and the reign of falsehood. Both volumes intersect to examine our inability to experience coherence and integration in the post-truth era. In the first volume, Time, Tupitsyn covers wide-ranging cultural touchstones such as the '90s TV show Felicity, Hitchcock's Vertigo, Luca Guadagnino's Call Me by Your Name, Joan Didion's The Year of Magical Thinking, Pretty Woman, Wong Kar-wai's 2046, David Fincher's Zodiac, Jean-Luc Godard, the Beastie Boys, Wim Wenders, the art of style, memory and music in the post-internet age, and the lost ontology of cinema. Using what Tupitsyn terms "screen-shot criticism," Time Tells makes innovative critical thinking accessible to anyone interested in American culture today. (shrink)

A contemporary to Thomas Aquinas in Latin Catholic Italy, and with a parallel motivation to stabilize each his own civilization in its flux and storm, 'Abd Allah Baydawi of Ilkhan Persia wrote a compact and memorable Arabic Summation of Islamic Natural and Traditional Theology. With the same strokes of his pen he presented the Islamic version of the Science of Theological Statement, bafflingly called "Kalam" while familiarly embracing "Theology". Baydawi's Tawali'al-Anwar min Matal'al-Anzar (Rays of Dawnlight Outstreaming from Far Horizons of (...) Logical Reasoning), with Mahmud Isfahani's commentary, is a formidably clear logical and mental vision of mankind's final completion as a spiritual structure in Islam. Reality - in nature's Possible mode, in an apodictic Divine mode, and in humanity's heroic Prophetic mode - comprises man's Worldview and is the Theme of the Baydawi/Isfahani discourse. The Edifice of Man and Humanity's evanescent Evidence within it are both hugely arresting and moving. The print edition is available as a set of two volumes (9789004121027). (shrink)

With the ever-growing accessibility of case law online, it has become challenging to manually identify case law relevant to one’s legal issue. In the Netherlands, the planned increase in the online publication of case law is expected to exacerbate this challenge. In this paper, we tried to predict whether court decisions are cited by other courts or not after being published, thus in a way distinguishing between more and less authoritative cases. This type of system may be used to process (...) the large amounts of available data by filtering out large quantities of non-authoritative decisions, thus helping legal practitioners and scholars to find relevant decisions more easily, and drastically reducing the time spent on preparation and analysis. For the Dutch Supreme Court, the match between our prediction and the actual data was relatively strong (with a Matthews Correlation Coefficient of 0.60). Our results were less successful for the Council of State and the district courts (MCC scores of 0.26 and 0.17, relatively). We also attempted to identify the most informative characteristics of a decision. We found that a completely explainable model, consisting only of handcrafted metadata features, performs almost as well as a less well-explainable system based on all text of the decision. (shrink)

While some aspects of mouthings have been previously investigated, many topics in the use of this cross-modal contact phenomenon in sign languages remain unstudied, and not much is known about mouthings in Russian Sign Language, in particular. This article examines various aspects of mouthings as these are used by native RSL signers and aims to contribute new insights into the use and origin of mouthings in this sign language. Based on novel data from the online RSL Corpus alongside additional elicited (...) data, we describe the distribution, forms, functions and spreading patterns of mouthings. Our findings furthermore show that sign languages exhibit more extensive variation in the use of mouthings than has previously been thought. Moreover, we – thus far uniquely – describe mouthings also as a written-language-based contact phenomenon. This study has the potential to provide a better understanding of the nature of such contact-induced features as mouthings in sign languages in general and reveals a complex interplay of the modalities of signed, spoken and written languages. (shrink)

Die Spuren Al-Batlajusis in der judischen Religionsphilosophe ist ein unveranderter, hochwertiger Nachdruck der Originalausgabe aus dem Jahr 1880. Hansebooks ist Herausgeber von Literatur zu unterschiedlichen Themengebieten wie Forschung und Wissenschaft, Reisen und Expeditionen, Kochen und Ernahrung, Medizin und weiteren Genres. Der Schwerpunkt des Verlages liegt auf dem Erhalt historischer Literatur. Viele Werke historischer Schriftsteller und Wissenschaftler sind heute nur noch als Antiquitaten erhaltlich. Hansebooks verlegt diese Bucher neu und tragt damit zum Erhalt selten gewordener Literatur und historischem Wissen auch fur (...) die Zukunft bei. (shrink)

This book analyzes for the first time in English the ethical theory that underpins Qur’anic legislation by providing a classification of specific verses in which Islam’s holy book discusses moral issues. The principal purpose of this book is to demonstrate the ways in which the Qur’an theoretically and practically provides the moral code to which Muslims around the world adhere. The author divides his analysis into a survey of Qur’anic attitudes towards the basic ethical issues of obligation and responsibility, issues (...) of moral psychology such as motivation and intention, as well as matters of social ethics such as the function of law in society. He then explores the meanings of individual morality, morality within the family and civil society, and the relationship of morality to the idea of the state. (shrink)

Background: Patients’ rights are universal values that must be respected; however, it is not easy to put such values and principles into effect as approaches and attitudes differ from individual to individual, from society to society, and from country to country. If we want to reach a general conclusion about the status of patient rights in the world as whole, we should examine the situation in individual countries. Objective: To study the effect of training sessions for nurses about patients’ rights (...) on the perceptions of nurses and patients in two Egyptian hospitals. Methods: Quasi-experimental with pre- and posttest design was used in this study. Two groups of participants were included in the study: the first with 97 nurses and the second with 135 patients. A questionnaire sheet was used for nurses and patients to assess their perceptions about patients’ rights before starting sessions. The training sessions were developed based on the baseline information gathered in the assessment phase and related literature. After the implementation of the sessions, a posttest was immediately conducted for nurses, while for patients the posttest was conducted 1 month after implementation to evaluate the effect of the nurses’ training sessions on the patients’ perceptions. The same tools were used in pretest and posttest. Ethical considerations: Written approval was sought and obtained from the administrators of the studied hospitals prior to conducting the study. Oral consent was obtained from nurses and patients willing to participate. Confidentiality and anonymity of the participants were strictly maintained through code numbers on the questionnaires. Results: The improvement in nurses’ knowledge and perceptions about patients’ rights after implementation of the training sessions was remarkable. Moreover, an improvement in patients’ perceptions regarding their rights was reported. Conclusion: Repetition of the training sessions is suggested to achieve continuous improvement. Provision of posters and booklets about a bill of patient rights within the hospitals and conduction of further study to examine nurses’ performance and patients’ satisfaction based on code of ethics are recommended. (shrink)

1. Uyun al-hikma, et l'opuscule d'Abu'l Faraj et la réfutation d'Ibn Sina, édité et annoté par H.Z. Ülken.--2. Les opuscules d'Ibn Sina, et Le livre de la différence entre l'esprit et l'âme, par Qosta b. Luqa; édité, étudié et onnoté [sic] par H.Z. Ülken.--3. Aşkın mâhiyeti hakkında risâle, neşreden ve Türkçeye çeviren A. Ateş.

Allah knows what is best for us. Read this book to know what He expects from us and what He likes and dislikes. Allah and Me is a book which discusses some Islamic virtues which we should practice in our daily life in order to live according to Allah's will and become candidates for Paradise. A Muslim does everything for Allah. Every Little Talk in this book includes some questions to make children think, especially about their own behaviour in context (...) of the virtue discussed in that Talk. Each Talk ends with some Quranic verses and Hadith quotes to stress and highlight the Islamic teaching discussed in that Talk. (shrink)

Bu makale, 19. yüzyılın başlarında Kuzey Hindistan’da ortaya çıkan ve günümüze kadar devam eden, ilahî kudret hakkında önemli bir kelâmî ihtilafı ele alan ilk mantık araştırmasıdır. İhtilaf, birbiriyle bağlantılı iki tez içermektedir. İlk tez "imkān-i naẓīr" olarak bilinir ve bu, Allah’ın Hz. Muhammed'in aynısını yaratabilmesidir. İkinci tez ise "ikmān-i kızb" olarak adlandırılır ve Allah’ın yalan söyleme veya gerçeğe aykırı şeyler söyleme olasılığını hakkındadır. Makale, iki güçlü düşünürün argümanlarını inceleyecektir. İlk olarak, tartışmayı başlatan Shah İsmail Dihlawi (ö. 1831), Allah’ın benzer bir (...) Muhammed'i yaratabilme ve yalan söyleyebilme olasılığını savunan argümanlar sunar. İkinci olarak, karşıt görüşteki ve baş rakibi Fazl-e Haqq Khayrabadi (ö. 1861), her iki olasılığı da kesin bir şekilde reddeder. Makale, argümanların yapısının ve öncüllerinin yanı sıra tartışmada deruhte edilen temel modal kavramların ayrıntılı mantıksal analizine odaklanmaktadır. (shrink)

Die Vorstellung, dass die Welt aus sich selber erklärbar sei, ist für das europäische Denken eine Selbstverständlichkeit, die die Deutung des Menschseins einschiesst. Anders im Islam : Der Koran verkündet Allah als den einen niemals ruhenden Gestalter der Komos und des Schicksals des Menschen. Anhand von zahlreichen Quellen legt der autor dar, wie diese Glaubenswahrheit in der Geschichte des islamischen Menschenverständnises interpretiert wurde"-- Back cover.

Muslim youth; religious life; Islamic countries.

Globalization; intellectual life; Morocco; philosophy.