In locating friendly fire in contemporary philosophy of religion, D.Z. Phillips shows that more harm can be done to religion by its philosophical defenders than by its philosophical despisers. Friendly fire is the result of an uncritical acceptance of empiricism, and Phillips argues that we need to examine critically the claims that individual consciousness is the necessary starting point from which we have to argue: for the existence of an external world and the reality of God; that God is a (...) person without a body, a pure consciousness; and that to assent to a religious belief is essentially to assign a truth value to a proposition independent of any confessional context. When these products of friendly fire are avoided, we arrive at a new understanding of belief, trust and the soul, and refuse to say more or less than we know about the realities of human life in the service of religious apologetics. (shrink)

Good and evil; religious aspects; Islam.

The Lodz Film School has existed since 1948.... In the year of the school's jubilee, we decided to publish five selected MA theses written by Direction Department graduates. Three of th theses, written by Krzysztof Kieślowski, Marcel Łoziński and Wojciech Wiszniewski, concern documentary film, whereas the two remainingones written by Grzegorz Królikiewicz and Edward Żebrowski refer to fiction films.... Their authors, excellent Polish film-makers, presented their auteurs' concept they had at the beginning of their artistic careers which were carried out (...) and verified by them through their work on... subsequent film projects. We decided to combine those theses with five complementary essays in which film historians and theoreticians analyse these directors' films which followed in the course of their career in the context of the concepts described by the directors in their MA theses."--English section, page 6. (shrink)

Our Book Review Editor, James Keller, invited William Hasker to write a review of the Book by D. Z. Phillips, "The Problem of Evil and the Problem of God" and then in consultation with the Editor-in-Chief invited Phillips to respond. Aware of both their respect for each other and their philosophical differences we planned that Hasker's review and Phillips' response would appear in the same issue of the "International Journal for Philosophy of Religion." Unfortunately that was not to be. Dewi, (...) as he was known to his many friends throughout the world, collapsed at his desk on 25 July, 2006 in the library of his beloved University of Wales, Swansea. Although we were not able to have the review and response appear in the same issue as we had all planned, we are now printing his response to Hasker's review, "D. Z. Phillips's Problems with Evil and with God," which appeared in IJPR, Vol. 61,3. Dewi had completed the review and thanks to the efforts of Helen Baldwin who prepared the manuscript and Dewi's wife, Monica, and family we are able to print it here. Since Dewi was responding to an earlier version of Hasker's review, a few minor editorial changes have been made. Dewi's death is a great loss to the philosophical community and a deep personal loss to his family and friends, but I am confident that he would be pleassed to have this response appear. He might even have a story to tell, a comment that those who knew him well will fully understand. Eugene Thomas Long. (shrink)

Arab countries; intellectual life; congresses.

In The Borderline Culture: Intensity, Jouissance, and Death, Željka Matijašević examines contemporary culture through psychological borderline theory.

In lieu of an abstract, here is a brief excerpt of the content:Introduction to the 30th Anniversary Issue of Philosophy, Psychiatry, & PsychologyJohn Z. Sadler (bio)This issue marks the 30th anniversary of Philosophy, Psychiatry, and Psychology (PPP). All of us at the journal are grateful to our authors, readers, editors, and publishers for enabling this landmark. To commemorate this event, I invited our Founding Editor and Chair of the Advisory Board, K.W.M. "Bill" Fulford to write a brief essay, along with (...) our panel of smart and industrious senior editors. Their instructions were simple: 500 words on PPP past, present, and/or future. These essays appear in the pages to follow. As Editor-in-Chief, I write about PPP's early commitments as a scholarly journal, situate these in the history of academic publishing, and muse over our current moment.Bill Fulford briefly discusses the early years of the journal in his essay. My perspective emerges from an editor's perspective. As co-editors in the early years, Bill and I were committed to an international authorship with comparable editorial oversight. We wanted to build a journal that would equally recognize clinical science and practice and philosophy, maintaining the rigor of each field. We saw philosophers and mental health practitioners as equal partners, collaborators, innovators, and educators. More important, PPP was intended to offer up the best criticism of the mental health and related fields.The scattershot history of scholarly editing has identified several functions of the editor over the centuries following Gutenberg's invention of the printing press in the mid-1440s. The earliest editors took liberties with the language of the Bible, trying to make it more accessible to the public; the printing press permitted fast and inexpensive reproduction. Not surprisingly, this popularizing of the Bible led to praise as well as outrage. The printing of other scholarly works followed quickly. In 1470, only about 25 years after the invention of the printing press, Niccolo Perroni called for Pope Paul II to censor Andrea Bussi's edition of Pliny the Elder's Natural History, an anthology of then-ancient writings about the natural world. This marked the first recorded instance of censorship of a more-or-less secular scholarly work (Monfasani, 1988). In the ensuing centuries, "editors" initially were the popularizers, and later the gatekeepers of texts worth (and not worth) reading. In the [End Page 1] ensuing centuries into the present, editors have been venerated both as defenders of good reading and reviled as censors or intellectual selfaggrandizers.The current moment, in my view, represents a crisis in the history of editing and editorship. Digital communications have liberated communications worldwide. However, this liberty has come at the cost of colossal amounts of material not worth reading and an explosion of divisive, destructive discourse. Even worse, internet "trolls" on social media have moved bullying out of the schoolyard and into international cyberspace. Determining what is worth reading has moved away from a cluster of (hopefully) responsible editors to anyone who wants to go to the small effort of silencing others through online harassment and even violent threats. Such cyberbullying does not eliminate elitism, but instead substitutes a toxic online "elite" without principle other than self-promotion and the alienation of others. Our contemporary online culture has yet to figure out how to shape what is, and is not, worth reading.My wish and intent for the future of PPP is to maintain and grow our place of rational, deliberative, and open discourse, even in the face of such disruptive cultural change.John Z. Sadler John Z. Sadler, MD, is the Editor-in-Chief of PPP. He is the Daniel W. Foster, MD, Professor of Medical Ethics at the University of Texas Southwestern Medical Center, as well as a Professor of Psychiatry there. He has been a PPP editor since its inception.ReferenceMonfasani, J. (1988). The first call for press censorship: Niccolo Perotti, Giovanni Andrea Bussi, Antonio Moreto, and the editing of Pliny's Natural History. Renaissance Quarterly, 41, 1–31. Google ScholarCopyright © 2023 Johns Hopkins University Press... (shrink)

D Z Phillips; Not in Front of the Children: children and the heterogeneity of morals, Journal of Philosophy of Education, Volume 14, Issue 1, 30 May 2006, Pages.

In lieu of an abstract, here is a brief excerpt of the content:Painting in Tongues:Faith-Based Languages of Formalist ArtKevin Z. Moore (bio)A philosophical problem is created by the incoherence between the earlier state and the later one.—Ian Hacking, Historical OntologyWhatever is happening to evidence-based treatment? When the facts contravene conventional wisdom, go with the anecdotes?—New York Times, "Science Times," February 14, 2006Cephalopods have a visual language that may be considered artful; humans have written and vocalized languages that are sometimes artful; (...) but it is doubtful that there is such a thing as a "language of art," particularly in the sense that twentieth-century formalists and their critics carelessly speak of one or many. Cephalopods flash color-forms on their hides to communicate intents and emotions, maybe even to project plans. They speak in tattooed tongues through neurologically embossed patterns and color field designs displayed on the skin. The large-eyed sea creatures communicate voicelessly in a visual language of pure color-forms, each species perhaps having its own dialect. Though not a full or official language by any means, their color-forms display the ideal that twentieth-century formalist artists sought to graphically realize (referential and conceptual immediacy, emotional coloring, communication via pure, that is, nonpictorial, form). Formalist inspired artists and their critic-expositors describe abstract pattern-painting as though it were a visual language equal to that of the cephalopod. Yet [End Page 40] although we can reasonably imagine cephalopods getting the correct message by observation, we cannot reasonably imagine observers getting any message at all, let alone the intended message, from abstractionist painting. This casts suspicion on the formalists' claims about visual language. Observers cannot and famously do not get anything "out" of formalist pattern paintings, though they do project quite a lot "into" them. The telling difference between octopus and artist? Cephalopods communicate visually—their survival depends on it. Formalists do not, though the survival and flourishing of their art depends upon the belief that they do.Notably, explanations of what exactly a formalist language of art is goes missing from accounts of sense and reference in the relevant literature, where we learn that this or that painting exhibits this or that language of art but never how this or that painting functions as a language of any sort. The "language of art" phrase, it seems, has the same force as mentioning truth or existence: it explains nothing. Talk of a language of art suggests merely that a painting exhibits a communicative intent; it does not explain how that intent is linguistically mediated. The phrase is ostensive and nominal, not descriptive and expository.Prior to the twentieth century there may have been some justification for this language since art was shaped by objective reference, identifiable codes (sign and symbol systems), and recognizable scenes (compositions) that made painting a language-like public media. Observers could see immediately or "read" paintings by observation as though they were reading a language. Images were shaped by observation; reference was fixed by convention. The formalist revolution in the late nineteenth and early twentieth centuries dismantled the public character of representation in painting. After the revolution, the new art that appeared was a sort of visual humpty-dumptyism, to invoke a language metaphor. Formalist imagery functioned the way words did for Mr. Carroll's Mr. Dumpty: they meant what the artist intended them to mean and not what observation or convention constrained them to mean. Reference and meaning were as arbitrary as the visual forms chosen to bear them. Once a communicative medium, painting became an expressive medium, the values of the latter superseding those of the former wholly or in part. Even when a formalist painting alluded to a conventional arrangement (a landscape or portrait, for example), the composition was as visually parodic of genre as Mr. Carroll's Jabberwocky was verbally parodic of narrative poetry, preserving syntax (form) but not the integrity of the formal agents of communication. Both are forms of nonsense, yet only one intentionally so.Styles of formalism do not facilitate the observation of intended reference; they are not effective forms of communication because they are not languages. If the basic function of a visual art is to communicate a specific... (shrink)

From the point of view of dialectical materialism, philosophy lies somewhere between the extremes of speculative metaphysics and logical analysis. It has a real object--the most general laws of nature, society, and thought; it attains this object, however, not independently of the special sciences, but only through a logical analysis of its results. Since philosophy studies reality only indirectly, through the sciences, it should be called philosophy of science rather than philosophy of nature. The first task of the philosopher is (...) to analyze the basic concepts of science: space, time, motion, cause. Most of the book is devoted to this task. Space is given a historical survey consisting of short accounts of what various people have said about it, and attributes to Lenin a curious concept of pseudo-absolute space. The discussion of time is organized differently, i.e., by type: absolute, relative, relativistic, biological, and Lenin's pseudo-absolute. Problems of simultaneity and direction of time are touched upon. Causality as a necessary, asymmetrical relation between two coexisting events is defended. The final part of the book is devoted to problems of measurement, relativity, and observation. The aim of the chapter on relativity is to show that this theory supports Lenin's doctrine that "the absolute is in the relative." Observability as the criterion of reality is rejected. Observation is important only as the beginning of knowledge and is transcended in the discovery of general laws. As a whole the book is disappointing because it sacrifices depth to breadth.--T. D. Z. (shrink)

This book is an excellent general introduction to existentialist thought. It organizes the subject-matter under traditional philosophic disciplines beginning with an account of the method and proceeding to ontology, epistemology, ethics, social and religious thought. The author concentrates on the writings of the leading figures in the movement--Kierkegaard, Heidegger, Marcel, Sartre, Jaspers--and delineates the areas of agreement and disagreement among them. The arrangement of materials around traditional problems facilitates the detection of changes in approach, emphasis, and formulation. The most important (...) aspect of the book lies in the attempt to view the movement as a part of the philosophical tradition, to explain the methods and doctrines against which the Existentialists react as well as their heroes in the tradition. The achievements of the movement are measured against its claims, and its major deficiencies are pointed out in the last chapter. Throughout the book the author manages to preserve a clarity and economy that are a welcome contrast to the style of existentialist writings.--T. D. Z. (shrink)

The author's aim is to show that Leontev's ideas are not disconnected, as many critics have held, but form a system that is both logically consistent and interconnected by the "inner logic" of a powerful emotion. To uncover the emotional sources of Leontev's philosophy, half the book is devoted to Leontev's life, and especially his relation to his mother. Since childhood, he feared and loved her, and associated her with religion, refinement, and absolutism. Leontev's first formulation of his doctrine of (...) aestheticism when he returned from the Crimean War probably coincided with his first suspicions of his homosexuality. His unexpected marriage to his former mistress was an attempt to overcome his guilt and weakness. His first ideological work, Byzantism and Slavdom was written under the double strain of his mother's death, and his own experience of fear of death during an illness. Leontev's doctrine of aestheticism when applied to the individual, yields "a poetry of life" beyond good and evil. One's personal life must be maximally original, complex, and unified at whatever cost in happiness to oneself or others. Religious faith is needed to reconcile one with suffering and death. Yet, religion dictates an ethics which conflicts with the aesthetics of life. The constant struggle between the two principles enriches personality and heightens creativity, and must finally end in a heroic total rejection of aesthetics. Applied to society and history, aestheticism demands a society stratified into unequal and hostile classes and unified by ruthless despotism. Such a society was to be most conducive to the development of original personalities. The egalitarian, happiness-orientated West was in decline and sacrificed beauty to banality. Without much confidence in its realization, Leontev advocated "freeze up Russia" to avoid infection from the West.--T. D. Z. (shrink)

Žižek as comedian: jokes in the service of philosophy.

The latest book by the Slovenian critic Slavoj Zizek takes the work of French philosopher Gilles Deleuze as the beginning of a dazzling inquiry into the realms of radical politics, philosophy, film (Hitchcock, Fight Club ), and psychoanalysis. Of Organs without Bodies Joan Copjec ( Imagine There's No Woman ) has written: "With all his ususal humor and invention, Zizek -- the acknowledged master of the 180 degree turn -- here takes a trip into "enemy" territory to deliver Deleuze of (...) a marvelously rebellious child, one that seriously challenges Deleuze's other progeny with a surprising but convincing bid for succession. Those who thought Deleuze's forward march into the future would follow a straight path are forced to rethink their stance. From now on all readings of Deleuze will have to take a detour through this important -- even necessary -- book." Eric Santner ( On the Psychopathology of Everyday Life ) describes Organs without Bodies as offering "an entirely new degree of conceptual clarity and political urgency. Through his deep engagement with the logic of Deleuze's project, Zizek opens up new possibilities of thought beyond the terms of the current political debates on globalization, democratization, war on terror. Once again, Zizek has produced an utterly timely and radically untimely meditation." Recently profiled in The New Yorker , and hailed by the Village Voice as "the giant of Ljubljana," Zizek is one of the most provocative and entertaining thinkers at work today. (shrink)

With the disintegration of state socialism, we are witnessing this eruption of enjoymnet in the re-emergence of aggressive nationalism and racism. With the lid of repression lifted, the desires that have emerged are from from democratic. To explain this apparent paradox, says Slavoj Zizek, socialist critical thought must turn to psychoanalysis. For They Know Not What They Do seeks to understand the status of enjoyment within ideological discourse, from Hegel through Lacan to these political and ideological deadlocks. The author's own (...) enjoyment of "popular culture" makes this an engaging and lucid exposition, in which Hegel joins hands with Rossellini, Marx with Hitchcock, Lacan with Frankenstein, high theory with Hollywood melodrama. (shrink)

The Confucian culture, rich in its contents and great in its significance, exerted on the thinking, culture and political life of ancient China immense influences, unparalleled by any other school of thought or culture. Confucian theories on morality and ethics, with 'goodness' as the core and 'rites' as the norm, served as the 'key notes' of the traditional medical ethics of China. The viewpoints of Confucianism on benevolence and material interests, on good and evil, on kindheartedness, and on character cultivation (...) were all inherited by the medical workers and thus became prominent in Chinese traditional medical ethics. Hence, it is clear that the medical profession and Confucianism have long shared common goals in terms of ethics. Influenced by the excellent Confucian thinking and culture, a rather highly-developed system of Chinese traditional medical ethics emerged with a well-defined basic content, and the system has been followed and amended by medical professionals of all generations throughout Chinese history. This system, just to mention briefly, contains concepts such as the need: to attach great importance to the value of life; to do one's best to rescue the dying and to heal the wounded; to show concern to those who suffer from diseases; to practise medicine with honesty; to study medical skills painstakingly; to oppose a careless style of work; to comfort oneself in a dignified manner; to respect local customs and to be polite; to treat patients, noble or humble, equally, and to respect the academic achievements of others, etc. Of course, at the same time, Confucian culture has its own historical and class limitations, which exerted negative influences on traditional medical ethics. Now, if we are to keep up with the development of modern medicine, a serious topic must be addressed. That is how to retain the essence of our traditional medical ethics so as to maintain historic continuity and yet, at the same time, add on the new contents of medical ethics so as to incorporate modern features into our system. Therefore, when trying to reform medical practice in China, we are faced with the urgent need to inherit and promulgate the essence of Confucian ethics--discarding its obsolete concepts--while at the same time building up the new medical ethics that can meet the requirements of the outside world and the future. (shrink)

Ghazzālī, 1058-1111; Kīmiyā-yi saʻādat -Criticism and interpretation ; Ghazzālī, Aḥmad ibn Muḥammad, -1126; Savāniḥ -Criticism and interpretation ; Ghazzālī, Aḥmad ibn Muḥammad, -1126; Baḥr al-muḥabbat fī asrār al-muvaddat fītafsīr Sūrah-i Yūsuf -Criticism.

cz. 1. Marksizm, myśl katolicka, filozofia egzystencjalna.

The Invisible Remainder' begins with a detailed examination of the two works in which Schelling's speculative audacity reached its peak: his essay on human freedom and his drafts on the 'Ages of the World.

In this provocative and original work, Slavoj Zizek takes a look at the question of human agency in a postmodern world. From the sinking of the Titanic to Hitchcock's Rear Window, from the operas of Wagner to science fiction, from Alien to the Jewish Joke, the author's acute analyses explore the ideological fantasies of wholeness and exclusion which make up human society. Linking key psychoanalytical and philosophical concepts to social phenomena such as totalitarianism and racism, the book explores the political (...) significance of these fantasies of control. In so doing, The Sublime Object of Ideology represents a powerful contribution to a psychoanalytical theory of ideology, as well as offering persuasive interpretations of a number of contemporary cultural formations. -- Back cover. (shrink)

The essays in this volume, focus on this distinction in their consideration of Hegel's political philosophy - his attempted (re)construction of modern ethical ...

With his characteristic wit, Zizek addresses the burning question of how to reformulate a leftist project in an era of global capitalism and liberal-democratic ...

On Islamic teachings, written by an army officer and educationist from Pakistan.

Book synopsis: In this combative major new work, philosophical sharpshooter Slavoj Zizek looks for the kernel of truth in the totalitarian politics of the past. Examining Heidegger's seduction by fascism and Foucault's flirtation with the Iranian Revolution, he suggests that these were the 'right steps in the wrong direction.' On the revolutionary terror of Robespierre, Mao and the bolsheviks, Zizek argues that while these struggles ended in historic failure and horror, there was a valuable core of idealism lost beneath the (...) bloodshed. A redemptive vision has been obscured by the soft, decentralized politics of the liberal-democratic consensus. Faced with the coming ecological crisis, Zizekk argues the case for revolutionary terror and the dictatorship of the proletariat. A return to past ideals is needed despite the risks. In the words of Samuel Beckett: 'Try again. Fail again. Fail better.'. (shrink)

With a new introduction by the author In this deliciously polemical work, a giant of cultural theory immerses himself in the ideas of a giant of French thought.