The paper offers a systematic historical analysis of the origins, the meaning and the extension of the basic concept of Cassirer´s philosophy of the later period, seen from various points of view. Its main object is Cassirer's essay of 1921, in which his only explicit definition oh this concept can be find. Further the author examines, to what extent the philosophy of symbolic forms turned away from the "orthodox" neokantism , as well as the impact the discussions of the nature (...) and status of Geisteseissenschaften had on Cassirer´s articulation of the universal symbolist philosophy of culture. (shrink)

Joaquin Segura. Untitled (fig. 40) . 2007 continent. 1.2 (2011): 117-124. The interview that follows is a dialogue between artist and gallerist with the intent of unearthing the artist’s working strategies for a general public. Joaquin Segura is at once an anomaly in Mexico’s contemporary art scene at the same time as he is one of the most emblematic representatives of a larger shift toward a post-national identity among its youngest generation of artists. If Mexico looks increasingly like a foreclosed (...) home burning to the ground, Segura could likely be the one walking away, charred matchstick between thumb and forefinger and shit-eating grin on his face. His corrosive attacks on institutions, ideologies, and power reflect a deep general distrust of authority, increasingly evident within the work of younger Mexican artists. It is perhaps most directly the result of President Calderon’s deeply unpopular war against the cartels but no doubt equally the product of decades upon decades of rampant corruption and errant policy within Mexico. Brett W Schultz (BWS): A recurring—if not dominant—theme within your current work and investigation explores ideological extremism in reaction to some perceived political and economic disenfranchisement, especially that espoused and practiced by right-wing groups in United States. That's exactly why I thought of you when I was approached to contribute a piece to an issue on the subject of the moraine—taken metaphorically here to signify a certain set of beliefs that have resurfaced within mainstream American culture in the wake of a probably over-exaggerated political sea-change, marked by Obama's election. You're a Mexican artist who now lives and works in Guadalajara, far from the border cities where such concerns would seem more likely to be relevant to a contemporary artist; of course, you're even farther from the culture that birthed this nature of extremism. What interests you so intensely about this movement, if we can call it that? Joaquin Segura (JS): I think there are several seminal points that you touch on in this particular question. There's a very specific set of interests that make me address the socio-political issues I've been dissecting through my practice in the last few years. First of all, I don't really consider myself a 'mexican' artist. As I've made clear in the past, I don't really believe in the notion of 'identity' or the idea of 'nation', which I find totally laughable and heartwarmingly passé. I'm convinced that these are totally outdated models of understanding our differences and similarities, expanding our already immense and irreconcilable cultural abysses instead of bringing them together, thus resulting in their total dispersion among the complex and extremely arbitrary weaving of contemporary social nucleii. Pretty much a frankly bad joke, if I may say so. The fact that I live and work in Mexico is a completely random geographical and temporal factor, which of course affects what I think and what I do, but I've chosen not to be limited by this specific circumstance. In the past, while working abroad, I've taken advantage of this preconception of Mexico—to be more exact, pretty much all of Latin America—as one of the last barbaric bastions of western civilization. Totally amusing, if you ask me about it. I consider my practice to be, among other things, a gonzo strategy of deceit: there are quite a few roles you can adopt in this approach that may actually reveal themselves to be a privileged vantage point. In my experience, the gentle savage is one of the most effective ones to establish my standing position. Thus, I'm a mexican artist if I need it to prove my point. If it's not necessary in a specific circumstance, I'm not. Quite simple, I think. Said in other words, it's just an ace I can play to win a particular match. It has worked so far, at least for me. L: Hey, America… , 2009. R: The Inaugural Address , 2009. I am interested in the nature of power and the rise and fall of totalitarian ideological and political apparatuses nowadays. But I guess, going even further, I'm essentially fascinated by the fissures and contradictions that have made these structures spectacularly crumble to the ground. I do believe extreme ideologies have played a crucial role in the globalization of socio-political crisis. In the end, our world is nothing more than a fading monument to all things gone wrong—the inspiring triumph of failure, in every sense. I see this as an exciting parable. And of course, it is an undeniable fact that the US, through their influence in world economy, international policies and general attitude towards the rest of the planet is the largest structure waiting to collapse. I think we are all secretly awaiting that moment of splendor, even americans. It'll be disastrous and as nasty as it can get, but it will also be liberating and incredibly inspirational. Not just because it’s the US but because it'll prove that absolutely everything is susceptible to fall. And not only that, most importantly, it would confirm that radical change may actually be possible and not just one more of the unfulfilled promises modernity has left us to struggle with on our own. BWS: I want to talk first about two of your works in particular: Hey, America... and The Inaugural Address . I feel like your more recent work has a subtle —or even hidden—sinisterness, but these two works are perfect examples of how brutally confrontational your earlier work has been. When we showed Hey, America... at Mexico City's Zona Maco art fair in 2010, there were at least a couple visitors to our stand who were absolutely ready to punch me in my gringo face for having done so. Certainly the shock value of these works is crucial to their central ideas, but can you tell me more about your intentions and how these works relate to your general oeuvre? JS: So funny. Perhaps we do deserve to be punched in the face. I think that's what I'm sometimes looking for, but I hardly ever get it. I do think of such works as some sort of logical trap, a somewhat perverse ambush waiting for someone to walk into head-on. I think what I tried to do with those two specific works, as well as some other past projects, is just emphasize issues or themes that do disturb or make me uneasy and restless. I consider my essential intention a need to make clear that we do not have to look the other way, ignore or forget. We must address, understand and solve these manifestations of senseless violence and absurdity because if we don't confront them this way, they'll end up consuming us. In other words, I do consider these works as a personal need of coming to terms with the nonsense of the world we all are living in. I don't particularly consider myself to be someone with a clear set of beliefs. Perhaps my only certainty would be that everything is there to be denied, demolished and obliterated—even my supposed unquestionability of that particular 'dogma.' My practice is a reflection of that paradox, and I do think that's how these two pieces relate to a wider body of work. Every democratic system and so-called developed contemporary society is deeply flawed on the inside, and that is because each has swept things under the rug. Of course, there's tolerance, good will and eagerness to make a difference but there's also hatred, pain and fear lingering all around. We must learn to relate to both sides of the spectrum. In a way, I approach the themes behind these particular works in what I think to be a non-biased, somewhat 'neutral' way. I do think there's an encryption process going on in the way I work, some sort of formal refinement of this somewhat outrageous content. A digest of infamy, if we can refer to it that way. It is up to the individual experiencing the work to decide which way these pieces lean. They can easily be seen from both positions and I'm ok with that. If you look closely at these works, there's nothing that establishes an unrelenting position—neither support nor rejection. I don't want my personal political views to directly set an agenda for the spectator as that’s essentially propaganda, which is one of the things I absolutely despise. To sum it up, I strive for the spectator to complete the piece in that sense. The work then becomes a reflection of his or her own contradictions, a playground of the mind. I'm interested in achieving a deadpan and deadlock state in the observer. So, in a way, those visitors threatening to beat the shit out of you unconsciously became that particular issue the work is alluding to. Just blind and senseless reaction to god knows what people feel must be defended, the overwhelming virtue of ambiguity. Beautiful. Perhaps you can also think of my practice as a uber-sophisticated and snobbish version of Punk'd. And you wouldn't be far from what I'm trying to convey. Untitled (Disturbance Scenarios #2) . 2010. BWS: To me, an important transitional marker in the overall trajectory of your work is the series, Disturbance Scenarios , which evokes a similar generalized state of panic, paranoia, and impending doom through its incorporation of sensationalist newspaper headlines, yet also suggests this slyly mysterious meta-narrative via the context in which the newspaper itself is placed. How did you arrive at this series and why did you choose photorealistic painting as the medium for it? JS: I consider this series to be a by-product of the process I follow when making work. I spend an important part of my time just doing research, going through documentation and accumulating visual or historical references for the themes or episodes I'm interested in, in that particular moment. These are, of course, valuable assets that connect among themselves in a mysterious and almost undetectable manner, sometimes a few years between one and the other. I've employed similar production strategies in the past, in ongoing series like Random Moments of Urban Decay , in which I document what I consider to be physical traces of ethnic, religious or ideological violence in the form of text graffiti, invisibly scattered in different cities of the world, mostly in the US. Disturbance Scenarios was started in early 2010, following a particularly intense period of traveling here and there that lasted for most of the year. I've always felt compelled by text, as I find quite intriguing the idea of how words can create equally intense evocations of what I call a mental panorama of uneasiness than those produced by aesthetically-charged imagery; of course, if handled right. I have a close relationship to print media—due both to my academic background and to my attraction to its ubiquity and almost unlimited influence, which in the end, is nothing else but power—so I found myself with a growing archive of newspaper headlines snapshots from cities like Melbourne, Auckland, London, and LA. Going through them, I noticed that they had in common a very specific thematic slant: they were all about some sort of conflict: energy crisis, political unrest, local episodes of domestic violence, you name it. So as you very well put it, I felt they all connected through this feeling of anxiety and anguish and I decided to start thinking of them as a body of work. Basically, I felt an interest in creating what I think of as my personal fragmented prefigurements of the end of civilization. There were few elements on the shots that could give away its actual location, geographically speaking, and I liked that. I find this sensation of vagueness and uncertainty quite alluring. The more subtle, the more perverse. The formal resolution of the series—as photo-realistic painting—is linked to my intention of creating distance between me as the artist and the themes I work with. I rarely execute my own work, and that is more a personal choice as I'm more interested in the ideas I mingle with than in the actual outcome of that process, understood as an "art-object" with certain market value. I did some tests with light-jet prints of those snapshots and I found them devoid of that nightmarish, disturbing indistinctness that I felt was so important for them to be able to project the turmoil I experienced upon encountering them and in conceiving of them as a series. So I thought that photorealistic painting would be an interesting resource to play with, as I hardly had worked with that medium before because of my lenient animosity toward painters and their craft. So they were executed like that and I think it turned out to be just right. Homemade (Napalm #2) . 2010. BWS: Though Disturbance Scenarios remains ongoing, it's an interesting contrast to another series of yours, Homemade, which are these beautifully banal photographs of the ingredients used to make improvised explosives. Whereas Disturbance Scenarios still confronts the viewer aggressively with its visual emphasis on loaded texts, in Homemade , you've dropped the surface-level bravado entirely. They're pieces that require explanation to someone not already versed in the fine art of amateur explosive-making. You weren't known for subtlety in your past work; why this change in direction? JS: I'm personally convinced that these are just two angles of the same conceptual preoccupation. I mentioned before my obsession with the idea of encryption. I'm quite enticed by how these processes of translation can politically and semantically alter and deviate purportedly subversive materials such as the ones these works allude to. I do think subversion is futile. I was really troubled by that thought for some time, but I think now I understand that it's not really that important. What is really significant is to elaborate on these alternate views, to envision and refine possible escape routes. It doesn't really matter if they go nowhere, but that is because nothing really matters. A "mute" artwork is a notion that captivates me. When you look at the works you mention, you know there's something off, but it's not fully clear how and why that is. I rely on that insecurity—on that moment of hesitation. And that can also be achieved through an approach like the one I'm now interested in. Let's just call it a smoke screen, a surrogate ruse to get to the same point: to talk about impotence and defeat in contemporary life. The notion that readily accessible information is actually a weapon is a double-edged fallacy: sure, you can make use of whatever resources you can lay your hands on, but that doesn't set you free because freedom is impossible. Still, that doesn't mean you can't blow up stuff during the process, metaphorically or not. I didn't understand the nature of subtlety before. I used to think that you needed to be loud and manifest anger and unconformity in the most aggressive manner possible. Then I finally realized that you can actually permeate and rarify a battleground—because after all, this is low-intensity war—if you actually aim at silently building up the contradictions and making the symbolic value of ideas and acts clash within themselves. Or perhaps it is that I am just getting old. I guess I used to be an angry kid until recently. Now I think of myself as a disenchanted post-teenager, and of course that reflects in my work and my approach to art-making. Kind of a rite of passage and I laugh at it because, overall, it has been overwhelmingly fun. And that doesn't mean that I'm not ready to stick it in someone or something's face again if I feel like it. BWS: You're now taking the subtlety of the Homemade series even further with your newest series, Definitive Reader For a Botched Revolution , in which you photograph a series of politically-charged books side-on, negating their content entirely—essentially reducing them to purely aesthetic objects in which the subject matter is only revealed in the title of the work. Can you talk about the ideas behind this series? Furthermore, is your recent interest in this idea of the "botched revolution" an indication of a general attitudinal or philosophical shift you've since adopted? JS: This new series of works is the logical outcome of a brief period I went through. Probably the last couple years, in which due to a number of circumstances that don't really have to do with my art-making, I was forced to renegotiate my ideas, my beliefs and practically everything that surrounds me. It was quite distressful and turbulent, but in the end, I think it was also almost epiphanic. I came to terms with myself and now I'm calm and serene. That is, of course, my personal take on it but I mention it because I do think it's important to address this shift you mention. The idea of an artwork as a container for latent revelations enthralls me quite a bit. That's how I see these particular works: art as an incendiary agent. It's up to the artist and the spectator to do whatever they please with it. I think the detachment and almost surgical cleanliness from the Definitive Reader series is also my take at poking fun of the way some art is totally innocuous and uncompromising. These images may be pleasing to the eye, but there's something twisted and rotten within them, well hidden beneath. You'll either see it or not, but without a doubt, it will not cancel its presence. This series is intrinsically linked to Homemade . I'm pretty much horsing around with similar ideas and statements here. And well, yes, I do think any revolution is a botched one. There's nothing too heavy about their own downfall. Decay and breakdown are here and will not go away. Perhaps we must learn to embrace them in one way or another, for our own sake. L: Untitled (T.A.Z.). R: Untitled (United States Marine Guidebook of Essential Subjects) . 2011. BWS: Finally, let's discuss the near future. You've got an upcoming solo show at the Sala de Arte Público Siqueiros [SAPS] in Mexico City this summer. What can we expect from that? What else do you have planned? JS: I'll go and get seafood as soon as I'm done with this interview. It's pretty good here in Guadalajara. That's my top priority at this very moment. About my solo project at SAPS, it's due to open in late July. I'm quite looking forward to it. I'm still closely working with the curator on the general feel for the show but I can say that it'll be more of a revision of past works that have not been shown in Mexico City except for a couple pieces. It definitely won't be a showcase for new projects, although we may include one or two previously unseen works. What you can expect is a rereading of what I've been working on during the past few years. In a way, that's exciting to me because for some reason I don't really care about, I'm not that active in Mexico City even though that's where I lived and work for years. I've hardly shown there after my solo project at Yautepec in February of 2010. It'll be nice to see how it all comes together and I'm more thrilled about it because I totally love the space and I think they're doing an excellent job with their programming and its direction. And in a certain way it feels like going back home. About everything else, I need a period to reflect and fully understand what I've been thinking and working on. I've got a few group shows here and there: New York, San Francisco, and Melbourne are the ones happening soon. I will present my censored project Untitled ( Gringo Loco ) as part of the programming of the Museo de Arte de Zapopan in Guadalajara, two years after being escorted at gunpoint from the installation site by police sent by the extreme right-wing mayor of the city, which I found pretty amusing for an otherwise typical Saturday afternoon. I'm also involved in a couple "curatorial" projects. In my case, "curatorial" means that I help put together stuff I like and I'm interested in. One of them will open in late September of 2011 at Arena Mexico Arte Contemporaneo, and I will work with three of whom I consider to be some of the best artists in a lively and active scene such as the one here in Guadalajara. But most importantly, I've been doing heavy research so there are also a number of projects that I've yet to finalize. That'll be my main focus during the rest of the year, even though I really enjoy procrastination. There'll be time for that later. Or maybe not. We'll see. About Joaquin Segura The action, installation, intervention and photographic work of Joaquin Segura (b. Mexico City, 1980) has been shown in solo and group exhibitions in Mexico, the United States, Europe, and Asia. Some spaces that have featured his work include La Panaderia, Museo de Arte Carrillo Gil, Centro de la Imagen and Ex-Teresa Arte Actual in Mexico City; El Museo del Barrio and apexart, New York, NY; Museo Nacional Centro de Arte Reina Sofia in Madrid, Spain; National Center for Contemporary Art, Moscow, Russia; and Palace Adria in Prague, Czech Republic. In 2008 and 2009, Segura was an artist-in-residence at the International Studio and Curatorial Program, New York, NY and at the 18th Street Arts Center, Santa Monica, CA. He is represented YAUTEPEC in Mexico City and by Arena Mexico Arte Contemporáneo in Guadalajara. Further Reading Joaquin Segura’s website YAUTEPEC artist page for Joaquin Segura Capps, Kriston. “ID-ENTITY: Washington, DC.” ART PAPERS . 2009. (shrink)

Розкрито сутність поняття «рейтинг». Доведено значущість рейтингової оцінки для суб’єктів фінансового ринку, зокрема для страхових компаній, потенційних страхувальників, інвесторів та кредиторів.

In lieu of an abstract, here is a brief excerpt of the content:R. D. Ackerman BELIEVING IN A FICTION: WALLACE STEVENS AT THE LIMITS OF PHENOMENOLOGY The "ring of men" of "Sunday Morning" will chant their "devotion to the sun, / Not as a god, but as a god might be, / Naked among them, like a savage source" (CP, pp. 69-70).' Solar nakedness is deferred even as it is named. The problem for belief is the question of appearance and (...) representation. Things appear as and like.... The phenomenological return to things is also a turn to fiction, as Husserl understood: "If anyone loves a paradox, he can really say... that the element which makes up the life of phenomenology... is fiction. ' " The sun is divine, and it is not; it is both naked and clothed, savage and civilized, source (or end) and means. But such paradox is ultimately unsatisfying, and as we will see with Stevens, the need for belief—for an image or idea of totality—forces the issue of fiction and reality. The Stevens we will have in view is not the Stevens—as if there were such a creature. Our Stevens is the one most persuaded by promises such as those of phenomenology, the one most concerned with decreation (reduction) and fresh beginnings, with discovery and recognition, with imagination, the body, and the earth. This is the Stevens for whom the barrier of language presages at last not absence and difference but fictive recovery of presence and identity, the one for whom poetry represents a way of belief beyond mysticism even as it bodes mythic proximity. Finally, this is the Stevens who predominates throughout the prose (as well as in much of the poetry), who tries mightily to secure a belief while disencumbering himself of metaphysics—but alas, I think, with small success. Although Stevens's association of the problem of belief with the idea of fiction occurs in early poems such as "A High-Toned Old Christian 79 80Philosophy and Literature Woman" and "To the One of Fictive Music," his most intensive involvement with fiction as belief dates from the early 1940s and spans the period of his major essays and his last four volumes of poems. He recounts, for instance, a 1942 conversation with a student: "I said that I thought that we had reached a point at which we could no longer really believe in anything unless we recognized that it was a fiction. The student said that that was an impossibility, that there was no such thing as believing in something that one knew was not true. It is obvious, however, that we are doing that all the time" (L, p. 430). What does it mean to believe in a fiction? That is my main subject here, as we seek out the limits of the phenomenological Stevens. His letters of this period are preoccupied with the problem of fictive belief: "If one no longer believes in God (as truth), it is not possible merely to disbelieve; it becomes necessary to believe in something else.... A good deal of my poetry recently has concerned an identity for that thing.... In one of the short poems that I have just sent to the harvard advocate, I say that one's final belief must be in a fiction. I think that the history of belief will show that it has always been in a fiction" (L, p. 370). The poem referred to, "Asides on the Oboe," begins: The prologues are over. It is a question now, Of final belief. So, say that final belief Must be in a fiction. It is time to choose. (CP, p. 250) Acknowledging that "in the long run, poetry would be the supreme fiction" (L, pp. 430-31), Stevens nonetheless singles out the nominative function of poetry as the essence of its claim to supremacy: "Poetry means not the language of poetry but the thing itself.... The subject matter is what comes to mind when one says of the month of August... 'Thou art not August, unless I make thee so'" (L, p. 377). The quoted line (also from "Asides") underscores the paradox that for Stevens the essence of fiction (the nontrue) is its capacity to nominate the true or the real. This... (shrink)

The ethics of belief involves an inquiry into what beliefs are legitimate to hold, including religious beliefs. Whatever the criteria determined in such an investigation, adopting a belief that does not meet this criterion is seen as illegitimate and it is considered an ethical violation. English mathematician W. K. Clifford (d. 1879) defines “sufficient evidence” as a criterion in his famous essay, “The Ethics of Belief”. Clifford’s evidence-centered argument becomes one of the most frequent references in the evidentialist objection against (...) theism. It turns out that this argument is not functional in the face of the diversity of beliefs. In this context, different suggestions are presented about what the ethics of belief could be. American philosopher William James (d. 1810), one of the founding names of pragmatism, offers a new proposal. In his classic work, “The Will to Believe”, James claims that Clifford is wrong in seeking the requirement of evidence for all beliefs. Because it is not possible to prove beliefs from the passionate nature of human beings, especially religious beliefs. Following this distinction, James proposes a new criterion for religious beliefs: a religious belief can be vivid or dead, forced or avoidable; and momentous or trivial. If a religious belief is vivid, forced, and momentous, it is necessary to have the courage to believe in it instead of suspending it. James' proposal is often valued as a strong counter-challenge or defense of religious beliefs. However, this argument also has aspects that are open to criticism. One of them is that the will to believe argument concurrently accepts conflicting religious beliefs or, in other words, confronts the issue of religious diversity. According to J. Hick, for example, this argument inevitably results in religious pluralism, even though James does not want to. Contrary to Hick, S. F. Aikin claims that the will to believe does not result in religious pluralism. According to Aikin, who draws attention to the relationship of argument with pragmatism, James obscures religious beliefs and removes them from being claims about truth. Therefore, there is no contradiction in the classical sense. So, which of the objections is valid? Does the will-to-believe argument result in religious pluralism by legitimizing more than one religious belief at the same time, or does it make a purely pragmatic proposition by devaluing religious beliefs? Which religion do I have the right to believe in according to the will to believe? The aim of this article is to provide an answer to the mentioned question. In the article, unlike the current evaluations, it is argued that the argument is closely related to James's theory of knowledge, radical empiricism, not pragmatism as it is usually made. For this purpose, after showing the relationship between the arguments of Clifford and James, the argument will be re-examined in this context and it will be revealed that James has two steps regarding religious beliefs: to make religious beliefs independent from factual beliefs; leaving theism to accept a monistic vision of God and basing religion on mystical experience, which is an emotional experience. As details emerge, it will become clear that James defends a natural religion that excludes traditional religions in his philosophical system and that he defends the beliefs of a humanized religion. With an individual definition of religion based on emotion, James on the one hand ensures the commonality of religious feeling, on the other hand, he makes religion independent from the field of facts. Therefore, with this study, it will be seen that the argument of the will to believe does not aim to legitimize believing in traditional religions, and diversity is not a fundamental problem. (shrink)

R T Allen; Rational Autonomy: the destruction of freedom, Journal of Philosophy of Education, Volume 16, Issue 2, 30 May 2006, Pages 199–207, https://doi.org/10.

I. A Defense of Adorno's Reading of Kierkegaard On February 27, 1933, Theodor W. Adorno published his first work, Kierkegaard: Construction of the Aesthetic, which was a revision of the Habilitationsschrift that Adorno wrote under Paul Tillich and Max Horkheimer between 1929 and 1931. The Reichstag fire raged that evening, the climax of the Nazi Machtergreifung, and in a matter of days Adorno's most important interlocutors—Walter Benjamin and Siegried Kracauer—would flee Germany. The political context of the Nazi takeover is the (...) obvious background to Adorno's Kierkegaardbuch , the monograph that became the…. (shrink)

R T Allen; I'll Say it Again: a rejoinder to Jim Mackenzie, Journal of Philosophy of Education, Volume 22, Issue 1, 30 May 2006, Pages 113–114, https://doi.org/.

R T Allen; Metaphysics in Education, Journal of Philosophy of Education, Volume 23, Issue 2, 30 May 2006, Pages 159–169, https://doi.org/10.1111/j.1467-9752.198.

R. E. Allen's superb new translation of Plato's Symposium brings this classic text to life for modern readers. Allen supplements his translation with a commentary that not only enriches our understanding of Plato's philosophy and the world of Greek antiquity but also provides insights into present-day philosophical concerns. Allen reveals the unity of Plato's intentions in the Symposium, explores the dialogue's major themes, and links them with Plato's other dialogues. His wide-ranging commentary includes discussions of Greek religious, social, and sexual (...) practices, the conceptual connections between the Symposium and Freud, the influence of the Symposium on later writers, and recent scholarship on the dialogue. Allen's primary focus is philosophical, however, and he succeeds in explicating the doctrine of Eros in Plato's Symposium so that the reader can see how wish and desire relate to Plato's moral philosophy, epistemology, and metaphysics. (shrink)

In later antiquity few monuments at Athens had such a great reputation as what the Athenians called with pride the Altar of Eleos or Pity, the suppliants' altar. Philostratos links it in fame with Olympia and Delphi. The Athenians pay homage to Eleos along with Athena Polias, says Sopatros. ‘You have an Altar of Eleos’, says Apsines to the Athenians; ‘…for this you have a great reputation amongst all other men.’.

During the second half of the XX century drug addiction ceased to be only the epiphenomenon of crime, prostitution and a number of other social-relations deviation, and became a constant value of post-industrial society and at the end of XX century turned into a global problem of mankind. A new form of mass neurosis shows that drug dependence is nowadays socially conditioned mental degeneration, caused by activation of unconscious collective archetypes that are experienced depending on the corresponding situation. The identification (...) of the sacred plant soma/haoma with the marihuana enables us to not only to make clear the light and the dark sides of this archetype, but also to figure out that the reduction of the drug addiction problem, to the acceptable for the society level, is possible only if a man will be able to satisfy his “life-asserting, vital needs”, if he will be able to regain the true meaning of life. (shrink)

By emphasizing that a political entity is a communal partnership, Aristotle implies that Plato’s city is not yet bona fide political. Due to his reluctance to draw a clear distinction between the private and public realms, Plato’s political theory tries to meet conflicting demands. By examining his solution to Plato’s paradox, we will be able to appreciate the peculiar relation between Aristotle’s political justice and justice per se, and the political significance of Aristotle’s distinction between the public and private realms.

The problems and the history of contacts between distant continents in bygone ages and long before the age of fast and easy travel, have always fascinated both professional scholars and the interested public. Was ancient history really nothing but the history of co-existing and isolated geographic, cultural and political “islands?” Already at school we learned too much about migrations of peoples, economic contacts, influences on art styles, conquests, and the rise, expansion and fall of empires to believe that. The (highly (...) improbable) theory that certain archaeological finds in America suggest, or even prove, Mediterranean influence (e.g., the arrival of Phoenician ships), or the alleged Viking discovery of America centuries before Columbus, or Thor Heyerdahl's adventurous journey to prove South American influence on remote Pacific islands did not fail to cause widespread interest and even excitement (although many scholars still feel that Heyerdahl's epic adventure, thrilling as it is, failed to prove what it set out to prove). The island of Madagascar is pretty close to the African continent, but its language exhibits more points of contact with Polynesian than with African tongues. And the blow-bellows used by Malagache smiths are similar to those used in Malaysia and unlike those known to African metalworkers. Clearly the Polynesians, those great ancient mariners, sailed further than originally seemed likely. Musicologists studying the cantillation of the Hebrew Bible in the liturgy of the ancient Jewish communities on the Malabar coast in India discovered to their surprise that it was similar to the cantillation not of the Babylonian but of the Yemenite Jews! This surprise was, of course, no surprise to those who knew anything about trade-winds and shipping routes between South Arabia and the Indian coast. Historians of religion, even more than general historians, studying the spread and expansion of religious ideas and movements have realised long ago that the beginning of all wisdom is a basic knowledge of economic geography. (shrink)

İslâm coğrafyasının genişlemesi neticesinde Arap olmayan toplulukların İslâm dini ile tanışmaları beraberinde bir takım problemleri de getirmiştir. Bu problemler arasında, Kur’ân’ın yanlış anlaşılma endişesi en başı çekmektedir. Arapçaya hâkim olmamaktan kaynaklanan dil hatalarının âyetlere kadar sirayet ettiğini gösteren birçok rivayetin varlığı da bunu teyit etmektedir. Bundan dolayı hicrî birinci yüzyılın ikinci yarısından itibaren dil ile ilgili faaliyetler aralıksız bir şekilde devam etmiştir. Bu faaliyetler arasında, Kur’ân’ın üslûbunu, âyetlerde yer alan kelimelerin delâleti ve sesletimini, cümlelerin iç bütünlüğü ile filolojik tahlillerini ele (...) alan çalışmalar bulunmaktadır. Bu çalışmalar, Arap gramerinin oluşturulması ve bazı gramer ekollerinin ortaya çıkmasıyla birlikte genellikle “Ma‘âni’l-Ḳur’ân” ve “İ‘râbü’l-Ḳur’ân” başlıkları kullanılarak daha sistemli bir şekilde hicri dördüncü yüzyılın sonlarına kadar devam etmiştir. “Ma‘âni’l-Ḳur’ân” başlığını kullanarak eser yazan âlimler arasında gramer ilmiyle birlikte tefsir alanında da önemli bir konuma sahip olan Yahyâ b. Ziyâd el-Ferrâ da bulunmaktadır. Sözü edilen eserde Ferrâ’nın, lügavî tahlilleri esnasında özellikle sözcüklerin siygası ve çok anlamlılığı doğrultusunda dil-kültür ilişkisine örnek olabilecek birçok bireysel değerlendirmesine rastlanılmaktadır. Onun bazı ayetler etrafında sergilenen çeşitli görüşlere yer verdikten sonra Arap toplumu nezdinde bir yönüyle de bile olsa kabul gören semantik tahlillere ayrıca yer vermesi, müfessirlerin, çoğu zaman anlaşılması güç ayetlerle birlikte murad edilenin dışında bir yorumun önlenmesi için dönemin kültüründen yararlanmaları gerektiği şeklinde de değerlendirilebilir. Bu bakımdan Kur’ân-ı Kerîm’in insanlığa sunduğu mesajların en doğru şekilde anlaşılabilmesi adına bazı âyetlerin tefsiri ve değerlendirmesi yapılırken başvurulacak ilmî merci ve disiplinlerin geniş tutulması önem arz etmektedir. Binâenaleyh makalede Ferrâ’nın kendisine özgü tahlilleriyle beraber, görüşlerine yer verdiği başka âlimlerin analizlerinden sadece dil-kültür ilişkisine örnek olabilecek tespitler üzerinde durularak kültür ve dil etkileşiminin âyet yorumundaki rolüne işaret edilecektir. (shrink)

Every person acquires a worldview, a picture of reality. Within that picture, the existence of some things will be taken wholly for granted as the background to, and support of, everything else. Their existence will rarely be questioned. The cosmos or universe, the gods, God, Brahman, Heaven, the Absolute--R. T. Allen claims that all these and other world- views have been held to be that which necessarily exists and upon which all other beings depend in one way or another. European (...) philosophers, since antiquity, have offered arguments to show that their chosen candidates for the role of the necessary being or beings that support the rest of reality do actually exist. The Necessity of God sets the valid core of previous ontological arguments. It does not and cannot prove that God exists, but only that something necessarily exists. In an a priori manner and without inferring anything from what in fact exists, Allen proceeds to show that which necessarily exists is one, transfinite, eternal, and the archetype of personal existence: in short, that it is God as classically conceived. As for everything else that may exist, it must be finite and dependent for its existence upon God as its creator and sustainer. Few things are more erroneous in philosophy and disastrous in practice than artificial constructions produced without constant reference to concrete reality. That which necessarily exists may be the one exception. Before this constructive argument, Allen examines previous examples of ontological arguments in order to show exactly where they go wrong and to extract the valid core obscured within them. This will make clear the difference between them and his new version. The reader who is eager to engage the philosophical sources of belief will find a distinct treasure in The Necessity of God. (shrink)

This anthology consists of a collection of papers on the nature of dis positions and the role of disposition concepts in scientific theories. I have tried to make the collection as representative as possible, except that problems specifically connected with dispositions in various special sciences are relatively little discussed. Most of these articles have been previously published. The papers by Mackie, Essler and Trapp, Fetzer (in Section 11), Levi, and Tuomela appear here for the first time, and are simultaneously published (...) in Synthese 34, No. 4, which is a special issue on dispositions. Of the previously published material it should be emphasized that the papers by Hempel and Fisk have been extensively revised specially for this anthology. The papers are grouped in four sections, partlyon the basis of their content. However, due to the complexity of the issues involved, there is considerable overlap in content between the different sections, especially between Sections land 11. I wish to thank Professors James Fetzer and Carl G. Hempel for helpful advicc in compiling this anthology. (shrink)