Sekülerleşmeye dair yapılan çalışmalar incelendiğinde, genel olarak sekülerleşmeyi bir sosyal olgu düzeyinde ele alan çalışmaların, sekülerleşmeyi teorik tartışmalar çerçevesinde irdeleyen çalışmalara nazaran çok daha az sayıda olduğu gözlenmiştir. Hem sekülerliğin hem de desekülerliğin yaşandığını ileri süren çalışmaların, sekülerleşmenin toplumsal görünümlerine ilişkin olgusal veri sunmada yetersiz olduğu görülmekle birlikte şüphesiz her araştırmanın sekülerleşme literatürüne katkı sağladığı göz ardı edilmemelidir. Sekülerleşmenin toplumsal yapıda ne düzeyde ve hangi konular özelinde gerçekleştiğinin tespiti için olgusal verilere/araştırmalara ihtiyaç vardır. Sekülerleşmenin Makyavelist davranışları tetikleyici bir faktör olabileceği (...) varsayımından hareketle gerçekleştirilen bu çalışmanın amacı, seküler tutum ve Makyavelist davranış arasındaki ilişkiyi seküler normlara sahip alanlarda eğitim gören, sekülerleştirici/dönüştürücü eğitimin etkisiyle daha seküler yorumlar benimsediği ve dolayısıyla Makyavelist davranışlar sergileyebileceği varsayılan üniversite öğrencileri örnekleminde tespit etmektir. Seküler tutum ile Makyavelist davranış arasında bir ilişkinin olup olmadığını, üniversite öğrencilerinin hangi ölçüde seküler tutum ve Makyavelist davranış sergilediğini ölçmek bu araştırmanın temel problemidir. Bu nedenle çalışmanın kavramsal çerçevesi, klasik sekülerleşme teorileri tartışmalarından beri olup, seküler tutum ve Makyavelist davranış ekseninde oluşturulmuştur. Nicel araştırma deseni oluşturularak yapılan bu çalışmada ilişkisel tarama yöntemi, örnekleme yöntemi ve online anket tekniği kullanılmıştır. Araştırma kapsamında Osmaniye Korkut Ata Üniversitesinde (OKÜ) lisans düzeyinde öğrenim gören öğrencilere e-mail atılarak gönüllü bir şekilde ankete katılmaları istenmiş ve elde edilen 710 adet anket verisi ile analizler yapılmıştır. Elde edilen verilerle yapılan korelasyon analizi sonuçlarına göre Makyavelist davranış ile seküler zihniyete kayma arasında düşük düzeyde de olsa anlamlı ve pozitif yönde bir ilişki vardır. Ölçeğin diğer boyutlarından olan gündelik hayatta dini hassasiyetleri sürdürme ve siyasi otoritenin sekülerleşmesiyle Makyavelist davranış arasında ise yine düşük düzeyde de olsa anlamlı ve negatif yönde bir ilişki olduğu tespit edilmiştir. Seküler tutum boyutlarının Makyavelist davranışa etkilerine bakmak için yapılan regresyon analizi sonuçlarına göre sadece seküler zihniyete kayma boyutunun Makyavelist davranışı anlamlı bir şekilde etkilediği görülmektedir. Diğer alt boyutlardaysa düşük düzeyde bir ilişki olsa da etkileşim gözlemlenmemiştir. (shrink)

An outstanding collection of specially commissioned chapters by leading philosophers who explore the relationship between philosophy and creativity. Essential readings for those interested in the philosophy of creativity, it is also an extremely useful resource for those in related subjects such as music, art and visual studies, literature and education.

Berys Gaut; XI*—Metaphor and the Understanding of Art, Proceedings of the Aristotelian Society, Volume 97, Issue 1, 1 June 1997, Pages 223–242, https://doi.org/.

A Philosophy of Cinematic Art is a systematic study of cinema as an art form, showing how the medium conditions fundamental features of cinematic artworks. It discusses the status of cinema as an art form, whether there is a language of film, realism in cinema, cinematic authorship, intentionalist and constructivist theories of interpretation, cinematic narration, the role of emotions in responses to films, the possibility of identification with characters, and the nature of the cinematic medium. Groundbreaking in its coverage of (...) a wide range of contemporary cinematic media, it analyses not only traditional photographic films, but also digital cinema, and a variety of interactive cinematic works, including videogames. (shrink)

The long debate -- Aesthetics and ethics : basic concepts -- A conceptual map -- Autonomism -- Artistic and critical practices -- Questions of character -- The cognitive argument : the epistemic claim -- The cognitive argument : the aesthetic claim -- Emotion and imagination -- The merited response argument.

At the core of Kant's Groundwork of the Metaphysics of Morals lies his ‘derivation’ of the categorical imperative: his attempt to establish that, if there is a supreme principle of morality, then it is this imperative. Kant's argument for this claim is one of the most puzzling in his corpus. The received view, championed by Aune and Allison, is that there is a fundamental gap in the argument, which Kant elides by means of a simple but deadly confusion, thus robbing (...) the argument of all validity. We will here contest the received view, as well as Korsgaard's alternative interpretation of the argument. In place of these positions we will offer a reconstruction of the derivation which reveals its coherence and force. We will show that it illuminates some interesting grounds for rejecting certain candidates, including a utilitarian principle, for status as the supreme principle of morality. While certainly not free of all defects, the argument will be shown to be far more powerful and interesting than it has commonly been held to be. (shrink)

This paper surveys some of the central issues in the philosophy of creativity and argues that an adequate treatment of them requires attention to the rich psychological literature on creativity. It also shows that the range of interesting philosophical questions to be raised about creativity is much wider than concerns its role in art. Issues covered include the definition of ‘creativity’; the relation of creativity to imagination; whether the creative process is rational; whether it is teleological; the relation of creativity (...) to knowledge; whether creativity can be explained; computational and Darwinian theories of creativity; whether creativity is a virtue; the relation of creativity to tradition; the aesthetic value of creativity; and whether creative activity is different in science and art. (shrink)

In Only a Promise of Happiness Alexander Nehamas holds that beauty is the object of love. I raise three objections to this claim when formulated in terms of personal love: love is too narrow in scope to be the attitude whose formal object is beauty; one can experience a person's beauty but have no love for her; and love is of particulars, not of attributes, however specific, such as beauty. A second kind of love, hedonic love, is too broad in (...) scope to be the attitude whose formal object is beauty. I also argue, contra Nehamas, that inner beauty exists. (shrink)

This chapter contains sections titled: Some Issues in the Philosophy of Film Film Narration: Symmetry or Asymmetry? The A Priori Argument Three Models of Implicit Cinematic Narrators Absurd Imaginings and Silly Questions Literary Narrators Medium‐Specific Explanations.

Three new versions of Wason’s 2-4-6 rule discovery task incorporating error rates or feedback of uncertainty reduction, inspired by the error-statistical account in philosophy of science, were employed. In experiments 1 and 2, participants were instructed that some experimenter feedback would be erroneous (control was original 2-4-6 without error). The results showed that performance was impaired when there was probabilistic error. In experiment 3, participants were given uncertainty reduction feedback as they generated different number triples and the negative effects of (...) probabilistic error were not observed. These findings are informative not only about rule discovery tasks in general but also about contexts of inference under uncertainty. (shrink)

In this study, the depictions of miʿrac in the Haveranname of Ibn Husam Husafi (d.875/1470-1471), of the Timurid Era, and the Khamse of Nizami (d.597-611/1201-1214), of the Safavid Period (1501-1736), are examined comparatively. The work in Haveranname was produced by Farhad (d.883/1478-1479), the leading figure of the Shiraz miniature school of the Timurid period, and his apprentices. The miʿrac miniature in Nizami's Khamse was painted by Sultan Muhammed (d.963/1555-1556), a prominent artist of the Safavid period. Sultan Muhammed’s miniature is included (...) in foreign publications, but some of its themes are not properly explained. The miʿrac of Farhad, on the other hand, has not been included in publications and has only been described in a few shallow sentences. In both miniatures, the composition of the visual elements and the use of imagery differ; thus, both works reflect different artistic qualities and construction codes. In fact, the socio-cultural elements of both periods, their understanding of aesthetics and forms of daily life (such as clothing and attire) shape the visual panorama of the miniatures in different frameworks. The artistic and social factors of the two periods and the common visual elements in miniatures affected the clothing and personalities of the works, and the artists created the works under the influence of art patron and customer in the spiritual atmosphere dominating these two periods. This study aims to reconstruct the timeless universal message of art on the axis of a phenomenon by comparatively introducing both miniatures to the scholarly world. The data obtained in the research are analyzed analytically and then evaluated with a descriptive method. (shrink)

İstanbul’un fethinden sonra Avrupalı Hıristiyan güçler, Haçlı Seferi hazırlıklarına başlamış ve bunun için Roma-Germen İmparatorluğu ve Papalık eliyle toplantılar ve kongreler gerçekleştirmişlerdir. Toplantıların haricinde bir birlik çağrısı için Avrupa’nın ilk matbaası olan Gutenberg Matbaasında “Türklere Karşı Hıristiyanlara Bir Uyarı” adıyla dokuz sayfalık bir kitapçık basılmıştır. Yüzlerce yıl varlığından haberdar olunmayan bu tek nüshalık eser, 19. yüzyılda “Türk Takvimi” adıyla ve Avrupa’nın ilk matbu takvimi olma iddiasıyla gün yüzüne çıkartılmıştır. Bu çalışma kapsamında incelenen nüshaya Münih Dijital Kütüphanesi üzerinden ulaşılmıştır. Eserle ilgili (...) ikincil çalışmalar için Avrupa’daki dijital kütüphaneler ve uluslararası veri tabanları taranmıştır. Bu yöntemle elde edilemeyen bir kısım eserler ise Türkiye’deki çeşitli üniversite kütüphanelerinden temin edilmiştir. Bu çalışmada söz konusu takvimin açık bir propaganda metni olduğu görülmüştür. Gerek dönemin Hıristiyan devlet adamları gerekse Avrupa Hıristiyan toplumu takvimin hedef kitlesi, Müslümanlar / Türkler de takvimdeki düşman kabul edilen taraflardır. Dolayısıyla söz konusu takvim dinî referanslar üzerinden kurgulanmış, on iki havariye atfen on iki ay üzerinden bir metin oluşturulmuştur. Her bir ayda Hıristiyanlar için kutsal kabul edilen azizlerin isimleri zikredilerek söz konusu propagandanın etkisi artırılmaya çalışılmıştır. Azizlerin bir kısmının Anadolu coğrafyasından seçilmesi, Müslüman topraklarının dinî köken temellendirmesi üzerinden meşru hedef haline getirme çabası olarak değerlendirilmektedir. Bir Haçlı seferi çağrısı olan bu takvimde başta Roma Germen İmparatorluğu olmak üzere, İngiltere, Fransa, Macaristan, Burgonya, Kastilya, Danimarka, İsveç, Norveç, Polonya, Venedik, Napoli ve Aragon gibi Avrupa’nın etkili tüm Hıristiyan güçlerine yönelik hitaplar bulunmaktadır. Ancak çağrının merkezinde imparator, onun hâkimiyet kurduğu bölgeler ve tebaası olan Alman toplumu yer almaktadır. Doğrudan muhatap alınan halkların başında ise Almanlar bulunmaktadır. Zira takvim hem Alman coğrafyasında hem de Alman dilinde basılmıştır. Almanlar dışında Balkan ülkelerindeki Ragusalılar, Arnavutlar, Bulgarlar, Dalmaçyalılar, Kosovalılar ve Slavlar da bu birliğe davet edilerek, Osmanlı bünyesinde olan veya sınırında yaşayan bu halkların harekete geçmeleri sağlanmaya çalışılmıştır. Üzerine sınırlı sayıda çalışma bulunan “Türk Takvimi”, Türkçe literatürde sadece Türkçeye tercüme edilen bir eserde yer almış, hakkında herhangi bir çalışmaya rastlanmamıştır. Bu çalışmayla, söz konusu eserin oluşum sürecinin ortaya konması, bu eserin Avrupa’nın ilk matbu kitabı olduğu tezinin işlenmesi, eserin tahlili ve dönemi inceleyen araştırmacıların bu takvimin varlığından haberdar edilmesi amaçlanmıştır. Metinde Hıristiyan toplum tarafından kabul gören başat öğelerin özellikle seçilmiş olmasından dolayı, söz konusu hususlar da çalışmamızda dinî referans kaynakları üzerinden tek tek tespit edilerek yorumlanmıştır. (shrink)

Introduction -- Unintended consequences -- The origin of money -- Segregation -- The invisible hand -- The origin of money reconsidered -- Models and representation -- Game theory and conventions -- Conclusion.

Lamarque and Olsen argue for a “no truth” theory of fiction and literature, holding that there is no essential connection between the concepts of truth and those of fiction or of literature. Instead, they argue for a broadly Gricean account of both. The core of their characterization of the fictionality of a text is that it be the product of an intention that its reader adopt the fictive stance towards it, and the producer of the text intends there to be (...) a mutual belief that the reader adopt this stance partly because of her recognition of the producer’s intention. To adopt the fictive stance is, at its most basic level, to entertain the sense of the text and to make-believe its truth and reference. Because appeal is made not to belief, but make-belief, there is no essential connection between fictionality and truth. Fictional content is aspectival, fictional objects being constituted by the properties expressed by the descriptions associated with the names of the objects. The account of literature is structurally similar to that for fiction. A text is literary when it is produced with the intention that its audience adopt the literary stance towards it, and a similar mutual belief condition holds. To adopt the literary stance to a text is to read it for literary aesthetic value, that is, with an expectation of finding humanly interesting content presented in a complex and coherent form. There is no requirement that the content be true, and hence there is no essential connection between literature or literary value and truth. Within this broad framework, Lamarque and Olsen develop a number of further points of interest, including a broadly Gricean account of metaphor that avoids the pitfalls into which Searle’s proposal stumbles, a distinction between different senses of “fiction” that usefully shows that logical fictions are distinct from make-believe fictions, and a sustained attack on structuralist and poststructuralist literary theories that one hopes will fall into the hands of aficionados of those theories. (shrink)

Group creativity is vital in overcoming the numerous challenges that the world faces. Yet group creativity is deeply puzzling. It seems plausible that only agents can be creative, so group creativity requires group agency. But how could groups possess the mental states required to be agents, let alone the rich range of them required to be creative? It appears more reasonable to hold that group creativity is not a real phenomenon, but is merely the summed creativity of the individuals forming (...) the group. There is also much empirical evidence that groups are no more creative than their members. In this paper I examine the conceptual and empirical challenges to group creativity, defend its existence, and offer an explanation of how it is possible. (shrink)

This paper replies to objections from Thomas Adajian, Stephen Davies, and Robert Stecker to my claim, defended in ‘"Art" as a Cluster Concept’, that ‘art’ is a cluster concept and so cannot be defined. The paper also clarifies and extends the arguments of the earlier paper and locates its position in relation to the work of Morris Weitz.

This paper discusses the epistemic import of highly abstract and simplified theoretical models using Thomas Schelling’s checkerboard model as an example. We argue that the epistemic contribution of theoretical models can be better understood in the context of a cluster of models relevant to the explanatory task at hand. The central claim of the paper is that theoretical models make better sense in the context of a menu of possible explanations. In order to justify this claim, we introduce a distinction (...) between causal scenarios and causal mechanism schemes. These conceptual tools help us to articulate the basis for modelers’ intuitive confidence that their models make an important epistemic contribution. By focusing on the role of the menu of possible explanations in the evaluation of explanatory hypotheses, it is possible to understand how a causal mechanism scheme can improve our explanatory understanding even in cases where it does not describe the actual cause of a particular phenomenon. (shrink)

Although creativity, from Plato onwards, has been recognized as a topic in philosophy, it has been overshadowed by investigations of the meanings and values of works of art. In this collection of essays a distinguished roster of philosophers of art redress this trend. The subjects discussed include the nature of creativity and the process of artistic creation; the role that creative making should play in our understanding and evaluation of art; relations between concepts of creation and creativity; and ideas of (...) tradition, metaphor, genius, imagination and genre. This is an important collection that will be eagerly sought by philosophers of art as well as theorists in art history, cinema studies and literary criticism. (shrink)

The third edition of the acclaimed _Routledge Companion to Aesthetics_ contains over sixty chapters written by leading international scholars covering all aspects of aesthetics. This companion opens with an historical overview of aesthetics including entries on Plato, Aristotle, Kant, Nietzsche, Heidegger, Adorno, Benjamin, Foucault, Goodman, and Wollheim. The second part covers the central concepts and theories of aesthetics, including the definitions of art, taste, the value of art, beauty, imagination, fiction, narrative, metaphor and pictorial representation. Part three is devoted to (...) issues and challenges in aesthetics, including art and ethics, art and religion, creativity, environmental aesthetics and feminist aesthetics. The final part addresses the individual arts, including music, photography, film, videogames, literature, theater, dance, architecture and design. With ten new entries, and revisions and updated suggestions for further reading throughout, _The Routledge Companion to Aesthetics_ is essential for anyone interested in aesthetics, art, literature, and visual studies. (shrink)

Considerable methodological difficulties abound in neuroimaging, and several philosophers of science have recently called into question the potential of neuroimaging studies to contribute to our knowledge of human cognition. These skeptical accounts suggest that functional hypotheses are underdetermined by neuroimaging data. I apply Mayo’s error-statistical account to clarify the evidential import of neuroimaging data and the kinds of inferences it can reliably support. Thus, we can answer the question “What can we reliably learn from neuroimaging?” and make sense of how (...) this knowledge can contribute to novel construals of cognition. (shrink)

Repetitions (takrārs), which in the dictionary means ‘the repetition of something one after the other and its renewal in terms of wording and meaning’, are one of the most basic stylistic, address and textual structure features of the Qur’ān and at the same time one of the structural problems that have troubled the commentators. Repetitive nouns, verbs and letters in many verses, as well as sentences and phrases that sound like rhymes are of this kind. Although some of the benefits (...) of repetitions in the Qur’ān have been described in our tradition, it has also been stated by some that this is tiresome for a good and faṣīh word, far from any benefit, one of the disasters and defects of words that do not correspond to a mūciz word. At the same time, it has also been suggested that this is one of the things that indicate the corruption and weakness of the Qur’ānic naẓm and the existence of confusion in its naẓm. For this reason, literary scholars, linguists and commentators have considered the absence of repetition in phrases as one of the conditions of its feṣāhat (eloquence). In addition to all these, some in our tradition have treated these repetitive expressions not as a problem, but as a divine, transcendental style, and have sought a wisdom, a literary wit and a secret related to meaning. On the contrary, some have argued that the Qur’ān was revealed in the patterns of language use of the Arabs of that period, that the divine meaning and message was formed according to the speech patterns and styles of their words, advice and addresses, that the similarities of the patterns repeated in the Qur’ān were also found in their poetry, and for this reason, they associated the repetitions with the customs and habits of language use and literary tastes of the Arabs of the Hijāz region in daily speech and types of literature. Therefore, as some scholars in our tradition have argued, are these repetitions really a defect of expression, an artistic beauty? or structures that the Arabs of the nuzūl period did not know, were not familiar with, and did not hear, and that contain various subtleties of meaning? or on the contrary, are these expression patterns that were present and well-known in daily speech patterns and uses, in the literary genres of the Arabs of that day, and that were formed and manifested within the framework of their linguistic customs and traditions and literary tastes? İn this article, within the framework of these questions and problems, the relationship of the repetitions in the Qur’ān with the language usage customs, literary tastes, and linguistic cultural anthropological structures of the Arabs of the period of its revelation is examined. Therefore, as a result of this research, which is thought to be different from the existing academic studies, original and authentic, and the literature review method is used, ıt is clearly understood that the repetitions in the Qur’ān are ‘expressive structures related to the literary tastes, linguistic customs and traditions of the Arabs of the nuzūl period’ in terms of address/textual structure. (shrink)

Moral pluralism of the kind associated with W. D. Ross is the doctrine that there is a plurality of moral principles, which in their application to particular cases can conflict, and that there is no further principle to determine which of these principles takes priority in cases of conflict. Two objections are commonly advanced against this kind of pluralism: that it proposes a rag-bag of moral principles lacking a unifying basis; and that it offers no way to adjudicate moral disputes (...) when our intuitions about what to do conflict. The present paper replies to both of these objections, in particular by responding to versions of them advanced by Brad Hooker. The tying together and justification of different moral principles may be achieved by a general rational justification procedure, rather than by a further moral principle; and such a rational justification procedure can help to adjudicate moral disputes. (shrink)

More’s Utopia has been translated a number of times into Turkish and continues to be translated as a classical, significant text. It is taught academically in disciplines such as political science, philosophy, history, sociology, and literature as part of the curriculum for both undergraduate and graduate university levels. In addition to responding to academic demand, different publishing houses continue publishing the novel in the interest of the general reader. Most of the translations are based on English editions such as Ralph (...) Robinson’s translation, Gilbert Burnet’s translation, Paul Turner’s translation, and the Everyman’s Library version. The Turkish translations... (shrink)