Science is widely regarded as the most reliable epistemic source of providing knowledge about the world. Policymakers intend to make purposeful changes in the world. The practice of policymakers relying on scientific experts to make informed decisions about which policies to implement is called Evidence Based Policymaking. This thesis provides a perspective from the philosophy of science in order to discuss the justifiability of Evidence Based Policymaking (EBP) with respect to broadly democratic and liberal values. Justifying EBP with broadly democratic (...) and liberal values entails that the practices of EBP promote, or at least are in harmony with, values such as democratic governance and enhancement of people’s freedom and autonomy. Identifying the conditions under which practices of EBP meet such desiderata minimally requires an understanding of how sciences and scientific experts are instrumental in realizing the public’s values, needs, interests, and pursuit of freedom. In order to approach this project, the thesis adopts a philosophical perspective to conceptualize how sciences are supposed to be guided by or promote society’s values, needs, and interests. Specifically, it adopts a perspective from the philosophy of science that focuses on the relationship between science and (societal) values. The kind of philosophy of science perspective on “values in science” that this thesis adopts has two overarching pursuits relevant for the project of the thesis. Firstly, it seeks to inform the debates about which values and non-epistemic considerations are supposed to inform scientific research. For instance, it discusses the proper sources/owners of the non-epistemic desiderata that inform scientific research and the proper social mechanisms to identify these non-epistemic desiderata (e.g. Kourany, 2010; Kitcher, 2011). Second, it offers theories of the non-epistemic values’ proper roles in scientific reasoning and research that specify how their involvement in science does not unduly compromise the epistemic pursuits of science. The values-in-science perspective thereby seeks to balance the instrumental value of science (i.e., its use to pursue certain societal projects and values) with its epistemic authority (i.e., its objectivity, non-dogmatism, and reliability). The thesis advances an understanding of EBP from the perspective of the values in science by addressing issues that come to the fore when EBP is acknowledged as a value-laden practice of informed decision-making. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.4 (2003) 3-11 [Access article in PDF] A Historical Overview of Art Education in Japan Introduction The stage of art education in Japan that was given its form by "imports" from overseas — mainly Western countries — is now over. Recently, even at international art education conferences and similar venues, a wide range of dynamic presentations and speeches were heard representing Japan's unique perspective. (...) There is, however, a rather long and involved history leading up to this shift.In this essay, I present a general outline and an overview of art education in Japan, by looking back at the transitions this system of education has undergone. My hope is to increase understanding of the unique features of art education in Japan, examining the characteristics ofmodern art education, and determining the form that art education should take in the future. The Birth of Art Education: 1872-1910 Art education in Japan began in 1872 with the promulgation of the "Gakusei" as a formal system for school education. 1 It was in this same year that Germany introduced a similar system, an indication that Japan was more or less in step with advanced Western nations. Moreover, from the end of the Tokugawa shogunate through to the Meiji era (1868-1912), the seeds of Westernization had clearly taken root. Although the term "art education" is used, for many years the emphasis in art education was on drawing.The first curriculum was established at this time. In the context of art education, Kikagaku Keiga Taii [Introduction to Geometrical Line Drawing] (renamed Keiga the following month) was introduced as a compulsory subject in upper elementary grades (students 10 to 13 years of age) at ordinary elementary schools. Keiga referred to a method of copying pictures from a copybook using graph paper — a method that was extremely restrictive and emphasized practicality.By 1887, under the new government's policy, Westernization was being promoted in all aspects of society, including politics and culture. Art education was no exception, as Western style education began to focus on pencil drawings. During this period, a liberal system for issuing and selecting textbooks was in place, and a consequently a large number of art-related texts were issued. The first drawing textbook in Japan was Seiga Shinan [Guide to [End Page 3] Western Pictures] (1871), a translation of "The Illustrated Drawing Book" by English author Robert Scott Burn, with selected figure quotations from"The American Drawing-Book" by American author John G. Chapman. 2 In addition to these texts, many other books on drawing and the natural sciences were quoted. These textbooks adopted a pragmatic approach, using a "progressive method" in which students were taught to draw easy subjects and gradually moved to more difficult ones.The next significant change came in the form of calls for nationalism, as a reaction to the wave of Westernization early in the Meiji period. Educationalcircles underwent a shift toward nationalist education, and the art worldexperienced a resurgence in traditional Japanese art led by the American Ernest Fenollosa and Tenshin Okakura, among others. Reflecting this trend, a large number of brush painting textbooks were written, and an authorization system similar to the one currently in effect was adopted. The ZugaTorishirabe Gakari [the Committee for the Study of Drawing] was launched in 1885, and then reorganized in 1887, at which time it was renamed the Tokyo Fine Arts School (currently the Tokyo National University of Fine Arts and Music). The education offered at this new institution placed a strong emphasis on purely Japanese elements.In 1903, the Elementary School Order was revised and government-designated textbooks were issued. This system remained in force from 1904 until 1947. The debate surrounding pencil drawing and brush painting continued, and two types of texts were issued — a Enpitsuga Tehon [pencil drawing copybook] and a Mohitsuga Tehon [brush painting copybook] — either of which could be used by the instructor. Both copybooks had similar configurations, with copying as the basic theme, and using a progressive study method. Drawing was still an optional subject in ordinary elementary schoolsat the... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.4 (2003) 3-11 [Access article in PDF] A Historical Overview of Art Education in Japan Introduction The stage of art education in Japan that was given its form by "imports" from overseas — mainly Western countries — is now over. Recently, even at international art education conferences and similar venues, a wide range of dynamic presentations and speeches were heard representing Japan's unique perspective. (...) There is, however, a rather long and involved history leading up to this shift.In this essay, I present a general outline and an overview of art education in Japan, by looking back at the transitions this system of education has undergone. My hope is to increase understanding of the unique features of art education in Japan, examining the characteristics ofmodern art education, and determining the form that art education should take in the future. The Birth of Art Education: 1872-1910 Art education in Japan began in 1872 with the promulgation of the "Gakusei" as a formal system for school education. 1 It was in this same year that Germany introduced a similar system, an indication that Japan was more or less in step with advanced Western nations. Moreover, from the end of the Tokugawa shogunate through to the Meiji era (1868-1912), the seeds of Westernization had clearly taken root. Although the term "art education" is used, for many years the emphasis in art education was on drawing.The first curriculum was established at this time. In the context of art education, Kikagaku Keiga Taii [Introduction to Geometrical Line Drawing] (renamed Keiga the following month) was introduced as a compulsory subject in upper elementary grades (students 10 to 13 years of age) at ordinary elementary schools. Keiga referred to a method of copying pictures from a copybook using graph paper — a method that was extremely restrictive and emphasized practicality.By 1887, under the new government's policy, Westernization was being promoted in all aspects of society, including politics and culture. Art education was no exception, as Western style education began to focus on pencil drawings. During this period, a liberal system for issuing and selecting textbooks was in place, and a consequently a large number of art-related texts were issued. The first drawing textbook in Japan was Seiga Shinan [Guide to [End Page 3] Western Pictures] (1871), a translation of "The Illustrated Drawing Book" by English author Robert Scott Burn, with selected figure quotations from"The American Drawing-Book" by American author John G. Chapman. 2 In addition to these texts, many other books on drawing and the natural sciences were quoted. These textbooks adopted a pragmatic approach, using a "progressive method" in which students were taught to draw easy subjects and gradually moved to more difficult ones.The next significant change came in the form of calls for nationalism, as a reaction to the wave of Westernization early in the Meiji period. Educationalcircles underwent a shift toward nationalist education, and the art worldexperienced a resurgence in traditional Japanese art led by the American Ernest Fenollosa and Tenshin Okakura, among others. Reflecting this trend, a large number of brush painting textbooks were written, and an authorization system similar to the one currently in effect was adopted. The ZugaTorishirabe Gakari [the Committee for the Study of Drawing] was launched in 1885, and then reorganized in 1887, at which time it was renamed the Tokyo Fine Arts School (currently the Tokyo National University of Fine Arts and Music). The education offered at this new institution placed a strong emphasis on purely Japanese elements.In 1903, the Elementary School Order was revised and government-designated textbooks were issued. This system remained in force from 1904 until 1947. The debate surrounding pencil drawing and brush painting continued, and two types of texts were issued — a Enpitsuga Tehon [pencil drawing copybook] and a Mohitsuga Tehon [brush painting copybook] — either of which could be used by the instructor. Both copybooks had similar configurations, with copying as the basic theme, and using a progressive study method. Drawing was still an optional subject in ordinary elementary schoolsat the... (shrink)

Laura Hassan. Ash‘arism Encounters Avicennism: Sayf al-Dīn al-Āmidī on Creation.

It is generally considered and widely accepted that Fakhr al-Dīn al-Rāzī School to be effective in the formation and development of Ottoman intellectual life. However, there are some ʻulamā’ such as Jalāl al-Dīn al-Dawānī, who influenced the Ottoman mindset with both their works and ideas and beyond, they create distinct traditions. Present outline aims to draw attention to this issue through Mu’ayyadzāda ʻAbd al-Raḥmān Efendi, who is a famous disciple and representative of al-Dawānī perspective in Anatolia. In this respect, it (...) introduces the two risālas belongs to him that are important in terms of his theory of nature, and by moving here it points to some questions that need to be answered here and some issues that need to be addressed. (shrink)

This paper consists of two parts and has two aims. The first is to elaborate on the historical-philosophical background of Cantor’s notions of infinity in the context of Spinoza’s influence on him. To achieve this aim, in the first part I compare Spinoza’s and Cantor’s conceptions of actual infinity along with their mathematical implications. Explaining the metaphysical, conceptual, and methodological aspects of Cantor’s expansion of the orthodox finitist conception of number of his time, I discuss how he adopts Spinoza’s motifs (...) to overcome the challenges on his way to proposing his transfinite infinites. To achieve the second aim, i.e., to investigate the philosophical foundations of Cantor’s transfinite infinites, I follow a three-step outline analyzing Cantor’s three principles along with their metaphysical and epistemological-linguistic aspects. I analyze the strengths and weak sides of Lakoff and Núñez’s Basic Metaphor of Infinity and Pantsar’s Process → Object Metaphor, then compare their interpretations with mine. I conclude that the metaphors can be improved when their source domains are limited to the target domains they apply to and when supported by a thorough analysis of the historical-philosophical background of their target domains. (shrink)

This article discusses the quiddity of the empty set from its epistemological and linguistic aspects. It consists of four parts. The first part compares the concept of _nihil privativum_ and the empty set in terms of representability, arguing the empty set can be treated as a negative and formal concept. It is argued that, unlike Frege’s definition of zero, the quantitative negation with a full scope is what enables us to represent the empty set conceptually without committing to an antinomy. (...) The second part examines the type and scope of the negation in the concept of _nihil privativum_ and the empty set. In the third part the empty set is interpreted as a rigid abstract general term. The uniqueness of the empty set is explained via a widened version of Kripke’s notion of rigidity. The fourth part proposes a construction for the pure singleton, comparing it with Zermelo’s conception of singletons with the Ur-elements. It is argued that the proposed construction does not face the criterion and ontological inflation problems. The first conclusion of the article is that the empty set can be construed as a negative, formal and unique abstract general term, with quantitative negation full in scope. The second conclusion is that the pure singleton constructed out of the empty set construed in this way overcomes the criterion and ontological inflation problems. (shrink)

Pathways to Contemporary Islam: New Trends in Critical Engagement highlights that the current tensions in Islam and the Muslim world are the result of historical dynamics as opposed to an alleged incompatibility between religious tradition and modernity. The emphasis on pathways indicates that critical engagement and contestation have always been intrinsic to the history of Islam. The aim of the book is to elaborate the contemporary pathways and analyse the trends that contest the Islamic intellectual tradition, the relationship between religion (...) and politics, and the individual and collective practice of religion. The collection of essays analyses the current efforts of critical re-engagement with the Islamic intellectual tradition and underlines the historical diversity of Islamic orthodoxies that led to the establishment of various pathways in the practice and role of religion in Muslim societies. (shrink)

Reseña de Benedikt Maria Trappen, Ach, dass ich doch erst Befreiter wäre. Friedrich Nietzsche. Eine Lebensgeschichte in Briefen, München: Verlag Dr. Friedrich Pfeil, 2020, p. 144. Benedikt Maria Trappen, Wahrheit, Ewige Wiederkehr, Wille zur Macht: Grundthemen Nietzsches in der Auslegung von Karl Jaspers, München: Verlag Dr. Friedrich Pfeil, 2020, p. 120.

El artículo aborda la relación entre Nietzsche y Levinas, en particular se enfrenta a la concepción de cuerpo y narración sostenida por cada autor. En ese sentido se afirma que la aparente distancia que existe entre ambos pensadores puede reducirse a partir de las temáticas que se estudian en este trabajo. A la luz de todo ello, la lectura del cuerpo de Nietzsche y la comprensión de narración de Levinas no habrían sido solo reflexiones filosóficas, sino más bien el pretexto (...) para que ambos pensadores critiquen el pensamiento establecido y propongan, cada uno a su modo, un quehacer filosófico que afecta directamente la existencia humana en cuanto reflexión sobre las formas como se comprende la vida misma. (shrink)

In this article the authors would like to present a history of the Turkish feminist movement. The roots of the feminist movement go back to the last decades of Ottoman Empire in Turkey when westernisation had started to take place. During the firts decade of the Republic many steps were taken to enable women to get involved in public, political and professional life and to encourage more equality in family matters. Women’s emancipation became a significant symbol of modernity. Kemalist reforms (...) attemted to create a new woman who could take place in public sphere with the men. During the 1970’s the movement of women almost disappeared in nationalist and socialist movements. After the military intervention in 1980 new female actors started to present new demands and change the nature of feminist movement in Turkey. (shrink)

Turkish culture is based on tolerance, the product of the unique Islam–Turkish synthesis. This synthesis is crucial today for a more balanced perception of Islam because it opposes extremism and the terror that is associated with it. The Turkish–Ottoman Empire followed earlier traditions and set up a system based on tolerance towards its ethnically diverse subjects. It was due to this exceptional system assuring stability and freedom of conscience that the Empire was able to hold together people of different religions, (...) languages and races, and to protect and preserve different cultures and languages. This tradition of tolerance and harmony lives on in modern Turkey. Although today there are bound to be certain misinterpretations of Islam, the majority of Turks firmly oppose intolerance and terrorism. (shrink)

Fıkıh usulünün dil ve yorum bahislerinde yer alan konulardan biri âmm lafızlardır. İlk dönemlerde umum ifadelerin tanımına, varlığına ve kapsamına dair tartışmalar yer alırken Gazzâlî sonrasında klasik mantığın konularından olan tümeller de tartışmada yerini aldı. Bu makale âmm lafızların gönderimde bulunduğu anlamın tümelliğini sorgulamakta ve klasik sonrası usul düşünürlerinin umum-tümel ilişkisine dair teorik açıklamalarını incelemektedir. Makalenin iddiası şudur: Fıkıh usulünün elfâz bahislerinde ele alınan umum ifadelerin tümellere delâletini savunan ve bunu dilin zihnî suretlere vaz olunmasına bağlayan ilk usulcü Gazzâlî’dir (ö. (...) 505/1111). Fahreddin er-Râzî (ö. 606/1210) ve sonraki dönem usulcüler ise âmm lafızların tümelliğini kabul etmemiş sadece fertleri arasında tümel bir anlamın var olduğunu savunmuştur. Aynı düşünceyi devam ettiren Karâfî (ö. 684/1285), İsfahânî (ö. 688/1289) ve Sübkî (ö. 771/1370), İbn Sînâ’nın (ö. 428/1037) etkisiyle umum ifadeleri tümel önermeler olarak değerlendirirken Teftâzânî (ö. 792/1390) kapsam kavramı üzerinden hem tüm hem tümel olarak görmüştür. Her iki farklı anlayışın öğretilerini eklektik bir tavırla inceleyen Cem‘u’l-cevâmi‘ üzerine şerh ve haşiye yazan usulcüler ise tüm, tümel ve tümel önerme olmak üzere üç farklı kabul sergilemiştir. (shrink)

PurposeThis paper sets out to offer a holistic perception of the information ecology in which disadvantaged communities of the so‐called third world operate with a view to contribute to overcoming its limitations in a more effective way.Design/methodology/approachThe authors briefly review the major social, economic and cultural characteristics of disadvantaged communities that balance the common place trust in the power of modern information products and infrastructures. Based upon a number of field studies the notion of information needs is reconsidered and combined (...) with concerns for information literacy, social autonomy and the role of indigenous knowledge. The authors then present a number of examples of innovative approaches to the delivery of information services that may support the role of information centers and libraries as change catalyst from within the communities rather than mere providers of ready made information.FindingsTo this end, information professionals have to be educated in order to become change agents and consider this role as essential for their practice to be rewarding for themselves and more importantly for the people they serve. There are numerous examples of information services and information professionals who make a difference in the life of their communities against the most severe circumstances. This however requires a radical shift in their value system and operation.Originality/valueThe authors hope that the paper will encourage information professionals and in first place those who educate them to give social responsibility toward disadvantaged communities the same emphasis and priority as alignment with the latest technological artifact or excellence in observance of standards. (shrink)