kerekh 1-2. Maʼamarim rishon ṿe-sheni -- kerekh 3-4. Maʼamarim shelishi u-reviʻi -- kerekh 5. Maʼamar ḥamishi u-firḳe mavo.

ḥeleḳ 1. Dine birkot ha-nehenin--ḥeleḳ 2. Ṭohorat ha-lashon ṿeha-nefesh--ḥeleḳ 3. Dine teḥilat ha-yom--ḥeleḳ 4. Dine tefilat ha-shaḥar--ḥeleḳ 5. Neśiʼat-kapayim ṿe-taḥanun--ḥeleḳ 6. Dine ḳeriʼat ha-Torah--ḥeleḳ 7. Sheʼar tefilot ha-yom--ḥeleḳ 8. Tefilah be-Shabat uve-moʻed--ḥeleḳ 9. Dine Yamim Noraʼim--ḥeleḳ 10. Dine Ḥanukah u-Furim--ḥeleḳ 11. Mafteaḥ kelali meforaṭ.

Shaʻar derekh ha-limud: she-k. e. ṿe-e. yakhol li-zekhot li-ketarah shel Torah -- Shaʻar ʻAṭeret rosh: ʻaśarah maʼamarim - ḥizuḳ ʻetsot ṿe-hadrakhah -- Sefer Ashirah ʻuzekha: perush ʻal Pereḳ shirah.

In lieu of an abstract, here is a brief excerpt of the content:Feminist Studies 41, no. 3. © 2015 by Kathryn Kein 671 Kathryn Kein Recovering Our Sense of Humor: New Directions in Feminist Humor Studies At the 2014 annual meeting of the American Studies Association (ASA), the Humor Studies Caucus held a panel titled “Female Comedians and the Critical Power of Laughter.” After listening to presentations on Gilda Radner, Lily Tomlin, and Black women comedians’ 1960s comedy albums, one audience (...) member asked the panel if the classic theories of humor—Freud’s theory of the joke, Bergson’s thoughts on laughter (all conceived of in relation to the work of men)—applied when analyzing female comedic performers. One panelist immediately responded that she found none of those theories useful to her work on female comedians, and that instead she used queer theory to aid her analysis. This exchange at ASA points to many of the questions that scholars of humor and feminism are currently facing as they work to address a dearth of scholarship dealing with women, feminism, and comedy. The nods in agreement around the room spoke to the notion that scholarship on the topic of women in comedy is not merely filling in gaps, but breaking new ground. With a few notable exceptions, scholars have been relatively silent on topics involving women and/in comedy.1 The meager 1. See Susanne Lavin, Women and Comedy in Solo Performance: Phyllis Diller, Lily Tomlin, and Roseanne (New York: Routledge, 2004); June Sochen, ed., Women’s Comic Visions (Detroit, MI: Wayne State University Press, 1991); John Limon, “Skirting, Kidding: Ellen Degeneres and Paula Poundstone,” in 672 Kathryn Kein scholarly space devoted to feminism and humor is likely shaped by the fraught relationship women and feminism have had with humor in our cultural imagination. Women have long battled a perception that they, as a sex, are biologically not funny. Men have always vastly outnumbered women on stand-up stages and in comedy writers’ rooms. Former Saturday Night Live writer Anne Beatts recalled that star John Belushi, being of the “chicks-aren’t-funny” school, often requested that the women writers be fired.2 In her bestselling Bossypants, Tina Fey recalls that the gender imbalance of the sketch comedy teams at Chicago’s Second City were due to the fact that directors believed “the audience doesn’t want to see a scene between two women.”3 In his 2007 piece in Vanity Fair brashly titled “Why Women Aren’t Funny,” Christopher Hitchens went so far as to call women and humor “antithetical.”4 In particular, feminist women have been painted as humorless and unable to take a joke. In The Promise of Happiness, Sarah Ahmed, defining her figure of the feminist killjoy, observes that “feminists are typically represented as grumpy his Stand-Up Comedy in Theory, or, Abjection in America (Durham, NC: Duke University Press, 2000). 2. For further accounts of women comedy writers’ and performers’ experiences, see Yael Kohen, We Killed: The Rise of Women in American Comedy: A Very Oral History (New York: Sarah Crichton Books, 2012). 3. Tina Fey, Bossypants (New York: Little, Brown, and Company, 2011), 87. 4. Christopher Hitchens, “Why Women Aren’t Funny,” Vanity Fair 557 (2007): 54 Books Discussed in This Essay All Joking Aside: American Humor and Its Discontents. By Rebecca Krefting. Baltimore, MD: Johns Hopkins University Press, 2014. Pretty/Funny: Women Comedians and Body Politics. By Linda Mizejewski. Austin: University of Texas Press, 2014. The Queer Cultural Work of Lily Tomlin and Jane Wagner. By Jennifer Reed. New York: Palgrave Macmillan, 2013. Kathryn Kein 673 and humorless.”5 In a variation of the age-old joke, when a jokester asks, “How many feminists does it take to change a light bulb?” the respondent doesn’t say “How many?” but instead deadpans, “That’s not funny.” In different ways, the three books reviewed in this essay take up the conversation at ASA and tackle these same questions: How do we analyze humor produced by (and for?) women when our understanding of humor is decidedly male? What omissions have the gendered assumptions about humor caused in scholarship on feminism? How does humor work to address these assumptions? And how does the backdrop of these assumptions influence the comedy... (shrink)

The article discusses questions on the significance of blood relatedness in the context of identity arguments about artificial reproduction (AR). Kinship, origins, and biological connections are significant to human beings. The author explains that family relationships bear on the identity of human beings. Moreover, she emphasizes that once these principles are neglected, it is possible to create people in ways that threaten significant human bonds and alienate people who are naturally related spelling loss, confusion and grief for them.

Sara Confalonieri presents an overview of Cardano's mathematical treatises and, in particular, discusses the writings that deal with cubic equations. The author gives an insight into the latest of Cardano's algebraic works, the De Regula Aliza (1570), which displays the attempts to overcome the difficulties entailed by the casus irreducibilis. Notably some of Cardano's strategies in this treatise are thoroughly analyzed. Far from offering an ultimate account of De Regula Aliza, by one of the most outstanding scholars of the 16th (...) century, the present work is a first step towards a better understanding. Contents Inter-Dependencies Between the Families of Cubic Equations in the Ars Magna Ars Magna, Chapters XI-XXIII and the Casus Irreducibilis Getting Acquainted with the De Regula Aliza The Method of the Splittings in Aliza, Chapter I Target Groups Academics, researcher and students in the fields of mathematics, the history of mathematics, and epistemology. The Author Sara Confalonieri graduated in Philosophy at the Università degli Studi di Milano, in Mathematics at the Université Paris 6, and in Epistemology at the Université Paris 7, where she also obtained the PhD degree in history of mathematics on cubic equations during the Renaissance. At present, she takes part in a project on history of the didactic of mathematics in the 18th century at the Bergische Universität in Wuppertal as a post-doctoral researcher. (shrink)

On the analogy of the colloquial register in some modern languages, where narrative and argument may be punctuated by oaths and exclamations in order to maintain a high affective level and compel the hearer's attention, it is reasonable to postulate that Attic conversation also was punctuated by oaths, that this ingredient in comic language was drawn from life, and that the comparative frequency of ║ M M Δ in comedy is sufficiently explained thereby. There are obvious affinities between some passages (...) of comedy, relaxed conversation in Plato and Xenophon, and the forceful, man-to-man tone which Demosthenes sometimes adopts to such good effect . Compare, for instance, Ar. V. 133 f. στιν δ' νομα ⋮ τ μν γέροντι ⋮ Φιλοκλέων / να μ Δία, τ δ' υε κτλ., where the oath is a response to imagined incredulity, and X. Smp. 4.27 ατν δ σέ, η, γ εδον να μ τν πόλλω, τε κτλ. . It is also important that the commonest oaths fit, in most of their forms, the end of an iambic trimeter: μ τν Δία, ν Δία,ν τούς θεούς, μ τος θεούς. Add that in Aristophanic dialogue over half the iambic trimeters end with major pause, and half the remainder with minor pause, and we can see why Δ / established itself early as a distinctive comic pattern. Out of 105 examples of M M Δ cited from comedy in Section II above, 59 have the oath at verse-end. In the case of πάνυ, which was almost exclusively Attic and — to judge from its great rarity in tragedy — felt by Athenian poets to be prosaic, we lack evidence on its functions in the colloquial register; it may or may not have served as affective punctuation. In prose, we have to reckon with the fact that π Mπ and Mπ π constituted a genuine stylistic choice as far back as the evidence will take us, since the two earliest instances in prose are [X.] Ath. 2.3 πάνυ δι χρείαν and ibid. 3.5 πολλ τι πάνυ. The oath, as treated by the comic poets on the basis of colloquial usage, is bound to have served as a model for πάνυ, exerting an influence which pulled πάνυ to the end of the verse, but there was also a powerful metrical constraint. As a dibrach ending in a vowel which could not be elided or enter into crasis, πάνυ was especially appropriate for verse-end. That in itself was enough both to establish Mπ π as the dominant pattern in comedy and to promote Mπ … π. Out of the total of 104 examples of Mπ π in comedy, 93 have πάνυ at verse-end, which makes Mπ π / one of the hallmarks of comic style. Mπ … π does not occur in prose in association with any other feature identified as colloquial, but it should be noted that Aiskhines and Demosthenes are much fonder of Mπ π than other prose authors. In some cases one can see that the order Mπ π avoids a succession of short syllables or hiatus or both , but there are other cases in which it has the opposite effect . The possibility of comic influence on oratorical language cannot be dismissed out of hand. It is also possible that someone will find positive determinants which will explain all the cases of Mπ π in prose. σόδρα, which, like πάνυ, is peculiarly Attic, is metrically more tractable than πάνυ, since it can be elided; even so, out of the 80 comic examples of Mσ σ no less than 58 have σόδρα at verse-end, and of those 58 there are 22 at major pause, 8 at presumed major pause and 9 at minor pause. The comic treatment of σόδρα is thus comparable with the treatment of πάνυ, and Timokles 222.4 τηρεν…σόδρα is in fact the closest analogy we have to Ar. Pl. 234 f. χθομαι…πάνυ. δέ and γάρ are a different matter, and in some significant respects different from each other. Postponement of δέ is especially prominent in Aeschylus and then abundant in fourth-century comedy. It is much less common in Euripides , rare in Sophocles and Aristophanes , and virtually limited in prose to the categories which I labelled –. There is as yet no evidence to associate postponement of δέ with colloquial language; on the contrary, it seems to have begun as a feature of poetic language and to have been taken up and exploited by fourth-century comedy. If, in addition to being Aeschylean, it was colloquial in the fourth century, what happened to it afterwards? Except for such an isolated and inexplicable case as Diod. xx85.1 — in a military narrative — it is not a feature of the Koine at literary, documentary or subliterate level. Postponement of γάρ was no doubt encouraged by postponement of δέ, but it is not itself notably poetic ). One can see how it could possibly have developed in the spoken language of the fourth century, extending the function of γάρ as an explanatory particle in a way which makes it comparable with the English ‘you see’ in ‘He didn't dare pick it up. He hurt his back last year, you see’. For an extension of this kind we may compare the current extension of the English genitive affix in ‘Then the girl whose place she was taking's mother turned up’ and ‘The man that Christopher liked's Introduction is much better’. Moreover, postponed γάρ appears in a segment of conversation constructed in indirect speech by Theophrastus in Char. 8.9 τ πργμα βοσθαι γάρ . Again we must ask: what happened to it afterwards? A couple of cases in Theophrastus' botanical works could be a reflex of the influence of comedy on literary language at Athens. The influence was plainly short-lived, since it did not affect the Koine. It is not hard to see why serious poetry in the fifth century and earlier should have experimented occasionally with the postponement of δέ and γάρ: treatment of M M q as a valid alternative to M q M is metrically very convenient. No poet, however, could afford to use common words in a bizarre, un-Greek way merely to save himself time and trouble in constructing a verse. Linguistic innovation is normally analogical, proceeding by extension from a starting-point already there, and the most obvious starting-point for postponement of δέ and γάρ is constituted by my class . This consideration provides comic postponement with a pedigree, but does not deny it individuality. The remarkable scale and frequency with which comedy exploited a phenomenon which tragedy used with restraint and prose hardly at all gives comic postponement the right to be regarded as a quite distinctive artificial feature of comedy. (shrink)

[1] Sefer Orḥot Ḥayim leha-Rosh ʻim beʼur "ha-Shem orḥotenu" ... 2. Ḳunṭres Be-Shaʻar ha-melekh ʻal haḳdamat ha-Rambam, kolel tsiyunim u-meḳorim u-veʼurim be-divre ha-Rambam ṿeha-Raʼabad ... 3. Ḳunṭres Tashlum yefeh ʻenayim ʻal Seder Zeraʻim u-Ṭehorot, ʻeduyot, Tamid, Midot, Ḳenim ṿe-ʻod ṿe-hu tsiyunim ʻal mas. elu mi-Yerushalmi u-midrashim ... 4. Ḳunṭres Marʼot maḳom, ṿe-hu tsiyunim ʻal ha-meḳomot she-Rashi ṿe-Tos. meviʼim mirdrash o Yerushalmi ṿe-Tosefta ṿe-khu. ṿe-lo tsuyan meḳoro ... 5. Ḳunṭres Ṭeʻama de-ḳara, ṿe-hu ḳetsat ḥidushim ʻal ha-Torah ṿe-ʻal Neviʼim u-Khetuvim -- ḥeleḳ (...) 3. Heʻarot ʻal seder ha-Shas (ṿe-kholel gam ezeh ḳunṭresim). (shrink)

In the opening section of Ovid's Ars Amatoria 3 the poet, in an attempt to gain favour with his female addressees, lists a number of legends where it is men who are the deceivers. In this list he includes Aeneas, et famam pietatis habet, tamen hospes et ensem I praebuit et causam mortis, Elissa, tuae . The terms in which Aeneas' guilt is cast are striking. Aeneas is criticized not for his lover's faithlessness, but for his shattering of the rules (...) of hospitium. At the heart of hospitium, in as much as it is friendship between strangers, lay the ideals of duty, loyalty, reciprocity, and the exchange of services, pietas includes, in this context, a reference to the guest's sense of, or actual fulfilment of, the duty to pay a proper return on the hospitality received. Aeneas had a reputation for doing his duty as a hospes, i.e. as someone who was conscientious about his duty to make an appropriate return. But, according to Ovid, the return which he actually made was diametrically opposed to a proper return, and consisted of a sword and a reason for Dido to kill herself with it. Ovid's decision to frame Aeneas' guilt in terms of hospitium reflects and emphasis adopted both in his own earlier epistle from Dido to Aeneas , and in the Aeneid itself. The erotic relationship between Dido and Aeneas in Book 4 of the Aeneid evolves out of the hospitium relationship established between them in Book 1. When Aeneas leaves Dido he asserts that their relationship is that of host and guest rather than of husband and wife, and that he has acted and will act well in this hospitium relationship . 9). Dido, for her part, even after she has been forced to drop the argument that she and Aeneas are married , continues to attack Aeneas and the Trojans as bad or faithless hospites , and ends by renouncing hospitium with them. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:When an Arab Laughs in Toledo: Cervantes’s Interpellation of Early Modern Spanish OrientalismE. C. Graf (bio)My purpose has been to place in the plaza of our republic a game table which everyone can approach to entertain themselves without fear of being harmed by the rods; by which I mean without harm to spirit or body, because honest and agreeable exercises are always more likely to do good than harm.—Miguel (...) de Cervantes Saavedra, Prologue to Novelas ejemplares [my translation]We are engaged in a technical enterprise at the species scale.—Jacques Lacan, “L’agressivité en psychanalyse” [my translation]While I was all intent on watching him, he looked at me, and with his hands he spread his chest and said: “See how I split myself!”!—Dante Alighieri, Inferno 28.28–30 Click for larger view View full resolutionFigure 1.Sandro Botticelli, The Virgin and Child (c. 1490). Courtesy of the Fogg Art Museum, Harvard University; ©1999 President and Fellows of Harvard College. Click for larger view View full resolutionFigure 2.Salvador Dalí, Dream Caused by the Flight of a Bee around a Pomegranate One Second Before Awakening (1941). Courtesy of Museo Thyssen-Bornemisza, Madrid; ©1999 Artists' Rights Society (ARS), New York.For much of this century, Hispanists have labored in an effort to elevate Miguel de Cervantes Saavedra’s El ingenioso hidalgo don Quijote de la Mancha (1605, 1615) to the coveted status of the “first modern novel.” Today this kind of criticism may strike our postmodern sensibilities as a rather traditional enterprise, the kind more interested in establishing an elite hierarchy of literary tastes than in saying anything new about an author or text. For many, the study of literature is still an aesthetic beauty pageant in which “great books” like Laurence Sterne’s Tristram Shandy (1767) or Marie de la Vergne de La Fayette’s La princesse de Clèves (1678) are paraded across the stage in a contest to seduce the Western intelligentsia. 1 The postmodern student of literature may not have much concern for this age-old territorial contest, but she might be interested to learn that the fallout from Hispanism’s quest for the “first modern novel” has involved so much attention to, indeed complication of, Don Quixote, that the book now resembles more a postmodern text than an early modern one. At the turn of the century, we have been left with what Jorge Luis Borges would recognize as an “aleph”: an infinite ideological labyrinth that reflects and/or cannibalizes all forms, thereby escaping all attempts [End Page 68] to describe it. 2 Whatever we currently mean by “Cervantes” (an author, a collection of texts, an ideological construction, and so forth) carries with it an impressive range of critical responses. Cervantes has been labeled converso (Castro, Canavaggio), Christian humanist (Castro, Bataillon, Forcione, Herrero, Vilanova), disillusioned secularist (Lukács, Cascardi), precapitalist (Johnson), anti-essentialist (Wilson), anti-Eusebian (Presberg), Menippean (Bakhtin), feminist (El Saffar, Rabin, Cruz), sadist (Nabokov), ethnocentric imperialist (Mariscal), medieval (Gorfkle), homophobic (Martín), non-organicist Aristotelian (Read), and either discursively or actually homosexual (Combet, Rossi, Smith, Arrabal). This list is nowhere near complete, but the reader will grasp the robust effects of the plurality of perspectives on Cervantes.Each of these interpretations is valid to varying degrees within various contexts, but at present I am interested in reading Cervantes as the author of a multicultural manifesto on behalf of the Moriscos of Southern Spain. 3 Within the contexts of French Marxist philosopher Louis Althusser and Palestinian postcolonial literary critic Edward Said, materialist, postcolonial, and multicultural critiques of various forms of power and their ideologies can be seen as the fundamental propositions of Cervantes’s Don Quixote. 4 Cervantes’s ultimate orientation may perhaps be inescapably Eurocentric, but his responses to the European experience of the rise and expansion of an ethnocentric militaristic nation state are relatively centrifugal when compared to the attitudes of many of his contemporaries.In surveying some of the antihegemonic details of Cervantes’s novel, I am also interested in dispelling the popular myth of Don Quixote. Especially in the English-speaking world, and particularly in the United States, Don Quixote remains captive to a... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:L’esthétique de StaceA. M. KeithAnne-Marie Taisne. L’esthétique de Stace. Paris: Les Belles Lettres, 1994. 433 pp. Paper, 280 FF. (Collection d’Etudes Anciennes 122)Anne-Marie Taisne is the author of numerous articles concerning the literary history and artistic context that inform single poems in Statius’ Silvae and self-contained passages in his Thebaid and unfinished Achilleid, papers which lay the groundwork for her comprehensive new study of the literary aesthetic on (...) display in the extant poetic oeuvre of P. Papinius Statius. In this ambitious monograph, she undertakes to explore two facets of Statius’ technical artistry, his spatial and temporal imagery, within the theoretical framework provided by ancient literary criticism. She is particularly concerned to articulate the poet’s dynamic reuse of the weighty literary tradition to which he is heir, and accordingly proposes, in her introduction, to structure her discussion around such central ancient critical issues as imitatio (mimesis) along with its close relatives aemulatio and contaminatio, and doctrina with its associated critical vocabulary of ingenium, ratio, and ars (6–10). Throughout the volume, she explicates these techniques in detailed analysis of Statian imagines, which she defines generally in the sense of “imagery” following S. Viarre (“L’image et le symbole dans la poésie d’Ovide: Recherches sur l’imaginaire,” REL 62 [1974] 263–80), and particularly by reference to individual usages of the term as they are discussed in the article on imago in the Thesaurus Linguae Latinae (11).Part 1, “Correspondances dans l’espace,” examines the spatial imagery of Thebaid, Achilleid, and Silvae in three chapters which treat (1) echo and reflection (17–52), (2) metamorphosis, multiplication, and contagion (53–119), and (3) simile (120–76). Part 2, “Correspondances dans le temps,” investigates the poems’ use of time as a structural principle, again in three chapters which discuss (1) prophecies and portents (177–236), (2) digressive elements such as ecphrases and embedded narratives (237–303), and (3) leitmotifs, or repeated patterns of imagery, such as divine and human interventions and the role of nature in the poems. The material Taisne analyzes in part 1 coheres more convincingly with her overarching theme of spatial imagery than that which she discusses in part 2 under the rubric of temporal imagery. I did not understand, for example, why nature, well discussed in connection with Statius’ use of the simile in part 1 (137–62), reappears in part 2 (331–58) with no explanation of its relevance to temporal imagery.Taisne persuasively documents the wide range of literary models on which Statius draws in all his poetry, and shows that the Thebaid makes particular use of epic and tragic models (166–68, 170, 373–75), the Achilleid of tragic and lyric models (168–71, 374–78). Her discussion of the literary echoes and wider symbolic relevance of individual passages is often very interesting, and the sheer accumulation of literary parallels is extremely impressive. I was reminded of and newly alerted to significant literary resonances on almost every page, and noticed only one incomplete assemblage of literary parallels (in her discussion of Hylas [End Page 159] in Silvae 1.2.199 [27–28], there is no mention of Theocr. Id. 13, Ap. Rhod. Arg. 1.1207–72, or Nicander apud Ant. Lib. Met. 26). The service to which this material is put, however, is not as exciting as the length of the study might lead one to hope. Throughout, Taisne argues that Statius’ deployment of imagery is consistent with the overarching thematic framework of each poem, defined as furor and horror in the Thebaid (23 and passim), an ambiguous and deceptive calm in the Achilleid (353–54 and passim), and serenity and harmony in the Silvae (28 and passim), but she does not press her analysis beyond the accumulation of imagery in the service of these themes as evidence of Statian amplificatio. This is particularly disappointing in an author so well placed to discuss the material culture of the Flavian epoch and the interrelations between Statius’ poetry (especially the Silvae) and the culture of display in Domitian’s Rome. Nevertheless, scholars will be grateful to Taisne for the material she has collected... (shrink)

In his ‘Review of Belief’s Own Ethics,’ Ars Disputandi 3 , Igor Douven argued that ‘P, but I lack sufficient evidence for p’ is heard as odd not for conceptual reasons, but for pragmatic reasons. We hear this sentence as odd, because we are not regularly exposed to it. In this reply, the author argues that the assertion ‘P, but I lack sufficient evidence for p’ sounds contradictory, because the two parts of the assertion refuse combination on conceptual grounds. We (...) are not regularly exposed to such assertions, because people normally find that a speaker can only be taken to assert p, if she beliefs that p. And people normally find that if one believes that p, then this is because, by one’s own lights, one has sufficient evidence for p. One may not be fully aware of this evidence. But it would certainly be contradictory to believe sincerely that p, while also believing that one lacks sufficient evidence for p. (shrink)

The type of ‘Al-isnād al-āli’ (higher chain of authority) which has great importance for the science of ḥadīths that constitutes the second best source of the Islam, expresses the value in terms of its proximity to the period of the Prophet Muhammad (peace be upon him). If ḥadīth has ‘al-isnād al-āli’ in the works of the scholars provides us with assurance on the intend of the ḥadīth. For this reason, the values of the works of those authors who have constructed (...) their works with al-isnād al-āli undoubted in the science of ḥadīth. However the work of Abu al-Jahm al-Bāhilī’s (d. 228/842) named al-Juz‘ had that kind of ḥadīth, it has not appreciated by scholars, he could not get enough attention in his period and after it. His work contains famous scholar al-Layth Ibn Sa‘d’s (d. 175/791) narrative who claimed by ḥadīth scholars that his students neglected and omitted his ḥadīths and knowledge. Al-Layth Ibn Sa‘d was known doing transmission by written copies. The similarity of al-Layth Ibn Sa‘d narrations in al-Juz‘ with al-Layth narrations, which are also found in other sources, strengthens the claims of the existence of a narrative process based on the written texts in the early periods. In this study, these transfers of Abu al-Jahm reflected on other works will be examined and tried to build narrations of his teacher al-Layth Ibn Sa‘d. country, we can say that the article will contribute to the studies of the history of religions.Summary: Ḥadīth works written in the third century of hijri are the most distinguished sources. The most fundamental works in the science of ḥadīth were written in this time. In the following period, numerous studies have been committed to paper on them. One of the eminent works is the named al-Juz’, which belongs to Abu al-Jahm al-Bāhilī (d. 228/842). The author was not a person that was taken into consideration much during his time. It is possible to that he has been criticized about his scientific proficiency (al-Jarh). Nevertheless, al-Juz’ attracts attention due to the fact that it contains the type of ‘al-Isnād al-āli’ (higher chain of authority). Al-Isnād al-āli, which means access with the least number of narration from the author to the Prophet has very major role to determining of being dependable and certainty of the ḥadīths. The work of Abu al-Jahm which contains the ‘al-Isnād al-āli’ did not attract enough attention. However, another value of the al-Juz‘ is that its been included the narration of famous muhaddith Al-Layth Ibn Sa'd (d. 175/791). He is one of the valued mujtahid imams who have played an active and important role in second century of hijri. Al-Layth's narrations have been available insufficient amount present day. At this point the al-Juz‘ of Abu al-Jahm has great important because it contains many narrations of his shaykh Al-Layth Ibn Sa'd.The Juz‘ seems to has attracted the attention of the ḥadīths scholars in the following period. Indeed, various authors had the get authorization to narrate al-Juz‘. Furthermore, it is also known that some scholar in his period utilized his narration in their own study. For in¬stance, it was declared by Ibn Ḥajar (d. 852/1449) that al-Bukhārī (d. 256/870) had a narra¬tion belonging to Abu al-Jahm in his work ‘al-Ṣaḥīḥ al-Bukhārī’ with a muʻallaq chain (Omit¬ting his name). In the following periods, we come across famous muhaddith such as Aḥmad b. Ḥanbal (d. 241/855), al-Ṭabaranī (d. 360/971), Abū Bakr al-Marwazī (d. 292/905), al-Dāraquṭnī (d.385/995) and al-Bayhaqī (d. 458/1066) who received qualify of Juz's narra¬tion. Although the narrations of Abu al-Jahm are included in the prominent works of schol¬ars, it is clearly seems that the Juz‘ had not enough value except being procure as a written text. As far as we determined there are eleven narration of Abu al-Jahm in the main ḥadīth sources. In addition, we detected that some studies which contain some ḥadīth of al-Juz’ are list them in the same layout and order. This situation indicates that al-Juz’ is owned by these people as a duplicated edition and they narrated by not only orally transmitted but also spread by writing copy. This inference strengthens the theory which conceived by Modern researcher Fuad Sezgin (1924-2018) that ḥadīth transmission had conducted not only through oral transfer but also through written copies.Even though he lived in a very active time of oral transmission of ḥadīth and the time of specific journey for learning and pursuing ḥadīth, it is seen that Abu al-Jahm formed his Juz‘ from the ḥadīths that he procured only from his six shaykhs. That was quite less amount in that period. Juz‘, has an ʿAlāʾ al-Rijāl classification (ranked according to narrators) as ex¬pected in his period method. Abu al-Jahm began his study with his shaykh Al-Layth Ibn Sa'd’s narration, then completed with Sufyān ibn ʿUyayna’s. Juz‘ includes 112 ḥadīths. Ex¬cept two muʻallaq isnāds (omitting one or more narrators), all of ḥadīth has muttaṣil isnāds (narrators in the chain connected each other without omitting). Al-Juz‘ available nowadays in a published form. It seems that some of ḥadīth datas included in the Juz‘ have content against Islamic juris-prudential judgements. For example, the Prophet’s sayings ‘One or two swallow of breast milk does not make haram’ and ‘Nobody can fast or pilgrimage for the benefit of someone else’; allowing to Subay‘a al-Aslamī to marry without waiting her ‘iddah (waiting period of a woman after the death of her husband or divorce); when she gave birth, ʿUthmān b. ʿAffān’s permission to al-Rubay‘a bint Mu‘avvidh not to wait her ‘iddah; when ʿAbd Allāh b. ʿUmar has nasal bleeding he leaves the prayer, goes to wash, then back and continue where he leave off, without taking ablution; and describing marriage with polytheist women as for¬bidden (ḥarām). Of course, all this information must be examined within the framework of Islamic jurisprudence. However, Abu al-Jahm stands alone (tafarrūd) in such issues, it can be seen as the reasons to be recognized as a censured person (majrūḥ).Al-Juz‘ included 66 isnāds of Al-Layth Ibn Sa'd’s narration. Therefore it leaves behind all the works that compile the narration of Ibn Sa'd. That is why, we hypothesize that Juz‘ is a form of Al-Layth’s study that has survived to the present days. As a matter of fact, the muhaddiths who included the narrations of Al-Layth in their works, especially Ibn ḳuṭlūbughā could not ignore the Juz‘ of Abu al-Jahm; on the contrary, they took it as reference. In this case, it should be said that Abu al-Jahm al-Bāhilī is a loyal follower of Al-Layth and the word at¬tributed to Imām Shāfi‘ī and characterizing Al-Layth’s followers with disloyalty is invalid. (shrink)

Acontius argues that there was nothing wrong with the trick he played on Cydippe – the end justifies the means.Heinsius and Dilthey doubted the authenticity of this couplet, whilst Bornecque bracketed line 26 alone. Line 25, however, contains a familiar elegiac theme, and line 26, with one small emendation, is rhetorically sharp.All the MSS have uni in line 25, but many editors have found this unsatisfactory, preferring to read unum and punctuating the line in various ways: Burman prints ‘iungerer? unum’, (...) Showerman, Goold and Palmer ‘iungerer, unum?’ Of these, the latter is the more attractive, ‘iungerer uni’, however, is perfectly good, and should be retained: uni means not ‘you alone ’, but ‘you alone ’, cf. OLD s.v. unus 8 ‘one in particular, one above all others’. Acontius is paying Cydippe a compliment – she is the only girl for him, and nobody else will do. This is a common theme in Latin love elegy, cf. Prop. 2.7.19, [Tib.] 3.19.3–6, Ovid, Ars Am. 1.42: ‘elige cui dicas “tu mihi sola places”’. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Baumgarten's Aesthetics: Historical and Philosophical Perspectives ed. by J. Colin McQuillanEmine Hande TunaJ. Colin McQuillan, editor. Baumgarten's Aesthetics: Historical and Philosophical Perspectives. Lanham, MD: Rowman & Littlefield, 2021. Pp. viii + 364. Hardcover, $130.00.Contemporary philosophers have often overlooked the originality and impact of Alexander Gottlieb Baumgarten's views on aesthetics, and his contribution to the field is often reduced to his introduction of the term 'aesthetics' into the philosophical (...) lexicon. By illuminating the seminal character of Baumgarten's aesthetics and its enduring significance, J. Colin McQuillan's collection of twelve essays endeavors to rectify this neglect, particularly within the anglophone philosophical community. The collection aims to make recent scholarship on Baumgarten's aesthetics more accessible, with translated works from German scholars and their English counterparts presented in a single volume to entice anglophone readers. It stands as the first collection of essays devoted to Baumgarten's aesthetics to be published in English. Through the essays contained in this volume, readers are offered a comprehensive overview of Baumgarten's aesthetic theory and its progression as well as a deeper understanding of his substantial and influential contributions to the field.The collection begins with a comprehensive introduction by McQuillan, which provides insightful analysis of the reasons behind Baumgarten's neglected status and a concise biography of the philosopher. McQuillan lucidly summarizes Baumgarten's goals for his new science of aesthetics, the extent to which he was able to accomplish these goals, and what remained unfinished. McQuillan highlights Baumgarten's view that his aesthetics was not just a theoretical exercise, but rather had practical implications, such as the potential to enhance poetry, rhetoric, and other arts, and more generally all sensible cognition.The opening two essays of the collection offer dual perspectives on Baumgarten's aesthetics, one exploring the connection of his theories to the pursuit of establishing art as the presentation or representation of the absolute and the other presenting his aesthetics as modeled on the "art of invention" (ars inveniendi). Ursula Franke's essay contextualizes [End Page 711] Baumgarten's ideas within the historical framework and demonstrates his impact on the development of German idealist aesthetics, but it also serves as a valuable guide for further research on Baumgarten by providing an overview of contemporary research and avenues for engagement with his work. In the second essay, Stefanie Buchenau offers an insightful examination of the relationship between Baumgarten and Cicero, illuminating how the former crafted aesthetics as a new method of invention.The third and fourth essays of the collection have a narrower focus. In his analysis, Matthew McAndrew, following George Friedrich Meier, posits that Baumgarten, despite seemingly presenting two conflicting definitions of beauty—one attributing beauty to the object of cognition, and the other to the cognition itself—only held the former definition. Departing from previous interpretations that attempted to reconcile both definitions, McAndrew rejects the definition of beauty as the perfection of sensible cognition. Angelica Nuzzo argues that Baumgarten had a pluralistic understanding of truth and distinguished between aesthetic truth and logical truth. She examines Baumgarten's conception of aesthetic truth and contends that it is imperative to comprehend how poetry embodies and incorporates aesthetic truth. According to Nuzzo, Baumgarten believed that aesthetic truth is embodied.In the fifth essay, Simon Grote delves into the theological sources of Baumgarten's aesthetics. Grote claims that Baumgarten's definition of aesthetics was influenced by the definition of aisthēsis put forth by Halle Pietists. Indeed, he claims that seeing this connection between the Pietists and Baumgarten is vital to fully grasp the ethical dimensions of Baumgarten's early aesthetic theory. Like many Halle Pietists, Baumgarten was advancing a conception of moral education as involving the improvement of the human affects through the proper use of the sensible faculties. In the following essay, McQuillan examines the aspects of Baumgarten's aesthetics that set him apart from his rationalist predecessor Christian Wolff. Challenging the orthodox view that portrays Baumgarten as a Wolffian rationalist, McQuillan argues that Baumgarten limited the application of Wolff's mathematical method, circumscribed the scope of logic, and distinguished between sensible and intellectual perfection, separating what Wolff aimed to unite. In his contribution, Alessandro... (shrink)