This article continues the author's research devoted to the study of the problem of choreographic interpretations of literary works, in particular, John Neumeier's ballet "Anna Karenina". In this work, the identification of expressive staging means and choreographic elements used by Neumeier in the production of duets by Anna Karenina and Alexei Vronsky is carried out in order to determine the place of these choreographic fragments in the performance, as well as their significance for the author's interpretation of the (...) images of the main characters of the novel by Leo Tolstoy. In the course of the research, the author applied comparative-historical, ideological-artistic and analytical methods, as well as the method of included observation. In the course of the source analysis, video materials from the archives of the Hamburg Ballettzentrum and the Moscow Bolshoi Theater were used, as well as lectures conducted by Neumeier before the Moscow premiere of Anna Karenina. A detailed analysis of the dance score of three duets by Anna and Vronsky revealed traditional and innovative author's solutions related to the new research results. So, Neumeier uses such staging means as the compilation of Tchaikovsky and Schnittke's music; the inclusion of symbolic images in the choreographic canvas; the appearance of other characters; the use of stage lighting to accentuate the transition from reality to the sphere of the subconscious; active choreographic development based on a technically saturated duet dance, replete with high supports in the neoclassical style, as well as acrobatic elements; semantic use of plastic quotations. It can be concluded that in order to develop the images and relationships of Anna Karenina and Alexey Vronsky, the choreographer chooses a duet as the dominant musical and choreographic form. Moreover, in his version of Anna Karenina, Neumeier makes three duets of the main characters a key component of the performance and the author's interpretation of the images of the main characters. (shrink)

The subject of the study is one of the main lines in the work of choreographer John Neumeier - the interpretation of literary works on the ballet stage. This article discusses his productions based on literature such as "The Lady with Camellias" (1978), "Peer Gynt" (1989/2015), "The Seagull" (2002), "Death in Venice" (2003), "Anna Karenina" (2017), "The Glass Menagerie" (2019). Neumeier's ballets reveal a special relationship between literature and choreography. The performances created by him are not just a (...) fact of illustrating the plot of the original source, but an attempt to penetrate into the essence of the author's idea, reflect and emphasize the details found in the text in the language of choreography. The novelty of the research lies in the fact that when analyzing several key performances from the choreographer's creative biography, the prospect of considering the literary line of his ballets as a separate phenomenon opened up. As a result of the study, the following conclusions were made. Firstly, an important feature of Neumeier's ballets, based on literary works, is a clearly structured dramaturgy of all components of the performance: action, music, choreography, set design. Secondly, when working with a literary source, most often the choreographer transfers the action to the modern world, while not going against the author's intention, but on the contrary, enhances the relevance of the themes embedded in the works, declaring the timeless existence of the meanings of the text. Thirdly, the interrelation of literature and choreography in Neumeier's work takes the choreographer's work with the text to an absolutely new level, which allows us to talk about the great possibilities of non-verbal interpretation in the ballet theater as a whole. (shrink)

ch. 1. Istorii︠a︡ sot︠s︡iologicheskikh ucheniĭ -- ch. 2. Nauchnai︠a︡ teorii︠a︡ obshchestva.

Interpretation of Hetvābhāsasāmānyanirukti of Gaṅgeśa, 13th cent., treatise on Nyaya philosophy; based on other classical commentaries.

_This paper discusses the concept of compassion fatigue in light of the importance that political decisions, especially the application of the concept of public spirit, have had on care and nursing in a Danish hospital context during the COVID-19 pandemic. The paper is based on recent research literature in the field as well as the author’s own participatory observation study. The paper suggests that nurses already show a sense of public spirit due to their authorization and professional ethics, but at (...) the same time they must balance the ambiguity of nursing care. A linguistic-philosophical study of public spirit shows that the concept can have a discursive, double-binding and interpellative effect on nurses, who may therefore have an experience of inadequacy and compassion fatigue. In this context, compassion fatigue must be understood as the fact that nurses cannot provide the care they want or that is expected of them. Public spirit can be said to have had a renaissance and linguistic and moral supremacy during the COVID-19 pandemic. The paper views the concept of __waywardness 1 as a possible response for how to prevent or completely avoid compassion fatigue, so that nurses instead have an experience of compassion / self-compassion. This could in the end be important for encouraging more nursing students and nurses who have the desire and opportunity to stay in the profession._ _Keywords_: Nursing care, compassion fatigue, public spirit, compassion, COVID-19 pandemic. (shrink)

The article is devoted to the search for the nature of the ontology of an art work on the example of a literary work. Tradition viewed a work of art as the discovery of a higher truth. Analytical philosophy deprived literature of the status of truth in general, and thereby deprived it of any ontological dimension. Heidegger’s attempt to return this dimension to literature through its relationship with being did not find continuation in philosophy. The author proposes to consider a (...) literary work as a model of the world, primarily the social world. This approach makes liken a literary work to a mathematical theory. A mathematical theory is built as a correlation of simple elements; in a literary work such elements are characters (sometimes things). A mathematical theory is built on clearly defined axioms, a literary work is also built on axioms, but they do not have an explicit expression within the work and cannot always be perceived intuitively. The author shows that the mathematical theory never fully meets the specified conditions, and the mathematicians themselves note that in the future they will largely lose their strength. Thus, a literary work is of the same nature as a mathematical theory, only it presents a more complex case. The problem of truth serves as the way to find the ontological dimension. Analysis shows that in mathematics it is solved not by reducing a hypothesis to axioms, but by recognizing a theory through its effectiveness or applicability. For a work of art, such a criterion is its perception by its readers. In both cases, the ontological dimension is in the mind of the reader. (shrink)

Hegel’s idealism is generally perceived as a system of rational sublation (Aufhebung) of all empirical contingencies: nothing resists notional mediation which, in a movement of negation of negation, establishes a rational totality. Already Schelling opposed to this complete sublation an “indivisible remainder” of empirical contingency. However, a close reading of Hegel makes it clear that the concluding moment of a dialectical movement of sublation is an empirical remainder which totalizes it, like the body of Christ in Christianity. And the same (...) goes for the process of “negation of negation”: it concludes with a failure of negation, and its ultimate form is a failed suicide where the subject survives as a living dead. Such a reading of Hegel makes him a thinker of our time which is the time of a failed negation: most of us live as survivors of our death, with life dragging on in depressive apathy. (shrink)

“Gerçekten Öyle mi Olmuş?” kitabında, tarih disiplininin nasıl bir süreçten geçtiğine kısaca değinilerek küresel gelişmeler ışığında hangi yönlere evirildiği konu edildi. Çalışma, bir anlamda tarihin ve tarih eğitiminin varlık-amaç işlevlerinin belirlenmesinin temelinde yatan nedenleri, geçmiş-gelecek diyalektiği çerçevesinde sorgulamaya dayandı. Bu bağlamda geçmişin çağrışımının siyasetle ilişkisi, günümüz bilgi teknolojilerindeki değişim, dördüncü sanayi devrimiyle dönüşecek toplumsal yapının dinamikleri ve en nihayetinde toplumun geçmiş ve gelecek algısı ile bu algının post-truth (gerçek ötesi) dönemdeki yansımaları örneklerle ele alındı. Post-truth olarak adlandırılan bu yeni dönemde, (...) tarihçilik açısından problematik görünen üç ana konu incelendi. Bunlardan ilki, tarihin ve tarihçiliğin geleceğine ilişkin riskler ve tehditler. Diğeri, ilkiyle bağlantılı olarak tarihin öteden beri siyasiler tarafından bir meşruiyet aracı olarak kullanılıyor olmasının günümüzdeki durumu ve suistimaller. Son olarak da yeni medyada üretilen tarihsel bilginin gerçekliğinin denetlenememesiyle ortaya çıkan ve toplumsal kutuplaşmalara yol açan bilgi kirliliği. Böylelikle, post-truth çağında gerçeğin peşinden koşan tarihçilerin ve tarih severlerin, yeni medya ve onun uzantılarıyla nasıl yüz yüze kalacağı konusunda bir resim sunulmaya çalışıldı. Amacımız, bu üç soruna çözümler getirerek konu sonlandırmak olmayıp konunun özellikle akademisyenler tarafından tartışılmasını sağlayacak bir gündemin oluşturulmasıdır. (shrink)

On the fundamentals of Vaiśeṣika and Nyaya school in Hindu philosophy with Saptapadārthīṭīkā commentary.

A close observation on the rapid change in the mind of young cohort has been made. Our Surveillance is before and after pandemic periods compels us to re-write some pre-occupied conceptions in the core of Philosophy and Psychology. We have worked on mind-body & mind-soul relationship from three angles that are Medical Science, Psychology and Philosophy. It is seen that the level of confidence is gradually diminishing among the youth due to different impetus and as a result many powerful strengths (...) are going out. Proclamation of human values in a new way must be declared so that we can save a thankful number of creative lives. Discussions have been made on thoughts, distress, medical causes of suicide or suicidal attempts, personality disorders, neuropsychology to open up a new world before the present generation. Each and every characteristics of life has positive impact and here we have tried to establish this fact. Physical and metaphysical aspects are reciprocating our lives and this should be injected in the mind of present generation and an approach can be taken to incorporate the matter in the curriculum right now. We have the intention to explain metaphysical love and its high, intelligent values proclaimed strength of mind of youth to infuse our dear world with great moral values. It may also save the earth from natural decay with their surprising discoveries. (shrink)

Research work on various manifestations and philosophies related to Gaṇeśa, Hindu deity.

Study of Pañcadaśi of Mādhava, d. 1386, compendium on Advaita philosophy.

Developing an intellectualist account of skill, Stanley and Williamson define skill as a kind of disposition to action-guiding knowledge. The present paper challenges their definition of skill. While we don’t dispute that skill may consist of a cognitive, a dispositional, and an action-guiding component, we argue that Stanley and Williamson’s account of each component is problematic. In the first section, we argue, against Stanley and Williamson, that the cognitive component of skill is not a case of propositional knowledge-wh, which is (...) typically indexical. In the second section, we seek to show that Stanley and Williamson face difficulties in arguing for a generic claim about skill as a kind of disposition, and they fail to defend intellectualism about skill based on the dispositional account. In the third section we argue that Stanley and Williamson need a more detailed account of the action-guiding aspect of skill to avoid several difficulties, including a threat of a regress. We close with some lessons for the debate over intellectualism and anti-intellectualism about skill. (shrink)

Max Weber discussed Islam in various places in his sociology of religion, but there was no sustained or systematic commentary unlike his other work on the religions of China and India. What he did have to say about Islam was, even by the standards of his own analysis of value neutrality, judgmental. Subsequently his sociology of Islam has been criticized as Orientalist. While he provided positive interpretations of Protestant inner-worldly asceticism and Old Testament prophecy as radical and charismatic, his commentaries (...) on Islam were by contrast negative and critical. He regarded Islam as a warrior religion in which the salvation drive was turned away from the individual soul and the energy of the Muslim community was directed towards imperial conquest. His arguments did not for example provide a valid account of how Islam spread peacefully in South and South East Asia through Sufi traders. The article however notes an ironic justification for Weber’s analysis through the growth of urban ascetic piety in so-called post-Islam. Finally the article, turning away from Weber’s focus on economic ethics of the world religions, argues that Weber’s work is better understood as an ethical reflection on the perennial conflict between religion (the ethic of absolute ends) and politics (the ethics of responsibility). (shrink)

In “The Immorality of Horror Films” (International Journal of Applied Philosophy 20:2 [2006], 278), Gianluca Di Muzio argues that it is immoral to produce, distribute, or watch so-called “slasher” or “gorefest” films. Though I am sympathetic, I don’t believe that his arguments warrant his conclusion. In this paper, I will respond to Di Muzio. In particular, I will focus on what I take to be his core argument, which is based on the idea that these films discourage morally appropriate reactions (...) to human suffering. Then I will examine two objections to Di Muzio’s position which he himself raises and dismisses, and I will argue that Di Muzio does not adequately refute either of the objections. Finally, I will conclude with some sympathetic remarks, and briefly consider what avenues we might pursue in order to argue for the immorality of at least some horror films. (shrink)

This paper brings together the work of Nicholas Wolterstorff and William Alston in speech-act theory with the aim of providing a deeper understanding of the nature of divine speaking through the medium of Scripture. Despite the fecundity of Wolterstorff's seminal work on the philosophical theology of Scripture, aspects of his speech-act centric account are underdeveloped and would benefit from the contributions of William Alston. In particular, his account of divine speech-acts could be fruitfully expanded by incorporating the concept of ‘taking (...) responsibility’ that is central to Alston's analysis of the nature of illocutionary acts. This would elucidate both the way in which readers of Scripture encounter divine practical authority in the reading process and the nature of the response of faith that is demanded of them. (shrink)

Religious tolerance is a sociopolitical necessity. Social and political pressures alone cannot be expected to nurture a genuine attitude of religious tolerance; in the West, secular and religious documents rely on the concept of conscience for this nurture. In this essay I ask what claims people make on each other as they attempt to live in accordance with what they believe to be true and good. To answer this question, I examine the Pauline concept of conscience and argue that Paul (...) interpreted conscience through an ethic and theology of accommodation. (shrink)

Facsimile of miscellaneous Persian and Arabic texts in Mullā Ṣadrā's handwriting.