Previous chapter In the second half of the 19th century, the last important artist who contributes to the theory of rhythm is Stéphane Mallarmé. Through a deep reflection on poetry and language, based on a very innovative writing practice, Mallarmé provides new insights on the relation between rhythm, language and subjectivity. In a very famous letter written in 1886, Mallarmé presents rhythm as nothing less than the “essential” part of “human language,” through which poetry expresses “the - Sur le concept (...) de rythme – Nouvel article. (shrink)

Russian verse: Its metrics, versification systems, and prosody (Generative synopsis). In the article the general verse metre theory and its application to Russian verse is adressed, allowing us, thereby, to observe not the single details, but only the most general characteristics of verse. The treatment can be summarised in the five following points:1) the basis for the phenomenon of verse is its metrical code: the special feature of verse text is the presence of its (...) metre (this feature is common to every verse type, to the most regular verse, as well as to vers libre);2) the nature of verse metre is extralinguistic, there is no metre within a language, the latter can only induce certain limitations in choosing a metre;3) metre is an abstract chain of translational symmetry, the elementary period of which is called verse foot (i.e. firstly, verse feet are contained in every versification system, incl. syllabic verse and free verse, and, secondly, verse feet can not be defined in terms of natural language, e.g., as the combination of short and long or accented and unaccented syllables).4) in verse text, metre appears through the medium of natural language: verse metre is coded in terms of natural language; the nature of its codification is detennined by the versification system. Hence, every verse metre can be realised in different versification systems, e.g. iambus can occur in syllabic-accentual, syllabic-quantitative, and some other versification systems;5) verse prosody is a consequence of the influence of verse metre on the prosodies of language; the range of transformation of a language system by verse metre extends from the unification of the strength of verse accents in accentual verse to such artificial formations as the origination of long syllables in languages which lack phonological quantity. (shrink)

Whatever we choose to call Beckett’s series of disjunctive and repetitive paragraphs , Ill Seen Ill Said surely has little in common with the short story or the novella. Yet this is how the editors of the New Yorker, where Beckett’s piece first appeared in English in 1981, evidently thought of it, for like all New Yorker short stories, it is punctuated by cartoons and, what is even more ironic, by a “real” poem, Harold Brodkey’s “Sea Noise” . Notice that (...) the reader immediately knows—or is supposed to know—that Brodkey is a poet and Beckett a fiction writer, not only because “Sea Noise” is designated a poem in the issue’s table of contents, but also because its placement on the page, framed by white space, distinguishes it from Ill Seen Ill Said, which is printed in standard New Yorker columns. Yet if we examine the sound structure of Brodkey’s poem, we find that the rhythm of recurrence is, if anything, less prominent here than in the Beckett “prose.” The four stanzas are of irregular line length ; the stress count ranges from one to five ; rhyme occurs only once, at the end of the poem ; and alliteration and assonance are not marked. Unless we assume that poetry is defined by the sheer decision of its maker to lineate the text, or unless we want to call “Sea Noise” a poem because it is built around a single extended metaphor , there is no rationale for the classification the New Yorker has implicitly adopted.4The meaning of this classification is worth pondering, for it represents, in microcosm, the orthodoxy of every major literature textbook and literary history as well as of most classrooms in the United States and Britain, which that Beckett is a writer who, like the young Joyce or the young Faulkner, wrote in his dim youth some negligible, clotted lyric poems but whose real work belongs to drama and fiction. As such, we don’t teach Beckett in our poetry courses or include him in discussions of contemporary poetry and poetics. The index of any major book on the subject—say, Robert Pinsky’s The Situation of Poetry—will bear this out. And yet the irony is that contemporary poets are increasingly using forms that cannot be properly understood without the example of Beckett’s astonishing “lyrics of fiction”—to use Ryby Cohn’s apt term5—or, as I shall call them, his “associative monologues.” Perhaps, then, it is time to rethink our current procedures of canon making. In what follows, I shall use Ill Seen Ill Said as an example.4. Contemporary prosodists, perhaps because they must account for the difficult case of free verse, generally do equate verse—and hence implicitly the poem—with lineation. For example, Charles O. Hartman, in his recent Free Verse: An Essay in Prosody , observes that, difficult as it is to define the word “poetry” “rigorously and permanently,” verse can be distinguished from prose quite readily:Verse is language in lines. This distinguishes it from prose…. This is not really a satisfying distinction, as it stands, but it is the only one that works absolutely. The fact that we can tell verse from prose on sight, with very few errors…indicates that the basic perceptual difference must be very simple. Only lineation fits the requirements. [P.11]But, as I have just shown in the case of Beckett and Brodkey, what looks like verse may sound like prose and vice versa. The “basic perceptual difference” between the two is surely not as simple as Hartman suggests. I discuss this question from a somewhat different angle in “The Linear Fallacy,” Georgia Review 35 : 855-69.5. See Ruby Cohn, Back to Beckett , chap. 5, “Lyrics of Fiction.”. (shrink)

Russian verse: Its metrics, versification systems, and prosody (Generative synopsis). In the article the general verse metre theory and its application to Russian verse is adressed, allowing us, thereby, to observe not the single details, but only the most general characteristics of verse. The treatment can be summarised in the five following points:1) the basis for the phenomenon of verse is its metrical code: the special feature of verse text is the presence of its (...) metre (this feature is common to every verse type, to the most regular verse, as well as to vers libre);2) the nature of verse metre is extralinguistic, there is no metre within a language, the latter can only induce certain limitations in choosing a metre;3) metre is an abstract chain of translational symmetry, the elementary period of which is called verse foot (i.e. firstly, verse feet are contained in every versification system, incl. syllabic verse and free verse, and, secondly, verse feet can not be defined in terms of natural language, e.g., as the combination of short and long or accented and unaccented syllables).4) in verse text, metre appears through the medium of natural language: verse metre is coded in terms of natural language; the nature of its codification is detennined by the versification system. Hence, every verse metre can be realised in different versification systems, e.g. iambus can occur in syllabic-accentual, syllabic-quantitative, and some other versification systems;5) verse prosody is a consequence of the influence of verse metre on the prosodies of language; the range of transformation of a language system by verse metre extends from the unification of the strength of verse accents in accentual verse to such artificial formations as the origination of long syllables in languages which lack phonological quantity. (shrink)

Muḥkam and mutashābih have developed as two topics that are related to every field of religious studies throughout the historical process. The fact that this has been a topic of controversy in every field of religious studies is due to the fact that verses of the Qur’an were classified as muḥkam and mutashābih by the verses of the Qur’an. Discussions and suggestions regarding muḥkam and mutashābih generally tended to be limited to the studies about the semantic definitions of the terms (...) or were shaped around the narratives about the circumstances of the revelation and thus digression from the actual context was inevitable. In addition, acknowledging muḥkam and mutashābih as semantic qualities of the Qur’an raised doubts over the Qur’an's status as an understandable text. As mutashābih verses were considered by some as ambiguous, this enabled each school of thought to base their opinions on the verses of the Qur'an. The fact that current interpretations of the verses of the Qur’an are not made free from the historical points of view is due to the strength of the historical knowledge. Qur’an demands faith in the previous canons as well as demanding faith in the previous messengers. In this context, muḥkam are the genuine commandments of the Qur’an which did not exist in the previous canons whereas mutashābih are the commandments that resemble the ones in the previous canons. This research employs analysis, comparison and criticism methods for examining its subject matter. Meanings of the verses of the Qur’an are analyzed linguistically and the relations between the terms in this context are attempted to be shown. In interpreting the verses about the topic, arguments of different schools of thought are included. Criticism of the previous interpretations is carried out considering the contextual and semantic integrity of the Qur'an. It is also stated that while forming its muḥkam verses, the Qur’an employed the methods of abrogation, adjournment and conversion. Abrogation is not an annulation of the own verses of the Qur’an but an annulation of a commandment in a previous canon. Adjournment means not to abrogate a commandment of a previous canon but their inclusion in the new canon. The cases that the Qur’an mentions in which the messenger is accused of fabricating are stated to be due to the conversion of the commandments the interlocutors had already known by genuine verses of the Qur’an. To regard muḥkam and mutashābih as genuine and resembling verses would fortify the judgement that the verses of the Qur’an are comprehensible. This paper concludes that the muḥkam verses provide the fundamentals of the system of law which is the Qur’an, and mutashābih are the verses that are in the Qur’an and show resemblance to previous laws that were already present at the time. In relation to this, that those with crooked hearts tracing after the mutashābih is interpreted to mean that they investigated whether the ayats were included in the previous canons and that Allah knows the gloss of the mutashābih ayats is interpreted to mean that He knows in which canon the ayats were first included and finally the attitude of those with deep wisdom towards the muteshâbih ayats is explained as that with their vast knowledge on revelation, they confess that all the resembling ayats were revealed by Allah. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Parmenides: The Road to Reality A New Verse Translation RICHARD MCKIM introduction i. In the history of Presocratic Greek philosophy, the poetry of Parmenides seems to loom up suddenly out of the blue like a spectral mountain peak. Depicting a vision of ultimate reality that transcends the sensory world, his towering verse manifesto revolutionized both how philosophers thought and what they thought about, with profound repercussions that (...) still reverberate today. Parmenides has not, however, been well served by his English translators. He wrote poetry and yet is almost always translated into prose. His poem describes a divinely inspired revelation and yet is persistently translated as if it were an exercise in deductive logic. His Greek can be strange and difficult but is never unintelligible, which is more than can be said for the Anglo-gibberish his translators too often force him to speak. Too many subscribe to the misguided notion that a “literal” translation, as close as possible to word-forword, best represents the original. In fact, the painful English that results, so far from being faithful to the Greek, actually betrays it, creating the obscurities it purports to reflect. Parmenides ’ reputation for being hard to understand is largely his translators’ fault, not his. I’ve undertaken to make amends by translating his poem as a poem, in a loose English approximation of the same meter. My goal is to capture some of what gets lost in prose—to mirror, however dimly, the vital role of poetic form in shaping Parmenides’ vision. The demands of meter make literal translation impossible—not at all a bad thing— while paradoxically freeing the translator to be more faitharion 27.2 fall 2019 ful. I’ve tried to use this freedom to demonstrate that Parmenides is not the obscurantist would-be logician of so many other translations but a philosopher who thinks in poetry, and whose thought is as clear and accessible as it is astonishing. ii. parmenides was a citizen of Elea, a Greek colonial town on the west coast of the ankle of Italy’s boot. Born around 515 BCE, he was an older contemporary of Socrates, who was born in 470 (according to Plato, the two men met when Parmenides was sixty-five). Several other so-called Presocratics were active even later—Democritus for one was Socrates’ junior by a decade. But the label is still useful: while Socrates reoriented philosophy toward moral values and politics, the later Presocratics maintained their predecessors’ focus on physics and cosmology. Their project was to account for the physical workings of the universe—its origins, its elements, and the forces or laws that govern its behavior— without falling back on the gods of traditional myth. But Parmenides splits their story in two. Before him, Presocratics took the reality of the sensory world for granted— a world of multiplicity and variety, motion and change, becoming and passing away. Parmenides radically rejected this assumption. The sensory world, he declared, is an illusion. What really exists is what he calls “being,” whose true nature can be perceived only by the mind. And by clearly perceiving what being must be like, the mind perceives that it can’t be anything like the world as our senses perceive it. Being is the exact opposite of the sensory world in every respect. It is timeless, motionless, changeless and imperishable, an eternal and indivisible One. After Parmenides, the reality of the sensory world needed defending. Subsequent Presocratics had to explain, at a minimum, how it could circumvent his ban on multiplicity and motion. Most notably, he provoked Leucippus and Democri106 parmenides: the road to reality tus into developing their theory of atomism—that the universe consists entirely of atoms in a void. Atoms are microscopic Parmenidean beings insofar as they’re indivisible, indestructible and immutable, but they can be infinite in number, they can move, collide and combine, thanks to the roominess of the infinite void, defined as the absence of being. Never mind that Parmenides ruled out the existence of such an absence—by inspiring atomism, he became, in his otherworldly way, the unwitting godfather of modern physics. As for metaphysics, it may be debatable whether he arrived at the idea... (shrink)

In this paper, I attempt to read the poetic principle behind the Tammuzi movement of modern Arabic poetry through the lens of speculative poetics. While speculative-poetic accounts of modern poetry, such as those provided by Allen Grossman, blazed new paths connecting poetry to personhood in modernity, their application to the development of modern poetry outside of Europe remains limited by their self-avowed focus on European history. This paper will outline a critical corrective to speculative poetics which, I argue, can be (...) of value in extending its domain of application to Arabic projects of poetic modernity, particularly the two tendencies of "free verse" and "commitment" poetry that emerged out of the Tammuzi movement. (shrink)

This essay seeks to understand the nature of both interpersonal and intercultural dialogue from the perspective of Zen Buddhism as it has been interpreted, in dialogue with Western philosophy and religion, by the central figure of the third generation of the Kyoto School: Ueda Shizuteru (1926–2019). It examines how Ueda develops a philosophy of interpersonal dialogue on the basis of Zen teachings and practices. In particular, it reveals how Ueda draws on Huayan and Zen Buddhist notions of “host” and “guest” (...) to unfold the dialogical implications of the tenth of The Ten Oxherding Pictures, kōan interviews, linked verse poetry, and the Japanese greeting of the bow. The final sections of this article then explore the implications for intercultural dialogue of Ueda’s account of human existence as dwelling in a “twofold world” through a circulating process of “exiting language and exiting into language.”. (shrink)

Free verse devotionals or meditations, basically Jnana, and difficult to assess.—P. S.

In lieu of an abstract, here is a brief excerpt of the content:Form and Discontent*Rosmarie Waldrop (bio)1. Composition as ExplanationIn the beginning there is Gertrude Stein, who says in “Composition as Explanation”: “Everything is the same except composition and as the composition is different and always going to be different everything is not the same” [520].I could also say, in the beginning is Aristotle: “the fable is simply this, the combination of the incidents” [1460].2. A Look AroundThe forms that have (...) been striking me as “wild” have tended to be Steinian in this sense of stressing the horizontal, the axis of composition. I’m most struck by 3 tendencies: one is literally spatial composition, e.g. Susan Howe’s work; another, an emphasis on discontinuity, leaps on the level of syntax, of logic, of grammar. Breaks that do not immediately fold back into a smooth unity and may occur in mid-sentence:I was on my way from Carthage, it was night. It is not wax I am scorching was dead about her with knots.—Norma Cole, MarsI hide behind a category by misbehaving.—Carla Harryman, Under the BridgeLoop conceived in a line, the spine with its regions, reasons. On another, sweaters hang by the wrist to dry. The list is sweet. You lie. The eye is met by the season.—Ron Silliman, ParadiseYou took my temperature which I had meant to save for a more difficult day.—Rosmarie Waldrop, The Reproduction of ProfilesWent out so I’d take the car and a whole system of banking and money is based on a hierarchy.—Leslie Scalapino, Considering How Exaggerated the Music IsROAST POTATOESRoast Potatoes for.—Gertrude Stein, “Tender Buttons”Or, a subtler example, Mei-mei Berssenbrugge’s almost unnoticeable shifts from one grammatical structure into another: [End Page 54]Never mind if he calls, the places you get through inwardness take time, and to drift down to the shore of the island, you know by the sand moving, even the coarse sand here It’s hard to say if you can even stand up, there....[13]The third tendency is mathematical. There is a lot of counting. Not stresses, not even syllables—I’m not considering that most unimaginative bunch, the new formalists—but words per line, sentences per paragraph. You all know about Ron Silliman’s love for the Fibonacci number series, or Lyn Hejinian’s My Life, which began with 37 sections of 37 sentences each. When she published a second edition at age 45, she added 8 sentences to each section plus 8 new sections.Jacques Roubaud: “No ideas but in numbers” [291].Then, in a somewhat more remote way, a number of people use ideas of permutation. For example, Jackson Mac Low’s 4 Trains, of which I will quote the first two stanzas:Train rule atom intricate nitrogen. Rule unusual leotard entropy. Atom train ostrich might. Intricate nitrogen train rule intricate casual atom train entropy. Nitrogen intricate train rule ostrich genealogy entropy nitrogen.Rule unusual leotard entropy. Unusual nitrogen unusual social unusual atom leotard. Leotard entropy ostrich train atom rule dies. Entropy nitrogen train rule ostrich pope yearly.[7]As Zukofsky puts it: “[Thus] poetry may be defined as an order of words that as movement and tone (rhythm and pitch) approaches in varying degrees the wordless art of music as a kind of mathematical limit” [27].All these examples draw attention to arrangement, composition. They all listen to language. I once wrote:I don’t even have thoughts, I say, I have methods that make language think, take over and me by the hand. Into sense or offense, syntax stretched across rules, relations of force, fluid the dip of the plumb line, the pull of eyes.... No beginnings. All unrepentant middle.[A Form / of Taking / It All 74]And none of these forms are “organic form.” None relies primarily on metaphor, though from the Romantics on poetry has been more or less identified with it.3. Frameworka. HistoricalLet me step back for a moment to the beginnings of the concept of organic form, what it reacted against.When Goethe started to make a splash writing free verse, around 1770, the dominant aesthetic... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Alcaics In Exile: W. H. Auden’s “In Memory Of Sigmund Freud”Rosanna WarrenOn September 23, 1939, Sigmund Freud died in exile in London, a refugee from Nazi Austria. Within a month, Auden, who had been living in the United States since January of that year, wrote a friend in England that he was working on an elegy for Freud. 1 The poem appeared in The Kenyon Review early in 1940. (...) A stately public ode, the poem mourns not only the death of a publicly significant individual, but the collapse of a world. Hitler had overrun Austria, Czechoslovakia, Poland; assaults on Jews had intensified; England and France had just declared war on Germany. There would be, indeed, many who would have to be mourned:When there are so many we shall have to mourn, when grief has been made so public, and exposed to the critique of whole epoch the frailty of our conscience and anguish,of whom shall we speak?...Someone encountering this poem for the first time, on the page or in the ear, might be pardoned for puzzling over its form. It sounds prosy. It seems to have some recognizable English cadences, pentameters (“[inline-graphic 01]”), tetrameters (“ ”), and even trimeters (“ ”). But the pattern seems unruly, with some [End Page 111] lines stretching out beyond five traditional beats, and ignoring any iambic order: “turned elsewhere with their disappointment as he.” Groping for a more satisfactory principle of organization, a reader with some knowledge of versification may be moved to count syllables. Such a reader will discover that the poem is indeed organized syllabically in lines of 11, 11, 9, and 10 syllables. “Aha,” says the reader, alert to Auden’s intimacy with Classical civilization: “A Horatian ode. Not inappropriate for a formal elegy.” Reflecting further, and leafing through the pages of Horace, that reader will find, or remember, that two thirds of Horace’s odes are in these quatrains, the alcaic stanza. Auden, it appears, has composed his elegy in some version of the meter of Alcaeus, the 7th century b.c.e. Greek poet whose stanza became second nature to Horace. And we cannot enter the world of Auden’s poem without asking, why alcaics? And how do they work here?“In Memory of Sigmund Freud” is sometimes said to be Auden’s first syllabic poem. 2 Others demur, proposing both earlier and later examples. 3 Whatever the spats about dating Auden’s early syllabic practice, scholars conventionally agree that his turn toward syllabic composition reflects his evolving interest in a discursive poetry; in the poet as a private intelligence with a public voice; and in the work, respectively, of Horace and Marianne Moore. Having identified the poem as syllabic, many critics move on to heftier topics like psychoanalysis versus Marxism, Auden more than most poets having laid himself open to an overridingly thematic criticism of Big Ideas. But if, having acknowledged the influence of Horace and Moore in Auden’s refusal of English iambic lyricism here, we stay with the question of meter, we are led back to the older progenitor, Alcaeus, a great poet of exile, whose stanza Auden adopts and adapts. I shall ask how it affects our reading to observe that the stanza itself has a genealogy, and brings its expressive burden to bear on Auden’s poem.“In Memory of Sigmund Freud” relies on a counterpoint of two metrical systems, the largely iambic accentual/syllabic system, traditional in English since Wyatt, and a flattened version of Greek quantitative meter, which was a musical notation of syllable length. For Auden, whose great prosodic facility was almost a handicap, the problem was, “not how to write in iambics but how not to write in them from automatic habit.” 4 Throughout his poetic life, he reached for cadences to interrupt the “natural” iambics, sometimes recalling the Old English alliterative beat, and often turning to ballads and popular tunes for rhythmical variation. By the late thirties, he was not only disillusioned [End Page 112] with the Spanish Civil War and his role as quasi-Socialist bard, but was seeking new compositional principles as well. Free verse was not an alternative: his ear required an evident... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 25.1 (2001) 142-154 [Access article in PDF] Critical Discussions The Fortunes of Avant-Garde Poetry Mary Anne O'Neil Invisible Fences. Prose Poetry as a Genre in French and American Literature, by Steven Monte; xii & 298 pp. Lincoln: University of Nebraska Press, 2000, $50.00. Modern Visual Poetry, by Willard Bohn; 321 pp. Newark: University of Delaware Press, 2000, $47.00. The situation of French poetry at the turn (...) of the twenty-first century is far different from what it was during the last fin de siècle. In 1900, poetry was a booming art, and France was home to numerous poets of varied inspiration and expression. The religious verse of Claudel and Péguy shared the attention of the reading public with the philosophical poetry of Valéry and the futuristic celebrations of Paris and modern life found in Apollinaire's Alcools and Calligrammes. Long poems, short poems, poems written in standard verse, free verse, prose, and even published as drawings, suggested that the golden age of poetry begun in the early nineteenth century by the Romantics and continued after 1850 by Baudelaire, Verlaine, Rimbaud, and Mallarmé, would not soon come to an end. This indeed proved to be the case, for the heirs of the Symbolist tradition of the first decade of the twentieth century were soon followed by the Surrealist revolutionaries of the 1920s and 1930s, many of whom directed their talents to the composition of political verse at the time of the Second World War. Political poetry by and large disappeared from France after 1950, only to be [End Page 142] succeeded over the next two decades by two very different types of verse. On the one hand, writers like St. John Perse and Pierre Jean Jouve produced difficult works whose appeal was limited to a sophisticated audience, while lyricists, such as Jacques Prévert and even the songwriter Georges Brassens, made poetry more accessible to the general public, often through popular songs. The fact that, during the days of May 1968, students scrawled verses of the Surrealist-Communist poet Paul Eluard on the walls of the Sorbonne to encourage efforts to bring down the social order attests to the power exerted by poetry on the intellectual life of France well into the second half of the twentieth century. Such, however, is no longer the case today. There are only two well-known living French poets, Francis Ponge and Yves Bonnefoy. While reviews dedicated to original poetry do still exist, especially in the south of France where the poetic arm of the French Resistance was most active in the 1940s, poetry attracts many fewer readers--and fewer writers--than it did even fifty years ago.Such a radical change merits some reflection. What has happened to French poetry since the mid-twentieth century? In a sense, all good things must come to an end sometime, and a century and a half of inventiveness and poetic energy may simply have run its natural course. French publishing houses, well aware that prose sells better than verse, have done little to encourage young poets. However, certain trends in the subject matter and form of contemporary French poetry have probably contributed to the current lack of interest. Since the end of the Second World War, French poets have concerned themselves almost uniquely with everyday life--common objects, geographical locales, and ordinary people. This obsession with the ordinary has produced some excellent poetry, especially René Char's evocations of Provençal landscapes and Yves Bonnefoy's treatments of childhood. Yet, this concentration on everyday life has severed poetry from the traditional subjects that have sustained it ever since classical antiquity, such as the celebration of heroic figures and heroic deeds, philosophical and religious inquiry, love, loss, prophetic vision. This very narrow range of subject risks consigning poetry to the status of a minor art. At the turn of the twenty-first century, French poetry also finds itself at the end of a very long period of formal experimentation that began in the second half of the nineteenth century and which includes... (shrink)

[…] Open the pages of almost any national journal or magazine, and where ten years ago one found only one or another kind of free verse lyric, one now finds well rhymed quatrains, sestinas, villanelles, sonnets, and blank verse dramatic monologues or meditations.1 In a recent issue of the New Criterion, Robert Richman describes this rekindled interest in formal verse among younger poets as a return to the high seriousness, eloquence, and technical fluency that characterized the (...) best achievements of American poetry forty years ago.2 As Mr. Richman numbers me among the younger poets working in form, I ought to be as cheered by these developments as he is. Yet I am anything but cheered. And not because I don’t want to belong to club that would have me as a member, though this may be a part of it; but because I suspect that what Mr. Richman hails as a development may in fact be nothing but a mechanical reaction, and that the new formalists, in rejecting the sins of their experimental fathers may end up merely repeating the sings of their New Critical grandfathers, resuscitating the stodgy, overrefined conventions of the “fifties poem,” conventions which were of course sufficiently narrow and restrictive to provoke rebellion in the first place. Any reform, carried to uncritical extremes by lesser talents who ignore rather than try to assimilate the achievements of their predecessors, will itself require reformation. If James Wright, say, or Robert Bly, produced more than their fair share of imitators, if they even imitate themselves much of the time, they nonetheless have written poems all of us can and ought to learn from. Maybe we have had too much of the “raw” in recent years. But the answer to the raw is not the overcooked. Besides, it’s dangerous to think we have to choose exclusively between free verse and form. The wider the range of styles and forms that we avail ourselves of, the more enriched, more flexible and inclusive our expressive resources will be. It’s as important for those who work in form to be familiar with the experiments and innovatins of the last hundred years as it is for those who work in looser measures to be familiar with traditional verse forms that go back beyond the twentieth century. Alan Shapiro’s most recent book of poems, Happy Hour, was published this year. (shrink)

Previous chapter Rhythm as Regular Beat – Augustine's De musica, 3, 4, 5 Climbing down the ladder, Augustine then differentiates between verse and meter. Some metric lines, he argues, are uneven and do not have a regular pause before their endings. Instead, verse uses meter but possesses regular pauses. For Augustine—who does not mind, here, quoting the “ancients” i.e. the tradition—there cannot be such thing as what will be called much later “free verse”. — Master. Well! (...) You - Sur le concept de rythme – Nouvel article. (shrink)

This article maintains that African philosophy should consider those discourses that function as channels of important ideas in African cultures, without prejudice against their language and, especially, their genre. What are such philosophical discourses? This article starts from a case study, Swahili culture, and interrogates the communicative resources available to it to serve as vehicles of philosophical thought. The survey includes language itself, proverbs, musical performance (sung lyrics), metric and free-verse poetry, novelistic prose, theoretical writings, and translations. Based (...) on this spectrum of genres, the article ventures some general observations about the relationship of African philosophy to language and genre. (shrink)

The Japanese poet-scholar John Solt is perhaps best known in the United States for his excellent biocritical study (Harvard, 1999) of the avant-garde poet Kitasono Katue, who served, from the mid-1930s on, as Ezra Pound's primary conduit to the stylization of Japanese poetics that he so admired. “Kit Kat,” as Pound fondly called the poet he knew only via their extensive correspondence, was Pound's translator, editor, and sometime collaborator; in return, Pound (who did not read Japanese) wrote admiringly of Katue's (...) work in Guide to Kulchur and elsewhere.Solt has now published a beautifully produced volume of his own distinctive poetry—a poetry that fuses the concision of Japanese tanka and haiku with very up-to-date explorations of what Pound called moeurs contemporaines: riddling short lyrics laced with humor and a telling irony that makes the reader smile with a shock of recognition. In the spirit of Kenneth Rexroth, with whom he studied in Santa Barbara, Solt's seemingly “simple” free verse is carefully structured. The minimalist poems are placed, one per page, in different spatial positions, with the Japanese translation en face. The volume contains a sprinkle of elegies and occasional poems, but Solt's signature poems are epigrams or aphorisms in the vein of the Zen koan: i held my tongueas if it werea ticketThe pun on the word held and the ticket metaphor can be read quite variously: I said nothing, saving my “ticket” for future gain. Or I “held” my tongue as one holds on to a precious ticket for some form of entrance, perhaps erotic. Indeed, Solt excels at the erotic poem—one that is never directly confessional or even personally expressive but that gives the reader a strong sense of a particular moment, as inice cubes meltin the crackleof your nakednessyou roll down your lace stockingsexposing the same designin tattoo... where it is the imprint the lace leaves on the skin that produces arousal. We never know who the “you” of these poems is, nor does it matter. We only know—in the case of a neighboring poem—that the lovers have “met again / and again / like spinning tops,” until “with centrifugal force / we easily slipped / outside the windows / of our eyes.” Caught up in the moment of ecstasy, they no longer see one another.In this complex and subtle poetry, comparisons come readily, only to be given an ironic twist: the mind is a kitehe thoughtletting goof both stringsAnd things are never quite what they seem: you toasted“happiness to usand confusionto our enemies”and I laughedsecureuntil a cloud formedin my mindWe have all had this experience of group approval only to wonder—the next minute—whether we really agree. Solt's minimalist lyrics not only make us smile: they also make us think. (shrink)

"For never are the ways of music moved without the greatest political laws being moved."Whitman's "Song of Myself" and Ginsberg's "Howl" both contain the description of a voluntary self-sacrifice, symbolically committed by the poets themselves. In this article, we propose to study these sacrificial representations, and the mechanism underlying them, in the light of René Girard's scapegoat theory, in order to show the function that these sacrifices play in society. The analysis is also based on formal considerations, especially the use (...) these two poets make of the long free verse, also called "verset."1The theme of sacrifice and the identification of the poets with Christ have already been analyzed, but never... (shrink)

In Latin America Cardenal is generally regarded as an enduring poet. He brought a recognizably Latin American material into his poetry, and he introduced to Spanish-language poetry in general such poetic techniques as textual collage, free verse lines shaped in Poundian fashion, and, especially, a diction that is concrete and detailed, textured with proper names and the names of things in preference to the accepted poetic language, which was more abstract, general, and vaguely symbolic. But what is notable (...) in Spanish-language poetry is not only Cardenal’s “craft,” in the sense given this word by Seamus Heaney to mean manipulation of poetic resources; there is also this poet’s “technique,” which in Heaney’s sense means a “definition of his stance toward life.”2 Cardenal’s characteristic poetic stance has been admired because he addresses the political and social pressures that shape—and often distort, damage, or destroy—life and feeling. This is apparent even in the earliest poems Cardenal has chosen to preserve. “Raleigh,” for example, is a dramatic meditation from 19493 in which the treasure-hunting explorer marvels at the expanse and wealth of the American continents and out of sheer pleasure recounts some of the triumphs and hardships of his travels. Although his alertness and wonder make him sympathetic, this Raleigh’s vision of the New World as a limitless source of wealth is forerunner to the economic exploitation of the land and people.One might ask, What are the political and social circumstances which, rather than distorting and damaging life and feeling, nurture and preserve them? Perhaps one might answer that, paradoxically, destructive conditions of life have many times proven insufficiently powerful to prevent the creation of poetry. And some poetry has even arisen in reaction to the destructive: such conditions produce resistance, which, if it cannot heal the spirit, can lend it strength. One might answer further that it is not Cardenal’s or any artist’s responsibility to establish what circumstance will form a fruitful matrix for art, but only to work as honestly and as hard as political, social, and artistic circumstances will permit. 2. Seamus Heaney, Preoccupations: Selected Prose, 1969-1978 , p. 47.3. The date is from Joaquín Martin Sosa, “Breve guía de lectores,” preface to Poesía de uso, p. 9. Reginald Gibbons is the editor of TriQuarterly magazine and teaches at Northwestern University. His most recent books are his third volume of poems, Saints, one of the winning books in the National Poetry Series , and two edited collections of essays—The Writer in Our World and, with Gerald Graff, Criticism in the University. He is at work on a critical study of modern and contemporary poetry, as well as new poems and fiction. His previous contributions to Critical Inquiry, “Poetic Form and the Translator,” appeared in the June 1985 issue. (shrink)

ABSTRACT“Time-consciousness” constitutes the core of Edmund Husserl’s phenomenology. Extending from a project of reviving the comparative method, we develop Husserl’s phenomenological analysis of time as a method of literary comparison. Three views of time set the stage: the quatrain “Luán’s Fall” by the eighth-century Chinese poet Wang Wei, a stanza from the poem “Etched off‌” by Paul Celan, the quintessential post-war poet in German language, and the haiku “Walking, on and on” by the Japanese itinerant monk and free-verse (...) haiku pioneer Santoka Taneda. What makes these poems relevant is not merely their superficially shared theme of time, but an intrinsic affinity, manifested in different poetic “time-objects”, to the very notion of time-consciousness. Through poetic analysis in the context of Husserl’s philosophy of time-consciousness, these poetic experiences, embodied in a phenomenological concept of “walking,” emphasize time as being. (shrink)

In this paper, I attempt to read the poetic principle behind the Tammuzi movement of modern Arabic poetry through the lens of speculative poetics. While speculative-poetic accounts of modern poetry, such as those provided by Allen Grossman, blazed new paths connecting poetry to personhood in modernity, their application to the development of modern poetry outside of Europe remains limited by their self-avowed focus on European history. This paper will outline a critical corrective to speculative poetics which, I argue, can be (...) of value in extending its domain of application to Arabic projects of poetic modernity, particularly the two tendencies of "free verse" and "commitment" poetry that emerged out of the Tammuzi movement. (shrink)

Dance is an 1100-line dialogic drama rambic pentameter free verse between one Nisus, a philosophical seeker, and Amanda, a Beatrice-like embodiment of divine wisdom. The author uses the drama to argue three theses: The inherent identity of thought and reality and the validity of speculative idealism as an approach to knowledge of the world; the necessity for positing an Absolute Spirit as the ultimate standard of truth; and the concrete actuality of this absolute. In thirty long footnotes at (...) the end of the poem Beach indicates how the ideas pursued in the poem can be traced through Hegel’s philosophy of absolute idealism. (shrink)

Kenneth Patton, a Unitarian minister, presents us with a celebration of the world in rambling free verse. Unfortunately, the reader wearies of the highly self-conscious, epigrammatic, and didactic approach. As poetry the book fails. It fares better if approached as a testimony to Mr. Patton's powerful convictions of the oneness of men with each other and the cosmos, of the essentially creative, joyful, and wondrous nature of human life. "Creator" deserves special mention for its rare, anti-Nietzschean insight into (...) the way in which a creator is necessarily both male and female.—S. A. S. (shrink)

La confrontation de l’Open Access avec la propriété intellectuelle demeure mesurée dès lors que l’exercice du droit d’auteur n’est nullement antinomique avec un modèle de gratuité pour l’utilisateur final. L’existence de prérogatives morales fortes présente les garanties mêmes que la communauté scientifique appelle de ses vœux, à savoir l’identification de la source et la traçabilité de la version originale de la publication. Le constat est sans doute moins angélique s’agissant du mouvement du Public Access, lequel ne se soucie plus guère (...) des intérêts des auteurs, mais est tout entier tourné vers la diffusion des savoirs comme remboursement des tributs versés par les contribuables dans le financement de la recherche. La logique suivie devrait à terme nier l’existence même de droits d’auteurs de la part des chercheurs lesquels verraient la diffusion de leurs travaux leur échapper en totalité. Il n’est cependant pas certain que l’alternative proposée conduise à des résultats souhaitables car le chercheur doit pouvoir bénéficier d’une certaine liberté dans sa recherche et dans sa parole pour être incité à produire des travaux de qualité ; court-circuiter son contrôle intellectuel sur le destin de ses recherches risque, au contraire de le brider. La rencontre des deux aspirations est sans doute possible. Il n’est pas nécessaire pour atteindre le libre accès de détruire la libre recherche.The incipient clash between open access and intellectual property need not come to a head as long as the exercise of authorship rights does not contradict free access for end users. The existence of strong moral prerogatives offers the very guarantees that the scientific community is pressing for: identification of sources and traceability of the original version of a publication. The picture is not so well-tempered in the case of the Public Access movement, which has little concern for authorship and is entirely geared to knowledge dissemination as compensation for the taxpayers’ money spent on research. Taken to its logical conclusion, this would deny the very existence of authorship rights for researchers, who would lose all control over the dissemination of their work. However, the alternative solution proposed may not necessarily produce the desired results, since researchers need to have a certain amount of freedom in their work and in their communication to motivate high-quality output. Short-circuiting their intellectual control over the fate of their research is more likely to inhibit them than otherwise. But the clash between these two aspirations may yet be resolved: achieving free access does not necessarily mean destroying freedom for research. (shrink)

Polygyny, the marriage of a man with more than one woman at the same time is a well-known practiced in human history. Islamic law accepts the institution of polygyny as a substitute provision if it fulfills the certain conditions and reasons, -and limited the maximum number of wives to four. Although polygyny is mubah (permissible) in Islamic law, it is not an absolute right that every man can use arbitrarily. Thus in Islamic law, the legitimacy of polygyny has been attributed (...) to the presence of two basic conditions: the observance of justice among co-wives and providing maintnance. However, the observance of these conditions that is left to the mercy of men leads to the exploitation of the right for practicing to polygyny and victimization of the first spouse. Therefore, inserting some restrictions for using this right has come to the agenda from time to time in Islamic legal history. The first legal arrangements concerning the restriction of the polygyny (taaddud al-zawjāt) in the history of Islamic law were indirectly made with the Family Law Decree of 1917 which was prepared in the last periods of the Ottoman Empire. Among the late Islamic jurists, the issue of the limitation of polygyny by public authority in Islamic law continues to be discussed. The civil laws of contemporary Muslim countries contain different regulations on the issue. In this article, the restriction of polygyny by the public authority in Islamic family law will be focused on.Summary: Polygyny, the marriage of a man with more than one woman at the same time is a well-known practiced in human history. Islamic law accepts the institution of polygyny as a substitute provision if it fulfills the certain conditions and reasons, and limited the maximum number of wives to four. Thus, relevant verses in the Qur’an (al-Nisa 4/3, 129) and the Prophet’s own practice (al-Ahzab 33/50, 51, 59 al-Tahrim 66 / 3-5) show that it is legitimate for a man to marry more than one woman (up to four) at the same time in Islamic law. Although polygyny is legally permissible (mubah) in Islamic law it is not an absolute right that every man can arbitrarily use. Thus in Islamic law, the legitimacy of polygyny has been attributed to the presence of two basic conditions: the observance of justice among co-wives and providing maintenance. On the other hand, there may be some exceptional circumstances permitting polygyny in Islamic law. For example, when female population is much more than male in the society and when a, woman is can not fulfill her family duties due to her cureless illness, polygyny is permitted in Islamic law.As it can be understood from the explanations above, polygyny in Islamic law is not a general and mandatory provision that should be applied by every man who has legal capacity to marry. On the contrary, it is an exceptional provision that is justified if there are certain conditions and justifications. According to this; polygyny is a moral and legal institution that is made up of mutual consent based on individual and social conditions and needs in Islamic law. Therefore, men do not have to marry a second woman on their current wives, as well as women have the right to say “no” to marry a married man as a second wife.When the conditions and rationales indicated in the relevant verses and doctrine are evaluated together, it can be said that in order to be able to legitimize the polygyny in Islamic law, there must be three basic conditions:(1) Observing justice among spouses, (2) Having sufficient financial power to provide maintenance for spouses, (3) Existence of individual or social need or necessity.Therefore, in order to prevent the exploitation of polygyny, which is justified under certain conditions and justifications in Islamic law, the above-mentioned conditions must be fulfilled. Otherwise, polygyny can cause some problems, unrest and injustice for individual, family and society. Hence, in the presence of certain conditions and justifications, polygyny accepted in Islamic law as a moral and legal institution aiming the elimination of individual and social arbitration.Although the legitimacy of polygyny in Islamic law depends on the existence of certain conditions and special circumstances, it is a known fact that they are not always observed in practice. It can be said that the right of polygyny is a subject of abuse in practice. Therefore, the limitation of polygyny by the public authority has come to the fore in Islamic legal history. Today, control of the public authority and inserting some restrictions of polygyny continue to be discussed among the Islamic jurists. In the past, it is possible to say that the control of the exercising of this right has been done relatively by society (social environment). However, nowadays, since the society cannot perform the control mechanism, it is brought up by the state (public authority) on behalf of the society.Among the contemporary Islamic jurists regarding the supervision or limitation of polygyny by the public authority; there are two approaches: “those who accept” and “those who do not accept” such restrictions.Islamic jurists, who accept that public authority is allowed to intervene in polygyny, grounded their views on two perspectives: The first is that the polygyny is legally permissible and the public authority has the authority to limit the permissible (mubah) in Islamic law. The second is that polygyny is restricted with the conditions in the Qur’anic verses such as “husband’s observation supervision of justice among his wives” and “having the power for ensuring the livelihood (nafaqa) of his wives” and it is more appropriate for the benefit of society and the purpose of the legislator (Shari’) to be subject to the control of the public authority whether these conditions are present or not. Islamic jurists, who do not agree that the public authority has the right to intervene in polygyny grounded their views on two perspectives as well: First, polygyny is a legitimate right mentioned in the verses in Islamic law and there is no definite proof that this can be prohibited or restricted by the public authority. Secondly, it is contrary to the verses to prohibit or limit the right that the Qur’an makes legitimate (free).Thus, it is possible to say that the opinion which accepts that the public authority has to limit polygyny is more accurate in terms today’s social conditions. Namely, polygyny is linked to two basic conditions: ”husband’s observance of justice among his wives and having the power to provide maintenance for his wives. Therefore, supervision of the public authority on checking the existence of these conditions is more appropriate for the purpose of the legislator (Shari legitimizing polygyny and social benefit.In fact, the Ottoman Family Law Decree of 1917 indirectly limited the right of the husband to marry more than one woman, giving the woman right to stipulate a condition in her marriage contract that her husband not to marry a second woman. In the 1924 Draft of Family Law Decree, which was prepared after the repeal of the Family Law Decree of 1917, but not enacted, it was proposed that the application of polygyny should be presented to the approval judge.In today’-s Muslim countries, there are three different practices: namely “completely prohibiting polygyny”, ”releasing polygyny” and “giving the court the right to monitor the existence of necessary conditions “. In countries such as Morocco, Algeria, Iraq, Syria, Indonesia, Malaysia (and Pakistan), the validity of polygyny depends on the permission and supervision of the judiciary. Some of these countries which have accepted judicial review have given the judicial control for the requirement of justice, some of them the conditions of justice and maintenance some of them for the conditions of justice, maintenance and a legitimate justification.In sum, in accordance with the provisions of the relevant verses, polygyny in Islamic law is legitimately permissible (mubah). However, the public authority has the right and authority to limit the mubah in Islamic law in the case of the elimination of damage and the necessity of the public interest. On the other hand, the public authority has the right and authority to enact the law in Islamic law by preferring one of the existing ijtihads that meet the needs of the society and conforms to the conditions of the age.According to this, when the public authority made a statutory regulation that links the use of right of polygyny to the permission of the judge, this regulation is binding on society.Therefore, in the event of such a legal arrangement, it is possible for the public authority to allow the men who comply with the conditions and not to allow the ones who are not to comply with the conditions after conducting the necessary investigation. As a matter of fact, now Family Laws of many Muslim countries now include such legal arrangements. It is also worth mentioning here that there may be a necessity for a man to marry more than one woman (up to four) at the same time in terms of social benefits, when the population of male and female in a society is excessively disproportionate. In such circumstances, it is also possible that the public authority encourages, or even mandates, the marriage of men who have fulfilled the conditions to more than one woman. (shrink)

Sheikh Halid Sufi, as a Sufi poet, addresses human being as the main subject of his sufist dicourse. He is an important figure of our recent history as he primarily adopted the goal of human perfection and revealed a doctrine of humanity in the school of knowledge. In advance of our current century, when human is seen just in physical respect, he lived as a man of heart who handled human being with an integrated approach within the aspects of matter (...) and spirituality, the world and the hereafter, individual and community, body and soul. In this communiqué, I will discuss Sheikh Halid Effendi’s ontology and his point of view on the place of human being in the realm of existence. He seeks human perfection and wishes people to free themselves of shabby desires and regain their disposition. He recommends people to achieve purity in order to reach the rank of being a mirror to God’s reflections. As a Sufi poet, he attaches importance to carrying out the education of divine journey, wrapping up in mystical ethics, having the identity of wisdom and gaining the aesthetics of love so as to reach the perfection. SUMMARY Sheikh Mehmed Halid was born in 1273/1856 in Sivas. He graduated from Ottoman Junior High School. He attended the 1893 War. In 1880, he started his professional career at a state office. Until 1899, he served in several positions, as assistant judge in Erbaa Lower Court, as Prosecuting Deputy Attorney in Sivas, as Prosecuting Judge assistant in Lower Court and head clerk in Darende, as head clerk in Lower Court in Tonus/Altınyayla, and as prosecuting judge in Kuruçay. He died in 1931 and was buried in Sivas Yukarı Tekke Graveyard. Sufism (tasawwuf) is an education for integrity towards maturity, in a way to prufiy the self from evils of nafs (self) and to reach the love of Allah. This spiritual educational journey is called ‘Seyr-u Suluk’. Sheikh Mehmed Halid completed his Seyr u Suluk as a dervish (student) of murshid (mentor) Kastamonulu Ganizade Mehmed Sadık Baba. Sheikh Mehmed Halid wrote three books called Hilafetnāme, Mektubāt, and Divan. He deals with issues of Sufism (mysticism) in these works. Primarily, his works dwells into the matters of morals, worship, good manners (adab), customary practices, ingenuity, existence, and love. Sheikh Mehmed Halid’s sole attempt is to explain the relationship among Allah, man and universe in an understandable way. According to Sheikh Mehmed Halid’s conception of Sufism, existence is unique and that existence is only Allah. The existence of Allah is absolute while the existence of assets is relative. Things do not exist on their own. Universe is like a mirror. What is reflected in the mirror of universe are the shadows of Allah the Omnipotent. The graces of The Divine are reflected in this mirror. All the things that exist in the universe proves the Self of Allah and his properties. Each of the things in the universe are the words of Allah. The existence of the universe is a result of Allah’s mercy. Man is the fruit of the tree of the Universe.Man is both the embodiment and the reflection of Allah. We want to discuss the position of man in between Allah and the universe with Sheikh Halid’s verses. Perceiving plurality in unity and unity in plurality, Sheikh Mehmed Halid attributes the variety of things and existence in the universe to the Divine beauties of Allah. For those who can comprehend, the plurality/ abundance in existing objects in the universe indicates singularity and uniqueness of Allah. According to Sheikh Halid, Allah is independent from and beyond all the entities that exist in the universe. However, Allah, manifests Himself in the things that he creates and the actions he takes through His divine names and properties. According to Sheikh Halid, each object is a reflection of Allah’s divine properties. Every entity in the universe glorifies Allah with all their existence. For Sheikh Halid, Seyr u Suluk is the journey from weakness to perfection, from substance to meaning, and from things to reality. Considering Seyr u Suluk education as distancing one’s self from other beings, reaching purity of heart, disposing of all signs explains these concepts with pilgrimage metaphor. As a response to those who asks him what he meant by seyr u suluk, he says seyr u suluk is servitude and submission to Allah. In order for Seyr u Suluk to be meaningful, a person should enter the way of a murshid-i kāmil (perfect religious mentor), and should have sincerity, purity (being deprived of all sins) and dhikr. According to Sheikh Halid, someone who is not in trouble is not given a remedy. So as to bother is necessary for remedy to be arisen. Nuisances of the universe are also ephemeral as the universe itself. Therefore, it is unnecessary to bother things that are ephemeral. Because remedy is not available without being mature. According to Sheikh Halid, the procedure of gaining advantage from being mature; getting rid of the ego, feeling the love, being pioneer of the mission, being modest, to attain soul pleasure, escaping from fame, leaving the claim, the glory of salvation, proceeding dhikr, reaching the conquests and escaping from friendship of worldly things. According to Sheikh Halid, being mature is not setting about affiliation ceremony. Asceticism cannot be a show and claim authority. Sincerity is needed on the basis of seyr u suluk education. Asceticism which is an effort of making the religion a specific of Allah is to make intimacy with Allah. Sheikh Halid wants his murids who take part in ṭarīqa (sufī path) to decide on the sincerity. Sincerity is said to be the unique factor that makes sense the membership. Seyr u suluk which begins with being membership of mature murshid, which makes sense with proceeding worship and respecting the sincerity arises by teaching manners to soul. Seyr u suluk is trying to reform the soul. Teaching manners to soul is a challenging and significant task. The most important factor that ensure teaching manners to the soul to be achieved is dhikr. Dhikr practice which makes successful the teaching manner to the soul of seyr u suluk training increases the prudence and foresight of dervish. The unique task that murshid expects from his murid during the membership process is to adjust his soul and parlance to the dhikr of Allah. Dhikr of Allah is a product of fondness. According to Sheikh Halid, one who wants to be remembered in heaven should himself learn to remember Allah. Sheikh Halid gives too much importance to disciplining the tariqa where sufi training takes place. A murid should qualify his murshid whom he intimated to. Followers should gain sufficient advantage from the spiritual atmosphere in the dergāh of their murshid. The murid must be at the service of the murshid who trains him and should obey tariqa manners. Salik who achieves seyr u suluk, who maturates the sufi ethics and who gains sincerity through dihkr of Allah tries to achieve the Gnosis. The intent of being a human is to know Allah. The biggest disaster for human is to come upon unawareness. Sheikh Halid who assumes the the Arifs as sultans of walayah makes a comparison between the Arifs and the Zahids and prefers the Arifs. He thinks that the Zahids pay attention to the appearance, cannot reach the basis and cannot go beyond Allahliness show. Sheikh Halid, who encourages the Zahids to avoid comparing themselves with the Arifs, warns the ones who combat with the Arifs and reminds that Allah proclaims warfare to those who has hostility towards those surrendering themselves to Allah. Sheikh Halid lines up the ways of being mature and having wisdom as godly grace, asceticism, love, the mind of leaving, battle with the self, humility, dikhr and being woeful. Salvation process which Marifetullah will guide is to achieve the love of Allah. Love is the way of achieving the reunion. The reality can just be gained through love. However, gaining the divine love requires to be loved. Because, the way of gaining the divine love is to remove everything except Allah from one’s heart. (shrink)

It is frequently noted that a “crisis in language” accompanied the profound changes in human consciousness everywhere evident near the turn of the century. As the nature of reality itself became problematic—or at least suspect, distrusted for its imposition of limits upon individual imagination—so, necessarily, did the relationship of language to reality. Thus in the later nineteenth century, the adequacy of an essentially standardized form of “classical” writing was increasingly questioned as an effective vehicle for artistic expression: even though often (...) in “elevated” form, such writing bore too close a connection to ordinary discourse. Indeed, it was precisely the mutually shared, conventional aspects of language that came to be most deeply distrusted for their failure to mirror the more subjective, obscure, and improbable manifestations of a transcendent reality or, rather, realities—the plural reflecting an insistence upon the optional and provisional nature of human experience. Language in its normal manifestations—with its conventionalized vocabulary and standardized rules for syntactical combination—proved inadequate for an artistic sensibility demanding, in Friedrich Nietzsche’s words, “a world of abnormally drawn perspectives.”This dissatisfaction with “normal” language received its classic statement through Hugo von Hofmannsthal’s Lord Chandos. Writing in 1902, Hofmannsthal conveys through the figure of the aristocratic Chandos the loss of an encompassing framework within which the various objects of external reality are connected with one another and integrated with the internal reality of human feelings. Chandos’ world has become one of disparate, disconnected fragments, resistant to the abstractions of ordinary language. It is a world characterized by “a sort of feverish thought, but thought in a material that is more immediate, more fluid, and more intense than that of language.” Chandos longs for a new language in which not a single word is known to me, a language in which mute objects speak to me and in which perhaps one day, in the grave, I will give account of myself before an unknown judge.”2 The content and forms of art thus shifted away from exterior reality, which no longer provided a stable, “given” material, toward language itself—to “pure” language in a sense closely related to the symbolists’ “pure” poetry. “No artist tolerates reality,” Nietzsche proclaimed.3 And Gustave Flaubert’s farsighted advice to himself was that he should write “a book about nothing, a book dependent on nothing external, which would be held together by the internal strength of its style.”4 2. Hugo von Hofmannsthal, “Ein Brief,” Gesammelte Werke, ed. Bernd Schoeller with Rudolf Hirsch, 10 vols. , 7:471-72; my translation. All further translations are my own unless otherwise indicated.3. Friedrich Nitzsche, Complete Works, ed. Oscar Levy, 18 vols. , vol. 15, The Will to Power, trans. Anthony M. Ludovici, p. 74.4. Gustave Flaubert, Flaubert to Louise Colet, 16 Jan. 1852, The Letters of Gustave Flaubert 1830-1857, ed. and trans. Francis Steegmuller , p. 154. Other passages in this letter are equally remarkable for their “modernist” tone. Flaubert argues that from the standpoint of l’Art pur, “one might almost establish the axiom that there is no such thing as subject—style in itself being an absolute manner of seeing things” . Further:The finest works are those that contain the least matter; the closer expression comes to thought, the closer language comes to coinciding and merging with it, the finer the result. I believe the future of Art lies in this direction. I see it, as it has developed from its beginnings, growing progressively more ethereal …. Form, in becoming more skillful, becomes attenuated, it leaves behind all liturgy, rule, measure; the epic is discarded in favor of the novel, verse in favor of prose; there is no longer any orthodoxy, and form is as free as the will of its creator. This progressive shedding of the burden of tradition can be observed everywhere: governments have gone through similar evolution, from oriental despotisms to the socialisms of the future. [P. 154] Robert P. Morgan, professor of music at the University of Chicago, is currently writing a history of twentieth-century music and working on a study of form in nineteenth-century music. His previous contributions to Critical Inquiry are “On the Analysis of Recent Music” and “Musical Time/Musical Space”. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Black Deconstruction: Russell Atkins and the Reconstruction of African-American CriticismAldon Lynn Nielsen (bio)“What does that signify?” “It don’t signify nothin’ Mr. Warner.”—Russell Atkins, MaleficiumThere are, everywhere unheard (as one might see deep in an electron microscope) rigidities violently breaking—Russell Atkins, WhicheverCritical debates about the applicability of recent literary theories to the reading of African-American writing have often been marked by curious lacunae. Despite the rapid proliferation of critical texts (...) addressing themselves to black writing, it remains the case that many critics come to black writing with methodologies and agendas already in hand, while few critics have taken upon themselves the task of rereading the critical history of African-American work in theory. This has often resulted in a sort of critical shortsightedness, with the field of black literary theory presented as a foreshortened, if now more level, playing field. While some have engaged in arguments about the question of whether or not African-American writing should be engaged by poststructuralist theorists (a question that seems to begin with the assumption that poststructuralism is a particularly white mode of mythology), the fact is that a form of deconstruction had been theorized by an African-American poet long before deconstruction had entered the American academy. That this fact is largely unknown among contemporary critics is the result of a continuing practice of not reading the theoretical work of black poets who have published outside the established circuit of the academic press. With the prominent exceptions of poets like Amiri Baraka, June Jordan, Larry Neal, and Haki Madhabuti, the critical writings of recent African-American poets have seldom been collected and circulated in any very effective way. Characteristically, Neal’s essays were gathered into a book posthumously, and Madhabuti’s have been published and distributed primarily through his own publishing house. Even Baraka’s collections have been allowed to pass out of print in most instances, only the books on music remaining readily available throughout his career. This may change for black poets who write in more mainstream modes in the near future. Now that Rita Dove has served a term as Poet Laureate of the United States and Derek Walcott has won the Nobel Prize, we might expect a modest increase in interest by publishers and readers in critical works by poets whose forms are less troubling than their content. And black poets who attain academic credentials and write scholarly/critical essays, such as Nathaniel Mackey and Harryette Mullen, may succeed in getting their works published by the university presses. However, surveys of shelves in bookstores and [End Page 86] libraries will confirm that there has been little concern among even university and small presses to collect and preserve the critical legacy of black experimentalists in the way that the essays of Charles Olson, Ed Dorn, or Robert Creeley have been maintained before a public.Russell Atkins has been one of the most prolific and demanding of black poets writing criticism and theory in the last four decades, but like Percy Johnston, central figure of the Dasein group of poets centered at Howard University in the 1950s, he has had to publish most of this work through his own magazine and workshop press, and there has never been a published collection of his critical work. The special Russell Atkins number of the Free Lance, a journal with which Atkins was associated for two decades, included a section surveying his work in critical prose, but little of that work has found its way into the broader critical discourse of literary scholars (it has fared a little better with musicologists), and Atkins’s prose is infrequently cited. As eccentric as Atkins’s prose can sometimes be, these works are important early signs of a break with the “rigidities” of traditional humanist discourse among African-American writers. Atkins’s statements on music, literature, politics, and education parallel the works by Baraka leading into and out of the Black Arts Movement, but Atkins, as he does in his verse, travels an independent and often disturbing path.Speaking of Anthony Braxton’s experimentalism, Ronald Radano observes that it “emerged from the changing landscape of urban American life, from... (shrink)

The perspective on Isa al-Masih or Jesus has been one point of separation and a source of endless tension between Islam and Christianity. While Western tradition believes that Isa al-Masih is the son of God, Islam ensures that Isa is the son of a human being, a servant of God or a prophet and a messenger of God. This paper is not intended to resolve this debate, but through a thematic study by examining verses that reveal about Isa al-Masih in (...) any verses in the Qur’an, wants to show that despite theological differences in the views of Isa al-Masih between Islam and Christianity cannot be avoided. However the meeting points between Islam and Christianity is very strong and that is in the Qur’an called Kalimatun sawa’ which makes both emphasize peace rather than conflict. Isa al-Masih is seen by Christians and Muslims as a respected figure and has a prophetic mision of freeing the weak and oppressed people. Therefore, in Islamic tradition, Isa al-Masih is considered as the apostle of ulul azmi or the liberator Prophet. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:In, Out Me, You Mental, Moral Where Do I Begin?Mark D. Rego (bio)I once attended a Buddhist meditation retreat, led by an American meditation teacher. The instructor had studied and practiced is Asia for many years and was well versed in the practices and teachings of Buddhism. Among his opening remarks was something along the line of the following: "One question that is asked on every retreat is, 'if (...) there is no true self, then who is it who has come here to become free of the illusion of a self?' The answer is, I don't know, but we can start anyway."This sense of practicality in the face of unanswerable questions is built into Buddhism, as is the relationship among the particularities of each individual, a process akin to externality, mental well-being, and morality.I raise Buddhism both because of its central interest into the nature of the self (an obviously germane consideration in the papers under discussion) and because of this second feature noted, namely the comfortable integration of individuality, character building, ethical action, and mental well-being (the issue of the true self will, thankfully, have to wait). It is this theme that I raise via the discussion of externality.The commentaries of Talmadge and Graham, unintentionally I think, pull me toward a beguiling observation in my daily practice of psychiatry. Namely, patients commonly report their clinical improvements in terms of how they deal better with others, how they are more thoughtful and even handed (with themselves included), and how they better cope with the demands of their individual lives. In senses both highly individual and highly principled, and in ways both explicit and implicit, when patients feel better they often feel that they are better people (all the kinds of treatment mentioned in my paper equally apply; there is no exclusivity in this result).There is also an interesting consistency in a dual manner in which this is expressed. In one way people report the improved coping, handling, and so on mentioned. In the next breath the same person commonly says, "I feel like myself."The meditation instructor would be pleased; it appears that through a process of becoming aware of and letting go of some form of negativity an individual feels better, acts better, and feels more unified. (As the instructor was psychologically sophisticated, he would not mistake the "like myself" sentiment as a Buddhist heresy. Rather, he would understand it as a reflection of being more at ease with and aware of disparate parts of himself.) And all this without figuring out who the real self is. [End Page 331]I mention these observations about Buddhism and clinical care because when I consider the processes of evaluating, deciding, and forging identity and volition it seems to me that somewhere between the lines the individual is aligning himself with some sense of what is good. The resultant experience of volition and cohesive identity is, often but not always, experienced as good both psychologically and morally.Change, Others, and ValuesIn the two commentaries that follow my paper on Frankfurtian externality and therapeutic change (Rego 2004), Talmadge (2004) and Graham (2004) highlight different aspects of externality and therapeutics. Talmadge, an addiction psychiatrist, expands the theme of volitional change in recovery from addiction. For Talmadge, as for most in the field, the question of when and how an addict has truly committed to change (hitting "rock bottom"? accepting the first of the twelve steps?) is perennially in the air. Such knowledge would be invaluable in guiding addicts along their rocky paths.Although still far short of the mark, Talmadge finds some illustrative guidance in Frankfurt. The shift that takes place within the addict to place him on the road to recovery is not necessarily "rock bottom," or conformity to a program's dictates or a state of new knowledge. Rather, it is a shift in will. By whatever process (and Talmadge is quite aware that there seem to be many paths) the addict has come to care about sobriety in a way he or she did not before. He or she now cares in a way that is part of him or her... (shrink)

Kristell Trego | Résumé : Qui agit quand j’agis ? Cet article s’intéresse à la réception philosophique de deux versets scripturaires, Jn 15,5 et Ph 2,13, qui, l’un comme l’autre, énoncent une certaine intervention de Dieu dans les actes que l’homme effectue. On prend en premier lieu en considération l’occasionnalisme malebranchiste. On envisage ensuite, au sein du kalâm, le courant asharite, souvent présenté comme « occasionnaliste », et sa réfutation par le philosophe chrétien de l’école de Baghdad Yaḥyâ ibn ‘Adî. (...) On regarde enfin comment la tradition médiévale a, à la suite d’Augustin, concilié nos deux versets avec l’affirmation de la libre volonté humaine. |: Who acts when I act ? The present essay is concerned with the philosophical reception of two scriptural verses, John 15, 5 and Philippians 2, 13, which both set forth a certain intervention of God in the acts performed by man. We first take into consideration Malebranche’s occasionalism. We then consider, within the kalâm, the ashrahit current, often presented as “occasionalist,” and its refutation by the Christian philosopher from the Baghdad school Yaḥyâ ibn ‘Adî. We finally take into account how the medieaval tradition has, in the wake of Augustine, conciliated our two verses with the affirmation of the free human will. (shrink)

Joaquin Segura. Untitled (fig. 40) . 2007 continent. 1.2 (2011): 117-124. The interview that follows is a dialogue between artist and gallerist with the intent of unearthing the artist’s working strategies for a general public. Joaquin Segura is at once an anomaly in Mexico’s contemporary art scene at the same time as he is one of the most emblematic representatives of a larger shift toward a post-national identity among its youngest generation of artists. If Mexico looks increasingly like a foreclosed (...) home burning to the ground, Segura could likely be the one walking away, charred matchstick between thumb and forefinger and shit-eating grin on his face. His corrosive attacks on institutions, ideologies, and power reflect a deep general distrust of authority, increasingly evident within the work of younger Mexican artists. It is perhaps most directly the result of President Calderon’s deeply unpopular war against the cartels but no doubt equally the product of decades upon decades of rampant corruption and errant policy within Mexico. Brett W Schultz (BWS): A recurring—if not dominant—theme within your current work and investigation explores ideological extremism in reaction to some perceived political and economic disenfranchisement, especially that espoused and practiced by right-wing groups in United States. That's exactly why I thought of you when I was approached to contribute a piece to an issue on the subject of the moraine—taken metaphorically here to signify a certain set of beliefs that have resurfaced within mainstream American culture in the wake of a probably over-exaggerated political sea-change, marked by Obama's election. You're a Mexican artist who now lives and works in Guadalajara, far from the border cities where such concerns would seem more likely to be relevant to a contemporary artist; of course, you're even farther from the culture that birthed this nature of extremism. What interests you so intensely about this movement, if we can call it that? Joaquin Segura (JS): I think there are several seminal points that you touch on in this particular question. There's a very specific set of interests that make me address the socio-political issues I've been dissecting through my practice in the last few years. First of all, I don't really consider myself a 'mexican' artist. As I've made clear in the past, I don't really believe in the notion of 'identity' or the idea of 'nation', which I find totally laughable and heartwarmingly passé. I'm convinced that these are totally outdated models of understanding our differences and similarities, expanding our already immense and irreconcilable cultural abysses instead of bringing them together, thus resulting in their total dispersion among the complex and extremely arbitrary weaving of contemporary social nucleii. Pretty much a frankly bad joke, if I may say so. The fact that I live and work in Mexico is a completely random geographical and temporal factor, which of course affects what I think and what I do, but I've chosen not to be limited by this specific circumstance. In the past, while working abroad, I've taken advantage of this preconception of Mexico—to be more exact, pretty much all of Latin America—as one of the last barbaric bastions of western civilization. Totally amusing, if you ask me about it. I consider my practice to be, among other things, a gonzo strategy of deceit: there are quite a few roles you can adopt in this approach that may actually reveal themselves to be a privileged vantage point. In my experience, the gentle savage is one of the most effective ones to establish my standing position. Thus, I'm a mexican artist if I need it to prove my point. If it's not necessary in a specific circumstance, I'm not. Quite simple, I think. Said in other words, it's just an ace I can play to win a particular match. It has worked so far, at least for me. L: Hey, America… , 2009. R: The Inaugural Address , 2009. I am interested in the nature of power and the rise and fall of totalitarian ideological and political apparatuses nowadays. But I guess, going even further, I'm essentially fascinated by the fissures and contradictions that have made these structures spectacularly crumble to the ground. I do believe extreme ideologies have played a crucial role in the globalization of socio-political crisis. In the end, our world is nothing more than a fading monument to all things gone wrong—the inspiring triumph of failure, in every sense. I see this as an exciting parable. And of course, it is an undeniable fact that the US, through their influence in world economy, international policies and general attitude towards the rest of the planet is the largest structure waiting to collapse. I think we are all secretly awaiting that moment of splendor, even americans. It'll be disastrous and as nasty as it can get, but it will also be liberating and incredibly inspirational. Not just because it’s the US but because it'll prove that absolutely everything is susceptible to fall. And not only that, most importantly, it would confirm that radical change may actually be possible and not just one more of the unfulfilled promises modernity has left us to struggle with on our own. BWS: I want to talk first about two of your works in particular: Hey, America... and The Inaugural Address . I feel like your more recent work has a subtle —or even hidden—sinisterness, but these two works are perfect examples of how brutally confrontational your earlier work has been. When we showed Hey, America... at Mexico City's Zona Maco art fair in 2010, there were at least a couple visitors to our stand who were absolutely ready to punch me in my gringo face for having done so. Certainly the shock value of these works is crucial to their central ideas, but can you tell me more about your intentions and how these works relate to your general oeuvre? JS: So funny. Perhaps we do deserve to be punched in the face. I think that's what I'm sometimes looking for, but I hardly ever get it. I do think of such works as some sort of logical trap, a somewhat perverse ambush waiting for someone to walk into head-on. I think what I tried to do with those two specific works, as well as some other past projects, is just emphasize issues or themes that do disturb or make me uneasy and restless. I consider my essential intention a need to make clear that we do not have to look the other way, ignore or forget. We must address, understand and solve these manifestations of senseless violence and absurdity because if we don't confront them this way, they'll end up consuming us. In other words, I do consider these works as a personal need of coming to terms with the nonsense of the world we all are living in. I don't particularly consider myself to be someone with a clear set of beliefs. Perhaps my only certainty would be that everything is there to be denied, demolished and obliterated—even my supposed unquestionability of that particular 'dogma.' My practice is a reflection of that paradox, and I do think that's how these two pieces relate to a wider body of work. Every democratic system and so-called developed contemporary society is deeply flawed on the inside, and that is because each has swept things under the rug. Of course, there's tolerance, good will and eagerness to make a difference but there's also hatred, pain and fear lingering all around. We must learn to relate to both sides of the spectrum. In a way, I approach the themes behind these particular works in what I think to be a non-biased, somewhat 'neutral' way. I do think there's an encryption process going on in the way I work, some sort of formal refinement of this somewhat outrageous content. A digest of infamy, if we can refer to it that way. It is up to the individual experiencing the work to decide which way these pieces lean. They can easily be seen from both positions and I'm ok with that. If you look closely at these works, there's nothing that establishes an unrelenting position—neither support nor rejection. I don't want my personal political views to directly set an agenda for the spectator as that’s essentially propaganda, which is one of the things I absolutely despise. To sum it up, I strive for the spectator to complete the piece in that sense. The work then becomes a reflection of his or her own contradictions, a playground of the mind. I'm interested in achieving a deadpan and deadlock state in the observer. So, in a way, those visitors threatening to beat the shit out of you unconsciously became that particular issue the work is alluding to. Just blind and senseless reaction to god knows what people feel must be defended, the overwhelming virtue of ambiguity. Beautiful. Perhaps you can also think of my practice as a uber-sophisticated and snobbish version of Punk'd. And you wouldn't be far from what I'm trying to convey. Untitled (Disturbance Scenarios #2) . 2010. BWS: To me, an important transitional marker in the overall trajectory of your work is the series, Disturbance Scenarios , which evokes a similar generalized state of panic, paranoia, and impending doom through its incorporation of sensationalist newspaper headlines, yet also suggests this slyly mysterious meta-narrative via the context in which the newspaper itself is placed. How did you arrive at this series and why did you choose photorealistic painting as the medium for it? JS: I consider this series to be a by-product of the process I follow when making work. I spend an important part of my time just doing research, going through documentation and accumulating visual or historical references for the themes or episodes I'm interested in, in that particular moment. These are, of course, valuable assets that connect among themselves in a mysterious and almost undetectable manner, sometimes a few years between one and the other. I've employed similar production strategies in the past, in ongoing series like Random Moments of Urban Decay , in which I document what I consider to be physical traces of ethnic, religious or ideological violence in the form of text graffiti, invisibly scattered in different cities of the world, mostly in the US. Disturbance Scenarios was started in early 2010, following a particularly intense period of traveling here and there that lasted for most of the year. I've always felt compelled by text, as I find quite intriguing the idea of how words can create equally intense evocations of what I call a mental panorama of uneasiness than those produced by aesthetically-charged imagery; of course, if handled right. I have a close relationship to print media—due both to my academic background and to my attraction to its ubiquity and almost unlimited influence, which in the end, is nothing else but power—so I found myself with a growing archive of newspaper headlines snapshots from cities like Melbourne, Auckland, London, and LA. Going through them, I noticed that they had in common a very specific thematic slant: they were all about some sort of conflict: energy crisis, political unrest, local episodes of domestic violence, you name it. So as you very well put it, I felt they all connected through this feeling of anxiety and anguish and I decided to start thinking of them as a body of work. Basically, I felt an interest in creating what I think of as my personal fragmented prefigurements of the end of civilization. There were few elements on the shots that could give away its actual location, geographically speaking, and I liked that. I find this sensation of vagueness and uncertainty quite alluring. The more subtle, the more perverse. The formal resolution of the series—as photo-realistic painting—is linked to my intention of creating distance between me as the artist and the themes I work with. I rarely execute my own work, and that is more a personal choice as I'm more interested in the ideas I mingle with than in the actual outcome of that process, understood as an "art-object" with certain market value. I did some tests with light-jet prints of those snapshots and I found them devoid of that nightmarish, disturbing indistinctness that I felt was so important for them to be able to project the turmoil I experienced upon encountering them and in conceiving of them as a series. So I thought that photorealistic painting would be an interesting resource to play with, as I hardly had worked with that medium before because of my lenient animosity toward painters and their craft. So they were executed like that and I think it turned out to be just right. Homemade (Napalm #2) . 2010. BWS: Though Disturbance Scenarios remains ongoing, it's an interesting contrast to another series of yours, Homemade, which are these beautifully banal photographs of the ingredients used to make improvised explosives. Whereas Disturbance Scenarios still confronts the viewer aggressively with its visual emphasis on loaded texts, in Homemade , you've dropped the surface-level bravado entirely. They're pieces that require explanation to someone not already versed in the fine art of amateur explosive-making. You weren't known for subtlety in your past work; why this change in direction? JS: I'm personally convinced that these are just two angles of the same conceptual preoccupation. I mentioned before my obsession with the idea of encryption. I'm quite enticed by how these processes of translation can politically and semantically alter and deviate purportedly subversive materials such as the ones these works allude to. I do think subversion is futile. I was really troubled by that thought for some time, but I think now I understand that it's not really that important. What is really significant is to elaborate on these alternate views, to envision and refine possible escape routes. It doesn't really matter if they go nowhere, but that is because nothing really matters. A "mute" artwork is a notion that captivates me. When you look at the works you mention, you know there's something off, but it's not fully clear how and why that is. I rely on that insecurity—on that moment of hesitation. And that can also be achieved through an approach like the one I'm now interested in. Let's just call it a smoke screen, a surrogate ruse to get to the same point: to talk about impotence and defeat in contemporary life. The notion that readily accessible information is actually a weapon is a double-edged fallacy: sure, you can make use of whatever resources you can lay your hands on, but that doesn't set you free because freedom is impossible. Still, that doesn't mean you can't blow up stuff during the process, metaphorically or not. I didn't understand the nature of subtlety before. I used to think that you needed to be loud and manifest anger and unconformity in the most aggressive manner possible. Then I finally realized that you can actually permeate and rarify a battleground—because after all, this is low-intensity war—if you actually aim at silently building up the contradictions and making the symbolic value of ideas and acts clash within themselves. Or perhaps it is that I am just getting old. I guess I used to be an angry kid until recently. Now I think of myself as a disenchanted post-teenager, and of course that reflects in my work and my approach to art-making. Kind of a rite of passage and I laugh at it because, overall, it has been overwhelmingly fun. And that doesn't mean that I'm not ready to stick it in someone or something's face again if I feel like it. BWS: You're now taking the subtlety of the Homemade series even further with your newest series, Definitive Reader For a Botched Revolution , in which you photograph a series of politically-charged books side-on, negating their content entirely—essentially reducing them to purely aesthetic objects in which the subject matter is only revealed in the title of the work. Can you talk about the ideas behind this series? Furthermore, is your recent interest in this idea of the "botched revolution" an indication of a general attitudinal or philosophical shift you've since adopted? JS: This new series of works is the logical outcome of a brief period I went through. Probably the last couple years, in which due to a number of circumstances that don't really have to do with my art-making, I was forced to renegotiate my ideas, my beliefs and practically everything that surrounds me. It was quite distressful and turbulent, but in the end, I think it was also almost epiphanic. I came to terms with myself and now I'm calm and serene. That is, of course, my personal take on it but I mention it because I do think it's important to address this shift you mention. The idea of an artwork as a container for latent revelations enthralls me quite a bit. That's how I see these particular works: art as an incendiary agent. It's up to the artist and the spectator to do whatever they please with it. I think the detachment and almost surgical cleanliness from the Definitive Reader series is also my take at poking fun of the way some art is totally innocuous and uncompromising. These images may be pleasing to the eye, but there's something twisted and rotten within them, well hidden beneath. You'll either see it or not, but without a doubt, it will not cancel its presence. This series is intrinsically linked to Homemade . I'm pretty much horsing around with similar ideas and statements here. And well, yes, I do think any revolution is a botched one. There's nothing too heavy about their own downfall. Decay and breakdown are here and will not go away. Perhaps we must learn to embrace them in one way or another, for our own sake. L: Untitled (T.A.Z.). R: Untitled (United States Marine Guidebook of Essential Subjects) . 2011. BWS: Finally, let's discuss the near future. You've got an upcoming solo show at the Sala de Arte Público Siqueiros [SAPS] in Mexico City this summer. What can we expect from that? What else do you have planned? JS: I'll go and get seafood as soon as I'm done with this interview. It's pretty good here in Guadalajara. That's my top priority at this very moment. About my solo project at SAPS, it's due to open in late July. I'm quite looking forward to it. I'm still closely working with the curator on the general feel for the show but I can say that it'll be more of a revision of past works that have not been shown in Mexico City except for a couple pieces. It definitely won't be a showcase for new projects, although we may include one or two previously unseen works. What you can expect is a rereading of what I've been working on during the past few years. In a way, that's exciting to me because for some reason I don't really care about, I'm not that active in Mexico City even though that's where I lived and work for years. I've hardly shown there after my solo project at Yautepec in February of 2010. It'll be nice to see how it all comes together and I'm more thrilled about it because I totally love the space and I think they're doing an excellent job with their programming and its direction. And in a certain way it feels like going back home. About everything else, I need a period to reflect and fully understand what I've been thinking and working on. I've got a few group shows here and there: New York, San Francisco, and Melbourne are the ones happening soon. I will present my censored project Untitled ( Gringo Loco ) as part of the programming of the Museo de Arte de Zapopan in Guadalajara, two years after being escorted at gunpoint from the installation site by police sent by the extreme right-wing mayor of the city, which I found pretty amusing for an otherwise typical Saturday afternoon. I'm also involved in a couple "curatorial" projects. In my case, "curatorial" means that I help put together stuff I like and I'm interested in. One of them will open in late September of 2011 at Arena Mexico Arte Contemporaneo, and I will work with three of whom I consider to be some of the best artists in a lively and active scene such as the one here in Guadalajara. But most importantly, I've been doing heavy research so there are also a number of projects that I've yet to finalize. That'll be my main focus during the rest of the year, even though I really enjoy procrastination. There'll be time for that later. Or maybe not. We'll see. About Joaquin Segura The action, installation, intervention and photographic work of Joaquin Segura (b. Mexico City, 1980) has been shown in solo and group exhibitions in Mexico, the United States, Europe, and Asia. Some spaces that have featured his work include La Panaderia, Museo de Arte Carrillo Gil, Centro de la Imagen and Ex-Teresa Arte Actual in Mexico City; El Museo del Barrio and apexart, New York, NY; Museo Nacional Centro de Arte Reina Sofia in Madrid, Spain; National Center for Contemporary Art, Moscow, Russia; and Palace Adria in Prague, Czech Republic. In 2008 and 2009, Segura was an artist-in-residence at the International Studio and Curatorial Program, New York, NY and at the 18th Street Arts Center, Santa Monica, CA. He is represented YAUTEPEC in Mexico City and by Arena Mexico Arte Contemporáneo in Guadalajara. Further Reading Joaquin Segura’s website YAUTEPEC artist page for Joaquin Segura Capps, Kriston. “ID-ENTITY: Washington, DC.” ART PAPERS . 2009. (shrink)

In World War II, however, that lonely masculine authority of experience—the bitter authority derived from direct exposure to violence, injury, and mechanized terror—was rapidly dispersing among generally populations. Graves, notes, with some discomfort, that the Second World War soldier “cannot even feel that his rendezvous with death is more certain than that of his Aunt Fanny, the firewatcher.”5 American culture was, obviously, characterized by far greater disjunctions between male and female “experience” of war than the British blitz society Graves describes, (...) and the modern tradition of soldier poetry, with its ironic emphasis on unmendable gaps between the soldier author and the civilian reader, retained its strong influence. Still, public discussions of war and literature in the United States dwell frequently on the new conjunctions between civilians and soldiers, front and home front, and men and women, focusing on their shared morale or effort as well as on their common deprivation and vulnerability.In a war newly perceived as “total,” [Marianne] Moore’s work could exemplify the power of a representative civilian voice. It could also represent modernism provisionally embracing realist and didactic functions, coming round to correcting earlier trends toward self-referentiality. Thus Richard Eberhart, arguing in his introduction to a well-known anthology of war poetry that “the spectator, the contemplator, the opposer of war have their hours with the enemy no less than uniformed combatants,” praises Moore for abandoning the “complacencies of the peignoir” to write “In Distrust of Merits.”6 His phrasing links Moore with another civilian war poet, Wallace Stevens; by dressing Moore in Stevens’ Peignoir in order to show her doffing it, he represents her as a formerly feminine object of desire who has emerged from the coquetries of her sex into a new, superior, gender-free authority Now, Eberhart argues, “the bloodshed of which she writes has caused her to break through the decorative surface of her verse” to a “different kind of utterance.” For Eberhart, the poem’s value lies in its violation of Moore’s usual mannered aestheticism. She “breaks through” a feminine surface, as if puncturing skin, but the result is not a wound but a mouth: a “different kind of utterance,” in which “the meaning has dictated the sincerity.”7 Oscar Williams, in the preface to a comparable anthology, also reads the poem as a model of transparent earnestness, offering it as a solution to the problem of Edna St. Vincent Millay, the “bad” woman war poet who is excoriated in these discussions as often as Moore is extolled. Describing one of Millay’s war poems as “a sentimental piece of verse written by an American civilian, designed to be read by … people themselves out of danger because they are protected by a wall of living young flesh, much of which will be mangled,” Williams contrasts Moore’s “In Distrust of Merits”: But with true poets the poetry is in the pity …I ask the reader to study closely a war poem peculiarly fitted to illustrate my present thesis. It is also written by a woman, a civilian. “In Distrust of Merits,” by Marianne Moore, is the direct communication of honest feeling by one ready to search her own hear to discover the causes of war and accept her full share of responsibility for its effects.8 5. Graves, “The Poets of World War II,” p. 310.6. Richard Eberhart, “Preface: Attitudes to War,” in War and the Poet: An Anthology of Poetry Expressing Man’s Attitudes to War from Ancient Times to the Present, ed. Eberhart and Selden Rodman , pp. xv, xiii.7. Ibid., p. xiii.8. Oscar Williams, ed., The War Poets: An Anthology of the War Poetry of the Twentieth Century , p. 6. Susan Schweik is assistant professor of English at the University of California, Berkeley. She is at work on a book manuscript entitled A Word No Man Can Say for Us: American Women Poets and the Second World War. (shrink)

Many factors like the structure of the society, political conditions, and social structure of a country are useful in determining pedagogical approaches. One of them is culture, which is influential on the way of life of the individual, as well as thinking and learning styles. This requires the examination of the relationship between culture and pedagogy. It is possible to discuss cultural, multicultural, and intercultural pedagogical approaches regarding the relationship between pedagogy and culture. The socio-political agenda of a country is (...) the thing that defines the pedagogy-culture association and acts as a mediator for this association and its reflections on the applied educational systems. In this regard, the interpretation of the cultural-pedagogical concerning the educational philosophies of countries becomes more necessary. Since culture affects general pedagogy, naturally, it also affects religious pedagogy. Besides, the importance of the phenomenon of cultural-religious pedagogy becomes visible when considering the inseparable integrity of culture and religion. This study aims to make a start to develop a more effective religious pedagogy by interpreting the association between culture and religious pedagogy in Turkey. For this purpose, it introduces the cultural pedagogy and cultural-religious pedagogy concepts, and then, addresses the main issues in developing cultural-religious pedagogy in Turkey.Summary: Currently, it is seen that many societies are changing and becoming open societies. Education in free societies is not an indoctrination activity. This situation requires that appropriate pedagogies are developed in education by considering all ideas, beliefs, and cultures related. When the fact that the multicultural structure is seen in many societies with the effect of globalization is found, the reflections of ethnic, religious, and cultural diversity on education have been considered, which have given birth to the need for cultural pedagogy.When the integrity of religion and culture is considered, it is possible to argue that the effect of culture should be regarded as in religious pedagogy. However, when a cultural-religious pedagogy is a matter, there are questions awaiting answers as follows: (a) whether the religion that exists in the definition of religious pedagogy is to be considered as a phenomenon or any religion is mentioned, which issues are to be considered in studies followed after one of these is preferred, (b) if a pedagogy is to be developed based on the interaction of religion with culture, and (c) whether it is to be dealt with in the context of one single religion with culture or with an intercultural approach. This current study aims to introduce the concept of cultural-religious pedagogy by explaining the effect of the questions mentioned above on cultural-religious pedagogy studies and to determine the issues that must be considered in cultural-religious pedagogy studies. This study, which was conducted with the Literature Review Method was limited by examining the concept of cultural-religious pedagogy in terms of some paradigms; and excluded any suggestions in terms of developing cultural-religious pedagogy in practice. It is considered that discussing the meaning of the concept for Turkey with its opportunities and limitations will augment this field to draw attention to the principles of developing cultural-religious pedagogy.Since pedagogy covers many subjects and phenomena in the scope of education, it is possible to argue that it constitutes a general and universal structure about the human existence and nature. Although the individual has common characteristics in terms of being human, s/he is a part of the culture to which they are attached in terms of the social aspect, and individuals that have different cultures -in other words, communities or congregations- differ from each other. These characteristics, which are called cultural differences, are essential in terms of education because they affect and individuate learning. Continuing the educational activities in a setting where different behavioral types that have specific features in a multicultural and open societal structure in a way that will protect this diversity, and the necessity to think about the pedagogical principles in facilitating the learning of the individual attaching to his/her cultural features constitute the fundamental goal of cultural pedagogy studies.In countries that have diversity in terms of ethnicity, structure, religion, and culture, although a pedagogical approach is seen, which provides the opportunity for the agreement that is based on cultural and religious partnerships with the intercultural pedagogical approach, differences are also considered over the explanations that are brought about by the members of the religion or culture at the points where culture and religion separate from each other.In Turkey, on the other hand, since a cultural pedagogy is also necessary together with the intercultural approach due to the social structure, the necessity of constructing the relationship between religious pedagogy and culture must be fictionalized different from the one that is adopted in the Western world. When considered from the perspective of Turkey, it is possible to mention an Islamic religious pedagogy in which Islamic theology takes a central place. However, it must not be considered as an obligation. Recognizing religion as a phenomenon in the academic and literary field, or admitting it as the Islamic religion will vary according to the nature of the study in question.When the issue is considered for the Islamic religion in particular, although a pedagogy in which the primary sources of Islamic religion, the Qur’an and hadiths are the centers will be formed, the differences in the interpretation of the verses and hadiths and the cultural influence in these interpretations cause that an Islamic cultural pedagogy is developed. As a particular religious pedagogy field, it is possible to mention the Islamic religious pedagogy by considering the rituals that are formed with cultural influences like forms of covering the head, Mevlit (Islamic memorial ceremony), etc., which are considered to be religious by people. It is possible to argue that culture has a significant impact on the preferences of the Sects in terms of differences in the parts of religion that are open to interpretation. In this respect, it is also possible to argue that the Sects that have different methodologies and that make conclusions with varying ways of thinking will create different pedagogies. Accordingly, it is possible to say that the Islamic pedagogy may be formed in two ways without considering the Sect issue; firstly, with a general methodology, and secondly, with more specific methodological approaches in terms of sects.When the fact that sects have effects on the multicultural structure of Turkey, if the purpose is to form a multicultural religious pedagogy, it must be based on the differences of the Sects instead of religions as it is the case in Europe. However, when the fact that the discrepancies between the Sects are not an element of disintegration, but constitute a wealth of interpretation is considered, it must not be regarded as incorrect to emphasize these differences. From this point of view, it is possible to mention a cultural Islamic religious pedagogy. When talking about grounding the cultural or intercultural religious pedagogy, explaining this issue only by grounding it on the Sects will limit the scope of it. Because it is possible to establish pedagogy over each of the differences like geographical regions and traditional or modern approaches. Determining and working on each of these differences will contribute to a more effective religious education. Taken together, when considering the true nature of cultural diversity as well as the structure of the religions that exist in the society, there is a need to talk about a cultural-religious pedagogy in Turkey and to establish the relation between cultural pedagogy. (shrink)

There is an inevitable interaction between Arabic and Turkish as word transitions occur in every language. One of the common examples of this exchange between Arabic and Turkish is the word ikhtilāf (conflict).However, it is not possible to say that the bilingual partnership about this word is meaningful. Because this word expresses the meaning of opposition, contradiction, diversity, separation of opinion between two persons or groups, opposing attitude and contradictory attitude in Arabic, all of these meanings are not transferred into (...) Turkish.In other words, the word ikhtilāf’s meaning is narrowed during its transition into Turkish. In fact, the word is almost fixed in Turkish as “the separation of opinion between two persons or groups”. This difference in the meaning of the language between the two languages ​​of the contradiction must not be construed and interpreted as “controversy” or “disagreeing” at every passing moment of the word. Because in some verses this situation can be a wrong choice.Differences in interpretation in tafsir and translation errors are the most obvious indication of this possibility. Therefore, it should be considered that the use and meaning of the word may be changed according to the text. SummaryWords and concepts are the most important tools for people to share with their interlocutors both in oral communication and in writing. Because the meaning of the preferred word and concept directly affects the increase or decrease of the power of the message to be given. So, the choice of word and concept are important in the spoken word and the used word. However, despite this importance, people are not entirely free in word selection. This is because there is no vocabulary to express everything separately. So, the words are limited, and the objects named through them are unlimited. This led people use some words that have more than one meaning, which also explains the emergence of the concept of polysemy.Polysemy is a phenomenon seen in Arabic as well as in many languages. Since the Qur'ān, which contains the messages of Allah to humanity, is in Arabic, there are many words that have two or more meanings. This situation should be taken into account to understand the Qur'ān and its context when determining the meaning of such words. Revealing all potential meanings of qur’ānic expressions is important to convey the intended meaning. In other words, the inability to detect the correct meaning of the word or to ignore the fact that it is very meaningful makes some comprehension problems inevitable.One of the words in this context that have the problem of understanding is the concept ikhtilāf(Conflict). This concept, which is used 51 times in 45 verses in different ways, does not mean the same meaning wherever it is used. It is used in more than one meaning depending on the context in which it is located. The change and diversity that points to the power of Allah, the conflict, the separation of thought and behaviour between the two groups, and the unilateral opposition attitude of a person or group are the meanings of this concept. There is no significant difference in the tafsirs of these meanings regarding the meanings of change, diversity, and contradiction. The differences seen in the exegesis (tafsīr) are in the way that the same meaning is mostly stated in a different way. This situation in the tafsirs was reflected to Turkish translations of the Qur'ān on the meaning of the concept and it was translated correctly in general. This shows that the context of determining the meaning of the concept is taken into account and that the polysemy of the concept is not an important problem in the meaning of “change,” “diversity” and “contradiction.”One of the most important meanings of the concept of ikhtilāf(Conflict) is the difference of thought and behaviour between two people or groups. In this sense, the concept has two subjects and refers to the situation of these two subjects against each other. This meaning, which we see more in the use of the concept as verb, refers to the conflict and contradiction of the different thoughts and attitudes that people have to against others they face because of their personal characteristics and ideology. In this sense, ikhtilāf(Conflict) among the sides reflects a negative situation without the possibility of finding the ground and the middle way. In the verses where the concept is used in this sense, there are also elements that indicate the difference of opinion between the two subjects, such as bayna(between) preposition, the believing-disbeliever comparison. The concept has been translated into Turkish with this sense in the Qur'ān. Its meanings of conflict, conflict and conflict are also used in Turkish. Therefore, it is possible to say that this meaning has a common meaning between Arabic and Turkish. Therefore, meanings of the concept such as conflict, disagreement, etc. in Turkish translations of the Qur'an are enough to reflect the meaning of the verses in this context. So, it is possible to say that in meaning of the concept does not have a problem of understanding and interpreting in general.The concept of ikhtilāf(Conflict) is also used to counter and oppose to a thought or belief in the Qur’an except for the general meaning of the above. With this meaning we encounter in the usage of ikhtalafaand mukhtalifin this sense, it is not only the mutual attitude of the two sides but the dissident, against and opposing attitude of one side towards the other. As such, the concept reflects an action of "one subject". As in the case of conflict between the two sides, there is a negative and undesirable situation in this usage. Because in the verses where the concept is used in this sense, the contradictions, and attitudes of the unbelievers about the faith revealed by Allah, religion, the book, and the prophet are generally explained. However, this meaning of the concept has not been translated into Turkish. In other words, there is no meaning in the word ikhtilāf(Conflict) used in Turkish. Therefore, there is no exact equivalence between Turkish and Arabic regarding this meaning of the word. For this reason, translations in the form of “conflict,” “dispute” for use in this sense are insufficient to reflect the meaning of it. Because, in these translations, the contraction of the concept which was experienced in the transition from Arabic to Turkish was not observed. This causes the misunderstandings of the verses in which this concept exists.The concept of ikhtilāf(Conflict) refers to the differences of tafsir in the verses that express the opposing attitude of a person or group as with other polysemy concepts, this concept also points to the need to be careful. Instead of giving the same meaning in every passage of such polysemy concepts, it is necessary to determine the correct meaning according to the context of the unity of the verse and its context. The same sensitivity should be taken into consideration in translating the concept into Turkish. So, while translating the concept passed in Turkish by narrowing, that accepting it is true in both languages and transferring to Turkish according to it is insufficient to reflect the meaning referred in the verse. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Onitsura's Makoto and the Daoist Concept of the NaturalPeipei QiuIn haikai history, Uejima Onitsura (1661-1738) is famous for the following statement concerning the nature of comic linked verse: "Without makoto, there would be no haikai."1 The two Japanese terms used in this statement, haikai and makoto, present an obvious semantic conflict. Makoto in Japanese basically means "truth," "faithfulness," and "genuineness."2haikai, on the other hand, literally means "facetiousness" or (...) "humor." The term is used to refer to facetious poems in Japan since the first imperial poetic anthology, the Kokin wakashū (905). When haikai no renga (comic linked verse) became a popular genre during the later medieval and early Edo periods, it was conceived basically as a playful and facetious poem. By saying that "without makoto there would be no haikai," Onitsura declared a revolutionary change in the nature of the comic linked verse, a reform carried out by the joint effort of a number of haikai poets during the last two decades of the seventeenth century. Before this change took place, haikai had been characterized as a poem of "free exaggerations" and "the most deluding falsehoods."3 The shift of the critical emphasis from falsehood to truthfulness transformed the genre from an entertaining pastime to a serious literary form.An important notion in haikai poetics, Onitsura's makoto has garnered wide scholarly attention. But, because of the lack of a clear definition by the author himself, over the years scholars have been debating the precise meaning of Onitsura's makoto and trying to discover its derivation through various sources. The filiation of makoto has been traced to Zen Buddhist doctrine,4 traditional waka poetics,5 and Confucian teaching.6 The assumption that Onitsura's makoto originates in Zen doctrine is based on the preface that Onitsura wrote to Haidō Enō roku (The Way of haikai: Notes on Huineng's teaching) (1680). The preface begins with the following lines:Printed poetry books are not trees; the paper on which a poem is written also has no stand. "From the beginning not a thing is"—this is the key to my haikai.7Peculiar at first glance, these lines are derived from the legendary gatha of Huineng (Enō), the Sixth Patriarch of Zen Buddhism. Huineng's gatha appears in section 8 of Liuzu fabao tanjing (The Platform Sūtra of the Sixth Patriarch):Bodhi originally has no tree,The mirror also has no stand.From the beginning not a thing is,Where is there room for dust?8 [End Page 232]The third line of the verse, "From the beginning not a thing is", is regarded by some scholars, especially some Japanese writers, as the most important doctrine Huineng contributed to Zen Buddhism.9 It is believed that the focus on the original nothingness, or original purity, of Buddha nature distinguishes Huineng's doctrine of sudden enlightenment from those of his predecessors. Okada argues that the Zen notion of original nothingness was the major source that awakened Onitsura to the necessity of haikai reform and led him to the conclusion that "without makoto there would be no haikai."10Okada's study is enlightening in examining Onitsura's early views of poetry. It is not, however, very convincing to say that this Zen verse alone was responsible for the formation of Onitsura's makoto. For one thing, the poet's own writings suggest that Onitsura realized the significance of Huineng's words after he had become aware of the true way of haikai. In the same preface cited above, Onitsura writes:Only after I became awakened to the true way of haikai did I begin to understand the significance of Master Huineng's words "not a thing is." I see [that] many poets in the haikai circles nowadays have ignored the true way of haikai while arguing endlessly over the old and new styles. I feel sorry for them.11It is clear from Onitsura's words here that he borrowed the Zen term mainly to criticize the mannerism among the haikai poets of his time. He was calling for the haikai poets to put aside their prejudice about the stylistic differences and open their minds... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The Princess and the Philosopher: Letters of Elisabeth of the Palatine to Rene DescartesRichard A. WatsonAndrea Nye. The Princess and the Philosopher: Letters of Elisabeth of the Palatine to Rene Descartes. Lanham, MD: Rowman & Littlefield, 1999. Pp. xiii + 187. Cloth, $57.95. Paper, $18.95.Princess Elisabeth was an acute, persistent critic of Descartes's philosophy. Because he liked her and she was a princess, Descartes did not dismiss her (...) criticisms as he did those of Gassendi and Hobbes. How can an immaterial mind interact with a material body? How can God determine all our actions and yet give us free will? Elisabeth was dissatisfied with Descartes's answer that an all-powerful God can do anything even if we cannot understand how.Andrea Nye analyzes the correspondence between Elisabeth and Descartes to support the thesis that Elisabeth developed and defended a worldly philosophy of life in opposition to the unworldly rules Descartes offered for living a tranquil and happy life. Descartes said she should focus on the separation of the mind from the body to avoid disturbing the intellect with sensory matters. Think positively about such nice things as birds and flowers and not of bad things that happen to one. Descartes told Elisabeth that "there are no events so dreadful, nor so absolutely bad in the judgments of people, that a person of spirit cannot look on them with a bias that makes them appear favorable" (48). If we do our best to find out the right course of action and act accordingly, then even if the results are bad, we have no reason for remorse or recrimination, but can be happy that we have done the best we can. Descartes even says that a person who follows his rules can view everything that happens to him, even the worst, as though these events were taking place in a theatre, for in the end they do not impinge upon the ultimate happiness of one's immortal soul.Elisabeth, earnestly. sardonically, and sometimes with annoyance responds that this is perhaps possible for a single man of independent means with few civil and personal relationships, but for someone engaged in family affairs, royal politics, and social interaction with other human beings, Descartes's philosophy of life is both impossible and wrong. One never knows what is best; even if one did know, it is difficult to carry it out; and finally, if the results are bad, then one is after all responsible. One would be inhuman to deny fault, monstrous to deny moral responsibility. Above all, Elisabeth says, one should not view one's own life as theatre. One must be responsible for oneself and others.Nye casts this as a difference between Descartes's abstract and Elisabeth's particularist approaches to life, but also as a contrast between those who can live a disengaged life and those who cannot. Some of the amusement in Nye's perceptive discussions comes from her showing how Descartes's passions often run away with him, and how Elisabeth gently turns his own rules back onto him. [End Page 277]Nye's analyses of the correspondence are excellent, but she makes some mistakes about the lives of Descartes and Elisabeth. Nye explains Descartes's coolness by his having suffered from a "motherless infancy" (129), even speaking of "the mother's milk denied him as a child" and calling him an "orphan" (156), which he was not. His mother died thirteen months after his birth, but he had a wet nurse. Descartes may never have tasted his own mother's milk, but he was never deprived of nursing. Children were often sent to live with wet nurses for as long as four years, although Descartes is traditionally said to have been raised by his grandmother. In any event, such psychoanalyzing is off the mark.Nye also says that Descartes was asked by Queen Christina to write a ballet. She cites the wrong ballet and attributes a verse from the right ballet incorrectly, but beyond that, there is no evidence either that Descartes wrote verses for a ballet or that Christina asked him to.Then Nye speaks of Descartes's daughter Francine... (shrink)

William Bartram would accompany his botanizing father, John, into the wilderness and he would famously memorialize his own explorations with an account that mixed romantic conventions with natural history and Quaker theology. William’s interior life corresponds to the spirit of Virgil’s Eclogues with its promise of the resto­ration of a Golden Age, replete with bucolic scenes of shepherds tending their flocks and singing nature’s praises. This paper addresses some of the political interpretations that Bartram’s work has received and argues that (...) William was focused on a distant past which he was introduced to through the classical curriculum at the newly founded Academy of Philadelphia. William’s curriculum guaranteed an introduction to the conventions of the sublime and the picturesque, since Addison’s Spectator was also required reading and he was well-versed in Linnaean nomenclature, but wherever William botanized his observations of the natural world were framed by classical literature. His tour of ancient Indian ruins where he imagined an Areopagus and a space free of strife and bloodshed is a dramatic example of William’s habit of importing a place defined by classical literature into his natural history. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Origen and Prophecy: Fate, Authority, Allegory, and the Structure of Scripture by Claire HallMilanna FritzOrigen and Prophecy: Fate, Authority, Allegory, and the Structure of Scripture by Claire Hall (Oxford: Oxford University Press, 2021), 195 pp.Origen's (AD 185–255) surviving corpus is studied by scholars across the disciplines of theology philosophy and classics. Drawing from each of these fields, in Origen and Prophecy, Clare Hall applies Origen's self-proposed tripartite exegesis (...) of Scripture, in which verses can be read at a "somatic, psychic, or pneumatic level," to his conceptualization of prophecy [End Page 293] (193). Hall's argument examines the "landscape of pagan, Jewish, and early Christian religiosity" and considers the "whole range of Origen's corpus" in relation to "wider structures and themes in his work" (4, 25). In doing so, Hall presents a compelling analysis embedding Origen's system of exegesis and theology of prophecy within the intellectual history of prophecy in the late classical and early Christian world.In her first few chapters, Hall explores Origen's definitions of prophecy in relation to its Jewish and Greco-Roman influences and his system of scriptural exegesis. Hall remains cognizant of terminology used by classical authors as she describes Origen's word choice, noting, for instance, that he varies his language most when the prophetic validity of the author is in question (9–12). She summarizes Greek, Roman, and Jewish conceptualizations of prophecy, then turns to Scripture and early Christian texts, all of which shape Origen's own "notions of wisdom, knowledge, and prophecy" (20, 29). Hall argues that Origen's On First Principles and homilies on Exodus, Leviticus, and Numbers are underlaid by a coherent exegetical system. Further, she explains, Origen's Commentary on the Song of Songs applies this same system to other forms of knowledge, including prophecy, which has a future-telling sense, a moral sense, and a mystical and revelatory sense (27, 50, 39–45). In her analysis, Hall provides insight into the philosophical and theological foundations for the "revelatory potential of allegory" as understood by Origen and other early Christian authors and carefully distinguishes Origen's own beliefs from the tenets of Origenism (30–31). To strengthen her argument, Hall cites a plethora of secondary scholars on Origen, including Caroline Bammel, Gunnar af Hällström, Robert Hauck, and Ilaria Ramelli (18–25).In her next few chapters, Hall unfolds Origen's system of distinguishing between true and false prophets and his advocacy for the unity of prophecy within Scripture in his response to Marcionism (199, 149–52). Chief among Hall's insightful contributions, however, is her treatment of the complex interrelation of prophecy and human autonomy: within Origen's framework, how does providential foreknowledge permit human free choice? To approach an answer, Hall traces the emerging conception of free will as "freedom of decision" among Greek authors such as Aristotle, Chrysippus and the Stoics, the Platonists, the Epicureans, and Alexander of Aphrodisias, who, she argues, laid the groundwork for Origen's "innovative narrative understanding of free will" in the context of "epistemological considerations surrounding prophecy" (55–71, 75). These sections of her book present a striking glimpse into early Christian departure from the Greek classical tradition, and her exploration of Origen's defense of both free will and [End Page 294] divine foreknowledge opens the door to further research on his theology of conversion and the relation between grace and nature (75–85, 91).While the entirety of her work is thought-provoking, some elements of Hall's presentation of Origen's theology may be open to a critical response by patristic scholars. Throughout her work, Hall consistently characterizes Origen's spiritual readings of Scripture—and prophecy—in direct opposition to its literal readings. For instance, she writes that, for Origen, just as "some verses do not have a somatic reading and cannot be taken literally," some prophecies are intended to be read as "stumbling blocks or riddles for the exegete to ponder," rather than accurate or "coherent" predictions of the future (193, 53). Additionally, Hall ties Origen's insights on prophecy in the Old Testament to his depiction of Christ as the "ultimate content of... (shrink)

Turkish-Islamic literature contains numerous religious literar writings. In the existing literature, it can be seen that many kinds such as tawhīd, munājāt, nʿat, mawlid, hilya, hijrah-nāma, shafāʿat-nāma, miʿrāj, qisas al-anbiya, ramaḍāniyya, and al-asmā al-ḥusnā were written. Al-Asmā al-ḥusnā, written in the form of poetry and prose, were mostly sharḥ or their khawaṣṣ were explained. Çihil-nām al-Manẓūm, which is mentioned in the study, was written as khawaṣṣ al-asmā al-ḥusnā. The work is a poet entitled as Fażāyī. Manuscript was written in the (...) last quarter of the fifteenth century, and thus, it is presumed that the poet lived in the same century. This work has been identified in a manuscript. In addition, the poet’s Hadiyyat al-aḥbāb, der-Bayān al-maqāmāt al-darwīshān, Kitāb al-sharʿiyyat al-arbāb, and Ghazaliyyāt al-Darwīsh Fażāyī four other works have been identified. In the writings of the asmā al-ḥusnās, the names of ninety-nine were emphasized. In this study, the forty names of God are expressed. The text presented is a continuation of the tradition of writing some prose works written in Arabic and Persian. Çihil-nām al-Manẓūm, written in Arabic prose and known as Asmā al-Idrīsiyya it can be seen as a free stsyle translation of the prophet Idrīs. Forty names in the content of the work, their proper-ties, when, how much and how to read is explained. In this study, firstly the information about the subject of Qurʾān, hadith, Arabic, Persian and Turkish literature in the beautiful names of God is provided. Then, the information about the poet Fażāyī was given. Çihil-nām al-Manẓūm was introduced and the transcriptional form of the text was given.SummaryOne of the reasons that deeply affect a nation is the change of religion. This change did not only affect the individual but also influenced the society in which he was born and grew. One of the nations with strong influence is the Turks. Turks, after Islamization, have estab-lished a new civilization. One of the areas where this Islamic civilization reflects is the literary aspect of society. In this literature, which has begun to be formed, religious genres such as tawhīd, munājāt, nʿat, mawlid, hilya, hijrah-nāma, shafāʿat-nāma, miʿrāj, qisas al-anbiya, ramaḍāniyya, have been revealed. One of them is about God. Religious literary writings about God were written in the form of tawhīd and munājāts, which consist of one or more prophets found at the head of the dīwāns, or as the annotations of asmā al-ḥusnā or as khawaṣṣ asmā al-ḥusnā.In time, the need for some Turkish literary and scientific works to be translated into a different language were born. It can be seen that with some changes such as subtraction and addition, texts are rewritten or poetic works are translated into prose. The original of our research subject Çihil-nām al- Manẓūm’s is written in Arabic and prose. Çihil-nām al-Manẓūm, it is a munājāt of the work known as Asmā al-Idrīsiyya, which describes the call of prophet Idrīs.Asmā al-ḥusnā is a religious term used mostly to describe the attributes and names of God. In the Qurʾān, there is no information about the number of asmā al-ḥusnā mentioned as a concept. However, the number of the names of God in the Qurʾān is 155. This number is differ-ent in ḥadīths. It is widely accepted that the number of asmā al-ḥusnā is 99. Some Islamic schol-ars have argued against such restricting statements, arguing that ninety-nine names, such as the hiding of the Night of Qadr, were hidden in all Divine names during the month of ramaḍān, while others suggested that the number of ninety-nine was large number of asmās (names).The first examples of asmā al-ḥusnā were written in Arabic literature. Some of them are not detached: Abū Manṣūr al-Māturidī (d. 333/944) Kitāb al-Tawḥīd, Abū ʿAbdullāh al-Ḥalīmī (d. 403/1012) al-Minhāj fī shuʿabiʾl īmān, Taḳī al-Dīn Ibn Taymiyya (d. 728/1328) al-Īmān. A part of asmā al-ḥusnās is also a single work: Abū Isḥāq al-Zajjaj (d. 311/923) Tafsīr al-asmāi’llāh al-ḥusnā, Aḥmad b. Husayin al-Bayhaḳī (d. 458/1066) al-Asmā al-ṣifāt and ʿAbd al-karīm b. Havāzin al-Quşayrī (d. 465/1072) Sharḥ al-asmāi’llāh. In addition to Arabic, it is useful to talk about some of the asmā al-ḥusnās which is written in Persian. Muḥammed al-Shrāzī al-Nishāburī (d. 904/1498) al-Risāla der-asmā al-ḥusnā, Çarkhī Yaʿḳūb b. ʿOthmān (d. 851/1447) Sharḥ al-asmāi’llāh and ʿAbd al-Raḥmān Aḥmad al-Jāmī (d. 898/1492) Muʿammā al-Jāmī.Islamic nations have created an enormous collection of literature about God. Among them, asmā al-ḥusnās has a special importance. Many asmā al-ḥusnā were written in Turkish literature. The most famous among the verses of Ibn Isa b. Majduddīn ʿĪsā Saruḥanī (d. 967/559) is Sharḥ al-asmā al-ḥusnā. Other than that, Ḥusayin b. Aḥmad Sirozī (d. 1000/1401) Sharḥ asmā al-ḥusnā, Aḥmad Shākir Pasha (d. 1234/1818) Rawḍ-ı Ward, Ibrahim Mahdī (d. 1345/1926) al-Kanz al-asmā fī sharḥ al-asmā al-ḥusnā and Bijaqji-zāda Ismā‘īl Haqqi b. ʿOthmān (ö.1352/1933) Asmā al-ḥusnā’s naẓman tafsīr this work is shown among the major works written in this field. Again, the works of the late Sheykh-oghlu Muṣṭafā (d. 817/1414) Khawaṣṣ al-asmā al-ḥusnā, Ṣubḥī al-Bursawī (n.d.) Sharḥ al-manẓūm al-asmā al-ḥusnā, Ḥākim Sayyid Maḥmad Afandi (d. 1184/1770) Sharḥ manẓūm al-asmā al-ḥusnā, Lāmiʿ Jelebi (d. 938/1532) Sharḥ al-muʿammayāt ʿalā asmā al-ḥusnā, Ḥamdī Afandi (n.d.) Sharḥ al-manẓūm al-asmā al-ḥusnā, Naḥīfī (d. 1151/1738) Manẓūm al-asmā al-ḥusnā, ʿAbd al-Majīd b. Naṣūḥ Ṭosyavī (d. 996/1588) Sharḥ al-asmā al-ḥusnā can be listed among other notable works.In this study, a khawaṣṣ al-asmā al-ḥusnā is examined. Khawaṣṣ; khāṣṣ and khāṣṣa are the plural of the words khawaṣṣ al-wukalā, khawaṣṣa al-balda, the properties of some drugs, khawaṣṣa al-Qurʾān al-karīm, khawaṣṣa al-ism al-aʿẓam; a force that is found in something and not from others means special case. The verses of the Qurʾān, the rings, the hours of the days, some prayers, the names of God have some of the accents. It is believed that the desire of the person who reads them in certain conditions, in a certain amount, or in any manner, in specific hours, will occur. The fact that the concept of khawaṣṣ met these meanings allowed him to acquire scientific knowledge and to call it “khawaṣṣ science” characteristic in the literature.The works that deal with the Qurʾān and the asmā al-ḥuṣnā are written. Some of these works written in Arabic and Turkish literature are: Risāle fī khawaṣṣ al-asmā al-ḥusnā: Zunnūn al-Miṣrī, Khawaṣṣ al-Qurʾān: Ghazālī, ʿIḳdu al-manẓūm fī khawaṣṣ al-ḥurūf: Muḥyī al-Dīn al-ʿArabī, Asmā al-Idrīsiyya: Shāb al-Dīn al-Suhrawardī, Khawaṣṣ al-asmā al-ḥusnā: Shakh-oghlu Muṣṭafā, Sharḥ al-manẓūm al-asmā al-ḥusnā: Ṣubḥī al-Bursawī, Sharḥ al-asmā al-ḥusnā: Ibn ʿIsā b. Majd al-Dīn Ṣaruhanī, Manẓūm al-asmā al-ḥusnā sharḥ: Ḥākim Sayyid Maḥmad Afandi, Manẓūm al-asmā al-ḥusnā: Naḥīfī, Sharḥ al-asmā al-ḥusnā and khawaṣṣuhā: Imām Shabrāwī.One of the works in which asmā al-ḥusnā was described is attributed to prophet Idrīs. Among the miracles of prophet Idrīs, there have been intresting miracoulus performances such as possessing the knowledge of astronomy, fortune, mathematics, plants, writing, sew-ing, using the scales and strange art. The mysterious secrets were revaled to him in 30 ṣuḥuf. His major miracles are governing spiritual beings, knowing the properties of the beings and possessing the knowledge of various unknown things. Again, he wrote a book about the char-acteristics of letters. Aristotle later wrote a commentary using the majority of the information found in this book. Some of the works are written to narrate the Prophet Idrīs’s praising God with forty names:Muḥammad al-Tunisian, al-Ravḍatu al-Sundusiyya fī asmā al-ḥusnā al-Idrīsiyya al-Suhrawardiyya; Shāb al-Dīn Yaḥya b. Ḥabash al-Suhrawardī, Çihil-nām. Among these, the most famous is the work called Asmā al-Idrīsiyyā, written by Suhrawardī. Here, in addition to the asmā al-ḥusnā (forty names), prayers, prayers, conquests, their meanings, and the merits of reading them are explained. The book is written in Arabic. Many copies of this work have been identi-fied. Here are a few of these: Sulaymāniyya Hagia Sophia, K. 1870; Sulaymāniyya, Hagia Sophia, 377; Bāyazıd State Library 1314; National Library A005133-03 23b-33a; Adana Public Library 140; National Library, 06 Mil Yz A 9084/6.The works describing Asmā al-Idrīsiyya were written as prose. The work examined in this study was written as a manuscript. Çihil-nām-ı Manẓūm is distinguished from the others in this respect. Another point that makes the study important is the fact that Çihil-nām-ı Manẓūm has a very old period, this is written in the fifteenth century. (shrink)

RESUMEN La concepción antropológica desplegada en los Manuscritos del '44 puede verse como una constante en toda la obra de Marx, siendo de especial importancia para trazar una lectura ética de nociones políticas fundamentales como las de emancipación social, tiempo libre o comunismo. En función de esto se desarrollan los conceptos de ser genérico y ser social con el objetivo de establecer los rasgos principales de la ontologia marxiana y, desde allí, identificar los principales elementos filosóficos que harían a (...) la perspectiva critica del propio Marx y su proyecto emancipatorio. ABSTRACT The anthropological conception deployed in the Manuscripts of 1944 can be seen as a constant throughout Marx's work, and is of particular importance for drawing an ethical reading of fundamental political notions such as social emancipation, free time or communism. On this basis, the concepts of generic and social being are developed in order to establish the main features of the Marxian ontology and to identify the main philosophical elements that would found the critical perspective of Marx and his emancipatory project. (shrink)

This article examines the philosophy of Gilles Deleuze and the poetry of Arthur Rimbaud in terms of the intersection between corporeality, temporality, and the political. The first part analyzes the deconstruction of lyrical subjectivity in Rimbaud’s verse in relation to the breakdown of the “sensory-motor link” described in the first volume of Deleuze’s Cinema; it discusses these homologous movements as a release of free-floating bodily potentiality. The second part shows how the shift from the first to the second (...) volume of Deleuze’s Cinema and the shift from verse to prose poetry in Rimbaud constitute the formal dimensions of a shared political project based on the transformation of bodily life, or a biopolitical transformation. This project can be understood as communist insofar as it attempts to liberate time from capital for the body and to produce a social form based on sharing the common. (shrink)

Aghribat al-Arab, “crows or ravens of the Arabs,” was the name given to a group of early Arabic poets who were of African or partly African parentage. Of very early origin, the term was commonly used by classical Arabic writers on poetics and literary history. Its use is well attested in the ninth century and was probably current in the eighth century, if not earlier. The term was used with some variation. Originally, it apparently designated a small group of poets (...) in pre-Islamic Arabia whose fathers were free and sometimes noble Arabs and whose mothers were African, probably Ethiopian, slaves. As the sons of slave women, they were, by Arab customary law, themselves slaves unless and until their fathers chose to recognize and liberate them. As the sons of African women, their complexions were darker than was normal among the Arabs of the peninsula.Both themes—servitude and blackness—occur in some of the verses ascribed to these poets and, in a sense, define their identity as a group. Professor ‘Abduh Badawī of Khartoum begins his book on the black Arab poets—the first serious and extensive study devoted to the topic—with this definition:This name [the crows of the Arabs] was applied to those [Arabic] poets to whom blackness was transmitted by their slave mothers, and whom at the same time was transmitted by their slave mothers, and whom at the same time their Arab fathers did not recognize, or recognized only under constraint from them.1­ Bernard Lewis is Cleveland E. Dodge Professor of Near Eastern Studies at Princeton University and has been a long-term Member of the Institute for Advanced Study. His most recent books are The Muslim Discovery of Europe and the Jews of Islam. (shrink)

Hadiths that have been discussed in this paper consist of narrations regarding divine attributes and having some problematic meanings between supporters of Bişr al-Marīsī and ʿUthmān al-Dārimī. These narrations were mostly accepted denounced (munkar) by Bişr al-Marīsī and his sopporters due to having an anthropormophist and corporealist content about God. They rejected divine attributes according to their understanding of God based on incomparability (tanzīh) which provided by Mutazilite approach towards divine attributes even though they conveyed some features of Ahl al-Ra’y. (...) They found contradicted of attributing human features to God based on their tanzīh understanding, therefore, they interpreted such this kind of narra-tions in terms of their approach or rejected at all. At the other hand, a hard Hadith scholar Uth-man al-Darimi believed that one should accept divine attributes as they are in the Qur’an and Sunna. According to his belief, he considered the explicit meanings of the narrations without interpretation of divine attributes, and based on his perpective he denied Bişr al-Marīsī and his supporters’ interpretations claiming they would cause divesting God of all attributes (ta‘tīl). He argues that these narrations should be taken into considerations based on their explicit mea-nings. The discussions on these hadiths are important due to showing different approaches of scholars from the schools of Ahl al-Ra’y and the ones from Ahl al-Hadith towards the hadith du-ring the period when the main Hadith works were collected. Discussions on the narrations stu-died in this paper reveal two schools’ understandings of divine issues, their approaches to divi-ne attributes, as well inform us their perspectives of hadith in general.Summary: The present paper examines the debates between ʿUthmān al-Dārimī (d. 280/894) and the supporters of Bishr al-Marīsī (d. 218/833) on the divine attributes mentioned in some hadiths in the period when the main hadith books were composed (i.e., III/IXth century). These debates that took place between the scholars of Ahl al-Hadith and Ahl al-Ra’y concern the un-derstanding and interpretation of the hadiths in a certain way.It could be stated that the debates focus on how the hadiths should be understood, or whether it is the explicit meaning of the words or the possible methaphorical meanings beyond them that should be considered.It is worth briefly introducing the parties who discussed the hadiths studied here. The aforementioned discussions about some hadith narrations are between the supporters of Bishr al-Marīsī and ʿUthmān al-Dārimī, one of the important figures of the Ahl al-Hadith who wrote a separate work on these hadiths. This work was written as a rejection of the views of Bishr al-Marīsī and his two students on the attributes of God and some issues regarding hadith.Bishr al-Marīsī was regarded as an important scholar of Kalam who received fiqh education from Abū Yūsuf (d. 182/798). He is a scholar of Ahl al-Ra’y who made scientific dis-cussions with many scholars including Imam al-Shafiʿī (d. 204/820). He was on the council of the Caliph Al-Mamūn (d. 218/833) and had a significant role in the adoption of the idea of the createdness of the Qurʾān (khalq al-Qurʾān).Uthmān al-Dārimī,on the other hand, was a scholar of Ahl al-Hadith who learned ha-dith from the authorities of his era such as Yaḥyā b. Maʿīn (d. 233/847), ʿAlī b. al-Madīnī (d. 234/848), Isḥāq b. Rāhawayh (d. 237/851), and Aḥmad b. Ḥanbal (d. 241/855). Having visited all the important cities for the training of hadith, he learned the hadiths and conveyed them.With the understanding of proving the divine attributes and the opposition of the misin-terpretation of the narratives related to them, the groups advocating the appropriation of these lines in accordance with the understanding of incomparability (tanzīh) have complied the works since the first period. According to ʿUthmān al-Dārimī, the rejection of the divine attributes by Mu'tazila was influential in the emergence of the criticism literature of the Ahl al-Hadith and many authors wrote works in this direction.Regarding a narration by Abū Hurayra, an opponent reports that this narration gives the impression that God has the eyes and ears as we know. ʿUthmān al-Dārimī reports that this hadith proves sight and hearing not the eyes and ear organs. He indicates that God has no like by no means. Therefore, it is slanderous to refer the claim that Allah is made of organs to the Ahl al-Hadith. Abū Dāwūd states that with this hadith the attributes of sight and hearing for God are proved and Jahmiyya’s denial of the divine attributes are rejected.The opponent also considered Abū Hurayra's narration referring to the Prophet: "Faith is from Yemen, wisdom is from Yemen! I feel the breath of your Lord from Yemen!" as denounced (munkar). Because, according to Bishr al-Marīsī and his companions, breath can only come from those with an abdominal cavity, and Allah is free from it. According to ʿUthmān al-Dārimī, the opponent misunderstood. What is meant here is the wind that blows from Yemen and comforts people. In the context of this narration, we see that supporters of Bishr al-Marīsī evaluate the narrative literally, while ʿUthmān al-Dārimī interpret the narrative.Regarding the narration, "You can not approach Allah with something more virtuous than what comes out of it (the Qur'ān)" Ibn al-Saljī reports that Mushabbiha understands this as one with an abdominal cavity and from whom speech comes out. This understanding is in-valid since God is "samad" in the sense that He has no void. With this hadith, it is meant that the Qur'ān comes out of Allah’s presence rather than Allah. According to ʿUthmān al-Dārimī, the real aim of Ibn al-Saljī is to deny God's attribute of speech. There is no doubt that the Qur'ān comes from Him, and those who do not accept it merely deny His attribute of speech.Attributed to Ibn Abbas; The meaning of "yamīn Allah" (the right hand of Allah) in narration "Black Stone (al-ḥajar al-aswad) is the right hand of Allah on earth, handshakes with the people" is not the right hand that we know according to Ibn al-Saljī, it is blessing and grace of Allah. According to ʿUthmān al-Dārimī, who acknowledges that Black Stone is not meant to be a hand, the purpose of Ibn al-Saljī is to deny the two hands mentioned in the verses and ha-diths about Allah with invalid interpretations.ʿUthmān al-Dārimī, who criticized that Ibn al-Saljī quoted from another narration which Ibn Abbās heard from the Prophet, says that such poor narrations should not be spread. In addition, he points out that Ibn al-Saljī's interpretation is ugly and he criticizes it. Because Allah who is mentioned in the narrative is depicted as a young man with curly hair in a green suit. Such a narration is also an untrustworthy narration as it contradicts the authentic narrations of the Prophet. ʿUthmān al-Dārimī, who made this assessment of the narration, rejects the com-ments that the opponent made about the narration. According to the opponent, the phrase "I have come to Allah" means "to come into the presence of Allah in the Garden of Eden." Accor-ding to ʿUthmān al-Dārimī’s understanding, such complicated hadiths should not be only narra-ted.About the narration that are based on the Prophet and he does not know the answer to what he has come to know of himself, then he feels the coolness of his fingers as he puts his hand on his back and learns everything, the opponent evaluates the following: He was not Allah who came to the Prophet, but a well-behaved angel who was being directed by Allah and he was the angel who put his hand. ʿUthmān al-Dārimī rejects this interpretation of that oppo-nent. This comment is also contrary to other authentic hadiths. After he refused to the com-ment of the opponent about relevant narration, ʿUthmān al-Dārimī stated that he could not trust this comment on the basis of the authentic narrations he mentioned.Salaf scholars have preferred to be silent in this regard, as it is seen among the most difficult subjects to talk about divine attributes. However, subsequent generations have held dif-ferent paths in this regard. The basic approaches to understanding the divine attributes can be summarized in three main titles: tafwīd, tashbīh, and ta’wīl. Tafwīd is the path adopted by the early salaf scholars and means to leaving the knowledge about Allah’s entity and attributes to His knowledge. Tashbīh means to compare Allah to the created or the created to Allah. Ta'wīl is to interpret the Qur'ānic verses and hadiths that give the impression that Allah is like the crea-tures with semantics and rational deduction. The ones who deny the adjectives are called as Muʿattila and those who prove their attributes are called as Sifatiyya. According to Ahl al-Ra’y, it is necessary to appropriately make interpretation (ta'wīl) of the attributes giving the impression of anthropomorphism in terms of the dictionary. In the divine attributes, Muʿtazila advoca-ted the incomparability (tanzīh), whereas Ashʿariyya and Māturīdiyya adopted interpretation in accordance with incomparability. Mushabbiha and the Wahhābī-Salafī understanding has also taken the expressions regarding divine attributes with their explicit meanings.The debate between the scholars who lived in the ages II/VIII and III/IX, when the most important works are composed in the science of hadith, is important in that it is the first turn. In addition to this, the debate also contains important information on the approach to the Qur'ānic verses and hadiths, in that it shows two basic approaches, one of which represents the school of Ahl al-Ra’y, and the other represents the school of Ahl al-Hadith.ʿUthmān al-Dārimī generally advocates adhering to the explicit meaning of the narra-tion, while Bishr al-Marīsī and his companions criticize the narration labeling it as denied (mun-kar) or making an interpretation. On rare occasions, the places where ʿUthmān al-Dārimī re-jects the narration and makes interpretation, or where Bishr al-Marīsī and his companions de-fend the narrative can be seen.Interpretations made by Bishr al-Marīsī on the problematic narratives have influenced on the next scholars. Alongside Muʿtazilite scholars such as al-Jubbāʾī (d. 303/916), Qāḍī ʿAbd al-Jabbār (d. 415/1024) and Abū l-Ḥusayn al-Baṣrī (d. 436/1044), his interpretations have been quoted by Sunni scholars such as al-Ghazālī (d. 505/1111), Ibn ʿAqīl (d. 513/1119) and Fakhr al-Dīn al-Rāzī (d. 606/1210).The fact that the truth can be put forward in the science of hadith, which is based on the narration, does not favor one of the "narration" and "ra’y", it should be kept in mind that both of these depend on the proper and balanced use of both. To reveal the truth, the narration is in need of the opinion and the opinion (ra’y) is in need of the narration. Narration and opinion sho-uld be seen as complementary elements, not each other's opponents. (shrink)