The Qurʾān was taught in the letter method for many years. After the names of the letters in the Arabic alphabet are memorized in this method, the teaching of origins and signs begins. The syllabic method was developed over time as an alternative to this method, and the letters were taught directly with their superior vowel signs without memorizing their names. Unlike these two methods, the sound-based alif ba method has begun to be used in recent years. This method (...) coincides with the primary literacy teaching method based on the sounds thatwere adopted in Turkish teaching since 2005. Basic principles such as teaching the letters one-by-one, following the sound learning stages in teaching each sound, conducting the lessons in class, reading the syllables and words formed with the learned letters from the first day are adopted in both teaching methods. The purpose of the present study was to find out how the Qurʾān can be taught by applying the sound-based alif ba method and to draw attention to the original aspects of this method for learning the Qurʾān with the right sounds. Since the correct teaching of the Qurʾān is closely related to the teacher’s content knowledge and teaching skills, the alif ba that will be used and the method to be applied are important in reaching the target more systematically and faster. The case study design was used in the study in which the qualitative method was employed. The primary data of the study were Sound-Based Alif ba, for which I was the project assistant of, and the book with the title A New Approach in Teaching the Qurʾān: Sound based Alif baand Tajwīd Method, which was an editorial book of which I was one of the authors, and the thirty-episode series We Are Children and We Are Reading the Qurʾān, published on Diyanet TV, for which I was the production coordinator. Also, to see the applicability of the method, interviews were conducted with eight instructors who used Sound-Based Alif ba in their lessons. The study received ethical approval from Ankara Social Sciences University Rectorate Social and Human Sciences Research and Scientific Publication Ethics Committee on 8 July 2021 with the decision no 12450. The main thing in the sound-based alif ba method is the correct vocalization of the Qurʾān. The letters in alif ba are arranged differently from the classical alphabet order and are divided into six groups considering the frequency of occurrence in the Qurʾān and the degree of difficulty of origins. Each letter is taught in a separate lesson with the support of the ḥarakas and the sukūn (such as اَلْ, اِلْ, اُلْ). During the teaching, attention is paid to the sound learning steps, and the student is expected to feel the sound of the letter to be learned, distinguish it from other letter sounds, and then pronounce it from the correct origin as much as possible. In the sound-based alif ba method, the teaching of the shape of the letter is done after the sound of the letter is pronounced. During the teaching of the shapes of the letters, the part of the letter that does not change when written within a word is emphasized, and the writing is used so that the shape of the letter can be placed in the mind of the student. In the sound-based alif ba teaching, reading from the Qurʾān is done in every lesson, starting from the teaching of the first letter. During the teaching of alif ba, educational games, question-answer, and narration methods are used, primarily with the taʿlīm method. In this way, the teaching of Sound-Based Alif ba is spread over a period of 40 lessons. The study findings showed that the sound-based alif ba method has similar characteristics with the sound-based primary literacy teaching method; however, Arabic has its own unique aspects with its language structure. Among these originalities, which is adopted in the teaching of letters, firstly teaching the letter with the sukūn and with the support of movable ا and then showing the shape of the letter is carried out. As a matter of fact, the teachers have the opinion that this vocalization method, which is adopted, facilitates the learning of the correct sounds, and that teaching the letters in line with the sound learning steps increases the efficiency of the lesson. Although most of the instructors pointed out to the positive aspects of teaching tajwīd sounds in alif ba, one of the instructors did not find it necessary. The opinions of the teachers showed that the sound-based alif ba method can be applied efficiently in online lessons, but the teacher-student relation is affected negatively when compared to the classroom setting. All of the instructors said that the materials used in the lessons and demonstration and educational game methods increased the quality of the course, and that the We Are Children We Are Reading the Qurʾān program is an important resource for them. (shrink)

Unlike other writing systems that are readily classifiable as alphabetic or syllabic in their structure, the Indic Devanagari script (of which Hindi is an example) has properties of both syllabic and alphabetic writing systems. Whereas Devanagari consonants are written in a linear left-to-right order, vowel signs are positioned nonlinearly above, below, or to either side of the consonants. This fact results in certain words in Hindi for which, in a given syllable, the vowel precedes the consonant (...) in writing but follows it in speech. The current research exploited this property of the script to examine when the disparity between spatial and temporal sequenc- ing would incur a processing cost and the implications of the findings from naming speed, accuracy, and writing order for the level at which words in Devanagari are segmented. The results support a partly phonemic and partly syllabic level of segmentation, consistent with the structural hybridity of the script. (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)

New Publications on Nietzsche’s Musical Aesthetics and Philosophy of Music. The significance of music in Nietzsche’s aesthetic writings is undisputed. However, the question of the role that music played in Nietzsche’s thought and writing process still yields divergent answers which are not free of speculative interpretations. New publications on Nietzsche’s aesthetics of music cover a wide range of themes: from the significance that the syllabic rhythms of Greek antiquity held for Nietzsche to the relationship between sounds and language (...) in poetic texts, for example, and the processes to which Nietzsche applied himself as a composer of music. This makes it very clear that music is not simply a complementary element to express what cannot be said in language, nor is it a form of relief from the tragic perception of life. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:THIS MESSAGE IS FOR YOU. MAYBE. by Joseph Agassi There is a mood often enough conjured in science fiction literature to be familiar to every fan, the mood of seemingly intentional yet probably remdom contact between two individuals across immense space-time expanses. The hero of a complicated chase story has lost contact with the mother planet, has long ago leuided on a strange pleuiet, emd there, right now, just (...) walking across the plaza he sees a huge poster, with a piece of commercial advertisement or some similar message of purely local import printed on it. The poster is decorated with an arabesque which puzzles him, quickens his pulse, intrigues him, fascinates him — until it hits him insteinteuneously in full force: the arabesque is a message, written in his own native language, telling him how to reestablish contact. The story, as I say, has many veurietnts. And it has, it seems, a very widespread appeal. It is couched in terms of adventure stories, but its mood is not diat of adventure. The mood is more of die one associated with the idea of the eterned return, die idea of timelessness or of time standing still (and space vanishing), the idea the western philosophies usually associate with the ideas of Nicholas, the Renaissance mystic bishop ofCusa, though it is a recurrent idea in many cultures, of the identity of the vanishingly smedl and the infinitely large. Indeed, the meeting of the message and the recipient is symbolized by the meeting of the infinite line and the point of vanishing length. Whence this universality? I suppose it is a fact of biological nature. Think of the scent a living thing, be it a fish or em emtelope, leaves behind to contact a possible mate. It is a few complex molecules in a sea of molecules of astronomical numbers: just this room contains more molecules than you can imagine. And the animal follows a long tortuous path to find its mate. According to Willietm Craig and Konrad Lorenz, an animal does not have the slightest clue what it is after. Even while building a nest it has no complete 95 96Philosophy and Literature picture of its task. In each of its stages it goes after diverse kinds of things, yet it knows not which things, let alone their inborn rigidly fixed sequence. Yet the animal in charge of a tetsk, whether of finding a mate or of finding a twig for a nest, will be resdess — say Craig and Lorenz — and move about, and try to read the message in any piece of arabesque, until one day one piece of arabesque will med«: sense and enable its finder to complete die next step in the mysterious complex task and open up die search for the next message, the next step further along die unfolding series of preordained ordeals that life is strewn widi. Consider writing proper, like my writing this message for you right now. We do not know the background to literacy, much less its actual origins, except that these were far from unique: though many cultures eire illiterate or have acquired literacy from more evolved neighbors, mere eire many places on earth where literacy evolved independently. Yet even here we see a sequence: many independent ideographic scripts, some ofthem evolving into syllabic scripts and one or two of these evolving into an alphabet proper. How and why, we do not know. There is room for speculation, though. It is hard to imagine how the very first writer conceived of the very first message he wrote without consulting his recipient first. There are a few possible explemations here. First, that writer and recipient are one: writing was a form ofmemorizing, or ofconsigning matters to memory more stable than that of the human brain — the granite rock, for instance. The ancient Egyptian god of literacy was the god of memory. Primitive shepherds use knots in their rope and cuts on their sticks as aides memoire, as bookkeeping of sorts, and scholars consider these the origins of writings. This is evidenced by the runic writings of the Norse, whose letters are images of sticks with cuts on them. Yet runic writing is alphabetic and... (shrink)

The Basotho of Lesotho and South Africa speak the same language, namely Sesotho. However, the two countries do not use the same orthography when writing Sesotho. This orthographic representation and its variations pose a significant challenge when Bible translators translate it into Sesotho. It also presents difficulties to readers of the Bible in South Africa when they have to read the Bible written in Lesotho orthography for the first time or to Lesotho readers who encounter Sesotho written in South (...) African orthography. The two orthographies are independent but complementary. The Lesotho orthography is older than the South African. It differs in the choice of letters and the marking of initial syllabic nasals and (to a much lesser extent) in written word division and the use of diacritics on vowels to distinguish some ambiguous spellings. Contribution: This article provides a historical examination of the problem beginning with the first efforts by French missionaries to write the language in the 19th century, the separate but interrelated development of the two orthographies in Lesotho and South Africa and the current impasse concerning a unified orthography. The analysis will include an examination of the linguistic issues involved, the sociolinguistic topics (including politics, education and religion) and various possible scenarios for resolving the problem will be considered. (shrink)

The essays collected here provide English-speaking readers with a lucid and accessible introduction to the world of France's leading contemporary philosopher. A classic student textbook.

This text gives examples of how a different kind of human experience may be explored, and how the methods used for investigating phenomena may contribute to the process of human understanding.

"I found this a fascinating book: wide-ranging, readable." —Alison Jaggar Bell shows how the flesh-and-blood female body engaged in sexual interaction for payment has no inherent meaning and is signified differently in different cultures ...

In _influx & efflux_ Jane Bennett pursues a question that was bracketed in her book _Vibrant Matter_: how to think about human agency in a world teeming with powerful nonhuman influences? “Influx _& _efflux”—a phrase borrowed from Whitman's "Song of Myself"—refers to everyday movements whereby outside influences enter bodies, infuse and confuse their organization, and then exit, themselves having been transformed into something new. How to describe the human efforts involved in that process? What kinds of “I” and “we” can (...) live well and act effectively in a world of so many other lively materialities? Drawing upon Whitman, Thoreau, Caillois, Whitehead, and other poetic writers, Bennett links a nonanthropocentric model of self to a radically egalitarian pluralism and also to a syntax and style of writing appropriate to the entangled world in which we live. The book tries to enact the uncanny process by which we “write up” influences that pervade, enable, and disrupt us. (shrink)

The Shape of An Article 4 The Introduction 5 The Opening Statements 5 Examples of Examples 6 The Literature Review 6 Citations 6 Criticizing Previous Work 7 Ending the Introduction 7 The Method Section 7 The Results Section 8 Setting the Stage 8 Presenting the Findings 9 Figures and Tables 10 On Statistics 10 The Discussion Section 10 The Title and Abstract 11..

Every healthcare organisation enacts a multitude of policies, but there has been no discussion as to what procedural and substantive requirements a policy writing process should meet in order to achieve good outcomes and to possess sufficient authority for those who are asked to follow it.Using, as an example, the controversy about patient’s refusal of blood transfusions, I argue that a hospital wide policy is preferable to individual decision making, because it ensures autonomy, quality, fairness, and efficiency.Policy writing (...) for morally controversial medical practices needs additional justification compared to policies on standard medical practices and secures legitimate authority for HCO members by meeting five requirements: all parties directed by the policy are represented; the deliberative process encompasses all of the HCO’s obligations; the rationales for the policy are made available; there is a mechanism for criticising, and for evaluating the policy. (shrink)

In this article I argue that an adequate response to climate change requires an overcoming of the metaphysics of presence that is structuring our relationship with the weather. I trace the links between this metaphysics and the dominant way that the topic of climate change is being narrated, which is structured around the transition from diagnosis to cure, from the scientific reading to the technological writing of the weather. Against this narrative I develop a rather different account of the (...) current ecopolitical moment. I first argue that an understanding of anthropogenic climate change must be grounded in a biosemiotic analysis of the evolving metabolism between society and nature, one that is alert to the way that metabolism involves a folded relation between inside and outside, and that recognizes the constant deferral of biosemiotic meaning in ecological systems. I then use a deconstructive reading of climate technics to problematize the distinction between the diagnosis and solution of climate change, and expose modern scientific practices of reading the climate as already containing within themselves a notion of weather’s technological writability. Exploring the notion that previous transformations of the metabolic regime of society have always involved transformations of notions of the human, I conclude by sketching out a different way of reading and writing the weather, one that takes place in the ‘opening’ of climate change, that problematizes the idea of the human as the end of nature, and that thereby implies a more radical version of climate responsibility. (shrink)

Considerable unclarity exists in the literature concerning the origin and authorship of Wissenschaftliche Weltauffassung. Der Wiener Kreis, the Vienna Circle’s manifesto of 1929 and on the extent of and the reasons for the mixed reception it received in the Circle itself. This paper reconsiders these matters on the light of so far insufªciently consulted documents.

This study was carried out to investigate the roles of epistemic beliefs and writing self-efficacy in predicting second language writing anxiety among learners of English as a foreign language. To this end, three validated scales were distributed among 240 EFL students. They were asked to complete the questionnaires during their regular courses. A structural equation modeling approach was utilized to analyze the hypothesized SEM model and the causal paths among the constructs. The direct and indirect path analyses of (...) the hypothesized model indicated that EBs and WSE accounted for 43% of the variance in L2WA. Although both constructs had a significant effect on L2WA, EBs turned out to be a robust predictor of increasing L2WA. Notably, it was revealed that learners’ EBs directly and significantly influenced their L2WA. Besides, the results indicated that WSE had a unique effect in reducing L2WA. More precisely, students who had a higher level of EBs seemed to have a greater L2WA, and those who had a higher level of WSE experienced less L2WA. The findings of this explanatory study suggest that L2 teachers and material developers should pay serious attention to the Students’ cognitive and affective variables as they were known to be significant factors in influencing L2WA. (shrink)

This article explores the history of dance notation from the Renaissance to postmodern dance. It examines the tension between text and oral tradition in Western dance practices, as well as the issue of how to reconcile our views of choreography as both scriptural and visual. It has been difficult, if not impossible, to think of notation in relation to composition; notation has become almost solely associated with reconstruction as a phenomenon of historical interest. But, at the same time, the sense (...) of the score—and hence some notion of notation—seems to remain within the body and the mind of the dancer as a danced possibility. That is to say, some form of cognitive mapping takes the place of the idea of notation and takes root in the dancer's mind and body (if not on paper). Literal notation is not just secondary but tertiary with respect to this sense of scoring, which appears to preexist notation in the mind and the body, making of dance a form that places particular demands on the performer. (shrink)

"Critical Thinking, Reading, and Writing" is a compact but thorough guide to critical thinking and argumentation. Comprising the text portion of the widely adopted "Current Issues and Enduring Questions," it draws on the authors' dual expertise in effective persuasive writing and rigorous critical thinking. It helps students move from critical thinking to argumentative and researched writing. With comprehensive coverage of classic and contemporary approaches to argument, including Aristotle, Toulmin, and a range of alternative views, it is an (...) extraordinarily versatile text. This affordable guide can stand alone or supplement a larger anthology of readings. "Critical Thinking, Reading, and Writing" has been revised to address current student interests and trends in argument, research, and writing. (shrink)

John Dewey, Robert Pirsig, and the Art of Living: Revisioning Aesthetic Education. David A. Granger. New York, Palgrave, 2006. Pp. xii+307. Hbk. £47.50. $£47.50.

Positivist ethnographic research situates the participant observer in an objectivist position towards the field. Using poststructural perspectives to analyse the field challenges and unsettles objectivist assumptions underpinning ethnography. Neither is merging of the two approaches completely unproblematic. A crucial element in a coherent amalgam centres around resolution of potential contradictions emanating from the place of field notes in ethnographic research, and the position of the researcher (author) vis‐a‐vis such notes. Contemporary approaches to field notes maintain that such notes are not (...) an objective description of the field, unaffected by the voice of the researcher. Rather, observational records are to be regarded as text, with characteristics in common with all texts. The ethnographic record is constituted as much by the positionality of the researcher as by the research participants. The nurse researcher can be viewed as participant in the constitution of the field. In unsettling and challenging taken‐for‐granted understandings about nursing practice, I am affirming the centrality of the position of the nurse in nursing research. (shrink)

1870년대 보급되기 시작한 ‘글쓰기 기계’인 타이프라이터는 여성적 기술로 자리매김 되었다. 타이프라이터의 보급과 더불어 사무노동은 급격히 여성화되었고 여성의사회진출은 확대되었다. 독일의 매체이론가 프리드리히 키틀러(FriedrichKittler)는 타이프라이터라는 기술적 매체의 출현이 사회구조와 교육 담론에 영향을 미쳤고, 사무직의 여성화를 초래했을 뿐 아니라, 글쓰기의 젠더를 변화시켰다고 주장한다. 그에 의하면 타자기가 “소위 여성 ‘해방’”을 촉진시켰다는 것이다. 이 글은 이와같은 키틀러의 주장을 비판적으로 검토한다. 키틀러는 ‘기록체계’ 개념을 바탕으로 매체가 인식과 담론을 생산하는 방식에 주목한다. 키틀러는, ‘기록체계 1900’에 속하는 타이프라이터가 19세기의 낭만주의적 시작(詩作, Dichtung)을 문학(Literatur)으로 바꾸었으며, 그전까지 글쓰기에서 배제되었던 여성들에게 스스로 (...) 글을 쓸 수 있는 가능성을 열어주었다고 주장한다. 그러나키틀러의 매체이론에서 타이프라이터는 독특한 존재론적 지위를 점하고 있다. ‘기록체계 1900’에 속하는 다른 매체들인 축음기나 영화와 달리,타이프라이터는 기계와인간의 연결체로 기능하는 ‘도구와 기계의 중간물’이다. 이같은 타이프라이터의 고유한 지위가 키틀러의 매체이론이 완전히 극복하지 못한 음성중심주의의 흔적을 추적하는좋은 분석 도구가 된다. 이 글은 키틀러의 매체이론과 '글쓰기 기계’에 대한 분석을 비판적으로 추적하면서, 그의 소박한 매체 결정론을 극복하기 위해 어떤 분석 관점이 더 보태져야 살펴본다. 본다. (shrink)

This collection of essays offers different ways of seeing twentieth-century art via the medium of aesthetics. Each essay explores a different vision: Pablo Picasso's Mercure , Paul Klee's work from the thirties, Yves Klein's concept of the Void, Ed Ruscha's gunpowder drawings, and Cy Twombly's Bacchus paintings. Having curated exhibitions on the majority of these artists, Olivier Berggruen's acquaintance with their work is profound, and his approach both scholarly and highly intimate. Olivier Berggruen lives in New York and has curated (...) museum exhibitions devoted to Pablo Picasso, Henri Matisse, Yves Klein, Jean-Michel Basquiat, and Ed Ruscha. (shrink)