This article responds to the papers by O’Donovan, Rizvi and Heck by identifying four convergent themes emerging from their accounts of Christian and Islamic political thought: the denial of salvific efficacy to the state; the claim that political authority is legitimated and limited by law; the attribution of a normative purpose to the state; and the ascription of a positive role for the people in the legitimation and scrutiny of political authority. The article poses the question whether this amounts to (...) something that might be termed a shared ‘monotheistic democratic constitutionalism’. (shrink)

In 1951, the eight o’clock nightly news reported on Jean-Paul Sartre for the first time. By the end of the twentieth century, more than 3,500 programs dealing with philosophy and its practitioners—including Bachelard, Badiou, Foucault, Lyotard, and Lévy—had aired on French television. According to Tamara Chaplin, this enduring commitment to bringing the most abstract and least visual of disciplines to the French public challenges our very assumptions about the incompatibility of elite culture and mass media. Indeed, it belies the conviction (...) that television is inevitably anti-intellectual and the quintessential archenemy of the book. Chaplin argues that the history of the televising of philosophy is crucial to understanding the struggle over French national identity in the postwar period. Linking this history to decolonization, modernization, and globalization, _Turning On the Mind _claims that we can understand neither the markedly public role that philosophy came to play in French society during the late twentieth century nor the renewed interest in ethics and political philosophy in the early twenty-first unless we acknowledge the work of television. Throughout, Chaplin insists that we jettison presumptions about the anti-intellectual nature of the visual field, engages critical questions about the survival of national cultures in a globalizing world, and encourages us to rethink philosophy itself, ultimately asserting that the content of the discipline is indivisible from the new media forms in which it has found expression. (shrink)

I want to express my own position on the introduction of Christian ethics in the school course. The problem, which is being actively discussed in Ukrainian society - the problem of spirituality - has been particularly intensified today in connection with the initiatives of the President of the State on the early implementation of the Ethics of Faith in school education. This idea added additional headache to the Ministry of Education and Science of Ukraine, opened the hands of some church (...) figures in their ambitions and raised many questions for scholars who still cannot decide what it is - the ethics of faith. (shrink)

Masarykovo a Husserlovo pojetí duševní krize evropského lidstva -- Pokus o českou národní filosofii a jeho nezdar -- Kolem Masarykovy filosofie náboženství.

U radu autor prikazuje dva nedavno objavljena zbornika posvećena onome što se danas imenuje kao »zaokret ka prostoru«. Nakon što je opisao ključna pitanja koja zaokupljuju priloge sakupljene u zbornicima, autor koristi prigodu ukazati na problematično izostavljanje njemačke tradicije promišljanja prostora iz dominantnih teorijskih paradigmi koje izrastaju iz rečenog spacijalnog zaokreta. Na kraju prikaza autor nudi nekoliko zapažanja o razlozima elidiranja problematike prostornosti u domaćoj teorijskoj produkciji.In the article the author discusses two recently published collections of essays devoted to what (...) is today designated as the “spatial turn”. After addressing the key questions that preoccupy the contributions collected in these publications, the author uses the occasion to point to the problematic omission of the German tradition of thinking space from the dominant theoretical paradigms which have emerged from the above mentioned spatial turn. At the end of the article the author offers a number of observations relating to the reasons for the elision of the spatial problematic in Croatian theoretical production. (shrink)

The global pandemic needs to mark a turning point for the peoples of Aotearoa New Zealand. How can we make sure that our culturally diverse nation charts an equitable and sustainable path through and beyond this new world? In a less affluent future, how can we ensure that all New Zealanders have fair access to opportunities? One challenge is to preserve the sense of common purpose so critical to protecting each other in the face of Covid-19. How can we centre (...) what we have learnt about resilience within Māori and wider Pacific communities in our reforms? How can public understanding of Covid-19 science create a platform for the future social valuing of expertise? How can we ensure that the impact of Covid-19 in New Zealand results in a more sustainable, and inclusive workforce–for instance by expanding our perceptions of the value of our workers through promoting digital inclusion? To meet these challenges, we must reimagine our existing traditions of thought, breathing new life into perennial concepts and debates. Our paper indicates some of the ways that Philosophy is central to this collective reimagining, highlighting solutions to be found across our rich philosophical traditions. (shrink)

Islamic thought, no matter what tradition it belonged to, went through a process in which almost all thinkers after the twelfth century were also commentators of Avicenna (d. 428/1037). When this phenomenon combined with Fakhr al-Dīn al-Rāzī's (d. 606/1210) ability to problematize, his critical readings revealed the aporias and turned them into problems which would occupy the thinker’s mind after him and waiting to be solved. The quiddityof knowledge has an important place among these, both in terms of being closely (...) related to many issues where ontology, epistemology and axiology intersect and being a problem area where the Islamic intellectual traditions’ conception of existence is directly reflected. As seen in the analyses of many thinkers, notably Râzî, the ontology, quiddity and category of knowledge in Avicennian philosophy contain elements that are conducive to encountering important challenges when the system as a whole is taken into consideration. Accordingly, scholars like Shams al-Dīn al-Isfahānî (ö. 749/1349), al-Taftāzānī (ö. 792/1390), al-Sayyid al-Sharīf al-Jurjānī (ö. 816/1413), Alî al-Qūshjī (ö. 879/1474), al-Dawwānī (ö. 908/1502), Sadr al-Dīn al-Dashtakī (ö. 903/1498) have taken the discussion to a further point both in terms of identifying the problem and revealing its implications and proposing solutions. This study aims to analyze the sixteenth-century thinker Kutb al-Dīn al-Ījī’s treatment of this problem who inherited the debates of past on the matter in question. He carries out his evaluations especially through the Alī al-Qūshjī (ö. 879/1474), al-Dawwānī (ö. 908/1502) and al-Dashtakī’s comments on the subject. He makes important contributions by analyzing these scholars’ solution offers con-cerning the problem of categorical status of knowledge and putting forward his own approach. He thinks that Alī al-Qūshjī’s distinction between realization (husūl) and subsistence (qiyām), al-Dashtakī’s theory of transformation and al-Dawwānī’s offer to not put the knowledge under the category of quality are problematic from various aspects. (shrink)

The concept of fore-structure is central to Heidegger’s idea of interpretation. Gadamer later incorporated this concept into his own theory of philosophical hermeneutics. But there are indeed certain signifcant differences between their accounts of the fore-structure, and these differences are o ften neglected by scholars. This essay will first present Heidegger’s concept of fore-structure, and then we will demonstrate the differences between Heidegger and Gadamer. At last, we will draw out some implications of Heidegger’s concept of fore-structure to textual Interpretation.

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.3 (2003) 112-118 [Access article in PDF] Hong Kong Art: Culture and Decolonization, by David Clarke. Durham, North Carolina: Duke University Press, 2002, 240 pp. Paper. The issue of identity is a "vicious" circle in relation to Hong Kong's return to China in 1997. The more one talks about it, the more it is to be talked about as if it is a phenomenon (...) at a very special moment. But isn't not talking about Hong Kong identity in a certain period of time also a "vicious" circle, in which the lack of noise invites further silence?David Clarke's Hong Kong Art is, in a sense, an initiation of Hong Kong art as a "vicious" circle. In this sense, a concrete affinity between a text and its subject matter is significantly established. This is one of the ideals, potentials, and powers of all books written for the sake of being read and having actual effect. In this respect, this "vicious" circle is not vicious in a negative sense. It is through such interactivities that a book establishes a positive link with its subject matter.Hong Kong Art investigates "a particular historical moment in which HongKong art came into its own" (p. 10) and dwells upon the "local-ness of recent Hong Kong art" (p. 8). Nevertheless, Clarke deliberately avoids introducing a chronological survey of "Hong Kong art history as a whole" (p. 10). His solid research draws on the colloquial meanings of Hong Kong art in connection with the dynamics among different languages (Cantonese, Mandarin, and English), local receptions of art as reflected in local media, as well as backgrounds of artists, artworks, and political and cultural developments, among others. All this is necessary for a book that examines theemergence of Hong Kong identity. This is the case especiallyas "[n]o adequate survey exists of Hong Kong art as a whole," albeit surveying Hong Kong art as a whole is not the book's objective. Clarke's meta-survey about surveys on Hong Kong art is given in an endnote, which I also quote here in a note for the reader's reference. "The present author's Art and Place: Essays on Art from a Hong KongPerspective (Hong Kong, 1996) attempts to give a picture of the Hong Kong art world in the period immediately prior to the one covered by this text, and includes [End Page 112] some discussion of art from earlier periods as well. Petra Hinterthür'sModern Art in Hong Kong (Hong Kong, 1985) attempts a brief survey, but is of course unable to throw light on more recent developments. A chronology of Hong Kong art development from 1922 to 1994 is given in Hong Kong Artists. Volume 1 (Hong Kong, 1995), pp. 21-32. A rather patchy and sometimes imprecise chronology of Hong Kong artistic events from 1967 to 1998 isgiven in Gao Minglu, ed., Inside Out: New Chinese Art (Berkeley, 1998), pp. 207-11. The latter chronology also covers political and other broader historical events of the period. A valuable resource (in Chinese) for research on the early period of Hong Kong art is provided by Edwin Lai and Jack Lee, 'A Chronology of Visual Arts Activities in Hong Kong, 1900-1930,' in Besides: A Journal of Art History and Criticism 1 (1997): 135-230" (p. 211).With regard to the book's "ideal" link with its subject matter, I will now discuss the book's actualization of what it sets out to examine. The inadequacy of surveys on Hong Kong art (whether or not as a whole) manifests the relative tranquility in acknowledging that Hong Kong art is distinct. In view of this, the book itself is an intervention that (further) actualizes what it talks about. This is the case particularly in light of its predecessors' "vicious" circle of "silence," let alone those simplifications reducing Hong Kong art to either a Westernized product or a Chinese branch.The "Introduction" of Hong Kong Art begins with a critique of Western art history practices such as Gardner's... (shrink)

O presente artigo tem por objetivo analisar o desenvolvimento histórico do cinema de Charlie Chaplin, a partir da obra de Guido Oldrini: História do Cinema na Cultura do Século XX: Um Mapeamento Crítico. Analisamos também o potencial do cinema de Chaplin de cumprir a missão social da arte, a partir do sistema de mediações categorias de Lukács em sua obra A Peculiaridade Do Estético. Buscamos, assim, analisar o caso específico das obras de Charlie Chaplin e explicitar as categorias estéticas do (...) cinema enquanto forma particular de arte a partir do seu desenvolvimento histórico. (shrink)

On Vedanta philosophy; study based on Vedic literature.

A proposta principal dese livro é fazer uma tessitura entre ética, arte e imaginário, elementos primordiais que se entrelaçam na relação com a sagrado e com as experiências religiosas. A obra é fruto de algumas pesquisas decorrentes do grupo Imagem, Arte, Ética e Sociedade, coordenado pela Profa. Dra. Kátia Mendonça e pelo Prof. Dr. Jones Gomes, em parceria entre as Universidade do Estado do Pará, Federal do Pará e Metodista de São Paulo por meio do Programa de Cooperação Acadêmica - (...) PROCAD. (shrink)

池上彰氏が各紙誌で紹介、大反響を呼んだ前作『「昔はよかった」と言うけれど戦前のマナー・モラルから考える』の待望の続編!

El ensayo es una mirada revisionista del famoso artículo de James Agee “La época más grande de la comedia” –centrándose en Buster Keaton y Charlie Chaplin, “los autores de la comedia cinematográfica” de la década de 1920–. Por más que Chaplin fuese considerado el gigante de la época, la literatura del momento mostraba que Keaton no solo era considerado una figura popular, sino también más culta (cf. mi próximo libro: Buster Keaton en su propio tiempo, McFarland Press). En cambio, en (...) los estudios actuales Keaton es considerado ya en la misma categoría que Chaplin. Mientras que la comedia inspirada por Chaplin se considera por siempre intemporal, Keaton nos parece ahora que habla para el día de hoy. Al menos durante esta década, Chaplin abraza el corazón humanista emocional de un pasado al estilo de Dickens, mientras que Keaton reflexiona sobre el existencialismo cerebral de un Camus o de un Beckett. La vida es confusa, pero para Chaplin, el arte es lo que consigue enderezarla, al menos durante noventa minutos. El mensaje o el recordatorio de Keaton es que la vida es un caos… una áspera “película” que finalmente termina. O, como Kafka observó, “el significado de la vida es que termina”. Verdaderamente dos perspectivas para reflexionar. (shrink)

A hagyományunk egyik kérdése az, hogy az eszményeinknek van-e, és mekkora szerepe az emberi cselekvések terén. Az eszményi európai ember valamilyen, esetleg vitatható, esetleg megalapozhatatlan eszményt követ, de uralja szenvedélyeit, vágyait, érzelmeit és érdekeit. A kereszténység ezt felfokozta az erkölcsi cselekvése terén, míg a felvilágosodás a politikában tette mindenek feletti problémává a politikai tudást és eszményeket. Ezt az intellektualizált cselekvési eszményt azonban rendre kikezdik, és ezek a kihívást jelentő magyarázatok a romantikától a marxizmusig a valós cselekvésekre hivatkoznak, amelyek többé vagy (...) kevésbé eltérnek az eszménytől. Egy nemzedékkel ezelőtt, de még ma is sokak számára a valódi cselekvésmotívum az (osztály)érdek volt, míg a mai wokery a személyes érzéseket tette legitim és bármilyen cselekvést igazoló motívummá, míg az eszményeket az elnyomás eszközeinek tekinti, hiszen az eszményeket követni próbáló ember korlátozza önmagát. A kötet írásai a cselekvés szkeptikus megközelítését sugallják: a cselekvéseknek mindig sokféle motívuma lehet, valamilyen eszmény követésétől kezdve érdekek, szenvedélyek és érzelmek követéséig, és ezekről csak feltételezéseink lehetnek. A tapasztalatunk az, hogy a túlmoralizált politika ugyanúgy kellemetlen világot eredményez, mint az alulmoralizált. (shrink)

Influence of Thai philosophy on the way of thinking of Thai people.

Njik ka Amaka: Further Discussions on the Philosophy of Integrative Humanism (A Contribution to African and Intercultural Philosophies) presents philosophy from the view point of African thought system and logic. It presents African philosophy not as a reactionary to another brand of philosophy as is popularly the case among writers of African philosophy but as an unspoken, unstated rival of the positions of other philosophical traditions, with great emphasis on the importance of intercultural philosophizing. Somehow, the work manages to be (...) eclectic in welding orientations in the spirit of intercultural philosophy and it makes no pretense that it was written primarily for the contemporary lover of wisdom. The focal point which remains unwavering throughout was the further development of integrative humanism as a theory in African philosophy. The language style of this work was carefully knitted in simplistic and in some places bombastic forms. Simplistic to appeal to all class of readers and bombastic to demonstrate the emerging orientation that one way to hit back at the domineering colonial languages would be to speak them in deconstructive manner. The Englishness or the Frenchness of those colonial languages are in this book broken; traditional meanings of words are in some places altered to reflect the African senses; some other words are reshaped in various forms to reflect what the African has in mind and what he means; idioms are reinterpreted to reflect the unabashed and highest degree of indomitable Africanness; this is because a language that would bear forth African truths if it yet remains foreign can only emerge from the ruins of the one that bore Western truths. The benchmark of the theory of integrative humanism as a vanguard for intercultural philosophy is a passage from bivalent to trivalent mode of logical interpretation wherein the intermediate position is hoisted as the necessary missing link of reality. (shrink)

「一神教とは何か」という問いが、つきつけられてある。その問いに対し本書は、一神教を外側からかつての「厳密な学」風に定義し再構成し叙述して答えようとするのではない。内側からその生きた現実を証し語ろうとす る。.

This collection is about composing thought at the level of modernism and decomposing it at the postmodern level where many cocks might crow with African philosophy as a focal point. It has two parts: part one is titled 'The journey of reason in African philosophy', and part two is titled 'African philosophy and postmodern thinking'. There are seven chapters in both parts. Five of the essays are reprinted here as important selections while nine are completely new essays commissioned for this (...) book. As their titles suggest, in part one, African philosophy is unfolded in the manifestation of reason as embedded in modern thought while in part two, it draws the effect of reason as implicated in the postmodern orientation. The idea of the book is to open new vistas for the discipline of African philosophy. African philosophy is thus presented as a disagreement discourse. Without rivalry of thoughts, Africa will settle for far less. This gives postmodernism an important place, perhaps deservedly more important than history of philosophy allocates to it. It is that philosophical moment that says 'philosophers must cease speaking like gods in their hegemonic cultural shrines and begin to converse across borders with one another'. In this conversation, the goal for African philosophers must not be to find final answers but to sustain the conversation which alone can extend human reason to its furthermost reaches. (shrink)