The first eulogies (Qaṣāīd) about the Prophet Muḥammad (pbuh) appeared when he was still alive. Ḥassān ibn Thābit (d. 60/680 [?]), ʿAbd Allāh b. Rawāḥa (d. 8/629) and Kaʿb b. Mālik (d. 50/670), important Muslim poets of the period, praised the Prophet and inspired future generations of poets. Depending on the developments in the following centuries, there had been a great increase in the number of poems sung to express enthusiastic feelings towards the Prophet and to defend him and (...) his Prophethood. Andalusia is one of the places where this genre increased the most. The first examples of the praise of the Prophet appeared in Andalusia during the Mulūk al-Ṭawāʾif period (1031-1090). The praises of the Prophet, which were processed in the poems of asceticism, dirge and elegy until the end of the 5th/11th century, became an independent genre called al-Madāʾiḥ al-Nabawiyyah/Nabawiyyāt thanks to the ever-increasing Ṣūfī thoughts penetrating literary circles. The turning point of the praise of the Prophet in Andalusia, as in the East, is the period of the The Almohads (1147-1238), which coincides with the 7th/13th century. The mawlid celebrations, which were first initiated by the Fāṭimids in the 4th/10th century to give legitimacy to their rule, and held every year in North Africa on the twelfth of the month of Rabi'ulawwal, moved to Andalusia at the end of the The Almohad period and gradually became one of the largest official and religious holidays in Andalusia. Giving awards to high-quality poems read on the mawlid festival and celebrations made all over Andalusia has greatly contributed to the literary richness in this field. In praise of the Prophet, talented poets such as Abū Zayd al-Fāzāzī (d. 627/ 1230), Ibn al-Jannān al-Anṣārī (d. 650/1252), Ibn Jābir (d. 780/1378) and Ibn Zumruk (d. 797/1395) emerged. Abū Zayd al-Fāzāzī, one of the most distinguished Prophetic ode poets of the Almohad period is said to have first pioneered the spread of Prophetic praises in Andalusia before the Iraqi poet Yaḥyā al-Ṣarṣarī (d. 656/1258) and the Egyptian poet Būṣīrī (d. 695/1296). He has a dīvān called al-Wasā’il al-mutaqabbalah, which he wrote in alphabetical order and dedicated to the praise of the Prophet. The fame of the odes he uttered about the Prophet spread as far as North Africa, and it has become a tradition to read his odes on special days. Because of the abundance and quality of Prophetic odes, Ibn al-Jannān, who witnessed the glorious days and the collapse of the The Almohad state, also commemorated the poet Ḥassān ibn Thābit, The Prophet’s Odic Poet. Ibn Jābir al-Andalusī, on the other hand, wrote the second ode in this field after Ṣafī al-Dīn al-Ḥilli (d. 749/1348), the inventor of the axiomatic odes, and became the pioneer of axiomatic odes in Andalusia. The effect of political instability on Prophetic odes in Andalusia, which entered its collapse with the end of the Almohad state, is obvious. According to many poets, salvation from this plight of Muslims in Andalusia is possible by once again adhering to the Sunnah of the Prophet. Probably as a reflection of this idea, many poets from 7th/13th centuries onwards devoted their odes to narrating the Prophet and his Sunnah. Poets who describe the Prophet elaborately in their poems hope to be saved from the troubles they have fallen into and to reach the highest rank in heaven. Poets who touched upon the physical characteristics of the Prophet often likened his smiling face to a bright sun and a full moon. In terms of oratory, they stated that he had a fluent language and never uttered bad words. Andalusian poets, who praised the Prophet with moral virtues such as tolerance, justice and courage, stated that there was nobody more merciful and generous than him due to the abundance of his blessings resembling torrential rain. Andalusian Prophetic ode poets adhered to the traditional forms of Arabic poetry in terms of the structure of eulogy. In the introductory parts of odes, they generally express longing for the Prophet and the holy places. The main theme is mostly the Prophet and his outstanding virtues, and they usually end their eulogies with salutation to the Prophet. Save a few Sufi poets, it can be said that they used simple and understandable language in their poems. The sources of inspiration for their poems are the Qur'an and hadiths. Andalusian poets used non-material axiomatic arts in their poems without disturbing the structure of eulogy. In addition to the art of pun, they provided musicality in the poem with the ‘tent-frame’ meter and rhyme scheme, sometimes supporting it through repetition. It is possible to see all kinds of repetitions in, Ibn al-Jannān's odes. In this study, the place of the Prophet in Andalusia and odes, which are reflections of the love for him, will be examined. In addition, the concept of the Prophet in Andalusia will be explained within the political, social and cultural framework of the period. (shrink)

As transformações a que as cidades estão sujeitas têm suscitado um discurso ambivalente sobre a cidade, um discurso que tem desenhado, não raras vezes, os seus limites na própria delimitação do espaço físico urbano. No entanto, não devemos esquecer que a revitalização da vida comunitária deverá considerar outras dimensões, compreendendo os patrimónios político, social, arquitectónico e urbanístico. Acima de tudo, a cidade contemporânea de carácter multicultural requer uma renovada urbanidade do pensamento.Propomos, então, uma abordagem que tentará, pela partilha cruzada da (...) arquitectura, do urbanismo e da filosofia, superar um entendimento estritamente utilitário da cidade, de modo a provocar e informar as novas políticas urbanísticas e os seus modelos de gestão, em ordem à civilidade, procurando reforçar o que une os saberes e não o que os separa. (shrink)

Miriam and I were born in 1949, only a month apart. The world we were born to was deeply marked by then-recent history. Our playgrounds were the rubble fields in the streets and the extended woods between Frankfurt, where I grew up, and Darmstadt, where Miriam grew up, some twenty-five miles apart.

A study of how Derrida's acts of eulogy articulate the Levinasian ethical demand with a psychoanalytic account of ghosts.

Robert Solomon criticized the philosophy of death for abstracting from human reality to treat our mortality as a collection of metaphysical puzzles. Nowhere is death less abstract than in our response to the death of our loved ones. The public face of our response is the memorial service and the eulogies that move us. Our experience of a eulogy can be as cathartic as Aristotle theorized as part of great tragedy. However, treating the oration as a work of art (...) seems inappropriate; seeking to understand our engagement in aesthetic terms disrespectful to the grieving. This paper attempts to resolve this paradox by exploring analogies between the structures of eulogies and those of tragedy, and showing that, rather than traditional aesthetics' "promise of happiness," our engagement is concerned with the "promise of meaning." Psychological research on the nature of empathy theorizes that humans are hard-wired to feel the experiences of others and this is undoubtedly at work in our emotional responses to literature and eulogies. Drawing on the work of Dacher Keltner, the paper argues that the key to the aesthetics of eulogies and literature lies in their power to invoke our "awe" in response to their words. (shrink)

A eulogy on the late Bernard Stiegler, reflecting on Ekin Erkan's friendship with Stiegler and Stiegler's influence on the philosophical study of technology, stoking a comparative review between Stiegler and other thinkers in analytic and continental traditions.

This paper explores the coexistence of more apologetic and of more systematic considerations in the _Āpta-mīmāṁsā_ (ĀMī), _Investigation on authority_, of the Jain author Samantabhadra (530–590). First, this treatise offers a relevant case study to investigate the transition from a conception in which the reliability criterion of an authoritative discourse is the authoritative character of its utterer, to a conception in which the criteria of validity and soundness of the discourse itself are foremost. Second, Samantabhadra is one of the first (...) authors to undertake to logically prove the omniscience of the Jain teachers. And third, he links these questions to the celebrated Jain epistemological theory of non-one-sidedness. (shrink)

In the Symposium, there are two revelations: one is that of the woman of Mantinea, the other that of Alcibiades. The former proposes a Socrates reshaped by Plato, but what Socrates does the latter express? Can the praise for Socrates contained in the latter also be considered a tribute by Plato to his teacher? The opinions are divided. I looked at two scholars: Michel Narcy and Bruno Centrone, whose judgments, as they are set out and argued, are irreconcilable. The contrast (...) may be determined by a certain ambiguity in Plato’s attitude towards Alcibiades. Part One – In order to clarify this ambiguity and to overcome the contrast between the two scholars I have tried to show how in the praise of Alcibiades there overlap different portraits of Socrates that refer to the tradition, to different experiences of various Socratics and of Plato himself in Apologia, and how this differs from the others and from himself by proposing a whole new portrait of Socrates as a representative of an Eros megas daimōn, revealed by the woman of Mantinea, in contrast to an Eros megas theos. Part Two – As instead regards the accusation of hybris, the hypothesis is this: for Plato his colleagues, and especially Antisthenes and Xenophon, offering an image of Socrates founded exclusively on his way of life and not also on the erotic aspects alluding to the supersensible world, seem to end up arousing laughter and looking like “fools”, like Alcibiades, who at the end of his speech, after making the audience laugh, is unmasked by Socrates for his clumsy attempt to impart a “life lesson” to Agathon, which he did not need at all, paying at his own expenses for his ignorance of the revelation through arriving late at the party. (shrink)

Derrida’s highly personal mourning texts are collected and published in a unique book under the title The Work of Mourning edited by Pascale-Anne Brault and Michael Naas, two outstanding translators of Derrida’s works. The English collection is published in 2001, while the French edition came out later in 2003 titled Chaque fois unique, la fin du monde. In his deconstructed eulogies, Derrida, being in accordance with ‘the mission impossible’ of deconstruction, namely, ‘to allow the coming of the entirely other’ (...) in its otherness, seems to find his own voice. In my paper, I will focus on this special segment of Derrida’s death-work ; namely, on his mourning texts written for his dead friends, paying special attention to the rhetoric ‘circling around’ fidelity, friendship, and the other in his textual mourning. (shrink)

This article develops a view of collective memory as a rhetorical practice with an intimate connection to death. Drawing on the philosophy of Jacques Derrida, I argue that memory is inhabited by death – the loss of a living presence which, nonetheless, is the very condition for recollection and communication. Memory can never retrieve presence, for time is discontinuous, disjointed rather than linear. Instead, memory is presented as an ‘impossible gift’, a form of inheritance that charges us to remember anew. (...) These motifs, I argue, are central in epideictic rhetoric which, by dwelling on the present, invites collective recognition and affirmation concerning what fundamentally is. In the genre of the eulogy, especially, the event of death is encountered by reference to the fracturing of time, the experience of the gift, and the question of inheritance. Eulogy rhetoric, I suggest, is a powerful mode of collective memory that captures much of how we remember. (shrink)

This chapter contains sections titled: Nature, Nurture, and the Female Serial Killer Introduction Female Nurture and Human Nature: Some Philosophical Background Female Serial Killers: A Typology Of Poets and Monsters: Our Common Nature.

But he also inspires the respect that comes from an illustrious career, and, among many who were his colleagues and peers, he inspired friendship. The Work of Mourning is a collection that honors those friendships in the wake of passing.

Rassemble 15 textes de J. Derrida consacrés à la mort et au deuil, souvent à l'occasion de la mort de ses amis : Roland Barthes, Michel Foucault, Gilles Deleuze, Maurice Blanchot, etc..... P.-A. Brault et M. Naas analysent la logique des textes et élaborent la question d'une politique du deuil.

In the eulogy for the death of the Emperor Theodosius held on February 25, a.D. 395, Ambrose introduces the episode of the finding of the Holy Cross in Jerusalem for the interest of Helena, mother of Constantine. That allows the bishop of Milan to expose his political- religious conceptions. The article offers a systematic analysis of the excursus from a literary point of view.

I begin my eulogy to folly not in jest as did the illustrious Erasmus of Rotterdam in the old days, but in all sincerity and from all my heart. In this task Berdiaev's new book will be of great assistance to me. Had he wished to do so, he could have titled it, following his long-deceased colleague's example, In Praise of Folly, because its purpose is to challenge common sense. True, the book is a collection of articles written in the (...) last six years, hence, properly speaking, it does not and cannot serve some one purpose. Six years is a long time: not only a writer like Berdiaev, but any writer will change to some extent during so long a period. The book opens with an article written long ago, "The Struggle for Idealism" [Bor'ba za idealizm], in which the author still maintains a strictly Kantian viewpoint that admits, as we know, common sense and all its accompanying virtues. Then the author gradually evolves and, by the end of the book, he openly declares war on common sense, but what he opposes to common sense is not Folly, as is usually done, but Great Reason. Of course, one can express oneself in this way, calling Folly Great Reason, and, if you like, this has a deep meaning or, more precisely, a deep sting, for what can be more insulting and humiliating to common sense than to confer the honorific title of Great Reason on Folly? Until now common sense has been accepted as the father and closest friend of all minds, great and small. Now, Berdiaev, scorning genealogy and historically shaped heraldry, elevates "opposition to common sense," that is, Folly to the order of Great Reason. No doubt, this is very audacious, but Berdiaev is a writer who above all is daring and, in my opinion, this is his greatest strength. I would say that his gift, his philosophical and literary talent, lies in his audacity. As soon as it abandons him, the source of his inspiration evaporates, he has nothing to say, and he ceases to be himself. But I have run too far ahead. Let us return to his evolution or, rather, to the evolution of his idea. (shrink)

In this paper, we clarify what proponents of the Growing Block Theory (GBT) should and what they should not say, and what they consistently can say. Once all the central tenets of the view are on the table, we address both David Braddon-Mitchell’s and Trenton Merricks’ recent eulogies for GBT, based on what is representative of a certain type of argument meant to show that GBT is internally incoherent. We argue that this type of argument proceeds from a mistaken (...) assumption about GBT’s core, viz. that GBT works with an untensed notion of what, in the metaphysically most fundamental sense, there is. We conclude that this type of argument accordingly misfires and that for all we know, we might be living on the brink of reality. (shrink)

In a final, short summary of his life and works, David Hume wrote My Own Life as he suffered from gastrointestinal issues that ultimately killed him. Despite his bleak prognosis, Hume remains lighthearted and inspirational throughout. He discusses his life growing up, his family relationships, and his desire to constantly improve his works and his reputation as an author. He confesses, "I have suffered very little pain from my disorder; and what is more strange, have... never suffered a moment's abatement (...) of my spirits; insomuch that were I to name the period of my life which I should most choose to pass over again, I might be tempted to point to this later period." This short biography ends with a series of letters from Hume's close friend and fellow author Adam Smith to their publisher William Strahan, recounting Hume's death and giving a stirring eulogy in honor of their friend. (shrink)

The note reinterprets an important epigraphic testimony of the Ostrogoth age, published for the first time by Giovanni Battista de Rossi in 1894. It is a polymetric funeral eulogy commissioned among the Amali royal family, perhaps dedicated by Flavia Amala Amalafrida Theodenanda to one or more relatives, unless one wishes to identify her with one of the dedicatees of the eulogy. After a presentation of supportive material and a new edition of the text, the history of the discovery of the (...) inscription is retraced, involving leading figures of the 19th century political and ecclesiastical culture including cardinal Vincenzo Vannutelli and H. Stevenson Jr., a pupil of de Rossi. The contribution dates the artifact between the end of the 5th century and the beginning of the 6th; it studies the hypothesis of identifying Amalafrida with one of the princesses in the family circle of King Theodoric and with the Ostrogothic wife of Flavius Maximus; it illustrates a hypothesis of the intended use of the epigraph for a funeral monument in the cemetery area of the Martyrial Basilica of S. Secondino on the Praenestina. (shrink)

This book is a eulogy of Sir Francis Bacon and of his ostensible prophetic insight into the nature of knowledge; it attempts to reinstate him in a position of relevance to contemporary times. Bacon is cast as an innovator in the history of ideas for having espoused experiment and inductive knowledge rather than "scholastic system building." The booklet, however, evokes the uneasy feeling that, according to the author, almost any significant thinker of the past would be just as relevant in (...) facing the "modern dilemma." The reader searches in vain for an explanation of why Bacon ignored the possibility of a mathematically-based philosophy-something, being of no little significance to the development of modern science, that Eiseley needs to consider if his contention is to be persuasive.—C. E. B. (shrink)

The Menexenus is also known as Plato's Epitaphios or Funeral Oration. The body of the work is a fictional funeral oration, composed as an example of what should be said at a public funeral for Athenians who have fallen in war. The oration is framed by an encounter between Socrates and a certain Menexenus, an eager young man who thinks he has reached the end of education and philosophy, but who is still rather young to take an active party in (...) the city's affairs. Nevertheless, he is anxious to follow in the tradition of his family, which has always provided someone to look after the Athenians . Menexenus' interest in public affairs has led him to attend a meeting of the Council at which a speaker was to be chosen to compose and deliver the funeral oration at the imminent public funeral. However, no final decision was reached at the meeting, and Menexenus remarks that by the time the choice is made, the speaker will have almost to improvise his speech. Socrates gently mocks Menexenus' respect for public orators, saying that speeches about a dead person follow a predictable pattern; a speaker exaggerates all a dead person's good points and minimizes all the bad, so that one who has died appears a paragon of virtue even if he was not really good for much. Socrates claims that listening to such public orations, when not only individuals but also the state is eulogized, always makes him feel that in living in Athens he is living in the Islands of the Blessed. (shrink)

In recent critical studies, according to Gibson, a sustained and profound critique of Fanon has been launched by feminist and postcolonialist theorists over the past decade, focusing on ‘Algeria Unveiled’. By and large, this critique explores what Fanon calls the ‘historical dynamism of the veil’: the ways in which women strategically donned or removed the veil to subvert French colonialism, and the role women played in the Algerian War. Some theorists criticize Fanon for eulogizing the retrograde tradition of the veil (...) and for ‘normalizing gender inequality’. Others reproach him for his Orientalizing views. A number of critics confuse his pronouncements on the impact of the war which revolutionized the Algerian society and gender relation with the reactionary policies implemented in post-independent Algeria. To fathom the political and ethical concerns raised by Fanon, concerns which such criticism eschews, I propose to read Fanon’s ‘Algeria Unveiled’ in tandem with Bourdieu’s Algeria 1960 against the physical and symbolic violence to which Algerian women were subjected as they were coerced to remove their veil. (shrink)