Eden In Iraq is an environmental design and water remediation project in the marshes of southern Iraq using design and wastewater as bio-art, to create a restorative garden for education, cultural memory, and contemplation. Earmarked for a 20,000 m2 site at Al Manar in the marshes between the Tigris and Euphrates rivers, near a probable site of the historic Garden of Eden, Eden in Iraq is a project that brings, art, design, and technology together with culture and history. Drawing on (...) Islamic and Mesopotamian traditions originating in this historically and symbolically charged region, the Eden in Iraq Waste Water Garden is designed to be a syncretic container for ecological and cultural restoration and heritage after the time of war. This paper looks at this project from three inter-related activities, namely, treatment of wastewater suitable for growing a large scale garden, design of the garden starting from the Islamic garden design principles and thirdly, reviving the cultural heritage of the pre-Islamic, Mesopotamian art in contemporary forms.Graphic abstract. (shrink)

This paper provides a précis of Ernst Cassirer’s concept of art as a symbolic form. It does so, though, in a specific respect. It points to the fact that Cassirer’s concept of “symbolic form” is two-sided. On the one hand, the concept captures general cultural phenomena that are not only meaningful but also manifest the way man makes sense of the world; thus myth, religion, and art are considered general symbolic forms. On the other hand, it captures the formal structures (...) and semiotic tools thanks to which meaning is constructed within each general symbolic form ; thus, in art, perspective or the golden section are well-known examples of symbolic forms, now in a narrow sense, i.e. they are means to configure parts into an organized, meaningful whole. The paper will comment on art along both these two dimensions, but its main goal is to provide with concrete examples of aesthetic symbolic forms in the narrow sense in order to show how conceptual meaning can be inscribed in the space of aesthetic intuition. (shrink)

Much is said about Middle Eastern and North African publics opposing gender equality, often referring to patriarchal Islam. However, nuanced large-scale studies addressing which specific aspects of religiosity affect support for gender equality across the MENA are conspicuously absent. This study develops and tests a gendered agentic socialization framework that proposes that MENA citizens are not only passively socialized by religion but also have agency. This disaggregates the influence of religiosity, highlights its multifacetedness, and theorizes the moderating roles that gender (...) and sociocognitive empowerment play via gendered processes of agentic dissociations. Using 15 World Values Surveys and multilevel models, our analyses show that most dimensions of religiosity fuel opposition to gender equality. However, the salience of religion in daily life is found to increase women’s support for gender equality and cushion the negative impact of religious service attendance. Also, gender and education moderate the impacts of several religiosity dimensions; for instance, women’s support for gender equality more sharply declines with increased service attendance than men’s. Altogether, this study finds that religious socialization is multifaceted and gendered, and that certain men and women are inclined and equipped to deviate from dominant patriarchal religious interpretations. (shrink)

​This book investigates the nature of aesthetic experience and aesthetic objects. Written by leading philosophers, psychologists, literary scholars and semioticians, the book addresses two intertwined issues. The first is related to the phenomenology of aesthetic experience: The understanding of how human beings respond to artworks, how we process linguistic or visual information, and what properties in artworks trigger aesthetic experiences. The examination of the properties of aesthetic experience reveals essential aspects of our perceptual, cognitive, and semiotic capacities. The second issue (...) studied in this volume is related to the ontology of the work of art: Written or visual artworks are a specific type of objects, containing particular kinds of representation which elicit a particular kind of experience. The research question explored is: What properties in artful objects trigger this type of experience, and what characterizes representation in written and visual artworks? The volume sets the scene for state-of-the-art inquiries in the intersection between the psychology and ontology of art. The investigations of the relation between the properties of artworks and the characteristics of aesthetic experience increase our insight into what art is. In addition, they shed light on essential properties of human meaning-making in general. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Literature, Imagination, and Human RightsWillie van Peer“the poet’s function is to describe, not the thing that has happened, but a kind of thing that might happen”Aristotle: Poetics, 1451aAristotle’s dictum has been of vital importance to the development of literary theory, and its significance can still be felt today. It is the foundation of the distinction we make between journalism and literature, between history and fiction. Literature, Aristotle proposes, (...) is about things that could happen, not about things that have taken place in reality. Literature is thus inscribed in the realm of the imagination. However, imagination does not operate in an epistemological vacuum. A fictional text entertaining no relation with the world would have no meaning. Perhaps giants, dragons and witches do not really exist, and perhaps it is not really possible to cover seven miles with each step of those wonderful boots that Tom Thumb discovered. But we have no difficulty in imagining those things, precisely because they entertain an intimate relationship with forms and things, events and actions that happen in daily life. The details of the relationship between reality and fiction are less important for the present argument than the fact that fiction is embedded in our pragmatic attitudes. 1 Ernst Bloch has given this human tendency a name: The Hope Principle. Our desire for a better world expresses itself in hope, a distinctive feature of the species Homo Sapiens. The importance of the imagination in the project of humanity has received eloquent and systematic treatment in the philosophical work of Hans Vaihinger and Helmuth Plessner. 2 Imagination also gives impetus to history, because it drives us toward the realization of aims and plans that initially lived only in our hearts and minds: “Someone dreaming never remains in the same place.” 3 [End Page 276]Similar things have been asserted about literature, by Horace, Sidney, Matthew Arnold, and others. Reading is supposed to make us better humans, heightening our awareness, increasing our sensibility, and thus indirectly guiding our actions toward the establishment of a better world. Sometimes noble motives are associated with this function. Reading literature, it is then assumed, makes the reader more socially tolerant, more perceptive about other humans, and more politically conscious. This is the so-called Edification Hypothesis. Anthony Savile sums up this view when he submits the thesis that literature has a unique power to make us understand the thoughts and feelings of other human beings. This ethical perspective on literature has been expressed since Greek Antiquity. 4 It will be remembered that Plato condemned literature precisely for this reason: because it diverts our attention from the real world, itself already an imperfect reflection of Pure Ideas. Aristotle rejects this view and develops a theory squarely opposed to that of his teacher. According to him, literature contributes to the elevation of mankind, to paideia. By showing us that which is possible, and by involving us in the inescapable passage of tragic events, readers and spectators are drawn into emotions of fear and compassion, emotions that lead to katharsis, a process that purifies us of megalomania (hubris), safeguarding democratic government and protecting us from unrestrained tyranny. 5The Aristotelian view that literature has an edifying effect had been generally present in Western tradition till about 1800. Until then literature was viewed almost universally as an ethical category. Consider, for instance, the self-evident way in which Richardson prefaces Pamela: “If to divert and entertain, and at the same time to instruct and improve the minds of the YOUTH of both sexes: If to inculcate religion and morality in so easy and agreeable a manner, as shall render them equally delightful and profitable: If to set forth in the most exemplary lights, the parental, the filial, and the social duties....” 6The embarrassment a modern reader may feel when confronted with such overt claims to morality is largely a product of the nineteenth century, when literature came to be seen as a predominantly aesthetic category, eluding all attempts at moral categorization. This movement has resulted in a liberation of literature from moralism. At the same time, it has created nontrivial difficulties in thinking about ethical and political issues, so... (shrink)

This article discusses two well‐known texts that respectively describe learning and teaching, drawn from the work of Freud and Plato. These texts are considered in psychoanalytic terms using a methodology drawn from the philosophy of Luce Irigaray. In particular the article addresses Irigaray's approach to the analysis of speech and utterance as a ‘cohesion between the source of the utterance and the utterance itself’ (Hass, 2000). I apply this approach to ask whether educational tradition has fractured the relationship between pedagogy (...) and the body of the teacher/pupil. Teaching and learning are re‐addressed in ways that challenge the gender‐neutral representation of pedagogy as a systematic technique. (shrink)