" ال سرَّ وأخْفَى" المعنى والدلالة دراسة تفسيريَّةٌ تحليلية
In our paper, the meanings of the words "secret and hafa" in the 7th verse of Surat al-Taha in Qur’an. These words in our study are discussed in terms of faith and flow.
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In our paper, the meanings of the words "secret and hafa" in the 7th verse of Surat al-Taha in Qur’an. These words in our study are discussed in terms of faith and flow.
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A Commentary upon Gadamer’s Interpretation of Hegel. In light of a renewed scholarly undertaking of the Hegel‒Gadamer connection, the purpose of the present paper is to carry further this much needed re-approach of the issue by stressing yet another one of its aspects. I am referring to the scholarly insights that Gadamer himself provides us with in his interpretation of Hegel. Since many of Gadamer’s essays on Hegel are actually studies originally meant as contributions to major journals dealing with Hegel’s work, my claim is that we can retrieve from them answers to many ongoing debates in the Hegel scholarship. I will insist on only one of these issues, namely Gadamer’s account of Hegel’s relation to metaphysics.
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The article describes, on the basis of hermeneutics, the specific perspective from which a translator may approach legal texts, as translation is seen as a personalized activity. Different text types are rooted in a specific legal system and fulfil their function within a special field of law, and the cultural and legal background is evident in linguistic aspects on a textual level. Comparative law carries out research on the differences in legal concepts, whereas translation studies and practice use this knowledge as a basis for work. Legal terminology has various levels of abstraction and appears in texts along with general language words. Fields of orientation for the translator are presented here, such as legal contexts, genre, concepts and style. This should be combined with proficiency in writing according to the text function, terminology and standard formulae. The translator tries to make source cultural and legal aspects transparent for target readers, as translation is always a means of comprehension that furthers communication.
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The article begins with addressing alleged similarities between Eimear McBride’s debut novel A Girl Is a Half-Formed Thing and James Joyce’s works to suggest that they cannot be systematically sustained. Her much praised, experimental style relies on the opposite of Joycean richness. Limited vocabulary, jumbled word order, and lexical and phrasal repetitions are one of the most salient features of her style. McBride applies rhetorical variants of conduplicatio to create an emotionally powerful idiom to narrate an anti-Bildungsroman about a loving sister and her dying brother, her sexual abuse by an uncle and final suicide. So despite some thematic parallels, and linguistic experimentation, A Girl bears only superficial resemblance to the modernist master, which is additionally evidenced by stylometric findings.
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The article addresses the structure of scientific research in the context of the methodology of science. This goal is realized through the concrete material of physical theory, detailing the structure of scientific research and its elements; its process and the laws it obeys; its results, which leadthe process; its motives, e.g. the "driving forces" of research and the role of philosophy in the process.The paperexamines the theoretical phase of researches as a synthesis of the empirical and the speculative,in contrast to the existing literature that presents the opposition between theoretical and empirical research. The steps of knowledge of the objective laws in a particular area are analysed: the empirical research,the non-fundamental theoretical,the speculative, and the fundamental theoretical; this analysis allows the generalization of the patterns of scientific research. Particular attention is paid to the speculative research and its main elements. The“methodological mechanism” of formation of new fundamental conceptions in science is unravelled. The essence of this mechanism consists of some non-logical cognitive operations (idealization, choice of “Gestalt”, substitution, generalization). The knowledge of corresponding combinations of these operations made by the investigator facilitates the process of research, decreases the probability of errors in the scientific cognition.
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Aký typ vzťahov by sa mal postulovať medzi prírodnými vedami [science] a humanitnými disciplínami [humanities] v kontexte súčasnej spoločnosti?
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Using ideas from John Searle, Roy Harris, Michael Reddy, and Nelson Goodman, I argue that texts, such as they are commonly conceived, lack brute existence. The common idea of texts is a conceptual construction which is useful in practical everyday contexts but not in serious theorizing, where it creates illusions and contradictions. One of these illusions is the idea of an objective textual meaning, a meaning which is “in the text”: what we actually have in the way of textual meaning are the ideas of various persons – authors, readers, and commentators -- about the meaning of the text. When applied to fictional characters, this way of viewing things explains why it makes sense to regard fictional characters as being created and as lacking brute existence.
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The present study focuses on the aspects of modernism found in the novel. The most findable aspects of modernism are individualism, stream of consciousness, exile, and loss of faith. This paper highlights the role of modernism in changing thoughts and ways of living. Furthermore it describes modernism as the opener of new door for the people determined to get rid out of the boundaries of family, religion and country. Individualism is the centre of modernistic novel around which all aspects revolve. How modern novel gives preference the inner self of an individual to society’s nets and obstacle? This paper discusses in detail the quest of the protagonist of the novel Dedalus who is in search of new ways to see men’s role in the world.
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This article discusses the origins and transformation of the idea of the absurd in the modern secularized world. Submitted for consideration is the Latin locution “credo quia absurdum,” a saying ascribed to Tertullian, and how this locution was implicated in the evolution of the idea of the absurd and reflected in literature and art. Examined in the paper are the modifications caused by existential and social changes as well as the interaction of both objective and subjective factors. Using sociohistorical arguments, the author begins to polemicize with the absurdity-suggestive deduction considering the emptiness of existence and the absence of God as somewhat absolute facts. Regarding the reflection of absurdity in Lithuanian culture, the context of religious existentialism, represented by such works as Jobo drama (The Drama of Job) by A. Maceina and Žmogus be Dievo (Man without God) by J. Girnius, was of significant importance. The abovementioned works stimulated a deeper and more authentic artistic insight into the problem. In the panorama of Lithuanian literature of the 20th century, signs of absurdity can be seen in the works of classical (V. Mykolaitis-Putinas, B. Sruoga, H. Radauskas, M. Martinaitis), avantgarde (P. Morkūnas, S. Šemetys) and postmodern (M. Ivaškevičius, S. Parulskis, G. Grajauskas) authors. The performances of A. Ambrasas, which were staged at the Institute of Art in the late sixties, stand out as a distinguishing and methodically framed phenomenon of the theatre of the absurd.
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Our analysis starts from the premise that the symbiotic act of two existences cannot be possible as long as the entities involved do not give up the free will. The two personal histories are marked by the rejection of obedience, doubled by a strong sexual attraction. A coincidentia oppositorum in which divine intervention produces a constant discordant field. The result: the man becomes the lover of the demon "divorced" of the angel.
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Montaigne and Las Casas are important thinkers and writers, as are many others, including Shakespeare, as a poet, whose work is complex enough in its modernity that it would be hard to condemn him as a poet as Plato did Homer. Aristotle analyzed Greek tragedy to see how it worked in terms of a framework of anagnorisis and catharsis, that is, recognition and the purging of pity and terror. Shakespeare revisits and reshapes Homer in Troilus and Cressida and remakes Plutarch in Julius Caesar and Antony and Cleopatra while playing on the classical epic and mythological themes in Venus and Adonis and Rape of Lucrece. Plato, a poet as well as a philosopher, and a great writer if one does not like those categories, may have feared the poet within himself. Although assuming with Plato that philosophy is more universal and just than poetry, Aristotle takes the analysis of poetry and drama seriously in Poetics, and also discusses ethics, aesthetics and style in Rhetoric. So, while I discuss Plato as a framework, I am not presuming that writing on the relations among the good, the true, the just and the beautiful stop with him. I am also making the assumption that Las Casas, Montaigne, Shakespeare and other poets and writers deserve to be taken seriously in the company of Plato. Las Casas and Montaigne respond to radically changing realities and shake the very basis of traditional ethics (especially in understanding of the “other”) and work in harmony with the greatest poets and writers of a new era often called modernity like Shakespeare, who is in the good company of Manrique, Villon, Ronsard, Du Bellay, Juan de la Cruz, Luis de León, Lope de Vega, Quevedo and Calderón. Long before, Dante and Petrarch were exploring in their poetry ethical and aesthetic imperatives and broke new ground doing so. Nor can Las Casas and Montaigne be separated from other great writers like Rabelais and Cervantes, who carry deep philosophical and ethical sensibility in their work while responding to reality by providing aesthetically – even sensuously – shaped images that always leave a margin for ambiguity because conflicts are part of an ambiguous reality.
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The aim of the article is to reconstruct the possible contents of the Second Half of Being and time. Author begins with presentation of the hermeneutical logic of philosophical concept formation, it is formal indication; then describes the announcements of the third Division in Being and Time. Finally, the original Heidegger’s concept of philosophy is recalled to stress the meaning of the third division of Part One of Being and Time.
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Considering the three orders in the cosmic assembly (macrocosm, microcosm and mesocosm), using an integrative analysis of cosmological understandings of variously-oriented metaphysicists and scientists, I firstly reach to a conclusion on entanglement of two developed cosmic principles that define the relational totality of objects and meanings. The first I term gathering- one-allness, which I describe with arhe-complex. The second I term itself-against-striving, which I describe with eris-complex. On the basis of a shift from enclosed systems (non-living being) to open systems (living being), I elaborate how arhe- and eris-complex create logoscomplex and agon-complex and in what way this new entanglement passes through corporeality (microcosm) to society (mesocosm), in the broadest sense appearing as a strife between realpolitics and utopian striving. In further development, I suggest an articulation of the current world state with the term biopolitical agon in which the power flows through infosphere relays. It is based on dismembering the living into convertible information that contains power in the ability to regulate and be regulated, i.e. the ability of the biopolitical to subdue logos with agon through logos itself, which I attempt to explain by matching this issue with previously mentioned phenomena. With corporeality as an instrument of transformative bitisation, I further discuss societal leaning towards cancelling the original purpose of logos-complex and depowering it regarding the control of bodily articulation of its own purpose-defining. This I shortly outline and then route back to the research’s starting point.
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In Bertolucci's "Conformist" there is a scene in which the conformist meets his one-time professor of philosophy. They evoke old memories and, in that context, mention professor's lecture on Plato's allegory of the cave. The scene, as well as the film itself, happens in fascist Italy between two world wars. In between those old days and the time of the meeting, professor had openly declared himself as a fascist and became a member of the Party.
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The description of the concept of self may be designated as one of contemporary philosophy’s most vital problems. In fact, all 20th-century philosophy may be defined as a definitive farewell towards the traditional concept of the soul and inwardness. In this essay I reflect upon self and soul-external world relations. THE Figures of Plato's Alcibiades and Euripides' Hecuba are used BY me to depict two dissimilar cases in which THE subject is confronted with political conditions that cause disintegration.
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Since 1968, at least, academia has been subject to the “crisis of representation.” This essay explores the consequences of the “postmodern condition” for the identity formation of academics. It is informed by Foucault’s and Deleuze’s understanding of the pivotal intellectual developments in the late 20th century, which are taken to challenge Wittgenstein’s presumption that language is essentially about the assertion of facts. Instead of abandoning representation, however, it proposes to meet this challenge squarely, proposing a disciplined engagement with its particular difficulty. Facts are deployed in academic writing, it argues, through the act of scholarship. The ability to represent a fact is at the core of the knowledge that is implicit in the self-formation of the scholar.
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The topic of the presented article is to show the relation between two dimensions of the reality, one of them is denoted by the term akṣarātman, and the other by the term vijānātman. The term vijānātman occurs only twice in the classical Upanishads. We can find it in the Praśna. That analysis is carried out by the using the hermeneutical methodology. All consideration are based on the main text of Praśna with some additional remarks to the other texts belonging to the line of Atharvaveda, to the Muṇḍaka and to the Māṇḍukya. The leading idea of the Praśna and Muṇḍaka, they are according to the Śankara closely related, are the deliberation between parā and aparā vidyā and the special stress which is put on the describing details concerning yogic procedures. The main aim of that article is to show how the philosophical concepts have been developing. In which way on the base of the introspective experiences have been built upanishadic view of the world and in which way that view had been adopted to advaita thought.
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This paper uses historical resources, extensively, from the texts of Russian émigré authors A. Averchenko and Z. Shakhovskaya who both wrote on two of the main refugee migrant evacuations out of Russia to Istanbul. The aim was to reveal the role of literary texts in forming a better understanding of the dynamics of such evacuations. The main reason for choosing the above authors’ texts (Notes of a Fool by A. Averchenko and Life Style from the book “Takov moi vek” by Z. Shakhovskaya) was that they were written about two very different evacuations, although both took place during the same first wave of Russian migration. The first is known as General Denikin’s and the second as General Wrangel’s evacuation. The authors were also chosen because of their different age and gender. Analyzing author’s literary texts about differing types, refugee migrant evacuations provides an opportunity to evaluate the dynamics of such evacuations, as well providing an opportunity to read history from another perspective, utilizing various factors and variables such as time, generation and gender.
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The paper provides an analysis of ways to measure and value the contemporary artworks. In this regard, the paper proposes a dual perspective approach, namely: reporting of some criteria against which may be assessed a work of art, on the one hand and, on the other side, recognizing the importance of a complex hermeneutical approach that has in the valorization. The context is of the evolution forms of expression, techniques, and artistic means, determined mostly by the evolving technology, which led to breaking the traditional specific boundaries of art and to the development of an artistic syncretism. Thus, the artistic object becomes as difficult to define as it is difficult to assess and artwork can be seen as a symbol or a system of signs that serves an aesthetic purpose. The interpretation involves the establishment of a syncretic stylistics and the evaluation becomes a semiosis.
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An inquiry into the craftwork – its coming into being, endurance, and withering – must fundamentally draw on Martin Heidegger’s analysis of the utensil’s way of being, which grounds the hermeneutics of material culture. From this ground, the paper examines the boundaries of the life of a craftwork in the human world and the spheres beyond them, namely: the realm of the chthonic as well as the metamorphoses that a craftwork goes through as it transcends this boundary, such as forgetting, trashing, withering, and destruction. Beyond these metamorphoses the craftwork is found in a limbo state of being. The constant element of the metamorphosis is explained in phenomenological hermeneutic terms as stability which, in turn, grounds the phenomena of transformation by remake.
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