Muḥammad Mahdī ibn Abī Z̲arr Narāqī, -1794 or 1795. Jāmiʻ al-saʻādāt - Criticism and interpretation; Islamic ethics.

In this text, which employs the analytic-comparative method, we read the Poetics of Aristotle in a new way to take an example of translation as an artistic creation. We can present the result of the essay as a metaphor called “the art of translation”, and then we refer to four evidences which can support our metaphor: reading the text as seeing the world, understanding the meaning as perceiving the main action, representing the text as recreating an image, and word making (...) as the art of poetic. If we want to explain the useful dimension of our research, it can be said: every translation has a moral dimension which depends on its imitation of the author’s line and reader’s culture, and also has an artistic dimension that attends to the beauty of text and new vision of culture. According to Moderation theory of Aristotle, an ideal intercultural translation sees the right of author and reader by the equal criterion. Then it shows a production that is combined with “representation”, a term which can embrace the beauty and ethic in the art of translation. Keywords: poetics, representation, artistic creation, art of translation, cultural relationship 1. Mimesis in art and translation As Aristotle has said about art and poetry, they are based on Mimesis or imitation. It means that he believes art is Mimesis. But his theory about this issue is totally different to Plato’s thought. He thinks that Mimesis is not imitation of Ideas as Plato thought. Mimesis in his thought is imitation from the existence, aspect or form of things in this world. So he emphasizes that Mimesis is imitation of something or maybe happenings outside of man. After collecting all of Aristotle’s thoughts, especially about poetry, it seems clear that the imitation or Mimesis is a representation of the subject of imitation in which sometimes the subject of imitation has been represented better than its fact, like tragedy, and sometimes worse, like Comedy. It seems that we can see translation as imitation, understanding the latter as in Aristotle’s conception of art mentioned above. Indeed, a translator at the beginning of is translation process looks at the text deeply and tries to understand it as well as possible. After that, he thinks about the value of translations. In this step, if the text has repeatability in other languages and cultures, the translator starts the imitation from an original text to create another text. It seems that this process is like what an artist does to create artworks. 2. resemblances between art and translation On the basis of Aristotle’s Poetics, we want to explain some resemblances between art and translation to describe our conception of translation as an art. We think those resemblances can convince us to see translation as an art. The first resemblance between creation of artworks and translation is at the first step of them. The first resemblance between the artistic creation and translation is in their first step. Viewing the environment and finding something for imitation is the first step of artistic creation, which is like confronting and reading a text for translation. It is clear that viewing the environment deeply and reading a text carefully are necessary for artistic creation and translation because a surface of them cannot be suitable and helpful for Mimesis or imitation. The second step of artistic creation and translation is the accurate understanding of the subject of imitation. In Fact, deep and accurate understanding is necessary for exact imitation. Without comprehensive understanding, imitation of things is not possible. Both artist and translator in the process of imitation should take this step. In the other words, it seems that by deep and exact understanding they can find the direction of similarity between subject of imitation and artwork or translated text. Rewriting text in a new language like representing an image is the third step of imitation that is visible in the process of artistic creation and translation. In this step, combining their understanding and viewing the environment, translator and artist try to create the subject of imitation in a new style and a new form. The last step of imitation in artistic creation and translation is that of choosing colors in art and words and other literary elegances in translation, and using them. In this step, paying attention to details of their work, artist and translator try to create a new thing that is similar to the subject of imitation, although it is a new thing and there may be some differences between them. As was stated, the understanding of the subject of imitation by artist and translator is a very important step, in which, however, their thought of the subject of imitation is not totally the same as it, and so, during creating the new thing their understanding and thought can affect the form and the style of the new thing. 3. conclusion In conclusion, it seems that, because of the similarity between art and translation based on Aristotle’s conception of art, we can move from ethical and aesthetic functions of art, and artist’s moral duty in creating art, to the same aspects in translation and translator. In other words, based on Aristotle conception, while translator makes a faithful imitation and a creative presentation of the source, after the ethical decision to translate and promote the original text, he should pay attention to linguistic and cultural details of his translation. In this regard, while observing his audience in the target language, he also refreshes his insights and attitudes because this two-sided view, the center of gravity of moderation, will take into account the aspects of beauty and ethics in the cultural interactions of societies. References - Aristotle,, Ethics of Nicomachus, translation of Mohammad Hasan Lotfi, Tehran, New Design. - Aristotle,, About the Art of Poetry, Translated by Soheil Mohsen Afnan, Tehran, Hekmat. - Aristotle,, Fan al-Sha’r, Abdul Rahman Badawi’s research, Beirut, Dar al-Safat. - Aristotle, Sermon, Translation by Ismail Sa’adat, Tehran, Hermes. - Aristotle,, Metaphysics, Sharaf al-Din Khorasani Translation, Fourth Edition, Tehran, Wisdom. - Plato,, Period of works, translation by Hasan Lotfi, Tehran, Kharazmi. - Bermann, Sandra and Wood,, Michael, Nation, language, and the ethics of translation, Princeton University Press. - Koskinen, Kaisa,, Beyond Ambivalence; Postmodernity and the Ethics of Translation, University of Tampere. - Meschonnic, Henri,, Ethics and Politics of Translating, Translated and edited by Pier-Pascale Boulanger, Benjamins Translation Library. - Venuti, Lawrence,,The Translation Studies Reader, Routledge. (shrink)

In the field of ʿUlūm al-Qurʾān, in which the conceptual framework of the science of interpretation is drawn and the main rules used in tafsīr are discussed, independent books have been compiled since early periods. Some of these works stand out as foundational texts because they make important determinations about the nature, function, methodology, and relationship of the science of tafsīr with other Islamic sciences. The masterpiece entitled Fahm al-Qurʾān by al-Khāris al-Muhāsibī, a scholar of sufism, tafsīr, kalām, and hadīth (...) is one of these books. Al-Muḥāsibī was a writer who lived in a period when philological and Sharīʿah sciences gained a systematic structure and schools were born and developed. Muhāsib'i's multifaceted scholarly depth, the requirements of his time, and the characteristics of his work distinguish Fahm al-Qurʾān from other works in the field in terms of its problematic, content, and style. It can be said that Fahm al-Qurʾān consists of two main chapters. In the first chapter, the issues of kalām, meaning, and reason are subjected to a quiddity inquiry. In the second chapter, the linguistic aspect of kalām is emphasized and the content and style of the Qur'ān are discussed under the headings of muhkam- mutashābih, naskh and üslūb al-Qur'ān. In this work, al-Muḥāsibī suggests that before asking How we should understand the Qur'ān?, the reader should ask What exactly is being understood and what is meaning? The first of these questions includes the question Who am I? While the sources of The Sciences of the Qurʾān mostly focus on how to understand the Qurʾān at the epistemological and methodological level, in Fahm al- Qurʾān, the meaning of understanding the Qurʾān is problematized and a theory of reason and meaning that is competent with moral training is built. Thus, the conceptual inquiries of the work extend to the existential philosophy of the author. Despite these privileges, it is surprising that Fahm al-Qurʾān did not gain a prominent place among the main sources of tafsir methodology in later periods. This may be due to the theorization of a theory of meaning in which moral maturation is placed at the center. In this research, while trying to reveal the original value that Muhāsibī added to the field with Fahm al-Qurʾān, the systematic structure of the science of interpretation, its connection with other religious sciences, the relationship between speech adjective and language were made problematic and tried to be resolved in the context of the research hypothesis. In this context, it has been determined that al-Muḥāsibī's Fahm al-Qurʾān draws the conceptual framework of tafsīr methodology in relation to the authentic structure of the sharī'ah sciences at a very early period. The fact that Fahm al-Qurʾān carries important signs regarding the position of tafsīr in the hierarchy of sciences and its relationship with other sharī'ah sciences increases the value of the work in identifying the codes of the traditional paradigm. In the research, in which induction methods were used in text analysis and deduction methods were used in discourse analysis, it was determined that Fahm al-Qurʾān had a fiction that shapes the traditional paradigm and depicts the authentic structure of religious sciences. (shrink)

Intersectionality is the notion that concerns the complexity of the experiences of individuals in virtue of their belonging to multiple socially significant categories. One of its main insights is that the way society is structured around categories such as gender, race, sexuality, class, etc., produces distinctive and specific forms of discrimination and privilege for groups in the intersections. In this paper, we suggest conceiving intersectionality as a general metaphysical framework wherein specific claims to the effect that the experiences of discrimination (...) of Black women, among others, can be fruitfully formulated and examined. The main claim is that intersectional experiences emerge from the conjunction of social categories when social structures make them relevant vis-à-vis discrimination and privilege. We then argue that our view has three main virtues: metaphysical neutrality, explanatory flexibility and methodological openness. Explaining these virtues will allow us to contrast our proposal with alternatives from the recent literature. (shrink)

Mushkil al-Qur’ān is a science of the Qur’ān in which the verses that are considered contradictory at first glance and what ways/methods are used in reconciling them. From the point of view of a commentator or even a believer, the ishkal (contradiction) cannot be attributed to the Qur’ān proper, and the supposed contradictions between verses do not appear in the Qur’ān but the mind of the subject. Therefore, in this science, it can be seen that both the recognition of contradictions (...) and the elimination of contradictions are related to the interpretive context of the tafsīr methodology. This science has emerged on a dynamic ground and has a characteristic feature that determines the interpreter’s ability to interpret. The aspect of the Mushkil al-Qur’ān that distinguishes it from other Qurʾānic Sciences relates to the practical dimension of the tafsīr rather than general determinations and statistical information about the Qur’ān. For this reason, the scope of the Mushkil al-Qur’ān may change depending on the time, culture, perspective of the commentator, knowledge, and school preferences. The fact that disciplines define the concept of mushkil in different ways, and the change in the scope of the subject in the independent works written in the early period and the Qurʾānic Sciences literature written after al-Zarkashī requires a terminological-chronological-methodological analysis of the nature and content of the Mushkil al-Qur’ān scholarship. With its pre-Zarkashī structure, Mushkil al-Qur’ān science differs from its structure that emerged in the later period, both in terms of its target audience and its content. If we look at the works of names such as Ibn Qutaybah, it becomes clear that this science is mandated to cater to the religionless. However, especially with the scope and methods in which it has been dealt with in the recent period, the Mushkil al-Qur’ān is based on the internal dynamics of the shari'a sciences. Therefore, it can be said that al-Zarkashī defined the science of Mushkil al-Qur’ān, which had a comprehensive content in the early period, with a different name and a narrowing of its content as a field fed by the internal dynamics of the tafsīr, and that this science acquired a unified form after al-Suyūṭī. This process brought about some changes in the subject matter and content of the science of the Mushkil al-Qur'ān. For the Mushkil al-Qur’ān, which in the early days had the purpose of answering the doubts and objections of the deniers of the Qur’ān, developed after al-Zarkashī into a field mainly concerned with removing the difficulties of understanding. Within this framework, the methods and classifications presented in this science with the structure defined by al-Zarkashī are the products of the effort to make sense of the Word of God. The systematization of this effort to make sense under the umbrella of shāri‘ sciences in a terminological and theoretical framework opens the science of Mushkil al-Qur'ān to the fields of kalam and fiqh/method. In the works written on Mushkil al-Qur’ān and in the literature on fiqh, the reasons for the contradictions between the verses and the ways to eliminate them are given. What these ways depend on the context in which the contradiction is dealt with. Those who treat the contradiction in a way that includes the ambiguities in the words while eliminating these ambiguities resort to other pieces of evidence such as narratives, style of expression/context, truth metaphor, reason, analogy, and custom. In case of an apparent contradiction, methods like cem‘ (gathering), preference, naskh, renunciation are used. Despite the differences in the school’s preferences as to which of these methods was used first in the classical period, there is almost a consensus as to the ways followed in eliminating contradictions between verses. In the modern period, some scholars claim that one of these methods, abrogation, is directly related to the Mushkil al-Qur’ān, and they explain that naskh is applied when the contradictions between the verses cannot be interpreted. This assertion, made in modern times, that naskh is a method that scholars resort to when they cannot remove the impression of contradictions between verses, is closely related to the definition, essence, and content of the Mushkil al-Qur’ān. In this context, it is crucial where the ways/methods used to follow the nature-content pendulum while eliminating the counterparts of the terms and the impressions of contradiction. This is because the acceptance of naskh as a contradiction solution stems from the fact that it is one of the ways to prove that there is no contradiction in the Qur’ān from the perspective of fiqh, and naskh means that two contradictory provisions were valid at different times. The contradiction arises when it is claimed that these two provisions are valid at the same time. (shrink)

Criminal jurisdiction; international criminal courts.

Music; philosophy and aesthetics; Islamic philosophy.

O artigo pretende contribuir com as discussões sobre o ensino de filosofia, partilhando achados de uma pesquisa realizada com duas turmas de estudantes universitários na disciplina de Estética (Curso de Música -Licenciatura). As inovações metodológicas aplicadas nas turmas buscaram valorizar o ensino de filosofia em diálogo permanente com as vivências cotidianas e artísticas dos estudantes através de atividades em sala sistematicamente vinculadas aos temas previstos no programa da disciplina. Os resultados dos dados apontaram que as estratégias metodológicas de ensino utilizadas (...) na disciplina tiveram impacto positivo para o engajamento dos discentes, atuando desenvolvimento de sua criticidade e criatividade. (shrink)

In this paper I take side on externalist incompatibilism. However, I intend to radicalize the position. First, based on my criticism of Burge's anaphoric proposal, I argue that there is no reasoning‐transparency: the reasoner is blind to the reasoning he is performing. Second, assuming a global form of content‐externalism, I argue that “in the head” are only logical and formal abilities. That is what I call “bite the bullet and swallow it too.”.