Contributed articles on Kashmir Śaivism, Indic philosophy and spiritual life.

On the life and thoughts of Swami Vivekananda, 1863-1902, Indian philosopher and religious leader.

Concept of Mokṣa (liberation) in Indian philosophy with reference to Hindu pilgrims.

Biography of Kumārila Bhaṭṭa, an Indian philosopher.

Science of consciousness in Yoga and Indian philosophy; contributed research papers.

On secular tradition of Indian philosophy and culture.

Articles on religion and ethics in Indian context.

Compendium of Indian epistemology and logic.

All Arts In India Owe Their Roots To The Theoretical Structure Developed By Bharatamuni In His Celebrated Work Natyasastra. His Theory Of Beauty Is Known As The Theory Of Rasa. The Present Volume Has Shown How The Insight Of Bharata Was Developed By The Classical Scholars From Abhinavagupta To Jagannatha Who Propounded The Theories With Names Like Rasa, Alamkara, Riti, Vakrokti, Dhvani Etc. To Employ The Theory Of Beauty From Natya (Drama) To Kavya (Poetry).

On educational thoughts of Rabindranath Tagore, 1861-1941, Bengali litterateur and Mahatma Gandhi, 1869-1948, Indian statesman and nationalist.

In lieu of an abstract, here is a brief excerpt of the content: Six Poems GEORGE KALOGERIS The Atomists To see what the matter is, in all of its dense, Teeming particulars, and not through the lens Of a microscope but by the most lucid, precise, Leap of imagination: the first was Leucíppus. But it was his student, Democritus, who stated That human understanding was truly futile, Given the random collisions of atoms. Still, He blinded himself to keep from being (...) distracted. When he broke the long-jump record by two whole feet, Bob Beamon dropped to his knees, buried his face In his hands, and wept in a pit of sand—the trace Of his human, Olympian flight still fresh as a heel-print. When the earthquake struck Kalamáta, and Uncle Sotíri Lost everything, he asked a taxi driver To take him to “a nice high place by the sea. And then come back for me in half an hour.” arion 28.3 winter 2021 58 six poems One Credit Seminar on the Odes of Horace We were sitting around a polished oak table, just getting to Those famous lines near the end of the Sestius Ode: Revenant whitefaced Death is walking not knowing whether He’s going to knock at a rich man’s door or a poor man’s When one of the students (Andrew) said it was “totally weird”— Which led us to look at the paleness of Death’s appearance, Whose pallor is what, when he comes, comes with him: the sickness and shock In his ghastly face. And that’s where we stopped. And then It was Jennifer’s email, saying “I’m sorry for missing class, But I’m having panic attacks. I keep flashing back To March 19th, when I entered my dorm-room and found my boyfriend Dead of an overdose... I can get you a note... What reading should I do to be prepared for next week?” O goodlooking fortunate Sestius, don’t put your hope in the future; The night is falling, the shades are gathering around; The walls of Pluto’s shadowy house are closing you in. There who will be lord of the feast? What will it matter, What will it matter there, whether you fell in love With Lycidas, this or that girl with him, or he With her? So David Ferry’s great translation goes, And its tone of tender, knowing, bemusement is Horace’s Pitying voice, but whose pity has come to speak to us Through the whitefaced mouth of revenant Death, still going From house to house, until he gets to Jennifer’s dorm-room. And what will it matter now if Andrew was drawn to the line About fishermen hauling their caulked boats to the water? It’s late September. We’re sitting around a polished oak table Whose wood is sacred to Jove, whose lightning-bolt Has already sounded deep in the heart of Indian summer. George Kalogeris 59 Greek School The very first poem I ever knew by heart: That sing-song forsaken one assigned to me. Recited on our other Independence Day. When some of the girls were dressed in peasant costumes, And some of the boys in kilts of the freedom fighters. And the timid rest of us in our Sunday best. In the church gym, where Father Mihos called us Up to the microphone, and one by one We showed the parents what we’d learned in Greek school. In Horace’s Ode to his Lyre, the poet prays That his song will serve as the medicine of sorrows, His stricken voice the trembling instrument— Schooled as he was in Sappho, who said the ancient Prescription left a bittersweet taste in her mouth: Glukopikron. For me it’s that first-grade poem I stammer to remember: Egwo tha geino Yiatrós... “I shall grow up to be a doctor...” Just saying that, my elders perk up their ears. And even if Poetry wasn’t the kind of calling Expected of me, and one by one they all Got sick and died, it’s still the medicine That keeps them leaning forward on their folding chairs. 60 six poems Money Doesn’t Grow On Trees But evergreen the... (shrink)

Theravada Buddhist teachings and philosophies, and the cause and effect of human deeds.

Festschrift in honor of Bhūpendranātha Jaina, b. 1918; contributed research papers chiefly on Jainism and Jaina philosophy.

Dene Bebbbington explains, and criticises, the intelligent design creationism of William Dembski.

Liberalism was not only the first modern ideology, it was also the first secular movement to have an international presence. The scholarly articles in this collection, skillfully edited by Iván Zoltán Dénes, examine liberal ideas and movements from Scotland to the Ottoman Empire. The volume seeks to uncover and analyze various relationships between liberalisms and nationalisms, national identities and modernity concepts, nations and empires, nation-states and nationalities, traditions and modernities, images of the self and the others, modernization strategies and identity (...) creations. This volume provides an important historical analysis that is essential toward understanding the questions and motivations of liberalism in the European Union today. This is, therefore, a timely contribution to both historiography and contemporary politics. (shrink)

Verse treatises on Advaita Jaina, and Nyaya philosophy.

The issue of abstractness raises two distinct questions. First, is there a format-independent magnitude representation? Second, does analogue magnitude really play a crucial role in the development of human mathematics? We suggest that neither developmental nor cultural studies support this notion. The field needs to redefine the properties of the core number representation as used in human arithmetic.

Supercommentary, with commentaries on Siddhāntalakṣaṇa of Gaṅgeśa, 13th cent., work on Nyaya philosophy.

Stag tsang, amongst others, has argued that any use of mundane pramāṇa—authoritative cognition—is incompatible with the Prāsaṅgika system. His criticism of Tsongkhapa’s interpretation of Candrakīrti’s Madhyamaka which insists on the uses of pramāṇa (tha snyad pa’i tshad ma)—authoritative cognition—within the Prāsaṅgika philosophical context is that it is contradictory and untenable. This paper is my defence of Tsongkhapa’s approach to pramāṇa in the Prāsaṅgika philosophy. By showing that Tsongkhapa consistently adopts a non-foundationalist approach in his interpretation of the Prāsaṅgika’s epistemology, and (...) by showing that he emphatically denies any place for the foundationalist epistemology of Dignāga and Dharmakīrti in the Prāsaṅgika system, I will argue that Tsongkhapa’s epistemology emerges from Stag tsang’s criticisms unscathed. (shrink)

The issues touched on in my work range between individual creation and social consciousness. We have entered an age of alienation brought on by specialization, a by-product of the Information Age. This is an age of complexity, when knowledge and ideas are coming in faster than can be assimilated, while disciplines become progressively alienated from each other through specialization. The hard-won knowledge that accumulates undigested, blocking meaningful communication. Clearly defined direction for mankind is lacking. The turn of the century and (...) the next millennium will usher in a troubled environment and a troubled psyche.Making art today is synonymous with assuming responsibility for our fellow man. I am concerned with the fact that we have taken evolution into our own hands. We are the first species that has the ability to consciously alter its evolution, modify itself at will, even put an end to its existence. We have gotten hold of our destiny and our impact on earth is astounding. Because of our tremendous success we are overrunning the planet, squandering its resources. We are young as a species, even younger as a civilization, and like reckless children initiate processes we cannot control. We tend to overproduce, overuse, and quickly tire of things. We also overreact, panic, and self-correct in hindsight. The pluralistic nature of things creates too many variables, confusing the goals to be achieved. Sustained interest and effective action are diminished with the alienation of the individual who feels little potential to interact or identify effectively with society as a whole. Overview for mankind is lacking and as the momentum increases human values tend to decline. Agnes Denes has had over 250 solo and group exhibitions on four continents since 1965. She has participated in such major international exhibitions as Project ’74, Cologne; the 1976 Biennale of Sydney, Australia; Documenta 6 in Kassel, Germany; and the Venice Biennales of 1978 and 1980. In 1989, she received her fourth National Endowment Individual Artist Fellowship. She has published four books, including The Book of Dust—The Beginning and the End of Time and Thereafter. (shrink)

History--the past transformed into words or paint or dance or play--is always a performance. An everyday performance as we present our selective narratives about what has happened at the kitchen table, to the courts, to the taxman, at the graveside. A quite staged performance when we present it to our examiners, to the collegiality of our disciplines, whenever we play the role of "historian." History is theater, a place of thea . The complexities of living are seen in story. Rigidity, (...) patter, and "spin" will always destroy the theater in our history performances. That is because we are postmodern. The novelists, the painters, the composers, the filmmakers give us the tropes of our day, alert us to the fictions in our non-fiction, and give us our freedoms.How do I persuade anyone that the above theory is true? By thea, by seeing its truth. By performing. I have a true story to tell about beaches and those who cross them--Paul Gauguin, Herman Melville, and I. (shrink)

People prefer certainty. There's a psychological need to explain events or phenomena rather than accept one's ignorance, to say ???I don't know??? when faced with insufficient evidence.

A man fires a gun several times at the side of a barn and then draws a circle around a cluster of most of the bullet holes. Drawing a target retrospectively like this doesn't prove the shooting skills of the gunman ??? no one would consider him a sharpshooter if they knew what he'd done. When the equivalent of this happens in other circumstances we call it the Texas sharpshooter fallacy . As with many fallacies, it may not appear fallacious (...) at first inspection. (shrink)

By freedom, classical liberals meant non-interference, independence from the state, the personal and proprietary liberty of the governed. It is negative freedom as the antithesis both to absolutism and anarchy. In the republican interpretations, the freedom of a free political community is made possible and guaranteed by the institutionalization of the liberty of the political community. Political liberty is the medium, stage and precondition for the freedom of its members. That, in turn, is conditional upon the readiness of its members (...) to protect the liberty of their community and themselves, i.e. upon the virtue of the free citizen. In this article I engage with four different interpretations of both kinds of liberty concepts in different discourses of the 20th-century UK and US and 20th—21st-century Hungary. (shrink)