The third international conference on classical influences took place in Cambridge in 1977 under the title 'Classical Influences in Western Education, Philosophy and Social Theory'. Dr Bolgar has here collected and edited the proceedings and produced a volume which attempts to relate the progress of classical studies to the general history of ideas from the mid-seventeenth to the mid-nineteenth century. The book should be of interest to specialists in classical studies, to students of the (...) literature of the period, and to students of eighteenth-century French, Italian and American history. (shrink)

Although the works of the authors of the Golden Age of Latin Literature play an important formative role for Early Modern philosophers, their influence in Early Modern thought is, nowadays, rarely studied. Trying to bring this topic to light once again and following the seminal works of Kajanto (1979), Proietti (1985) and Akkerman (1985), I will target Spinoza’s Latin sources in order to analyze their place in his philosophy. On those grounds, I will offer an overview of the problems (...) of the reception of classical literature in Early Modernity and then dwell on the particular case of Ovid and Spinoza. The present paper will argue that although Spinoza’s references to Ovid fill a rhetorical purpose as suggested by the existing literature, these mentions have a prior philosophical motivation. That is, the references in the Ethics are not merely illustrative; instead, they indicate that Spinoza acknowledges Ovid’s beliefs about human experiences and deliberately elaborates on Ovid’s view to construct and defend his own theses. To this end, the paper will analyze some citations mapped by Proietti (1985) and add a new one in an attempt to enlarge the list of places and topics that merit further investigation. To conclude, I will point out how the references to Ovid are part of Spinoza’s own defense of the powers of imagination. (shrink)

Polemic texts on issues of Orthodox-Catholic relations occupy, for various reasons, a prominent place among publications in Ukrainian literature of the late 16th – early 17th centuries. Because of this, researchers of the history of Ukrainian literature continue to be interested in them. The history of the study of interconfessional polemics depends to a large extent on political contexts, primarily on the national and religious policies of states. Objective interpretation of polemical prose of the late 16th (...) to the early 18th centuries, however, warrants exemption from the influence of this state of affairs and the transfer of the focus of attention to the plane of literary communication. In such a context polemical texts can be seen as a manifestation of societal dialogue, reflecting the search of Ukrainian Baroque writers for their identity in the context of a civilizational dialogue between East and West and in geopolitical changes of the Reformation era. (shrink)

The article is dedicated to the development of theatrical art in Mariupol at the beginning of 20th century. The theatrical life of Mariupol has not been investigated yet as an original art phenomenon, and therefore, it demands for the detailed studying. There are the repertoire, the role of touring troupes and development of charitable activities of actors in the city described in the article as well. The information was collected from literature, newspapers and funds of local lore museums. The (...) study showed us the rising of ideological and educational value of the scene provincial theaters at the beginning of XX c. In Mariupol worked several theaters, which created conditions for the formation of theater seasons, touring groups' arrivals and also the base for the development of local amateur groups. Performances of guest performers - Ukrainian, Russian and foreign stars of theater scene contributed to the promotion and enrichment of theatrical culture, transforming Mariupol into the cultural centers of the region. The author considers the features of the state policy in the sphere of theatrical art during the Civil War and in the first years of Soviet government power. The Soviet government made a circle of attempts to use the theater in the business of agitation and propaganda as much as possible. In consequence with nationwide problems, the conditions which theater city institutions worked in, сconsiderably got worsened because of the fact of the demand of entertaining genres in the repertoire of the theaters. Nevertheless, thanks to the safekeeping of the best examples of the theatrical traditions, the priorities in the repertoire policy were given to the Ukrainian, Russian and foreign classics. In conclusion, it may be said also, that theater in Mariupol at the beginning of XX c., was developed, despite the complications that have been appeared under the influence of existing political regime and differed from others in the existence of various professional and amateur groups, wide touring guest activities of the prominent masters of the stage and diverse repertoire. (shrink)

The period from the eighth to the fifth centuries B.C. was one of extraordinary creativity in the Greek-speaking world. Poetry was a public and popular medium, and its production was closely related to developments in contemporary society. At the time when the city states were acquiring their distinctive institutions epic found the greatest of all its exponents in Homer, and lyric poetry for both solo and choral performance became a genre which attracted poets of the first rank, writers of the (...) quality of Sappho, Alcaeus and Pindar, whose influence on later literature was to be profound. This volume covers the epic tradition, the didactic poems of Hesiod and his imitators, and the wide-ranging work of the iambic, elegiac and lyric poets of what is loosely called the archaic age. The contributors make use of recent papyrus finds to fill out the picture of a cosmopolitan and highly sophisticated literary culture which had not yet found its intellectual centre in Athens. (shrink)

_Purpose._ This article aims at outlining the consider Ukrainian identity in the context of European collective action through the prism of value orientations/approaches. _Theoretical basis._ The following methods were used in order to cover the problem as objectively as possible: historical, analytical, comparative, socio-geographical, behavioral, and dialectical. The use of these methods contributed to tracing the peculiarities of identity and collective action in the dynamics of the historical process and social development. _Originality._ The role of identity in collective action (...) formation is considered. It was established that identity determines the socio-species structure and projects social development. After all, identification for a person in the formation process is a basic need that determines a person’s belonging, not identity. During the formation of "I" there is a combination of "I1" + "I2" + "Other" = "WE". This process is complex and long-term, but it is precisely the process that gives you the opportunity to clearly understand your "I" and know yourself. It was found that identity as a social phenomenon, which is related to the formation of the "I", is determined by certain circumstances, which can be conditionally divided into objective and subjective. After analyzing the scientific literature, a generalization was made that identity is not a new phenomenon, but it has certain features at each stage of social development. This became most noticeable in the conditions of globalization, when countries that are actually different perceive the "Other", unite around certain problems, and then this union forms a system of mutual relations. It is thanks to this approach that alliances, multicultural associations, etc. are formed, and an example of this is the heterogeneous European identity. Special attention is drawn to the role of values, which are the landmarks in the process of identity and the formation of collective action. Based on political, social, economic, historical processes and ontological features, it was established that identity is a dynamic process, since values during a person’s life, the existence of the state, etc. are variables. This is confirmed by the value orientation and various socio-political processes aimed at the formation of Homo in countries that have the status of "between". _Conclusions._ The article illustrates and justifies the existence of several forms of identity according to which the types of identity are formed. The fact proves that identity is not a constant process and varies due to multiple factors: social, political, economic, and religious as well as due to formations – regional, local, civilizational, etc. As practice shows, the problem of identity mostly has situational nature and arises due to the need for unification. The socio-historical process manifests the significance of the values in the formation of a collective European heterogeneous identity. These processes are influenced by many factors: geographical, historical, mythological, etc. (shrink)

In lieu of an abstract, here is a brief excerpt of the content: Classics and Complexity in Walden’s “Spring” M. D. USHER In 1843, two years before Henry Thoreau built his cabin at Walden Pond, the Fitchburg Railroad laid down tracks through the woods near the Pond for its line connecting Boston to Fitchburg. The original Fitchburg Line, at 54 miles long, was, until 2010, the longest run in the present -day MBTA Commuter Rail system. And it is one of (...) the oldest railways in New England. By 1900, fortunes swelled and the Fitchburg’s Hoosac Tunnel Line took passengers and goods westward toward Chicago. The Lake Champlain Route connected Boston to points north like Burlington, Vermont. (See Figure 1.) arion 27.1 spring/summer 2019 Figure 1 (left): Advertisement for the Hoosac Tunnel Route in The New England Magazine (Vol. 21, Issue 6, February, 1900). Figure 2 (right): Herbert Wendell Gleason. The Fitchburg Railroad and Walden Pond in winter, Concord, Mass., March 24, 1920. Courtesy Concord Free Public Library. The Railroad was literally a fixture in Thoreau’s landscape. Its tracks pass remarkably close to Walden Pond (Figure 2), and the Fitchburg Line—both its reality and the specter of it—is practically a character in his writing: “I usually go to the village along its causeway, and am, as it were, related to society by this link,” Thoreau writes in “Sounds,” a chapter of Walden that contains what must be one of the most picturesque odes (or laments) to rail travel and commerce in all of American literature: The engine’s whistle, Thoreau complains, pierces the still silence of his idyllic retreat like a screaming hawk circling a farmer’s field, its billows of steam an ominous harbinger of “this travelling demi-god, this cloud-compeller.”1 Thoreau’s frequent, customary walks into Concord along the railroad tracks took him through a heavily excavated stretch of the line known as the Deep Cut, to which he returned again and again each year in early spring, even after leaving the cabin, to observe and to record his observations. The leaf-shaped sand flows and trickling surface erosion caused by melting frost in the banks of the Deep Cut are elaborately described in Thoreau’s chapter in Walden entitled “Spring,” what Laurence Buell calls the “high point of Thoreau’s epic.”2 And yet, in spite of the universal acclaim of this passage as a literary tour de force, it has not received the full attention it deserves. What warrants fresh consideration first and foremost is “Spring”’s deep-rootedness in classical sources. Many classical influences, allusions, and a good deal of etymological word play have gone so far unnoticed. The chapter is also important because it describes, by intimation, what contemporary scientists now call emergence. Emergent phenomena are properties or behaviors that arise in systems as a result of complex, dynamic interactions amongst constituent parts, including changes to a system brought about by human interventions3—not only, e.g., climate change and wildfires, but also traffic patterns and terrorist networks; kidney function in the body; the rings of Saturn. As he tries to capture the essence of the 114 classics and complexity in WALDEN’s “spring” Deep Cut and interpret its significance, Thoreau adumbrates this concept, but also grapples ingeniously with broader issues of perennial concern—the relationship of Nature to Culture, for example, of Wilderness to Civilization, of Science to the Humanities—making “Spring” not only a probing work of eco-criticism and environmental philosophy, but of scientific reflection and poetic experiment as well. In short, Thoreau’s “Spring” is that rare work of classical reception that transmits both literary and scientific insight. Perhaps at this point, in lieu of accolades, it is best to let Thoreau start speaking for himself. What I offer in the following pages is a commentary on the Deep Cut passage from “Spring.” Classical references and aspects of systems theory will be explained and contextualized as they emerge, as it were, from Thoreau’s text. The whole chapter corresponds to pages 289–308 in Cramer’s edition of Walden—26 paragraphs all told, of which only the relevant ones are printed and annotated here. (Transitions and extraneous material are briefly summarized, as needed, in paraphrase... (shrink)

_Purpose_ of the research is to study the originality of interpretation of death in the lyrics of Ukrainian diaspora in Canada in the context of the opposition "foreign land – motherland", based on its existential development in philosophical anthropology and culture of the last two centuries. Its implementation presupposes, first of all, analysis of the forms of development and disclosure of the death motif by figurative and artistic means. _Theoretical basis__._ The author uses the well-founded tradition of interpreting the (...) death motif in philosophical literature of the last centuries, i.e. non-classical and modern philosophical thought. _Originality._ The present study is an attempt at systematization of the notions of death in Ukrainian poetry in Canada in the second half of the 20th century. It is based on the study of artistic texts and the worldview of Ukrainian emigrants. Appeal to the fiction of the Ukrainian Diaspora allows illustrating the originality of philosophical understanding of death in the context of the national culture. _Conclusions_. Reference to Ukrainian-Canadian poetry allows expanding the space of philosophical understanding of death in the form of figurative fiction. Concretizing the character of their interpretation of the motif of death, it is necessary to focus attention on its two basic forms of manifestation: existential, associated with living abroad, and sacrificial death for the benefit of the homeland. Thus, the motif of death occupies a significant place in the lyrics of representatives of the Ukrainian diaspora. The concept of human death is closely connected with the concept of life, which is concretized through their meaningful comprehension. This is a matter of interpretation of despair and loneliness motifs, as well as the illumination of the images of a foreign land, which is one of the features of emigrant literature in general. (shrink)

Over the years, there are various research on cultural development seen from socio-historical perspective. The uniqueness of Islam in Malay region as it is diverse and open to outside influences is important to be look at; as it differs greatly from "the Islam" that have been practiced in the Middle East. Based on the discussions, the ulemas or Muslim clerics of this region and the Malays themselves have already practiced the supra-madhhab model as proposed by many contemporary scholars. Using (...) Shia influences in the Malay culture, this paper attempt to show how sectarianism within Islam was never entertained by the Muslims in this region. In fact, Shi'ism was so embedded in Malay culture. Although being dominated by Sunnism, most of the Shia doctrines and pillars were widely accepted and embraced. The axiology of Shi'ism in Malay culture reflected in many religious texts, classical literature and cultural events. However, as sectarianism rising in this region, the Shia influence and its axiology slowly eroded and were victimized by unnecessary foreign interventions. (shrink)

Senshu University has hosted many international conferences on medieval English literature - primarily on Geoffrey Chaucer and William Langland - as well as in the related fields of Old Germanic, medieval French and Renaissance Italian literature. These international collaborations inform and contribute to the present volume, which addresses the heritage bequeathed to medieval English language and literature by the classical world.<BR> This volume explores the development of medieval English literature in light of contact with Germanic (...) and Old Norse cultures, on the one hand, and Romance languages, on the other. The book includes a comparative study of <I>Beowulf in the Germanic context, discusses aspects of <I>Piers Plowman and its tradition, and offers philological approaches to Chaucer (especially his <I>Troilus and Criseyde). The articles assembled here collectively suggest how the torches of classical learning were carried from continental Europe to illuminate the pages of medieval English literature. (shrink)

In the twelfth and thirteenth centuries, new ways of storytelling and inventing fictions appeared in the French-speaking areas of Europe. This new art still influences our global culture of fiction. Virginie Greene explores the relationship between fiction and the development of neo-Aristotelian logic during this period through a close examination of seminal literary and philosophical texts by major medieval authors, such as Anselm of Canterbury, Abélard, and Chrétien de Troyes. This study of Old French logical fictions encourages a broader (...) theoretical reflection about fiction as a universal human trait and a defining element of the history of Western philosophy and literature. Additional close readings of classical Greek philosophers Plato and Aristotle, and modern analytic philosophy including the work of Bertrand Russell and Rudolf Carnap, demonstrate peculiar traits of Western rationalism and expose its ambivalent relationship to fiction. (shrink)

12 essays by international specialists in classical antiquity create a period-specific interdisciplinary introduction to distributed cognition and the cognitive humanities - The first book in an ambitious 4-volume set looking at distributed cognition in the history of thought - Includes essays on archaeology, art history, rhetoric, literature, philosophy, science, medicine and technology -For students and scholars in classics, cognitive humanities, philosophy of mind and ancient philosophy -Includes essays by international specialists in classics, ancient history and archaeology This collection (...) explores how cognition is explicitly or implicitly conceived of as distributed across brain, body and world in Greek and Roman technology, science, medicine, material culture, philosophy and literary studies. A range of models emerge, which vary both in terms of whether cognition is just embodied or involves tools or objects in the world. As many of the texts and practices discussed have influenced Western European society and culture, this collection reveals the historical foundations of our theoretical and practical attempts to comprehend the distributed nature of human cognition. (shrink)

In this collection of provocative essays, historians and literary theorists assess the influence of Michel Foucault, particularly his History of Sexuality, on the study of classics. Foucault's famous work presents a bold theory of sexuality for both ancient and modern times, and yet until now it has remained under-explored and insufficiently analyzed. By bringing together the historical knowledge, philological skills, and theoretical perspectives of a wide range of scholars, this collection enables the reader to explore Foucault's model of Greek culture (...) and see how well his interpretation accounts for the full range of evidence from Greece and Rome. Not only do the essays bring to light the assumptions, ideas, and practices that constituted the intimate lives of men and women in the ancient Mediterranean world, but they also demonstrate the importance of the History of Sexuality for fields as diverse as Greco-Roman antiquity, women's history, cultural studies, philosophy, and modern sexuality. The essays include "Situating The History of Sexuality" (the editors), "Taking the Sex Out of Sexuality: Foucault's Failed History" (Joel Black), "Incipit Philosophia" (Alain Vizier), "The Subject in Antiquity after Foucault" (Page duBois), "This Myth Which Is Not One: Construction of Discourse in Plato's Symposium" (Jeffrey S. Carnes), "Foucault's History of Sexuality: A Useful Theory for Women?" (Amy Richlin), "Catullan Consciousness, the 'Care of the Self,' and the Force of the Negative in History" (Paul Allen Miller), "Reversals of Platonic Love in Petronius' Satyricon" (Daniel B. McGlathery), and an essay from Dislocating Masculinity (Lin Foxhall). (shrink)

The history of the opposition of the Dionysian and Apollonian principles is longer than is usually assumed. Similarly to the many of the other contrarian figures ascribed to Nietzsche, the Apollonian–Dionysian was not of his making; its history is much older and buried under a number of different layers of interpretation. In the following work I will discuss the formal aspects and content of their development, which took place under the direct authorial influence of Pseudo-Longinus, Jacob Bernays, Friedrich Schiller, Fr. (...) W. J. Schelling and Johan Jacob Bachofen. Still, although the discovery of a principle labelled das Dionysische doesn’t represent anything exceptional, the “Birth of Tragedy” treatise was a breakthrough: it began the development of a specific form of cultural critique, of which Nietzsche was the prime representative. (shrink)

The key concept of our study is "religiosity". In scientific literature, it is most often correlated with an individual or a social group, a community and understands a set of certain attributes that are inherent to them and which find expression in faith and worship of supernatural both at the level of consciousness and at the level of behavior. The object of our study is the Ukrainian people. It should be noted that religious studies in Soviet times did (...) not take into account the fact that human existence is possible only in the conditions of a certain ethnic community, an individual is, above all, a certain ethnotype, and, moreover, it does not study the religious dimensions of the ethno-national being of that another people. Religion itself, if considered as a special, long-standing state of consciousness, as a certain system, which is a set of elements that interact with each other and with the environment, form a stable integrity, can be considered an integral part of ethno-national mentality. According to M.Kostomarov, folk religiosity is a special view that the people have in their religion and that it does not constitute any kind of whole religion, nor a certain sect. Today it is universally accepted that the national type of religiosity exists on the ordinary level of consciousness, is a complex syncretic entity. The history of its formation does not coincide with the history of the doctrine of a certain denomination. However, it is clear that the religiosity of Ukrainians, posing an integral part of the mentality and spirituality of the people, has a history of its formation. It is a consequence of the influence of a complex of factors that predetermined the way of life of the Ukrainian people in a certain natural geographic and cultural-historical space. (shrink)

As two different art categories, literature and painting use temporal words and spatial images respectively to convey information and narrative. In addition to the pursuit of visual decoration, the paintings in books and periodicals in the period of the Republic of China were widely and profoundly influenced by the literature of the same period from the aspects of the style of expression, the theme of content and the creative techniques, thus breaking through the limitations of their own media (...) and achieving narrative effects like literary. The reflection of literary thoughts and trends in theme, the translation of classical novels in content and the use of literary techniques such as metaphor, synaesthesia and “Bixing” in the expression techniques that further highlighted the functional value, aesthetic value, and historical value of the images. In the visual information age, only by maintaining the characteristics of their own media and absorbing the narrative advantages of other artistic media, can images break through the limitation of plane static space and achieve a narrative effect with more artistic appeal and ideological and cultural depth. (shrink)

Socio-cultural and political transformations that are taking place in the modern world under the influence of globalization, predetermine the growth of scientific interest in the history and the theory of shaping the group unity.The coverage of various aspects of this problem is found in the works of foreign philosophers (M. Gibernau, S. Huntington, E. Hiddens, B. Yak, et al.), which focus their primary attention on studying the factors, contributing to the emergence of communities in the modern world, while distancing from (...) the development of universal explanatory schemes for the process of forming the collective unity at various stages of the historical development of society.Some Ukrainian researchers (Y. Hrytsak, V. Kravchenko, H. Kasyanov, et al.), who, in contrast to foreign scholars, pay more attention to studying the various aspects of Ukrainian nation-building, are approaching the above problems from a bit different angle of view to solve them. Undoubtedly, the work of these researchers thoroughly and fully covers the history of the formation of the Ukrainian nation, explains the reasons or factors that contributed to its appearance. Meanwhile, they do not have sufficient potential to explain the causes of the cultural fragmentation of modern Ukrainian society, which, in our opinion, has become a logical consequence of the undivided domination in the Ukrainian intellectual discourse of the paradigm of perennialism, within which the cultural identity of the community appears to be a kind of “entity or reality.” Proponents of this position believe that the cultural diversity of nations emerged in the early stages of social development. Within this outlook, Ukrainians, as a mentally and culturally distinct community, have always existed. Of course, their culture has been developing and enriching in the process of historical development and intercultural communication, while its original spiritual and symbolic core remaining unchanged.Despite the fact, that renaissance has a rational grain and can become themethodological basis for very effective national consolidation strategies, one should not ignore its failure to explain the causes of the cultural and civilizational fragmentation of modern Ukrainian society. In our opinion, the solution of this issue requires a comprehensive understanding of the origins, mechanisms and factors, and the formation of a culturally homogeneous Ukrainian cultural space. In view of this, the purpose of our work is to uncover the theoretical preconditions and mechanisms for shaping the cultural identity of Ukrainians in the XIX and early XX centuries. Instead, the task of the work is to highlight the ideological foundations of the growth of scientific interest in folk culture in foreign and Ukrainian intellectual discourse and to reveal their significance in the process of thematizing the modern Ukrainian identity.Methods.The interdisciplinary approach and the principle of unity of the historical and logical have become a methodological basis of scientific research. Methods of historical and philosophical reconstruction, cultural analysis, and extrapolation have been also widely used in the process of research, as well as the fundamental principles of hermeneutics, which have been taken into account.Results. The dominance of the educational enlightenment-cognitive paradigm has contributed to the growth of scientific interest in the cultural identity of peoples, which, according to the prevailing beliefs, has been most clearly preserved in folk poetry and ancient literature. The study of the latter has resulted in the outbreak of ethnographic and linguistic exploration, which facilitated the gradual introduction of the Ukrainian language to literary use, thereby contributing to the thematization of modern Ukrainian identity. (shrink)

The second volume of _Analytical Psychology and German Classical Aesthetics_ builds on the previous volume to show how German classicism, specifically the classical aesthetics associated with Goethe and Schiller known as Weimar classicism, was a major influence on psychoanalysis and analytical psychology alike. This volume examines such significant parallels between analytical psychology and Weimar classicism as the methodological similarities between Goethe’s morphological and Jung’s archetypal approaches, which both seek to use synthesis as well as analysis in their attempt (...) to understand the world. It also focuses on the project of the construction of the self, which, it is argued, is not only a personal but also a cultural activity. This book, like its previous volume, aims to clarify the intellectual continuity between Weimar classicism and analytical psychology. It will be of interest to both students and scholars in the fields of analytical psychology, comparative literature, and the history of ideas. (shrink)

While it is known that reward induces attentional prioritization, it is not clear what effect reward-learning has when associated with stimuli that are not fully perceived. The masked priming paradigm has been extensively used to investigate the indirect impact of brief stimuli on response behavior. Interestingly, the effect of masked primes is observed even when participants choose their responses freely. While classical theories assume this process to be automatic, recent studies have provided evidence for attentional modulations of masked priming (...) effects. Most such studies have manipulated bottom-up or top-down modes of attentional selection, but the role of “newer” forms of attentional control such as reward-learning and selection history remains unclear. In two experiments, with number and arrow primes, we examined whether reward-mediated attentional selection modulates masked priming when responses are chosen freely. In both experiments, we observed that primes associated with high-reward lead to enhanced free-choice priming compared to primes associated with no-reward. The effect was seen on both proportion of choices and response times, and was more evident in the faster responses. In the slower responses, the effect was diminished. Our study adds to the growing literature showing the susceptibility of masked priming to factors related to attention and executive control. (shrink)

The article aims to explore the ways in which scholars from Poland and Ukraine engage with Graham Harman’s philosophical work1. The introductory part briefly describes Harman’s ontology and demonstrates the link connecting Harman with Polish and Ukrainian intellectual environments. Harman’s object-oriented ontology (OOO) states that objects are the fundamental building blocks of reality and cannot be reduced either to what they are made of or to what they do, that is, either to their constituents or to their effects. The (...) connection with Poland and Ukraine goes back to the theory of objects suggested by the Polish philosopher Kazimierz Twardowski, whom Harman names among the predecessors of his ontology and who influenced both Polish and Ukrainian intellectual milieus. The next part of the article examines the history of the reception, identifying its key events and publications. The reception in Poland proves to be much more substantial than in Ukraine. A common tendency is determined: a conflation of Harman’s OOO and speculative realism by mistakenly ascribing the features of the former to the latter (broader concept), which suggests that speculative realism is being received through the lens of Harman’s project. The next part establishes the key discursive points that are used to map Harman’s ideas within the contemporary philosophical landscape. They can be summarised by the terms antianthropocentrism and antireductionism. The final part analyses the strategies for applying Harman’s theory showing that it can become the lens for interpretation and direct our attention to nonhumans and the hidden, inexplicable dimension of things or provide an ontological grounding for semi-literary and literary discourses. The methodology of this application, though, needs further development and clarification. Overall, in Poland, two of Harman’s books and two articles have been translated, and at least two books, one Ph.D. dissertation, and around two dozen articles discuss or apply his ideas. Apart from philosophy, his OOO is used for discussing literature, video games, films, humanities in general, education, management processes, antique studies, and ecocriticism. In Ukraine, one of Harman’s articles has been translated, and around ten articles and one collective monography engage with his philosophical project. Some of the Ukrainian works also apply Harman’s OOO in contexts that are not strictly philosophical, namely, in literary criticism, urban studies, film studies, and humanities in general. This paper can be of use to researchers studying OOO and its reception in different countries. In addition, it can help Ukrainian and Polish scholars who want to discuss or use OOO to familiarize themselves with the previous reception in their countries, thus facilitating domestic philosophical interaction. (shrink)

Volume 1, The Development of the Personality, investigates the extent to which analytical psychology draws on concepts found in German classical aesthetics. It aims to place analytical psychology in the German-speaking tradition of Goethe and Schiller, with which Jung was well acquainted. The second volume builds on the previous one to show how German classicism, specifically the classical aesthetics associated with Goethe and Schiller known as Weimar classicism, was a major influence on psychoanalysis and analytical psychology alike. --From (...) publisher's description. (shrink)

"Spanning many historical and literary contexts, Moral Imagination brings together a dozen recent essays by one of America's premier cultural critics. David Bromwich explores the importance of imagination and sympathy to suggest how these faculties may illuminate the motives of human action and the reality of justice. These wide-ranging essays address thinkers and topics from Gandhi and Martin Luther King on nonviolent resistance, to the dangers of identity politics, to the psychology of the heroes of classic American literature. Bromwich (...) demonstrates that moral imagination allows us to judge the right and wrong of actions apart from any benefit to ourselves, and he argues that this ability is an innate individual strength, rather than a socially conditioned habit. Political topics addressed here include Edmund Burke and Richard Price's efforts to define patriotism in the first year of the French Revolution, Abraham Lincoln's principled work of persuasion against slavery in the 1850s, the erosion of privacy in America under the influence of social media, and the use of euphemism to shade and anesthetize reactions to the global war on terror. Throughout, Bromwich considers the relationship between language and power, and the insights language may offer into the corruptions of power.Moral Imagination captures the singular voice of one of the most forceful thinkers working in America today"--. (shrink)

In the twelfth and thirteenth centuries, new ways of storytelling and inventing fictions appeared in the French-speaking areas of Europe. This new art still influences our global culture of fiction. Virginie Greene explores the relationship between fiction and the development of neo-Aristotelian logic during this period through a close examination of seminal literary and philosophical texts by major medieval authors, such as Anselm of Canterbury, Abélard, and Chrétien de Troyes. This study of Old French logical fictions encourages a broader (...) theoretical reflection about fiction as a universal human trait and a defining element of the history of Western philosophy and literature. Additional close readings of classical Greek philosophers Plato and Aristotle, and modern analytic philosophy including the work of Bertrand Russell and Rudolf Carnap, demonstrate peculiar traits of Western rationalism and expose its ambivalent relationship to fiction. (shrink)

The Charvakas were the sceptic‐materialists of classical India, existing about the same time as the beginnings of early atheistic Buddhism and overlapping with the rise of both Buddhism and Jainism. This chapter examines the primary source literature that focuses on Charvakas in order to glean information about them and to assess the extent of materialist influence. Materialists were of sufficient influence, it seems, for other sects to take heed of them and to offer criticism of their beliefs. The (...) materialists challenged the very basis of established religion and gained the displeasure not just of the orthodox Hindus but also of the heterodox Buddhists and Jains, who accused them of lacking any morality, hence the long‐lasting accusation of hedonism that has been attached to the Charvakas. Another, more well‐known, text that castigates the materialists is the Bhagavad Gita written perhaps around the second century BCE. (shrink)

Although both the ancient classical forms of tragedy and the nihilist tendencies of postmodern writing are marked by paralysis and passivity before fate, more religiously influenced periods of English literature are characterised by self-transcending and self-transforming movement beyond tragic impotence. This insight is illustrated briefly through references to Shakespeare's King Lear but it can also be found in Dante and in less explicitly Christian authors. The wisdom of humility exemplified in these literary masterpieces with a religious background embodies (...) an implicit theology of redemption, whereby evil can ultimately be transfigured into good. (shrink)

Dionysus after Nietzsche examines the way that The Birth of Tragedy (1872) by Friedrich Nietzsche irrevocably influenced twentieth-century literature and thought. Adam Lecznar argues that Nietzsche's Dionysus became a symbol of the irrational forces of culture that cannot be contained, and explores the presence of Nietzsche's Greeks in the diverse writings of Jane Harrison, D. H. Lawrence, Martin Heidegger, Richard Schechner and Wole Soyinka (amongst others). From Jane Harrison's controversial ideas about Greek religion in an anthropological modernity, to Wole (...) Soyinka's reimagining of a postcolonial genre of tragedy, each of the writers under discussion used the Nietzschean vision of Greece to develop subversive discourses of temporality, identity, history and classicism. In this way, they all took up Nietzsche's call to disrupt pre-existing discourses of classical meaning and create new modes of thinking about the Classics that speak to the immediate concerns of the present. (shrink)

William Godwin, also known as Edward Baldwin and Theophilus Marcliffe, (1756-1836) was an English journalist, political philosopher and novelist. He is considered one of the first exponents of utilitarianism, and one of the first modern proponents of philosophical anarchism. He is most famous for two books that he published within the space of a year: Enquiry Concerning Political Justice and its Influence on Modern Morals and Happiness (1793), an attack on political institutions, and Caleb Williams; or, Things as They Are (...) (1794), which attacks aristocratic privilege, but also is virtually the first mystery novel. He wrote prolifically in the genres of novels, history and demography throughout his life time. With his wife, Mary Jane Clairmont, he wrote children's primers on Biblical and classical history, which he published along with such works as Charles and Mary Lamb's Tales From Shakespeare. He also has had considerable influence on British literature and literary culture. His other works include Memoirs of the Author of 'A Vindication of the Rights of Woman' (1798), Life of Chaucer (1803), Cloudesley (1830) and Deloraine (1833). (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)

We routinely observe others’ choices and use them to guide our own. Whose choices influence us more, and why? Prior work has focused on the effect of perceived similarity between two individuals, such as the degree of overlap in past choices or explicitly recognizable group affiliations. In the real world, however, any dyadic relationship is part of a more complex social structure involving multiple social groups that are not directly observable. Here we suggest that human learners go beyond dyadic similarities (...) in choice behaviors or explicit group memberships; they infer the structure of social influence by grouping individuals based on choices, and they use these groups to decide whose choices to follow. We propose a computational model that formalizes this idea, and we test the model predictions in a series of behavioral experiments. In Experiment 1, we reproduce a well-established finding that people's choices are more likely to be influenced by someone whose past choices are more similar to their own past choices, as predicted by our model as well as dyadic similarity models. In Experiments 2–5, we test a set of unique predictions of our model by looking at cases where the degree of choice overlap between individuals is equated, but their choices indicate a latent group structure. We then apply our model to prior empirical results on infants’ understanding of others’ preferences, presenting an alternative account of developmental changes. Finally, we discuss how our model relates to classical findings in the social influence literature and the theoretical implications of our model. Taken together, our findings demonstrate that structure learning is a powerful framework for explaining the influence of social information on decision making in a variety of contexts. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Political Economy and Classical AntiquityNeville MorleyThe literature of the ancients, their legislation, their public treaties, and their administration of the conquered provinces, all proclaim their utter ignorance of the nature and origin of wealth, of the manner in which it is distributed, and of the effects of its consumption.... The steadily increasing progress of different branches of industry, the advancement of the sciences, whose influence upon wealth (...) we shall have occasion hereafter to notice, and the direction of public opinion, at length estimating national prosperity as being of some importance, caused the science of political economy to enter into the contemplation of a great number of writers.J.-B. Say 1I. The science of political economy offered an entirely new way of understanding human society. 2 Say’s account of its emergence is teleological and self-serving, figuring his own work as the logical culmination of earlier enquiries, but it accurately reflects the way in which political economy was perceived and presented as a modern innovation. The more that eighteenth- and nineteenth-century political economists turned their attention towards the economic rather than the political state of the nation, the more they became aware of their own originality in doing so. The writings of the ancients might still dominate discussions of political theory, but the moderns noted with satisfaction the failings and fumblings of classical authors in the study of the economy; they alone had discerned its significance and developed the tools with which to [End Page 95] analyze it. Moreover, there was no obvious reason why this new science should confine its attentions to the contemporary world; the economies of the past could be studied in the same manner, and thus political economy offered the possibility of understanding ancient society better than the ancients did themselves.Students of ancient society were slow to respond to this challenge. Neither Edward Gibbon nor George Grote had much to say about the ancient economy, despite their close relationships with economists of the Scottish Enlightenment and the Philosophic Radicals respectively. Gibbon was well aware of contemporary debates on luxury (see below), and he also disputed Montesquieu’s theory that taxes decrease according to the level of despotism in a state, but that was all. 3 A letter written by Grote’s wife suggests that his chapter on Greek colonization was intended to infuse useful doctrines on political economy and the principle of population, but in the published version this intent is limited to vague statements about the importance of agriculture in sustaining a colony. 4 Grote’s advocacy of comparative history—“not omitting the points of resemblance as well as of contrast with the better-known forms of modern society”—was in practice limited to politics and the history of ideas, above all in the debate on the merits of democracy. 5 The sole exception was a comparison of Solon’s legislation restricting Athenian exports with the British Corn Laws, to the advantage of the former. 6With the lone exception of Boeckh’s 1817 treatise on The Public Economy of Athens, the subject of the ancient economy was almost entirely ignored by historians until the middle of the nineteenth century. 7 Their own interests and those of the ancient sources on which they relied led them to conceive of history in terms of events, above all of events in the fields of politics and war. Economic matters were touched upon in their accounts of certain episodes—the reforms of Solon, for example, or the Roman agrarian laws—but never in detail or with much analytical sophistication, let alone drawing upon the theoretical insights of political economy. William Ramsay’s Manual of Roman Antiquities in 1851 devoted much more space to economic topics than had been customary, but was otherwise indistinguishable from its predecessors; the chapter on Roman agriculture was little more than a paraphrase of the writings [End Page 96] of Vergil and Varro, and his account of state revenues merely compiled information from the ancient sources as an end in itself. 8The drought was not ended until 1854, when Theodor Mommsen’s History of Rome not only devoted considerable attention to such subjects as agriculture, commerce, and... (shrink)

For several decades G. W. Bowersock has been one of our leading historians of the classical world. This volume collects seventeen of his essays, each illustrating how the classical past has captured the imagination of some of the greatest figures in modern historiography and literature. The essays here range across three centuries, the eighteenth to the twentieth, and are divided chronologically. The great Enlightenment historian Edward Gibbon is in large part the unifying force of this collection as (...) he appears prominently in the first four essays, beginning with Bowersock's engaging introduction to the methods and genius behind The Decline and Fall of the Roman Empire. Gibbon's profound influence is revealed in subsequent essays on Jacob Burckhardt, the nineteenth-century scholar famous for his history of the Italian Renaissance but whose work on late antiquity is only now being fully appreciated; the modern Greek poet Constantine Cavafy, whose annotations on Gibbon's Decline and Fall tell us much about his own historical poems; and finally W. H. Auden, whose poem and little known essay "The Fall of Rome" were, in quirky ways, tributes to Gibbon. The collection reprints Auden's poem and essay in full. The result is a rich survey of the early modern and modern uses of the classical past by one of its most important contemporary commentators. (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)

_Purpose._ The study is aimed at the "philosophy of translation" methodology outlining as an original philosophical texts translation tool from the point of view of culture as anthropological phenomena, namely, individuals’ participating in the text creation process providing the consistent following tasks solution: a) clarifying the text author’s role, which is the object of recipients’ perception; b) the human psyche inexhaustible potential realization for the primary text semantic content understanding by the translator to prevent its distortion; c) defining the requirements (...) for the translation process as a mean of bringing the reader closer to author’s understanding by language barrier elimination as an intuitive "obstacle" on its way. _Theoretical basis._ The author proceeds from the factual absence of the "philosophy of translation" concept unambiguous definition in the modern anthropological and philosophical space and seeks to take into account all the factors affecting the newly created text quality due to the all participants’ features reviled on every stage of the text translation process. Today, the "philosophy of translation" is a widely used phrase, though ignoring the characteristics of man as a single meaning creator of the concept under study. The article provisions are based on philosophical, translation, and psychological studies with an emphasis on classical and non-classical anthropology research (Gadamer, Khoma, Holovach, Chepeleva, Dizdar, Leonov, Lotman, Bakhtin, etc.). _Originality._ The author proposes a methodology for the original philosophical text adaptation and presents a generalized step-by-step scheme for its translation, which helps to solve the personality of the researcher and/or translator’s influence problem on the individual author’s meaning preservation during its reproduction in a reader’s convenient language. _Conclusions._ A look at the "philosophy of translation" from the philosophical anthropology point of view allows us not only to consider the process of translation from the individual characteristics of all the participants (author/philosopher-reader-researcher/translator-reader-philosopher/reader) but also to describe such translation methodology by concentrating on highlighting the author’s reasoning course, which rises new knowledge and encourages further philosophical reflection within the human nature instability problem. The translation of a philosophical text not only reproduces the semantic structure of the original message but also provides a number of possible dialogical reactions to it as an object of human phenomenology. The proposed concept takes into account any reader’s needs, fully preserving the author’s position. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Commentary on “Edmund Husserl’s Influence on Karl Jaspers’s Phenomenology”Jean Naudin (bio) and Jean-Michel Azorin (bio)Keywordsphenomenology, intentionality, intuition, empathy, ambiguitySchwartz and Wiggins’s paper clearly shows that Jaspers’s comprehensive psychiatry draws mainly from Husserl’s phenomenology. This thesis enters a current debate opened by Chris Walker and German Berrios about the influence of Husserlian philosophy on Jaspers’s work. This debate, which emerged at the end of the so-called decade of the brain, (...) could be considered perfectly obsolete. But its topicality relies on taking up the challenge of the scientific bases of comprehension in psychiatric experience. Wiggins and Schwartz perfectly achieve this aim by opposing a theory of seeing and a theory of thinking. Works such as Walker’s are grounded on thinking; they are works about theory. They are not works about experience, but rather epistemological or historical works. In contrast, Wiggins and Schwartz suggest to see, as Jaspers did, and not to think, following Husserl by grounding their psychopathology on intuition and presuppositionlessness. They emphasize Jaspers’s method of “making present” by doing a perfect analysis of the issues of translation of vergegenwärtigung as a co-experiencing of mental processes as if they were directly given. These main principles of direct-givenness, presuppositionlessness, and making present pull the Jaspersian concepts to the Husserlian phenomenological reduction and seem like the foremost principle in Husserlian phenomenology: the intuition of the thing in itself. Whereas Jaspers refuted the principle of eidetic reduction, Wiggins and Schwartz clearly show how much he grounded on the basis of the concept of intentionality, discovered and enlightened during Husserl’s life within the horizon of phenomenological reduction. Actually, it seems that the authors take the side of Jaspers to better support their own vision of psychiatric experience, which they more explicitly argued in Husserlian terms of the later period in some other papers (Schwartz and Wiggins 1985; Wiggins and Schwartz 1988, 1991; Wiggins, Schwartz, and Northoff 1990). However, they take care here to struggle exclusively with the epistemological field of their opponents, considering only Jaspers’s own writings and the Husserlian texts that were accessible to Jaspers when he wrote his psychopathology. There is no room for Kant in Jaspers’s main [End Page 37] principles, and this assumption must lead us to consider the horizon opened by Jaspers, that is, the horizon of a science of meaning essentially built on the lived experiences and the bracketing of any kind of a priori. In contrast to the slight influence of Kant, one idea that emerges is that of the straight impact of Dilthey on both Jaspers and Husserl. We perfectly agree with Wiggins and Schwartz that Jaspers, grounding both on Husserl and Dilthey, arrives at a methodological principle that is all his own, by considering both the connections of the life-stories and the objectivity of symptoms. In other words, we can find the originality and maybe the astonishing modernity of Jaspers in his perfect description of the balance between comprehension and observation, between empathy and its limits, that are obviously found in psychotic processes.We thus focused our comments on the following critiques to Jaspers, although they were already well argued in the brief conclusion of Wiggins and Schwartz: (a) the issue of empathy, (b) the limits of Jaspersian phenomenology, and (c) the merits of its genuine ambiguity.The Issue of Empathy. Indeed we have no reliable scientific mean to guarantee the correctness of our intuitions of the other’s mental life, and this problem might lead one to globally reject the method. The discussion of this problem, classical in the Continental literature since the twenties, led the Continental psychiatrists to unfortunately abandon their own traditions. And it is surprising for a Continental psychiatrist to see this debate coming back into the English-speaking literature. When we address the issue of empathy, we have no easy means to abandon folk psychology. Using philosophical slang weakens the attempt to enlighten its foundations instead of describing its values. The suspicion regarding empathy is partially legitimated by the prejudices of Jaspers himself. As psychiatrists, we have to carry on the Jaspersian research by progressively abandoning it and coming back... (shrink)

Following the formation of disciplines/sciences in different fields of Islamic thought, the specific concepts and terminologies of these disciplines/sciences began to emerge. Then the special meaning and the area of utilization for every concept in each discipline/science were further clarified by compiling specific epistles of definition (ḥudūd), which would contribute to this process of conceptualization. For the terminological meaning of the used concept to be determined primarily and thus for the followed theological/sectarian affiliation to be supported, works belonging to this (...) genre have been written specifically for the field of theology. Especially, the Muʿtazilī theologians undoubtedly made the greatest contribution. Thusly, specific treatises containing theological concepts were compiled by names such as al-Qāḍī ʿAbd al-Jabbār (d. 415/1025), and his students Abū Rashīd al-Nīsābūrī (d. after 420/1029) and Ibn Sharwīn (fl. first half of the Vth/XIth century). Zaydī theologian and jurist Abū’l-Qāsim al-Bustī’s (d. 420/1029) Tahdhīb al-ḥudūd, which has no available copy, is also contemporary to the mentioned works. This tradition found its reflection in the Imāmī-Muʿtazilī line in Abū Jaʿfar al-Ṭūsī’s (d. 460/1067) al-Muqaddimah fī l-madkhal ilá ṣināʿat ʿilm al-kalām, which could be seen as a concise theological work in terms of its construct and the explanations which it comprises, and in the work called al-Ḥudūd wa-l-ḥaqāʾiq, which is attributed to al-Sharīf al-Murtaḍá (d. 436/1044). Abū Jaʿfar al-Muqrī al-Nīsābūrī’s (d. mid-VIth/XIIth century [?]) al-Ḥudūd stands out as the most voluminous example in this tradition. The most important work belonging to this genre in the Muʿtazilī tradition, as it is the first among the available works, is the Ḥudūd al-alfāẓ of al-Qāḍī ʿAbd al-Jabbār, which is found together with some other important Zaydī-Muʿtazilī works in a compilation discovered by us and thought to be lost until recently. In this treatise, which generally includes theological concepts and partially includes the concepts of Islamic law and the history of sects, al-Qāḍī ʿAbd al-Jabbār has put forward a language-based definition theory. His approach here is in line with the views he put forward on definition in his al-Mughnī. Accordingly, instead of definition (ḥadd) and description (rasm) carried out over five universals in classical logic, he adopted a method of lexical definition based on wording that agrees with the meaning of the concept in question and is clearer than it, and consequently gave a brief definition and explanation of the concept he deals with. This clearly shows that the previous Muʿtazilī theologians’ approach of language-based definition, which was used as an alternative to the conception of Aristotelian definition due to their distanced stance to philosophy was also inherited by al-Qāḍī ʿAbd al-Jabbār. The approach seen in some sources in the period following al-Qāḍī, such as Abū Rashīd al-Nīsābūrī’s al-Ḥudūd, also indicates his influence. (shrink)

Does Augustine put his finger on time? -- Time for history -- Determination -- Self-determination -- Time, knowledge and truth.