This review study provides an opportunity to look at the level of organizational democracy that a large sample of private- and public-sector employees in an emerging market perceive. The focused systematic review includes empirical studies examining employees' level of OD and associated work and organizational psychological variables, using the Organizational Democracy Scale in Turkey. This paper includes studies published between January 2014 and April 2021 in the Google Academic, Dergipark, and Ulakbim databases and on the Turkish National Thesis Center website. (...) From a total of 1,778 records, 37 empirical studies meeting the inclusion criteria were included. Of these studies, 67.6% are published articles and manuscripts, 24% are unpublished dissertations, and 43.2% of the studies took place in the public sector. The results suggest that the level of employees' perceived OD was slightly above the medium level, and the scores of the private-sector employees are higher than those of the public employees. Further, empirical associations between OD and 21 different outcome variables are reported and discussed. To varying extents, significant positive correlations were found between the level of employees' perceived OD and positive organizational variables, such as organizational citizenship behavior, organizational commitment, psychological capital, and job satisfaction. On the other hand, negative significant relationships occurred between OD and negatively evaluated organizational variables, such as job stress and organizational depression. The results of this study support the importance of organizational democracy as a management approach. (shrink)

Sentence formation in Arabic is explained by the phenomenon of isnad. Isnad is an invisible link that connects the main elements of the sentence. Musnad ilayh and musnad, which are the parties to the isnad, are two mini-mum basic elements of a sentence. The first is the one about whom the judg-ment is made, and the second is the judgment itself. The basic elements of a sentence, mubtadā or fāil, correspond to musnad ilayh, khaber or fiil corres-pond to musnad. The (...) fact that these elements appear as marifa in the sentence -and not nakra- changes the meaning of the sentence. Abū Ya‘kūb al-Sakkākī (d. 626/1229) states that the musnadun ilayh, which comes as marifa in various forms, adds emphatic meanings such as takhsīs, cins, ta’ñīd, and ahd and affects the semantic interpretation of the sentence. In Sekkākī, while the syntactic structure explains the contextual situation, the context can also determine the syntactic structure. Therefore, the interaction of syntactic structure and context situation together determines the meaning of the sentence; but contextual situation is more effective in determining meaning. The fact that musnad and/or musnadun ilayh comes with ḍamīr, aʿalam, ism-i mawṣūl, ism-i ishārah, harf-i taʿrīf or iḍāfa determines the meaning of the sentence in terms of semantics. In cases where musnadun ilayh exceptionally comes as nakrah, most of the meanings in form of marifa are not seen. As a result, the fact that one and/or both sides of the isnad is a marifa noun changes the semantic interpretation of the sentence and this type of isnad is established for various rhetorical epigrams. (shrink)

The question of how we can know anything about ideal entities to which we do not have access through our senses has been a major concern in the philosophical tradition since Plato's Phaedo. This article focuses on the paradigmatic case of mathematical knowledge. Following a suggestion by Gödel, we employ concepts and ideas from Husserlian phenomenology to argue that mathematical objects – and ideal entities in general – are recognized in a process very closely related to ordinary perception. Our analysis (...) combines Husserl's insights into the nature of perception and the phenomena of evidence and justification with case studies of the role of intuition in axiomatic set theory. (shrink)

Our investigation is concerned with the finite model property with respect to admissible rules. We establish general sufficient conditions for absence of fmp w. r. t. admissibility which are applicable to modal logics containing K4: Theorem 3.1 says that no logic λ containing K4 with the co-cover property and of width > 2 has fmp w. r. t. admissibility. Surprisingly many, if not to say all, important modal logics of width > 2 are within the scope of this theorem–K4 itself, (...) S4, GL, K4.1, K4.2, S4.1, S4.2, GL.2, etc. Thus the situation is completely opposite to the case of the ordinary fmp–the absolute majority of important logics have fmp, but not with respect to admissibility. As regards logics of width ≤ 2, there exists a zone for fmp w. r. t. admissibility. It is shown that all modal logics A of width ≤ 2 extending S4 which are not sub-logics of three special tabular logics have fmp w.r.t. admissibility. (shrink)

In the novels of Tahsin Germiyani, who stands out as a narrator and novelist, dialogue was a basic technique for artistic work. Because he used the art of dialogue in a unique way to carry out communication and understanding and to fictionalize events. Such that Tahsin Germiyani's novels are considered to fill a gap in this aspect, especially in Iraq and in the Arab world in general. What makes him important is the writers he read and was influenced (...) by. Such that when we look at his works, this effect is noticeable. Rather than a reflection, this influence manifests itself in a new and different form with internalization. The new work now contains in itself his character, is far from alienation, and becomes compatible with the culture and values of the society in which he lives. It is possible to see this situation not only in dialogues, but also in the whole structure of the work. Tahsin Germiyani has written 7 novels. However, in this study, we will focus on his three novels (al-Huznu'l-vesim, Evladu'l-Yahudiyye and Zaknemut) to reveal how the dialogue is used as a technique. After giving basic information about the concept of dialogue and Tahsin Germiyani's life and works, we will try to reveal how he used dialogue in these three novels that we will take as a field of application and his artistic connections in the storylines. Germiyani used both forms of dialogues in different stages. In his novel Zaknemut, he performed the internal dialogue mostly in the forms of monologue, pleading and reaction. While the external dialogue is mostly includedin the novel al-Huznu'l-Vesim, he used both dialogues to convey his thoughts, to effectively present his reaction and his opinionson the social phenomena in Iraqi society. Because he wanted to bring to light the mistakes and deficiencies that he saw and experienced in the society. He did this with an artistic task, by describing situations that trigger interpersonal conflict, sometimes using the inner and external dialogues of the protagonists and sometimes of the deuteragonists. One of his prominent features during this fiction is hisability to make the dialogues more vivid and permanent in the mind of the reader by using the cinema technique and to make the reader a partner in this fiction. We also witness that he makes this ability more effective by using the folkspeech. We will try to put forward the relevant issues practically within the framework of his 3 novels. (shrink)

This ninth volume of Collected Papers includes 87 papers comprising 982 pages on Neutrosophic Theory and its applications in Algebra, written between 2014-2022 by the author alone or in collaboration with the following 81 co-authors (alphabetically ordered) from 19 countries: E.O. Adeleke, A.A.A. Agboola, Ahmed B. Al-Nafee, Ahmed Mostafa Khalil, Akbar Rezaei, S.A. Akinleye, Ali Hassan, Mumtaz Ali, Rajab Ali Borzooei , Assia Bakali, Cenap Özel, Victor Christianto, Chunxin Bo, Rakhal Das, Bijan Davvaz, R. Dhavaseelan, B. Elavarasan, Fahad Alsharari, T. (...) Gharibah, Hina Gulzar, Hashem Bordbar, Le Hoang Son, Emmanuel Ilojide, Tèmítópé Gbóláhàn Jaíyéolá, M. Karthika, Ilanthenral Kandasamy, W.B. Vasantha Kandasamy, Huma Khan, Madad Khan, Mohsin Khan, Hee Sik Kim, Seon Jeong Kim, Valeri Kromov, R. M. Latif, Madeleine Al-Tahan, Mehmat Ali Ozturk, Minghao Hu, S. Mirvakili, Mohammad Abobala, Mohammad Hamidi, Mohammed Abdel-Sattar, Mohammed A. Al Shumrani, Mohamed Talea, Muhammad Akram, Muhammad Aslam, Muhammad Aslam Malik, Muhammad Gulistan, Muhammad Shabir, G. Muhiuddin, Memudu Olaposi Olatinwo, Osman Anis, Choonkil Park, M. Parimala, Ping Li, K. Porselvi, D. Preethi, S. Rajareega, N. Rajesh, Udhayakumar Ramalingam, Riad K. Al-Hamido, Yaser Saber, Arsham Borumand Saeid, Saeid Jafari, Said Broumi, A.A. Salama, Ganeshsree Selvachandran, Songtao Shao, Seok-Zun Song, Tahsin Oner, M. Mohseni Takallo, Binod Chandra Tripathy, Tugce Katican, J. Vimala, Xiaohong Zhang, Xiaoyan Mao, Xiaoying Wu, Xingliang Liang, Xin Zhou, Yingcang Ma, Young Bae Jun, Juanjuan Zhang. (shrink)

This tenth volume of Collected Papers includes 86 papers in English and Spanish languages comprising 972 pages, written between 2014-2022 by the author alone or in collaboration with the following 105 co-authors (alphabetically ordered) from 26 countries: Abu Sufian, Ali Hassan, Ali Safaa Sadiq, Anirudha Ghosh, Assia Bakali, Atiqe Ur Rahman, Laura Bogdan, Willem K.M. Brauers, Erick González Caballero, Fausto Cavallaro, Gavrilă Calefariu, T. Chalapathi, Victor Christianto, Mihaela Colhon, Sergiu Boris Cononovici, Mamoni Dhar, Irfan Deli, Rebeca Escobar-Jara, Alexandru Gal, N. (...) Gandotra, Sudipta Gayen, Vassilis C. Gerogiannis, Noel Batista Hernández, Hongnian Yu, Hongbo Wang, Mihaiela Iliescu, F. Nirmala Irudayam, Sripati Jha, Darjan Karabašević, T. Katican, Bakhtawar Ali Khan, Hina Khan, Volodymyr Krasnoholovets, R. Kiran Kumar, Manoranjan Kumar Singh, Ranjan Kumar, M. Lathamaheswari, Yasar Mahmood, Nivetha Martin, Adrian Mărgean, Octavian Melinte, Mingcong Deng, Marcel Migdalovici, Monika Moga, Sana Moin, Mohamed Abdel-Basset, Mohamed Elhoseny, Rehab Mohamed, Mohamed Talea, Kalyan Mondal, Muhammad Aslam, Muhammad Aslam Malik, Muhammad Ihsan, Muhammad Naveed Jafar, Muhammad Rayees Ahmad, Muhammad Saeed, Muhammad Saqlain, Muhammad Shabir, Mujahid Abbas, Mumtaz Ali, Radu I. Munteanu, Ghulam Murtaza, Munazza Naz, Tahsin Oner, ‪Gabrijela Popović‬‬‬‬‬, Surapati Pramanik, R. Priya, S.P. Priyadharshini, Midha Qayyum, Quang-Thinh Bui, Shazia Rana, Akbara Rezaei, Jesús Estupiñán Ricardo, Rıdvan Sahin, Saeeda Mirvakili, Said Broumi, A. A. Salama, Flavius Aurelian Sârbu, Ganeshsree Selvachandran, Javid Shabbir, Shio Gai Quek, Son Hoang Le, Florentin Smarandache, Dragiša Stanujkić, S. Sudha, Taha Yasin Ozturk, Zaigham Tahir, The Houw Iong, Ayse Topal, Alptekin Ulutaș, Maikel Yelandi Leyva Vázquez, Rizha Vitania, Luige Vlădăreanu, Victor Vlădăreanu, Ștefan Vlăduțescu, J. Vimala, Dan Valeriu Voinea, Adem Yolcu, Yongfei Feng, Abd El-Nasser H. Zaied, Edmundas Kazimieras Zavadskas.‬‬. (shrink)