Frank Wilderson: I introduce a semiotic configuration. The point is, at important levels of abstraction, people who are positioned as Black—which is very different from saying people who think of themselves as Black. One of the basic premises of Afropessimism, which makes it resonate with psychoanalysis or Marxism, is that where one is positioned in a paradigm might not be where one thinks one is or where one desires to be. When I teach undergraduates, I say: “Look, I (...) used to study neorealism. In these neorealist films, we have these people who are bona fide fascists, and then you have those people in the Communist Party, so they could not agree on much. They don’t see themselves as having much of a connection. But in a Gramscian sense, they are both positioned as the host of capitalist parasites. Both groups rely on the wage. So, they are both workers.” One of the big points with respect to the narratological question is that I, as a Black person, trained at Columbia University in creative writing, trained at UC Berkeley in critical theory, love narrative, but narrative does not love me. In other words, it is impossible for me to be “emplotted” as a speaking subject. I can only be “emplotted” as an object of narrative. But I am always struggling to attain that love of humanity; and if I were to attain it, the Human would not have a foil against which to know itself. So, what I am saying is that in a book like Red, White & Black, I am just being very categorically clear about the divisions. In Afropessimism, I am actually talking about the desire of a sentient being who cannot be allowed into an arena where people are recognized and incorporated, in Lacanian terms, as “contemporaries” of human beings. So, there is all this back and forth. I don’t think this speaking subject in Afropessimism ever achieves anything in particular. It is always struggling toward being a subject that can actually travel on a narrative arc and yet ultimately is an object that can never travel from dispossession to redemptive recovery. (shrink)

New foreword written by HeritageMom, Amber O'Neal Johnston. "During a time when the United States needed to be reminded of the contributions Black people have made to its democracy, freedom, music, literature, and more, W.E.B. Du Bois took on the task of enumerating the gifts that we've provided to our country. "When I began reading The Gift of Black Folk...the story that unfolded was one that I had never anticipated. We the People of the United States, all of (...) us, have left our indelible mark on America the Beautiful." -Amber O'Neal Johnston In 1924, William Edward Burghardt (W.E.B.) Du Bois (1868-1963) penned The Gift of Black Folk in response to systemic racism in the United States, showing that "...the American spirit is a new and interesting result of diverse threads of thought and feeling coming not only from America but from Europe and Asia and indeed from Africa." Du Bois was the first African American to earn a Ph.D. from Harvard University, and later became a professor of history, sociology, and economics at Atlanta University. In 1909 he co-founded the NAACP. Du Bois was a lifelong leader and proponent of civil rights. Amber O'Neal Johnston is a writer, speaker, and home educator who blends life-giving books with a culturally-rich environment for her four children and others. She's the author of A Place to Belong, a guide for families of all backgrounds to celebrate cultural heritage and embrace inclusivity in the home and beyond, and she's known for sharing literary "mirrors and windows" on HeritageMom.com. (shrink)

I give a critique of the argument against the Identity of Indiscernibles found in Max Black's dialogue "The Identity of Indiscernibles". I begin by postulating and giving existence and individuation conditions for actually existent thought experiment characters on analogy with fictional characters as postulated in Peter van Inwagen's "Creatures of Fiction". I then show that Black's two-spheres thought experiment raises not one but two discernibility questions: 1) Is it true in the two-spheres thought experiment that there exist two (...) indiscernible spheres? NO. 2) Is it true in the actual world that there are two indiscernible sphere-characters? YES. (shrink)

I defend a sensitive neo-Moorean invariantism, an epistemological account with the following characteristic features: (a) it reserves a place for a sensitivity condition on knowledge, according to which, very roughly, S’s belief that p counts as knowledge only if S wouldn’t believe that p if p were false; (b) it maintains that the standards for knowledge are comparatively low; and (c) it maintains that the standards for knowledge are invariant (i.e., that they vary neither with the linguistic context of the (...) subject of knowledge nor with the linguistic context of the attributor of knowledge). I argue that this sort of account allows us to respond adequately to some difficult puzzles in epistemology, puzzles such as skeptical puzzles, as well as puzzles that inspire epistemological contextualism. I also maintain that by utilizing what Keith DeRose calls a warranted assertibility maneuver, sensitive neo-Moorean invariantism can account for our epistemic judgments in each of these puzzle cases. (shrink)

The fact that A has relied on B to do something is often taken to be a relevant factor in judging that B has a moral or legal obligation to do that thing. This paper investigates the relation between reliance and obligation. Specifically, the question is whether reliance and moral obligation are connected by some relation of conditionality. I consider four such relations - necessary condition, sufficient condition, necessary part of a sufficient condition, and independent necessary part of a sufficient (...) condition. I argue that only the third one connects reliance and moral obligation, and that it does so in a trivial way. There are nevertheless two justifications for the prominence given to reliance in morality and law. First, reliance appears to be a sufficient condition of states of affairs involving concepts related to obligation. Second, reliance is a fairly reliable indicator of obligation. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Learning to BreatheFive Fragments Against RacismB. Venkat Mani (bio)For Dr. JLW, for all Black academics and students1. Air HungerI know you, Derek Chauvin. You may think that we first met on May 25, 2020, in Minneapolis. I was called George Perry Floyd. For you, I was just another Black man, a potential criminal. For me, you were not a police officer, but the knee that stands for (...) racism. You kneeled on my windpipe for 9 minutes and 29 seconds. Those were neither my first nor my last memories.You may choose not to recognize me, as you always have. But I do. I recognize every bone, muscle, tendon, pointy curve of the cap, every contour of your strong, heavy, determined, calculating, conniving knee that presses on my windpipe with a false sense of racist superiority. 9 minutes and 29 seconds. As often as you can.We have a history. You have never missed the opportunity of kneeling on my windpipe. You hauled me into your slave ships from various African ports along the Atlantic, then you kneeled on my windpipe all over your cotton and tobacco plantations in the Americas. We met again on schooners from Indian shores journeying across the Indian and Pacific oceans. With slavery banned in the British empire, you turned me into an indentured laborer. You made me put my thumb imprint on a document you created, in a script I could not read, of a language I could not speak. Then you threw me thousands of miles away in Mauritius, Fiji, and numerous Caribbean islands, pressing on my windpipe on sugarcane plantations. My wife, children, sisters, mothers, aunts, brothers, uncles, nephews, nieces, grandparents, great grandparents, we all have lived through those fatal 9 minutes and 29 seconds: on water and land. Repeatedly. Consistently. Incessantly.You want specific dates? April 8, 1857, Barrackpore, Northern India. My name was Mangal Pandey, you called me a Sepoy. You hanged me for standing up against my subjugation by your British East India Company. Against your rule over my land and my people. With your many titles [End Page 41] and names: Major-General Sir Henry Havelock, Lieutenant-General Sir Colin Campbell, Brigadier-General Charles Windham, you rampaged through the streets of Delhi, Meerut, Lucknow, killing anyone in your way so I could be a jewel in Victoria's crown. January 29, 1863, Bear River, Idaho. I was one among the Shoshone of Bia Ogoi, you were Colonel Patrick Connor. You came to us on a frigid morning and killed us by the hundreds. November 15, 1884, the Congo Conference, Berlin. You were called Chancellor Otto von Bismarck and were acting at the behest of sharecropping interests of King Leopold the Second. Your name for me was a "savage." You set up a society to civilize me while you plundered my bounty. You started drawing lines through land, rivers, mountains, deserts. For you, it was the Scramble for Africa. For me, bloody murder. You knelt on my windpipe, smoking a pipe with tobacco my people had grown. April 13, 1919, Jallianwala Bagh, Amritsar. You were called Brigadier General Reginald Edward Harry Dyer. For you, I was just a troublemaking native disrupting the civilized business of the Empire. You surrounded our peaceful gathering in Amritsar and opened fire. Your Nobel Laureate Rudyard Kipling claimed that "you did your duty as you saw fit." By killing us in thousands until the bullets ran out. Rikki Tikki Tavi. May 31, 1921, Tulsa, Oklahoma. Inspired by Jim Crow, your knees came running to us in mobs to massacre us. October 19, 1926, Imperial Conference, London. Your name was Field Marshall the Right Honorable Jan Christian Smuts. For you, I was one among the many "colored" subjects from the Cape Colony. You spoke vehemently against mixing my people with your people. Eloquently, I was told, in favor of apartheid.You know very well, Chauvin, that our acquaintance neither begins in 1857 nor ends in 1926. I could take you on a grand tour of the world and give you all the dates when you appeared in different forms. Your self-induced conviction of racial supremacy over me remained the same... (shrink)

Georgians' acquaintance with Islam was with the first Arab raids. From the first Muslim Arab domination, Georgians started to become Muslims with cultural interaction. Islam spread especially in Eastern Georgia during the time of Muslim Arabs, Seljuks and Mongols. The spread of Islam in Western Georgia started with the Ottomans. The Ottoman Empire's contact with Georgia begins with the conquest of Trabzon by Fatih Sultan Mehmed. When the Ottomans contacted the region, the geography of Georgia was divided into small kingdoms. (...) With the conquest of Trabzon, the Georgian border was reached and in 1479, Acaristan, Borcka and Maçahel surroundings joined the Ottoman lands. On the one hand, Sukhumi was captured from the north. Then, continuing to advance in the region, Yavuz Sultan Selim paid tribute to the Kingdom of Güryel and Imeret (Açıkbaş) in 1508 during his governorship of Trabzon. Thus, the Ottoman borders had reached beyond the Black Sea coast into Western Georgia. As a result of the increasing relations around Adjaria, which came under Ottoman rule, Islamization began to spread rapidly among the people. Contrary to what is claimed, the spread of Islam in the region did not spread from the ruling strata to the lower, but from the popular strata to the ruling strata. This process was surprisingly fast. In the process of Islamization, many mosques, masjids and schools were built in Adjara, especially with the help of the people. The foundations operating in the region and the mosques and masjids serving under them show that, contrary to the claims of Russian and Georgian historians, Islamization took place rapidly at the beginning of the 17th century in Adjara. In this process, many mosques, masjids and schools were built in the region. In this research, based on the numerous Hurufat records belonging to Adjara, Batumi, Gönye, Çürüksu and Maçahel, the Islamization process will be evaluated by making a social reading with the data obtained from the religious structures established in the rural settlements of the Adjara geography and their officials. Evaluations were made on the Islamization process in Adjara by making a social reading. (shrink)

The Principal Principle (PP) says that, for any proposition A, given any admissible evidence and the proposition that the chance of A is x%, one's conditional credence in A should be x%. Humean Supervenience (HS) claims that, among possible worlds like ours, no two differ without differing in the spacetime-point-by-spacetime-point arrangement of local properties. David Lewis (1986b, 1994a) has argued that PP contradicts HS, and the validity of his argument has been endorsed by Bigelow et al. (1993), Thau (1994), Hall (...) (1994), Strevens (1995), Ismael (1996), Hoefer (1997), and Black (1998). Against this consensus, I argue that PP might not contradict HS: Lewis's argument is invalid, and every attempt – within a broad class of attempts – to amend the argument fails. (shrink)

According to Hempel's paradox, evidence (E) that an object is a nonblack nonraven confirms the hypothesis (H) that every raven is black. According to the standard Bayesian solution, E does confirm H but only to a minute degree. This solution relies on the almost never explicitly defended assumption that the probability of H should not be affected by evidence that an object is nonblack. I argue that this assumption is implausible, and I propose a way out for Bayesians. Introduction (...) Hempel's paradox, the standard Bayesian solution, and the disputed assumption Attempts to defend the disputed assumption Attempts to refute the disputed assumption A way out for Bayesians Conclusion. (shrink)

I describe how gravitational entropy is intimately connected with the concept of gravitational heat, expressed as the difference between the total and free energies of a given gravitational system. From this perspective one can compute these thermodyanmic quantities in settings that go considerably beyond Bekenstein's original insight that the area of a black hole event horizon can be identified with thermodynamic entropy. The settings include the outsides of cosmological horizons and spacetimes with NUT charge. However the interpretation of gravitational (...) entropy in these broader contexts remains to be understood. (shrink)

Black and Gilson have argued that “venture capital can flourish especially – and perhaps only – if the venture capitalist can exit from a successful portfolio company through an initial public offering, which requires an active stock market.” But nothing in the Black and Gilson analysis requires that the exit option be a domestic capital market. In this article, I use the phenomenon of Israeli hi-tech companies going public on the Nasdaq as a case study to explore the (...) connection between a venture capital industry and domestic capital markets in a world of global capital and product markets. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 26.1 (2002) 157-172 [Access article in PDF] Symposium: On Ken Burns's "Jazz" Jazz: America's Classical Music? 1 Lee B. Brown I VIEWERS OF KEN BURNS'S third cultural epic "Jazz" probably fell into one of three categories. 2 Some found it gripping. Some found it grating. Some found it both at once.The series has unforgettable moments: spectacular jitterbug sequences; Jimmy Lunceford's horn men fanning their trumpet bells (...) with hat mutes in sync; the close-up of the whirring cross-hand drumming of Art Blakey; the bitter-sweet glance Billie Holiday and Lester Young exchange in their last filmed appearance together; the occasional marriage of visuals to music. One riveting three minutes comes when the talking heads tune out, a 78-rpm disk of Louis Armstrong's "West End Blues" is set spinning, and the thrilling notes pour out on a carousel of visual imagery—finally freeze-framing on the face of the young genius himself.On the downside, the series is massively repetitious. As a result of Burns's decision to track two major figures—Louis Armstrong and Duke Ellington—from cradle to grave, the same cuts of Armstrong appear again and again, no matter what the time frame. Some of the series' commentators are particularly annoying—the fiddler of Burns's Civil War series, Matt Glaser, for instance, with his fatuous theories [End Page 157] about Louis Armstrong and Albert Einstein. And the documentary's heavy load of social freight—by Wynton Marsalis, and his mentors Albert Murray and Stanley Crouch 3 —threatens to flatten the music.The series is designed as informative entertainment, not Jazz 101. But Burns pays a price here, as he did in his documentary about baseball, in which not even the basics of the game, let alone any of the subtleties, were explained. In "Jazz" we get no explanation of what Jelly Roll Morton did to transform ragtime into jazz. (The series could easily have pressed Morton himself into service. With no sacrifice of his considerable charm, Morton did explain it, beautifully, in his recorded Library of Congress interviews. 4) Although the swing era gets big billing, no attempt is made to explain how swing rhythm actually works, as contrasted with earlier practices. (I have watched swing drummer Panama Francis entertain a packed hall with a brief but riveting illustration of how it works.)As jazz history, the film also has problems. Some legendary figures are resurrected unconvincingly. When Marsalis tells us what the legendary trumpet player Buddy Bolden sounded like, the illustrative off-camera trumpet is Marsalis's, not Bolden's, who embedded not one note in a record groove. Further, we face the tiresomely obvious problem of omissions. We hear nothing of Albert Ayler, Keith Jarrett, Sun Ra, Mildred Bailey, Benny Carter, Lennie Tristano, Erroll Garner, Eric Dolphy, Art Pepper, or Woody Herman. All we learn about Bill Evans—whose influence on jazz piano was huge—is that Miles Davis hired him even though he was white. Omissions are inevitable, of course. But there is a muted pattern to the exclusions. It was impossible for the series to avoid Benny Goodman, given his central role in the swing era. But white figures are too often either ignored or treated as alienated outsiders. We hear New York Times columnist Margo Jefferson opine that Bix Beiderbecke drank himself to death because he wasn't allowed to play with black musicians. In fact, many of the greatest players—white and black—never played with musicians of their own caliber.Most figures covered in the film are treated either with respect or with reverence. But things get nasty when matters turn to avant-gardists. Thus, Branford Marsalis—Wynton's talented brother—singles out the volcanic pianist Cecil Taylor for a particularly hostile attack. 5 Instead of explaining what Ornette Coleman meant by "free jazz," Albert Murray tells us that jazz is, by definition, free music—and by implication, that Coleman's concept must be fatuous. And Wynton has complained [End Page 158] elsewhere about a jazz avant-garde retreat into what he calls "a... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Buddhist-Christian Studies 22 (2002) 2-15 [Access article in PDF] Economic Aspects of Social and Environmental Violence John B. Cobb Jr. Claremont School of Theology I When we think of violence, what first comes to mind are violent acts by individuals or groups against other individuals. We think of rapes and murders, lynchings and muggings, beatings and armed robberies. We want the police to protect us from this violence. Unfortunately, (...) we know that police are tempted, in turn, to employ their power in violent ways, chiefly against those guilty of crimes, but sometimes against the innocent. The cycle of violence on the part of individuals and groups goes on.Bad as this violence is, it is worse when the state, instead of restricting it, supports and requires it. Political authorities have always exercised violence against their own people, especially those they suspected of being threats to their power. But in the twentieth century, state violence reached previously unheard of levels. For the sake of building a communist society, Stalin killed millions and imprisoned millions more. The Nazis undertook to purify Germany of Jews, gypsies, and other undesirables through extermination undertaken through bureaucratic processes.We Americans do not think of ourselves as having employed state power in any such way. We know that national power was used violently to drive Native Americans off their land down through the nineteenth century. We know that southern states used their power to enforce segregation and protect whites who engaged in violent acts against blacks in order to maintain total white domination over them. But we now think of the national government much more as the protector of human rights. This is not entirely false.We tend not to recognize, however, the amount of violence the national government is exercising in the wars against crime and drugs. In order to reduce individual violence as well as drug use, we have created a prison population of two million. One-fourth of all the prisoners in the world are in the United States, most of them jailed for nonviolent crimes. Although drug use is more or less equally spread among ethnic and economic groups, most of those imprisoned for this crime are poor and ethnic minorities. In the name of law and order, enormous violence is inflicted by the United States against the people of its ghettos. [End Page 3]In this same century war also took on new dimensions. It has been waged against entire populations instead of armies. The aim at total destruction came to its fullest expression when twice the United States dropped atomic bombs on Japan.World War II has made all of us sadly aware of the horrors of state violence. It has turned us against nationalism. We are appalled as we see nationalism raise its ugly head again in the former Soviet Union and especially in the former Yugoslavia. When ethnic groups undertake to destroy each other, our moral condemnation is unambiguous. Personal, group, and state violence remains a problem, but at least the wrong involved in this is widely understood.In all civilization there has been another kind of violence—economic. In much of history economic violence has been closely related to the forms noted above. The rich have been able to impose their will on the poor because they could employ persons to exercise violence for them and they could influence state action. We see this glaringly in the "goon squads" employed by the wealthy in some Latin American countries to intimidate and kill those who protest their actions. These goon squads often work closely with the military power of the state.We know that in this country as well, wealth reduces the chance of conviction for crimes. It also buys influence in government. On the whole the United States government throughout history has supported the interests of those with money. Today the power of wealth in the political process is clearly evident. We recognize that this situation is corrupt, but we do not ordinarily think of it as a form of violence. This is because the violent consequences are indirect, and we are... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 26.1 (2002) 157-172 [Access article in PDF] Symposium: On Ken Burns's "Jazz" Jazz: America's Classical Music? 1 Lee B. Brown I VIEWERS OF KEN BURNS'S third cultural epic "Jazz" probably fell into one of three categories. 2 Some found it gripping. Some found it grating. Some found it both at once.The series has unforgettable moments: spectacular jitterbug sequences; Jimmy Lunceford's horn men fanning their trumpet bells (...) with hat mutes in sync; the close-up of the whirring cross-hand drumming of Art Blakey; the bitter-sweet glance Billie Holiday and Lester Young exchange in their last filmed appearance together; the occasional marriage of visuals to music. One riveting three minutes comes when the talking heads tune out, a 78-rpm disk of Louis Armstrong's "West End Blues" is set spinning, and the thrilling notes pour out on a carousel of visual imagery—finally freeze-framing on the face of the young genius himself.On the downside, the series is massively repetitious. As a result of Burns's decision to track two major figures—Louis Armstrong and Duke Ellington—from cradle to grave, the same cuts of Armstrong appear again and again, no matter what the time frame. Some of the series' commentators are particularly annoying—the fiddler of Burns's Civil War series, Matt Glaser, for instance, with his fatuous theories [End Page 157] about Louis Armstrong and Albert Einstein. And the documentary's heavy load of social freight—by Wynton Marsalis, and his mentors Albert Murray and Stanley Crouch 3 —threatens to flatten the music.The series is designed as informative entertainment, not Jazz 101. But Burns pays a price here, as he did in his documentary about baseball, in which not even the basics of the game, let alone any of the subtleties, were explained. In "Jazz" we get no explanation of what Jelly Roll Morton did to transform ragtime into jazz. (The series could easily have pressed Morton himself into service. With no sacrifice of his considerable charm, Morton did explain it, beautifully, in his recorded Library of Congress interviews. 4) Although the swing era gets big billing, no attempt is made to explain how swing rhythm actually works, as contrasted with earlier practices. (I have watched swing drummer Panama Francis entertain a packed hall with a brief but riveting illustration of how it works.)As jazz history, the film also has problems. Some legendary figures are resurrected unconvincingly. When Marsalis tells us what the legendary trumpet player Buddy Bolden sounded like, the illustrative off-camera trumpet is Marsalis's, not Bolden's, who embedded not one note in a record groove. Further, we face the tiresomely obvious problem of omissions. We hear nothing of Albert Ayler, Keith Jarrett, Sun Ra, Mildred Bailey, Benny Carter, Lennie Tristano, Erroll Garner, Eric Dolphy, Art Pepper, or Woody Herman. All we learn about Bill Evans—whose influence on jazz piano was huge—is that Miles Davis hired him even though he was white. Omissions are inevitable, of course. But there is a muted pattern to the exclusions. It was impossible for the series to avoid Benny Goodman, given his central role in the swing era. But white figures are too often either ignored or treated as alienated outsiders. We hear New York Times columnist Margo Jefferson opine that Bix Beiderbecke drank himself to death because he wasn't allowed to play with black musicians. In fact, many of the greatest players—white and black—never played with musicians of their own caliber.Most figures covered in the film are treated either with respect or with reverence. But things get nasty when matters turn to avant-gardists. Thus, Branford Marsalis—Wynton's talented brother—singles out the volcanic pianist Cecil Taylor for a particularly hostile attack. 5 Instead of explaining what Ornette Coleman meant by "free jazz," Albert Murray tells us that jazz is, by definition, free music—and by implication, that Coleman's concept must be fatuous. And Wynton has complained [End Page 158] elsewhere about a jazz avant-garde retreat into what he calls "a... (shrink)

The first poems about the Prophet Muḥammad appeared while he was alive. These first examples, which are panegyrics (madīḥ, i‛tiẕār, fakhr and ris̱ā), largely reflect the characteristics of the pre-Islamic qaṣīda poetry. Due to the developments in the following centuries, the number of poems about the Prophet increased. And thus, a separate literary genre was formed under the name al-madīḥ al-nabawī. Especially the fact that sufi leaning poets contributed to the literary richness in this field. Another factor is the beginning (...) of the tradition of writing mawlid poems in memory of the birth of the Prophet Muḥammad. The thirteenth century was an important period for poems praising the Prophet Muḥammad. Two important poets emerged in this century. One of them is Egyptian poet al-Būṣīrī and the other is Baghdad's famous poet, Yaḥyā al-Ṣarṣarī. Even after his death, Ṣarṣarî’s works with high literary value were read and memorized in the circles of science, literature and Sufism. Due to his competence in the field, al-Ṣarṣarī was known as the poet of the Prophet and Ḥassān b. Thābit of his time. However, it is understood that his poems, which lost their importance in literary circles over time, were not studied as much as they deserved in the modern period. In this article, his life and works are introduced and basic language and stylistic features of his poems are examined. Also, the image of the Prophet in his poems was determined within the framework of the political conditions of the period.Summary: In the field of madīh nabawī, which first appeared in the ‘Asr al-Sa’āda and has continued to the present day, especially two names stand out in the 7th/13th century, when famous poets such as Macduddīn al-Vitrī (d. 662/1264), Ibn al-Muraḥḥal (d. 699/1300) and Ṣafiyyuddīn al-Ḥillī (d. 749/1348) were also raised. One of them is the Egyptian poet al-Būṣīrī (d. 695/1296), who left his mark on the field of madīh nabawī with his many poems, especially Qaṣīda Burda, and the other is the Iraqi poet Yahya al-Ṣarṣarī (d. 656/1258), who was named Shā‘iru Rasūlillāh (The poet of the Prophet) and Ḥassānu Vaḳtihī (Ḥassān of that period) because of the quality of his poems in this field.al-Ṣarṣarī, was born in the village of al-Ṣarṣar, near Baghdad, spent most of his life in the shadow of Baghdad’s political instability and the social collapse that developed in parallel. He was killed in 656/1258 by the Mongolian forces that invaded Baghdad. al-Ṣarṣarī was extremely knowledgeable in fiqh, hadith, language, and ‘ilm al-qirāa. Our poet adopted the views of the Hanbalī law school. In addition, he turned to Sufism and became a murīd (disciple) of Ali ibn Idrīs al-Ya‘kūbī, a student of Abdalqadīr al-Gīlanī who was accepted as the founder of Qādiriyya. He was closely attached to the Sunnah of the Prophet and was fond of reading the Quran. He was chaste and patient and was content with what he had himself. All his works are poetic and they all concern the madīh nabawī or fiqh.Since his poems, almost all of which are about the praise of the Prophet, have a high literary value, they were read, memorized and narrated for a long time in the circles of science, literature and Sufism. In terms of its structure, his poems are based on the traditional forms of Arab qasīda. In the introductory sections of his poems, he often expresses his longing for Madina. The main subject in poems is usually the Prophet and his superior features. In the last part, he usually says salāt for the Prophet and seeks help from him. It can be said that he used simple language in his poems. The vocabulary reflects the characteristics of the urban life in which he lived. The source of inspiration for his poems are the Qur’an and especially the hadith of the Prophet. He uses the potential of literary arts as much as possible while conveying his feelings. But he does not allow the correct information to be lost due to these arts on a serious subject such as depicting the Prophet. We can see a lot of badī‘ (creative) art in some of his poems. But we can immediately understand that these arts do not spoil the beauty of his expression. The poet provides rhythm and harmony in his poetry with the meter and rhyme in accordance with the classical Arabic qasida rules. In addition, he strengthens the musicality in poetry with puns (jinās) and repetition.The influence of the instability of the region where al-Ṣarṣarī lived on his poems is obvious. According to him, the main reason for the terrible situation that Muslims were in was that they were away from the way of the Prophet. He thought that it would be possible to go back to the old peaceful days by following the way of the Prophet. Perhaps as a result of this opinion, he allocated his qasīda to the narration of the Prophet and his Companions. In his poems, he describes the Prophet with his names, superior qualities, physical and moral characteristics. He says that the sentences describing the Prophet are the ornament of poems and believes that praising him is a mean of salvation in the next world. He also hoped that the poems he said in order to achieve spiritual ascension would protect himself against the troubled events of the period.In his poems, especially on the occasion of mawlīd, al-Ṣarṣarī mentions the Prophet’s physical characteristics and likens his smiling face to a bright full moon, his brows to the letter nûn, his teeth to pearls. He describes the Prophet as a man with black eyes, broad shoulders, born with kohl-lined eyes, and who emanates a beautiful scent as a requirement of his creation. The poet, who also touches on the Prophet’s powerful address, states that his speech is more effective than Luqman’s wise words by virtue of his jawami‘ al-kalim (comprehensive speech) and faṣl al-khiṭab (clear speech), and that his soft address, which states nothing other than the truth, is a blessing from Allah. He additionally describes the Prophet’s plain words, easy to understand by all, as more valuable than jewels. al-Ṣarṣarī, who praises the Prophet in terms of morality with basic human virtues such as bashfulness, justice, modesty, and courage, emphasizes that he is, a paragon of patience, perseverance, kindness, and compassion through analogies such as, “his clothes are peace and perseverance”, his “cover is kindness and forgiveness”. In his world of imagery, the Prophet’s benevolence is so abundant like the rain that the clouds cannot compete with him. Also, he does not shame anybody for what he gives. He bestows the most valuable possessions like gold and camels. Even the respectable personalities of the tribe benefit from his grace. He is so generous that he is giving even when the clouds are stingy about giving rain during times of drought. He welcomes with a smile those who approach him with requests. The donations he makes privately are entirely satisfying.The image of prophethood in al-Ṣarṣarī’s poems, is centralized around the thought of nūr Muhammadī (prophetic light) and the miracles of the Prophet. He reminds that the Prophet never gave up despite the calamities he encountered and that he was supported with extraordinary events in various stages of his life since he was born, and reflects the understanding that the prophet is spiritually supporting the community with his nūr, and in the case the community follow his sunnah, overcoming the Mongolian attacks, which seems like a miracle, is possible. The mention of Qattāl (warrior), Māḥī (eliminator of disbelief), Ẓāhir, Ẓāfir, Manṣūr and Muẓaffar (victorious) among the Prophet’s names, especially those that evoke the superiority he gained in his fight against the disbelievers, giving greater prominence to his courage and valor among his virtues are also related to the political and social conditions of the period. The couplets about the Companions of the Prophet following the couplets that describe the Prophet’s valor, the emphasis of their aid to the Prophet, and the particular mention of their fighter spirit may be considered in the same context. Perhaps, in this way, the poet aims to boost the courage of the Muslims who are exposed to Mongolian attacks with respect to protecting their spiritual and holy values against the enemy. (shrink)

I give a fairly systematic and thorough presentation of the case for regarding black holes as thermodynamic systems in the fullest sense, aimed at students and non-specialists and not presuming advanced knowledge of quantum gravity. I pay particular attention to the availability in classical black hole thermodynamics of a well-defined notion of adiabatic intervention; the power of the membrane paradigm to make black hole thermodynamics precise and to extend it to local-equilibrium contexts; the central role of Hawking (...) radiation in permitting black holes to be in thermal contact with one another; the wide range of routes by which Hawking radiation can be derived and its back-reaction on the black hole calculated; the interpretation of Hawking radiation close to the black hole as a gravitationally bound thermal atmosphere. In an appendix I discuss recent criticisms of black hole thermodynamics by Dougherty and Callender. This paper confines its attention to the thermodynamics of black holes; a sequel will consider their statistical mechanics. (shrink)

This semester-long research project examined the use of social studies trade books to thematically teach about six individuals who served as change agents in the United States during the late 19th century and early 20th century. Three of the individuals were African American men, Robert Smalls, Frederick Douglass, and John Roy Lynch, who took civic action to address racial discrimination faced by the Black community in the half century following the U.S. Civil War. The other three indivduals were women (...) women, Ida B. Wells, Clara Lemlich, and Jane Addams, who challenged social inequities and injustices within their communities. Over the course of the semester-long research project, sixth-grade U.S. history students read selected trade books, examined primary sources, completed graphic organizers, and crafted writing assessments about each of the six individuals. Students demonstrated complex historical thinking, integrated economic and civic thinking, and communicated thematic ideas of systemic oppression of minorities, women, and the poor. They struggled to make connections between examples of historic oppression and contemporary examples of societal oppression. (shrink)

The Black Eunuchs of the Ottoman Empire: Networks of Power in the Court of the Sultan. By George H. Junne. London: I. B. Tauris, 2016. Pp. x + 336. £64.

For W. E. B. Du Bois, the tragedy of Reconstruction was that its achievements were overthrown and erased from collective memory. Du Bois’s Black Reconstruction corrects this, claiming enslaved people who fled plantations self-emancipated, thus enacting a “general strike against the slave system.” Yet Du Bois contravenes his general strike thesis when he quotes without rebuttal several Union officials who spoke of the formerly enslaved in degrading, nonagentic terms. I turn to Jacques Rancière’s politics of dissensus to understand why (...) Du Bois quoted such racist views without comment. In Rancière, political actors “stage a scene” of equality that is shared, even among parties in conflict. Recording conflicting perceptions of the strike, highlighting divisions that persist despite momentary advances of equality, Du Bois’s reading of the general strike is dissensual in Rancière’s sense, I argue. But Du Bois also offers a valuable corrective to Rancière, whose account of the first plebeian secession erases a different general strike from memory. Rancière reads the Aventine as an event of confrontation unconnected to the collective action that Du Bois summoned from the archive and named “general strike.”. (shrink)

Orthodox interpretations of Sperling‘s partial report paradigm support the idea that there is substantially more in our streams of consciousness than we can attend to or recall. I propose an alternative, postdictive interpretation which fails to support any such conclusion. This account is defended at greater length in my ‗Perception and iconic memory‘. Here I focus on the role ascribed to attention by the rival interpretations. I argue that orthodox accounts fail to assign a plausible role to attention. In contrast, (...) I suggest a novel way in which heterodox, postdictive account can assign attention a plausible role. We should therefore prefer such accounts over their orthodox rivals. Consequently, Sperling‘s paradigm fails to probe the true extent of conscious awareness unfettered by limitations on attention or memory. (shrink)

This article has two purposes. The first speaks to the compatibilist quality of Charles Mills’ Black Radical Kantianism (BRK), its strengths and weaknesses and the pertinence of W. E. B Du Bois to it. BRK turns from Mills’ previous critique of Kantianism as representative of arassenstaatlichpolitical liberalism, underwritten and tainted by the racial/domination contract, to his current defence of a compatibilist Kantianism as representative of arechtsstaatlichpolitical liberalism supported by a non-ideal racially corrective critique of both that contract and the (...) kind of political liberalism affiliated with it. The second focuses on what I introduce as the ‘Radicalization of Kant in Black’ (RKB). RKB isnota compatibilist project. Rather it re-examines issues first posed by ‘slave- and black-encoded’ blacks coming to act and struggle with the primacy of practical reason under the historically normative authority of freedom and the abolition of enslavement. What are the ramifications of each for Kant-/Kantian-radicalization? (shrink)

The Discourse on the All-embracing Net of Views: the Brahmajala Sutta and its Commentaries translated from the Pali by Bhikkhu Bodhi. Buddhist Publication Society, Kandy 1978. xiii-359pp. Rs. 75, £5.00.

The results of the development of the database of implants and plasma deposition plants in MS SQL Server 2012 are presented. The design of the infological model, the data design, the physical design, the architecture of the software and hardware complex are given. Possibilities of plasma spraying of implants with biocompatible elements are investigated. The system of classification of implants according to the type of application and manufacturing materials has been developed, implants have been classified according to the geometric-topological dimensions (...) of the components. A scheme of plasma spraying of metal and ceramic surfaces of parts and assemblies using a robotic complex is described. (shrink)