Kuznet︠s︡ov, I. V. Kategorii︠a︡ prichinnosti i ee poznavatelʹnoe znachenie.--Shali︠u︡tin, S. M. Ob otrazhenii kak obshchem svoĭstve materii.--I︠U︡rgelenas, D. I. Teorii︠a︡ otrazhenii︠a︡ i poni︠a︡tie informat︠s︡ii.--Korneeva, A. I. Vozrastai︠u︡shchai︠a︡ rolʹ logicheskogo myshlenii︠a︡ v poznanii mira.--Klimashevskiĭ, G. Teoretiko-poznavatelʹnai︠a︡ rolʹ myslennogo ėksperimenta v fizike.-- Podosetnik, V. M. Gnoseologicheskoe znachenie faktov v poznanii obshchestvennykh i︠a︡vleniĭ.

LET ME BEGIN this inquiry with the simple but fundamental fact that the flow of time, or passage, as it is also known, is given in experience, that it is as indubitable an aspect of our perception of the world as the sights and sounds that come in upon us, even though it is not the peculiar property of a special sense. Consider, by way of illustration, that I am now sitting at the desk in my study. This particular event (...) was not present at any earlier time, nor will it be present shortly as I become involved in other activities. The present, as I experience it, is regularly associated with later and later events. It does not hop about capriciously from here to a later time, to a previous time, and then to a much later time, or trace out some other such indiscriminate pattern; instead I find it always in association with the next moment, and as I look backward and inward, so to speak, I find that the prior moment was present and that this next-later moment is present. Quite often this condition is expressed by means of imagery. We are asked to envision either a moving present racing along a fixed track of moments or events from earlier to later, or alternatively a fixed present through which stream a series of moments or events, first the earlier and then the later ones. One is in truth hard-pressed to find references to passage which do not employ quasi-poetical tropes and metaphors, and while these do help in some sense to say what we mean, great caution is required when handling them because of their ready tendency to draw us away from the actual phenomenon requiring explanation. (shrink)

Incessantly cited by critics, Bakhtin's work none the less remains relatively unavailable: partly through lack of suitable editions, partly because no individual text conveys all the key concepts or arguments. This anthology provides in a convenient format a good selection of the writing by Bakhtin and of that attributed to Voloshinov and Medvedev. It introduces readers to the aspects most relevant to literary and cultural studies and gives a focused sense of Bakhtin's central ideas and the underlying cohesiveness of his (...) thinking. (shrink)

Rescued in 1972 from a storeroom in which rats and seeping water had severely damaged the fifty-year-old manuscript, this text is the earliest major work (1919-1921) of the great Russian philosopher M. M. Bakhtin. Toward a Philosophy of the Act contains the first occurrences of themes that occupied Bakhtin throughout his long career. The topics of authoring, responsibility, self and other, the moral significance of "outsideness," participatory thinking, the implications for the individual subject of having "no-alibi in existence," the difference (...) between the world as experienced in actions and the world as represented in discourse--all are broached here in the heat of discovery. This is the "heart of the heart" of Bakhtin, the center of the dialogue between being and language, the world and mind, "the given" and "the created" that forms the core of Bakhtin's distinctive dialogism. A special feature of this work is Bakhtin's struggle with the philosophy of Immanuel Kant. Put very simply, this text is an attempt to go beyond Kant's formulation of the ethical imperative. Toward a Philosophy of the Act will be important for scholars across the humanities as they grapple with the increasingly vexed relationship between aesthetics and ethics. (shrink)

The essays assembled here are all very early and differ in a number of ways from Bakhtin's previously published work.

AN inquiry into the use of paradeigma in the Iliad must begin with Niobe. At 24. 602 Achilles introduces Niobe in order to encourage Priam to have some food. The dead body of the best of Priam's sons has now been placed on the wagon ready for its journey back to Troy. Achilles says , ‘Now let us eat. For even Niobe ate food, and she had lost twelve children. Apollo and Artemis killed them all; they lay nine days in (...) their blood and there was no one to bury them, because Zeus had turned the people into stone. On the tenth day the gods buried them. But she managed to eat some food, when she was tired of weeping. And now among the mountains, although turned into stone, she still broods over her sorrows. But come, let us also eat. You can weep for your son again later’. (shrink)

Next SectionOne of the major concerns about surrogacy is the potential harm that may be inflicted upon the surrogate mother and the child after relinquishment. Even if one were to take the liberal view that surrogacy should be presumptively allowed on the basis of autonomy and/or compassion, evidence of harm must be taken seriously. In this paper I review the evidence from psychological studies on the effect that relinquishing a child has on the surrogate mother and while it appears that (...) many surrogates are able to cope with relinquishment, I argue that there are good reasons, grounded in empirical evidence, to support the view that the subsequent management of the relinquishment necessarily objectifies the surrogate mother. (shrink)

This Book Brings A Clear And Insightful Presentation Of The Wisdom Of Hinduism In All Its Fundamental Principles.

Study in the context of the Hindu philosophical system, with special reference to Vedanta.