The aim of the research is to investigate the effect of eye movement desensitization and reprocessing therapy on post-traumatic stress disorder levels of individuals who can be defined as high-risk groups during the pandemic. Therefore, the online EMDR R-TEP Protocol was applied to a total of 154 individuals working with coronavirus patients, frontline professionals, relatives of coronavirus patients, coronavirus patients, and relatives of someone who died from coronavirus and the PTSD symptom level before, after, and 1 month after therapy was (...) measured and examined. A personal information form and impact of events scale were used to collect data. Analyses showed that EMDR therapy was effective in reducing the PTSD level in all groups. The PTSD levels of frontline professionals continued to decrease until the follow-up test but remained the same in the other groups. (shrink)

This paper is about “glitters”, one of the sources of primary microplastics, which, in turn, are deemed an emerging source of pollutants affecting the environment. Today, most glitters available on the market are essentially microplastics, as they are made of polyesters and are of a size smaller than 5 mm. The tiny, shiny, decorative and colorful glitters are used in a wide range of products including but not limited to make-up or craft materials, clothing, shoes, bags, ornaments, and various objects. (...) The marketing of micron-sized plastic materials, the environmental risks of which are no longer disputable, as disposable products clearly merits attention. People without substantial knowledge or awareness about microplastics pollution and sources thereof have been consuming these glitter products without giving it a second thought. Given their tasteless, odourless, invisible, durable, and last but certainly not least, ubiquitous characteristics, small microplastics nowadays came to pose a substantial threat for the environment and the biota, as a sneaky and persistent contaminant. Microplastic pollution is a completely anthropogenic one. In this context, the consumers should assume a careful and sensible attitude, and question all their consumption habits. On the other hand, the responsibilities of the manufacturers and regulators are also substantial. For, in the lack of any regulation or sanctions in the context of laws and legislation concerning a global problem, and in a context of scarce awareness on part of the society, the people would continue to buy and consume plastic products like glitters without really thinking about them, for as long as they are supplied to the market. (shrink)

Among the problems C. D. Bailey has questioned in a recent paper (Ref. 1) are a precise and general formulation of Hamilton's variational principle and the establishment of a sufficiency criterion for this to be a minimum principle. In this paper, we will try to answer these questions using the geometric theory of classical mechanics.

Ṣūfī poetry or dīvān poetry, both of our poems have a universal appeal and a classical value just as the poetry of many nations’. Poets of both groups enhanced the consciousness level of every people one by one and created a virtuous society by taking power from the potential that existed in Turkish society already. If it is needed to mention a difference between those two poetries, it could be that dīvān poetry is a static one and sūfī poetry is (...) more dynamic than the dīvān poetry. While dīvān poetry has a unique World of poetry, sūfī poetry has a feeling of universe shaped by different meanings and concepts. Although dīvān poetry is based on intelligence and pleasure, there is intuitive inspiration and wāridāt in ṣūfī poetry. These become poetic sometimes thanks to similes (tashbīḥ), metaphors (majāz) and allusions (talmīḥ), become verse and gradually turns into a poetic theme (mażmūn). Until today, since the first that comes to mind, when it is said poetic themes (mażmūn), is dīvān poetry, poetic themes of ṣūfī poetry were overshadowed. However, ṣūfī poetry is quite interesting and rich in terms of its poetic themes. Although they are called as just terms, each of the terms of ṣūfī literature is a mystical state (ḥāl), mystical station (maqām) or experience. For this reason, many concepts of ṣūfī poetry, which we call term, could be a poetic theme by taking part in a reference (talmīḥ), simile (tashbīḥ) and metaphor (majāz). The aim of this article, which we can sample under three titles and with the couplets of our three ṣūfī poets, is to draw attention to the existence of a rich mażmūn staff independent of the dīvān poetry of Turkish ṣūfī poetry. The subject of mażmūns belonging to Turkish ṣūfī poetry should be considered important since it has not been mentioned much until today. Summary: The poet designs and presents it to his readers on behalf of his readers that he cannot even express what he has imagined but sometimes cannot imagine. Each poem has a specific interlocutor and addresses the emotions of its interlocutor. Each poem is adorned with thought and imagination; yet poems can be understood by annotation accompanied by rhetoric. Ṣūfī poetry and dīvān poetry, both poems have universal appeal and classical value like many poems of many nations. Ṣūfī poet and dīvān poet are the architects of an indestructible art existence that ruled for centuries and their works are masterpieces of their own fields. Both types of poetry, along with literary heritage, are a guide ship that leads the whole cultural heritage to the next generations, leading art branches. Both poets of both groups have strengthened from the potential that existed in Turkish society and raised the level of consciousness of each individual separately and created a virtuous society.Dīvān poetry is as beautiful as the aesthetics of genius; ṣūfī poetry is so beautiful with the sincere sincerity of heathat born to the heart. Without making use of the rich mażmūn staff of the lodge poetry, it would be an exclusivism and a status quo to make the mażmūn exclusive only to dīvān poetry or to search for the mażmūns of dīvān poetry in the lodge poetry and to interpret these mażmūns with the interpretation habits of dīvān poetry.The most obvious difference between ṣūfī poetry and dīvān poetry corresponds to the fact that the terms of Sufism are composed of similes (tashbīḥ), metaphors (majāz); sūfī poetry is a composition of poet’s personally experienced feelings or situations such as waḥdat, ḥalvet, manifest and observant concepts. While the depictions of the dīvān poet, spring and winter depictions, arouse enthusiasm for the reader for a while, the indifference of the ṣūfī poet to this world, the constant heartbeat of Jamāl and the heart beating with the excitement of vuslat (meeting) infiltrates the reader to the eternal world.If there is a difference between the two poems, it is that the poetry of the dīvān is static and the ṣūfī poetry is more dynamic than the poetry of the dīvān. As well as dīvān poetry has a unique world of poetry; ṣūfī poetry has a universe of emotions shaped by different meanings and notions. Even if the beauty they depict is materially and morally different, the poet of both groups wishes to go beyond the beauty that they mean and find themselves there. They do this sometimes with similes (tashbīḥ) and metaphors (majāz) and istiʿāre, succeed with various kinds of poetic themes. In dīvān poetry, there is pleasure and imagination based on intelligence, and inspiration and success based on intuition in ṣūfī poetry. These become poetic sometimes thanks to similes (tashbīḥ), metaphors (majāz) and allusions (talmīḥ), become verse and gradually turns into a poetic theme. Dīvān poetry is an endless effort of abstract imagination, while ṣūfī poetry is an inexhaustible enthusiasm for concrete ecstasy. Although both have found what they are looking for outside of daily life, dīvān poet finds pleasure, yet sūfī poet finds inspire.When it comes to mażmūn, the first thing that comes to mind is Divan literature and it’s figure of beautiful woman’s length (cypress), hair (zulf), eye (daffodil), eyebrow (bow), eyelash (arrow) and skin (silver) and these mażmūns are stereotyped and widespread though each of them is known only to artisans. On the other hand, ṣūfī poetry has many other poetic themes such as Jamāl (grace), Jalāl (distress), ār and nāmūs (mālāmat), gūy (rıza), chevgān (ḳażā) and istignā (reluctant).To date, the first thing that comes to mind when it is said to be mażmūn is dīvān poetry, it has left behind the maẓmūns specific to ṣūfī poetry. However, ṣūfī poetry is also quite rich in terms of its mażmūns. Although they are called as just terms, each of the terms of ṣūfī literature is a mystical state (ḥāl), mystical station (maqām) or experience. For this reason, many concepts of ṣūfī poetry, which we call term, could be a poetic theme by taking part in a reference (talmīḥ), simile (tashbīḥ) and metaphor (majāz).The fact that the dīvān poets used the mażmūn as a word and the use of the term started with the Tanzimat made it inevitable that different definitions of the mażmūn emerged in time. For this reason, many researchers now understand and define the term of mażmūn differently. However, all the academics who researched or wrote about the mażmūn brought to mind only the poem of the dīvān poem, and they selected the examples of the mażmūn from the couplets of the poem of the dīvān poem. In our opinion, the missing part of the subject of mażmūn is here. Nevertheless, our main aim in this article is not to discuss what is or is not a mażmūn, but to try to express that the ṣūfī poem is as rich as the dīvān poem. Whereas the mażmūn has no single generally accepted definition; if so, we can say that ṣūfī poetry may have its own unique mażmūn, we can exemplify it with couplets of ṣūfī poetry. (shrink)

Context: Perceptual presence is the experience wherein veridical objects are experienced as belonging to an observer-independent world. Problem: Experimental investigations of perceptual presence ….

: In our response, we demonstrate how theoretical constructs of philosophical phenomenology do not correspond to findings from lived experience. We provide additional subjective reports ….

The origin of moral agency is a much-debated issue. While rationalists or Kantians have argued that moral agency is rooted in reason, sentimentalists or Humeans have ascribed its origin to empathic feelings. This debate between rationalists and sentimentalists still stands with respect to persons with mental disorders, such as individuals diagnosed with mild forms of Autism Spectrum Disorder, without intellectual impairment. Individuals with ASD are typically regarded as moral agents, however their ability for empathy remains debated. The goal of this (...) paper is to investigate the mechanisms of moral actions in people with ASD, by finding arguments for the origin of their moral actions, supporting either the sentimentalist or the rationalist view of the dispute. We propose to revisit the debate using Interpretative Phenomenological Analysis to study the autobiographies of individuals with High-Functioning Autism and Asperger Syndrome. While conducting the systematic analysis of 10 autobiographies, we re-examined both the rationalist and the sentimentalist positions, considering the links between empathic feelings and moral agency. The investigation of the temporal dimensions of emotional experiences, an aspect overlooked by previous research, indicated that individuals with ASD empathize with others, but in different ways as compared to neurotypicals. A relationship between emotional experience and the type of moral agency exhibited by individuals with forms of ASD was established. As a consequence, our analyses support the sentimentalist stance on moral action. (shrink)

The law of varying action and Hamilton's principle of classical mechanics are discussed. It is now clear that the law of varying action, introduced by Hamilton in his papers of 1834 and 1935, was never recognized by either the mathematicians or other scientists who followed him. Why this occurred is discussed in this paper.