READING ALASDAIR MACINTYRE'S AFTER VIRTUE.

In the ‘Ilm al-Balāgha, there are literary arts related to the beginning of the speech, the transition to the main topic and the conclusion. Ḥusn al-ibtidā and barāat al-istihlāl includes the introduction part of the speech; takhalluṣ and iqtidāb include transition from the introduction to the main topic; ḥusn al-intihā deals with the conclusion part. The position of these literary arts, which found a place in classical and modern rhetoric books, differed from one author to another even some authors did (...) not consider these arts as part of ‘Ilm al-Balāgha. In this study, it is suggested that it would be more accurate to include these arts, which come under the title of ‘Ilm al- Badī‘ or poetry plagiarisms or as separate subheadings in rhetoric books, under the title of composition arts in the ‘Ilm al-Balāgha. Because the composition means that the beginning of a text or a speech, the transition to the subject and the conclusion are supposed to be in harmony with each other. In our research, we pointed out the connection of the relevant arts with today’s composition studies, as well as the fact that the most beautiful examples of them are in the Holy Qurān, and we tried to reveal the place and importance of these arts in the ‘Ilm al-Balāgha. (shrink)

Comprehending the messages of Qurʾān in terms of the relationship between occasions (sīra) and revelation has a profound influence on determining the contextual purpose and shades of meanings. Establishing such relationship necessitates dating sūras and verses. Although there are some oral transmissions (riwāya) that verses 12, 45, 47 and 77 were revealed in Madīnah, and some weak transmissions date this sūra as Medinan, this sūra is unanimously regarded as Meccan. Like many Meccan verses, not only the order of revelation and (...) causality of verses but also the content of the script do not provide concrete evidence about whether the whole sūra was sent down at once or revealed piece by piece or the date of the revelation. In this regard, in studies carried out on the dating of Sūrat Yāsīn, the dating of this sūra is established on the basis of the dates of the sūras coming before or after Yāsīn since they apparently have more definite datings. In recent studies done on the nuzūl order, Sūrat Yāsīn is dated on the basis of a time frame before the emigration to Abyssinia (615-616) in terms of Sūrat Maryam and Ṭāhā, or Muhammed’s return from Ṭāif and his Ascension (Isrāʾ) (620) in terms of Sūrat al-Jinn. The dating of the sūra covers a time span of 4 to 5 years and points out two discrete occasions of revelation. With this reason, there is a need for further studies to be carried out on dating Qurʾānic sūras, especially within the specific context of Sūrat Yāsīn. Traditional Islamic studies dispute the chronological order of the sūra, offering various chronological orderings for the sūra: 31, 36, 37, 39, 40 and 41. In the first part of this study, such variations and their causes are tentatively established and determining the precise chronology and listing of the sūra was attempted. Based on the analysis of the variations in the disputed ordering of the sūra, it has been found to be caused by five different reasons. When such discrepancies are accounted for and conflicts are resolved, the conclusion was reached that in almost all riwāyas, sūrat Yāsīn can be dated as the 41st chapter (sūra). In the second part of the study, on the basis of the discourse analysis of the sūra, new arguments to date the chronology of the sūra were put forward. These are; a- Because of their obstinacy, unbelievers will not heed the warnings directed at them (36/11), b- The speeches of unbelievers should not grieve Prophet Muhammad (36/76), c- The use of the word Rahmān the Most Gracious (36/11, 15, 23, 52), d- In return for conveying the message of Allah, prophets do not ask people for any wage (36/21), e- Regarding Qurʾān as book of poetry and calling Muhammad a poet (36/69), f- The possibility of recreation and reviving bones (36/78). Such arguments presented in a – f usually refer to events happening in Mecca and in particular the second part or the end of Meccan period, yet there is no exact date. g- Based on the phrase “al-Fulq al-Mashhūn”, the fact that sūrat Yāsīn should be dated after the emigration to Abyssinia (615-616) presents strong evidence that it was revealed after sūrat Maryam, though this is still not enough to give an exact date. h- In sūrat Yāsīn, in phenomenon of (a man coming from the farthest part of the City) (36/20), two names (Hazrat Abū Bakr and el-Hāris b. Abī Hāla) and two dates (month of Dhu al-Qiʿdah/April 5 – May 4, 615 and three days after Shawwal 15/February 27, 617) are mentioned in Sīra for the purpose of consolation and encouragement. In the third part of the study, in the chronological ordering of sūrat Yāsīn, information regarding the dating of sūras coming before and after Yāsīn are evaluated based on their similarity with Yāsīn in terms of discourse and diction. In nuzūl orderings, when riwāyas regarding dating sūrat al-Qamar, Ṣād and al-Jinn coming before Maryam and Ṭāhā are analysed, events happening during 7th or 10th year after emigration were observed. In addition, there were close connections between the discourse and diction of Yāsīn with those of Ḥavāmīm sūras. This brings to the mind the possibility that some sūras might be listed in the wrong place because of the vagueness of the piecemeal character of the Qurʾānic revelation and its effects on riwāyas. Based upon the findings and inferences in the first three sections of this study, sūrat Yāsīn was determined to be the 41st chapter (sūra) of Qurʾān. The dating of sūrat Yāsīn presented some difficulties especially while trying to date it according to the interrupted revelation order approach, and considering it together with Sūrat Maryam and Ṭāhā. However, listing sūrat Yāsīn on the basis of uninterrupted revelation order along with Sūrat al-Jinn, the previous sūra and Ḥāmīm sūras is found to be a more coherent strategy since it gives priority to the succession of two sūras. (shrink)

Alasdair MacIntyre criticizes the modern morality for having emotivist features and in his cent- ral book After Virtue he points out that David Hume is the main personality who provides these emotivist contents to the modern morality. According to MacIntyre, Hume’s and the modern emotivist moral philosophy include fundamental contrasts generally with the classical moral tradition particularly with Aristotle’s moral philosophy. However, MacIntyre underlines these contrasts in After Virtue, he in his other texts out of After Virtue, distinguishably brings Hume (...) and Aristotle together as they both have similar standpoints about how to understand morality. Therefore, MacIntyre’s interpretation on Hume needs to be examined with a perspective poin- ting these two different and seemingly mutually exclusive aspects. Putting together these two perspectives, this article aims to construct a holistic comprehension about MacIntyre’s placing Hume in the modern emotivism. (shrink)

“Marksizm,” artık o kadar çok anlama geliyor ki, belki de anlamlı olan yalnızca Marx’ın Kapital’de ele aldığı üretim tarzlarından, özellikle kapitalist üretim tarzı yaklaşımını geliştiren ve yaygınlaştıran teoriler bütünü olarak “somutMarksizm”den bahsetmektir. Açıkça bu başlığa tam oturmasa da geniş anlamda anlaşıldığı haliyle Foucault’nun tarihsel materyalizm düşüncesine katkıda bulunduğunu söylemek gerekir. Gerçekten de Marksizmi doğrudan somut anlamıyla tanımladığımızda, yalnızca Foucault değil Sartre da Marksist etiketine tam uymaz. Şaşırtıcı şekilde Kapital’i Okumak adlı eserin yazarları arasında olsa da Althusser’in bile bu kategoride yer (...) alıp alamayacağı tartışmalıdır. Bu isimlerle kıyaslandığında Foucault, daha çok Marx’ın yanında yer alır. Althusser’in üretim tarzını yapısal-senkronik terimlerle yenilikçi bir şekilde ele aldığı, Sartre’ın ise şeyleşmeyi dizisellik olarak anladığı dikkate alındığında, her iki ismin de çalışmaları felsefe kulvarındadır. Tabii Foucault, Marx gibi politik ekonomiden hareket etmese ya da politik ekonomiyle onun kadar ilgilenmese de iki ismin de felsefeden ziyade sosyal bilimlere daha yakın durduğu söylenebilir. Bu durum en azından Foucault için bir noktaya kadar geçerlidir ve ikisi de (yine bir ölçüde) Foucault’nun "mutlu pozitivizm" kavramıyla tarif edilebilir. (shrink)

Ethics and morality, fundamental concepts in human society, are expected to be upheld by individuals and effectively taught by teachers to new generations. This study delves into the perceptions of preservice teachers regarding ethics and good within the framework of an ethics and morality course in education. It also explores the ethical and unethical behaviors these teachers most commonly encounter in their school experiences. Utilizing a qualitative case study methodology, the research provides an in-depth analysis of ethics, the concept of (...) good, ethical and unethical behaviors within the Turkish context. Through thematic analysis of data collected over various weeks, the findings reveal that participants perceive ethics as actions, individuals, and ideas that embody values such as justice, respect, and honesty. Their decision-making is influenced by diverse ethical filters aligned with normative ethical theories. For instance, an act is deemed ethical if it does not limit freedom and harm others, conforms to societal norms, benefits others, adheres to laws and rules, instills a sense of righteousness, and stems from good intentions. Furthermore, the study identifies six key qualities defining the concept of good: evoking happiness, being beneficial, proper, pure, preferred, and encompassing both moral and ethical dimensions. The experiences of ethical and unethical acts among participants predominantly relate to themes of inequality versus justice, harshness versus love, ineffective versus effective teaching, inconsistency versus role model behaviors, undesired versus desired relationships with school stakeholders, and the breach versus balance between professional and private life. Overall, this research highlights significant aspects of how preservice teachers perceive the concepts of ethics and good along with unethical behaviors, offering valuable insights for teacher education. (shrink)

Abdurrahman Aliy, Felsefenin Tanrısı: Felsefi Teolojiye Giriş [The God of Philosophy: An Introduction to Philosophical Theology], 129 pp.

Similar words and utterances in the Qurʾān are the subject of the technical term lafẓī mutashābih. The rephrasing of meanings (maʿnā) and use of different words (lafẓ) in the Qurʾān are dealt with under the rubric of the theme “Qurʾānic style.” The stylistic variations in the Qurʾān are expressed as takrār al-Qurʾān, tasrīf (Affix and Paraphrase), ʿudūl (inversion), and tafannun (stylistic variation). However, when compared with other terms of exegesis, “tafannun” remained in the background and its conceptualization was thwarted. This (...) could be attributed not only to other concepts brought to the fore but also to the fact that tafannun underwent semantic restriction and was confined to iftinān within the framework of badīʿ. This study aims to clarify the true meaning of tafannun which reflects stylistic variations in the Qurʾān and revealing the contribution of this term to the more appropriate interpretation of the Qurʾān, assessing its significance for the field of tafsīr. The first chapter of this study deals with the etymology of tafannun, its historical background and conceptualization as well as the relationship between iʿjāz (inimitability) and tafannun in the history of tafsīr, while the second one identifies and illustrates the kinds of tafannun to expound on the true nature of this concept.Summary: Similar words and utterances in the Qurʾān are the subject of the technical term lafẓī mutashābih. The change and variety of the rephrasing of meanings (maʿnā) and words (lafẓ) in the Qurʾān are dealt with under the rubric of the theme “Qurʾānic style.” The stylistic differences and variations in the Qurʾān are expressed in the literature with terms such as takrār al-Qurʾān, tasrīf (affix and paraphrase), ʿudūl (inversion), tafannun (stylistic variation). However, in the terminology of exegesis, the term “tafannun” remained in the background, and its conceptualization was thwarted. This could be attributed not only to other concepts brought to the fore but also to the fact that the word tafannun underwent semantic restriction and therefore was confined to iftinān within the framework of badīʿ. Yet in earlier times it was widely used in the exegesis literature as part of Arabic language to identify the stylistic variations in the Qurʾān. Starting with 8th century AH, there have been numerous references to the term tafannun. From 9th century AH to present, many Muslim exegetes, especially Ibn Āshūr (1879-1973) used tafannun as one of the fundamental concepts to understand and explain the proper meaning of the Qurʾān. This study aims to clarify the true meaning of tafannun which reflects stylistic variations in the Qurʾān and revealing the contribution of it to the proper interpretation of the Qurʾān, assessing its significance for tafsīr. The first chapter of this study deals with the etymology of tafannun, its historical background and conceptualization as well as the relationship between iʿjāz (inimitability) and tafannun in the history of tafsīr, while the second one identifies and illustrates the kinds of tafannun to expound on the true nature of this concept.According to the result of this research, iftinān means following various styles and genres (types), while tafannun denotes variations in styles and genres (types). In vernacular, these two terms are considered the same. The term iftinān was dealt with in some works under the subject of muhassināt al-maʿnaviyya within the framework of badīʿ. In the Arabic literature, when the definition of the term iftinān was given, the term tafannun was not defined under any section of any book or any other place in the rhetoric of science. Tafannun is used to express the way any action is carried out, as it is mentioned in the definition of iftinān.The word tafannun was used to demonstrate the expertise, depth and mastery of Islamic scholars in one or various fields of Islamic studies in the early works of Islamic literature. In later times, the term iftinān was used to show rhetorical and oracy skills of a person. Abū Hilāl al-ʿAskarī (d. 400/1009) define tafannun as “the variation in words while two paragraphs bear the same meaning.” His definition proved to be a turning point in the conceptualization process of the word tafannun. Al-Zamakhsharī (d. 538/1144) was the first Islamic scholar to refer to the word tafannun in the interpretation of the Qurʾān. He used the words iftinān and tafannun in the same sense in his works. He mostly regarded examples of iltifāt as iftinān. Abū Bakr al-Rāzī (d. 666/1268), establishing a connection between tafannun and repetition, stated that the term tafannun was used to avoid boredom of repetitive diction.Among other authors who used the term tafannun in their works, Bayḍāwī, (d. 685/1286), Nīsābūrī (d. 730/1329), Ibn Cemāʿa (d. 733/1333), Abū Ḥayyān (d. 745/1344), Samīn al-Ḥalabī (d. 756/1355), Zarkashī (d. 794/1392), Suyūṭī, (d. 911/1505), Ḥaṭīb al-Shirbīnī (d. 977/1570), Shihāb al-Dīn al-Khafājī (d. 1069/1659), Ālūsī, (d. 1270/1854), Muḥammad ʿAbduh (1849-1905)-Rashīd Riḍā (1865-1935) and Ibn Āshūr are the notable ones. Rather than merely defining the term tafannun, the majority of these commentators emphasized the function, benefit and aim of this word. Thanks to the use of this word by these commentators, a distinction was made between tafannun called iftinān as a literary device in the science of badīʿ and tafannun gaining a new meaning used to express stylistic variations. As a result, two words with the same dictionary definition were distinguished from each other during the conceptualization process. Among the authors using the word tafannun, Ibn Āshūr clearly defined the term and contributed significantly to its conceptualization. He defines the word tafannun as the uniqueness of the Qurʾān in employing stylistic variations by offering synonymous words in case of iʾtirāz (discursive), tanzīr, (resemblance), tazyīl (appendix) and takrār (repetition), creating the most comprehensive definition until that time.Tafannun is also defined as expression of the same meaning through re-signifying, stylistic variation in two verses, difference in the repetition of parables, variations in choice of diction and synonymous words, and avoidance of repetition. As a result of its definition, the word tafannun also denotes providing stylistic variations, using vivid language, avoiding prosaic diction, using denotative and connotative language, helping readers to grasp shades of meaning and read between the lines in the most clear and economic way.In the related literature, there are a lot of references to the word tafannun when demonstrating iʿjāz of the Qurʾān. When looked at the historical development of the relationship between iʿjāz and tafannun, it is observed that tafannun was accepted to be an element of iʿjāz. Defined as providing stylistic variation, tafannun is employed in various ways. The literary devices used to carry out tafannun are through ʿudūl, iltifāt, taqdīm and taʾhīr, change of utterances, use of synonymous words, objection, resemblance, and addition. In the proper interpretation of the Qurʾān, tafannun has a comprehensive usage, making many more academic studies a necessity with a view to making a significant contribution to a deeper and better grasp of words and shades of meanings employed in the Qurʾān. (shrink)