This article uses critical discourse analysis to examine how the higher COVID-19 infection rates among South Asians in general, and Punjabis more specifically, have been represented by conservative politicians and their representatives as a consequence of cultural and religious practices. Two counter-narratives are discussed. The first substitutes the negative image of the Sikh Punjabi Canadian community with a celebratory and positive view of Sikh humanitarianism and community service. The second attributes the high numbers to class attributes such as precarious (...) jobs, poverty-level wages, employment insecurity, lack of sick days, over-crowded housing, racism and lack of access to healthcare. We argue that the conservative explanation as well as the first counter-narrative reveal continuities in culturalist understandings of South Asian immigrants, albeit in slightly different ways. The second counter-narrative represents a discursive resistance by advancing a structural analysis of health and disease in immigrant communities. (shrink)

The present paper analyzes cultural attires and appearances of Marri and Bugti tribes in Balochistan to find out latent meanings attached to these artifacts. In doing so, the study uses Peirce’s framework of semiotics- an iconic perspective. The analysis has been carried out with the help of close reading of the cultural images and appearances. The results reveal underlying multi-meanings attached to these images and appearances. The findings reflect the richness and diversity of Marri and Bugti cultures and the invisible (...) representational meanings of these objects. This research endeavor may be helpful to promote pluralism, harmony and enhance intercultural awareness necessary for understanding cultural diversities within and across societies. More so, future researchers can explore cultural objects and appearances of Punjabi, Sindhi, Pashtuns, Urdu speaking, and Saraiki people by applying various frameworks of semiotics. (shrink)

Qaṣeeda-i Burdah written by Egyptian sufi poet Busīrī (d. 695/1296) as an eulogy for Beloved Messenger Moḥammed has received great attention in the Islamic world. This work has been recited both in cultural/social ceremonies such as weddings, holidays and funerals. On the other hand, it was also annotated, translated, and takhmīs, tesdīs, tesbī‘ and taşṭīr were written to it by the pen of scholars and litterateurs in literary circles. These activities, which have been carried out over and over again, has (...) been going on from the 15th century to the present day. Not only the reputed people, but also unknown ones or ones whose names were later forgotten have tried to translate it to their own language. The subject of the study is one of this type of poetic translations of the eulogy. Like its translator, date of this poetic translation is also unknown. This work was written in the remel baḥr type of ‘arūż in 162 verses using the spelling of the classical period. Although a significant portion of the rhyme words was adapted from the source text, it has a more understandable style than its counterpart. In terms of poetry, it is above the average. The translator decorated the meaning that he borrowed from the original text with his own poetic ability and tried to express it in a unique manner. For this aim, it is more literary, lyrical and successful than most other translations of Qaṣeeda-i Burdah. In the present study, text of the mentioned work was given with transcription along with mentioning of some of its features. Summary: Qaṣeeda-i Burdah written by Egyptian sufi poet Buṣīrī (d. 695/1296) has an important place in the Islamic world. Named by the poet himself as al-Kavākib-al-durriya fī madḥi khayr-al-bariyya, this work is also known as al-Qaṣeedat-al-mīmiyya since its rhyme letter is Arabic mim, as Qaṣeeda-i Bur’ah since it caused Buṣīrī to recover from a disease, as Qaṣeeda-i Burdah due to the rumor that this event took place while he was wearing a coat by the hands of Beloved Messenger Moḥammed. In order to prevent confusion with the eulogy of Ka‘b b. Zuhayr (d. 24/645) with the same name, it is known in cultural circles as Qaṣeeda-i Bur’ah. However, in literature, it is commonly referred as Qaṣeeda-i Burdah. The work was written in simple baḥr style of ‘arūż, and consists of 161 couplets. It has ten sections in terms of its content: longing for the beloved, complaining about the soul, eulogy for Beloved Messenger Moḥammed, his birth, miracles, dignity of the Holy Qur’ān, miracle of mi‘rāc, importance of jihad, sorrow, hope, prayer and request. The eulogy, which has an effective style, has gained great acclaim in the Islamic geography and has been read for various purposes for centuries. Some people recite it in wedding ceremonies, while some others use it in funerals. The sick people recite it with the hope of healing, while calligraphers wrote it for practice.Owing its fame more to its story rather than its value of art, the eulogy was translated into Eastern languages such as Persian, Malay, Pashto, Punjabi, Turkish and Urdu, as well as into Western languages such as German, French, Greek, English, Spanish, Italian and Latin. In addition, many annotations, footnotes, takhmīs, tesdīs, tesbī‘, taşṭīr and replies were written to it. For example, the poem annotated in Arabic by Ebū Shāme al-Maqdisī (d. 665/1266), Khalid b. ‘Abdullah al-Ezherī (d. 905/1499), Ibrahim b. Moḥammed al-Bacurī (d. 1277/1860), ‘Omer b. Aḥmed al-Ḥarpuṭī (d. 1299/1882) was translated into Persian by the men of letters such as Molla Ḥafıẓ Sharaf (d. after 810/1407), ‘Iṣāmuddin b. ‘Arabshah al-Isfarayinī (d. 945/1538), ‘Ali b. Ḥasan Zavareī (d. 968/1560). The work was annotated by Le‘alī Aḥmed b. Muṣṭafa (d. 971/1563), Sayyid Ḥasan b. ‘Abdurraḥman (d. 1071/1661), Naẓifī Ismail Aqḥiṣarī (d. after 1205/1790), Shaykh-al-Islam Makkī Meḥmed (d. 1212/1797), Moḥammed b. Fayżullah (d. 1231/1816), Moḥammed b. Aḥmed (d. 1318/1900), Anqara Governor ‘Abidin Pasha (d. 1324/1906) in Turkish language. Takhmīs was written to the work by poets such as Ṭashkoprizade Kemaleddin (d. 1030/1621) Khocazāde Asad (d. 1034/1625), Sayyid Moḥammed Sharifī (d. 1040/1631), Shaykh-al-Islam Yahya (d. 1053/1644), Suleyman Naḥifī (d. 1151/1738), ‘Abdullah Ṣalaḥī (d. 1197/1783), Shaykh-al-Islam Makkī Meḥmed, Mollacıqzāde Raif (d. 1238/1823), Muṣṭafa Maqṣud (d. 1258/1843), Yemliḥazāde Muṣṭafa (d. 1294/1878), Meḥmed Said Pasha (d. 1308/1892), Moḥammed Favzī (d. 1318/1900) while Ismail Mufid (d. 1217/1803) wrote tesdīs and Niyazī-i Mıṣrī (d. 1105/1694) wrote tesbī‘ to it.The work was translated into Turkish language by poets such as ‘Abdurraḥim Qaraḥiṣarī (d. after 888/1483), Kemal Pashazāde (d. 940/1534), Ahmed-i Rıḍvan (d. before 945/1538) Le‘alī Aḥmed b. Muṣṭafa, Shamsaddin Sivasī (d. 1006/1597), Kemalatī Meḥmed (d. before 1015/1606), Esasī (d. before 1041/1631), Sayyid Ḥusayin (d. after 1050/1641), Mehmed Ṭalib (d. 1089/1679), Sukutī Meḥmed (d. 1103/1691), ‘Abdulhay Jalvatī (d. 1117/1705), Sulayman Naḥifī, ‘Abdullah Ḥulvanī (d. 1159/1746), Aḥmed ‘Arifī (d. after 1195/1781), ‘Abdullah Ṣalaḥī, Ismail Mufid, Sivaslı Aḥmed Suzī (d. 1246/1830), Evranyali ‘Abdurraḥim (d. 1282/1865), Meḥmed Said Pasha, Qonyalı Fakhreddin (d. 1365/1950), Sazai Qaraqoç (d. 1933), Ilhan Armutchuoghlu (d. 1937), Maḥmut Qaya (d. 1945), but there are also translations whose translators are unknown. The present study deals with such a translation of the work. To our best knowledge, the translation that has not been paid much attention by scholars to date and was mentioned only by Ṣadıq Yazar. Even he articulated only a few sentences about the translation based on a deficient copy of the work. Both in the library records and in its copies, there was no information about the translator and the translation date of the work. The translation, which beginns directly without a section such as an introduction at the opening, was written in 162 verses with the spelling of the classical period. It has a remel baḥr style of ‘arūż structure with fā‘ilātun fā‘ilātun fā‘ilātun fā‘ilun rhythm. Although it has some ‘arūż mistakes, it can be said that it is successful in terms of rhythm. Using the source text rhyme of mīm letter, the translator directly adapted some rhyme words from the Arabic text, while converting some others to appropriate Turkish words. Although he used some of them only once, he used some others several times. This finding implies that the translator may have had difficulties in finding words for the rhyme. It is noteworthy that he used some of those words in different meanings, and he employed 99 different rhymes in 162 couplets. The translator used the original text for purposes other than the rhyme words. He used some words directly without translating them or only removed the ḥarf-i ta‘rif. He transformed some words to others with the same stem or to their counterparts in Persian. While converting some of the phrases to forms suitable for the structure of the Turkish language using various practices, he used the old Anatolian Turkish as well as living Turkish. Like Buṣīrī’s eulogy, the poem, which consists of 10 parts in terms of contents, is suitable for the contents of the source text, but it is not a literal translation. The translator, who cared about literary rhetoric, largely preserved or even contributed to the harmony elements of the text. He reinterpreted the meaning of Buṣīrī’s work using his poetry skills, and produced a successful translation in terms of poetry with minimal rhyme flaws. Considering other translations of Qaṣeeda-i Burdah, the translation has similarities with that by Uskudarlı ‘Abdulhay Jalvatī in terms of rhyme letter, with that by Sayyid Husayin Amasī in terms of rhyme, and with that by Ismail Mufid Afandi in terms of direct adaptation of some words in original text, while it has common characteristics with the translation by Naḥifī in terms of both rhyme letter and direct adaptation of most rhyme words from the original text. On the other hand, the translation has similarities with the translations by Kemal Pashazāde, Ahmed-i Rıḍvan, Esasī Afandi, ‘Abdullah Ṣalaḥī and Na‘imī in terms of rhyme letter, rhyme and adaptation of most rhyme words from the original text. However, it is simpler compared to the translation by Kemal Pashazāde, more loyal to the content of original text compared to the translation by Ahmed-i Rıḍvan and more robust in terms of rhyme compared to the translation by Na‘imī. (shrink)

One kind of government-supported censorship of the arts targets not the expressive content of any particular artwork but instead seeks to suppress the activity of a group of people based on some feature of the group’s human identity such as race, gender or class. Using examples from the history of the development of black music in the United States that followed from the legal oppression of slavery and from evidence of changes in the Punjabi theatre in Pakistan following state-sanctioned (...) suppressions of women this paper demonstrates that human-identity-related arts censorship not only harms but can actually serve to spur and enhance, rather than suppress, artistic innovation. (shrink)

In the past ten years, work by K€olbel, MacFarlane, Richard and others has rekindled old debates on relativism. In this important contribution to those debates, the authors defend a ‘mainstream’ view about the contents of thought and talk that they call Simplicity against the assaults from such ‘analytic relativists’.

To find out more information about Rowman & Littlefield titles please visit us at www.rowmanlittlefield.com.

Dieser Buchtitel ist Teil des Digitalisierungsprojekts Springer Book Archives mit Publikationen, die seit den Anfängen des Verlags von 1842 erschienen sind. Der Verlag stellt mit diesem Archiv Quellen für die historische wie auch die disziplingeschichtliche Forschung zur Verfügung, die jeweils im historischen Kontext betrachtet werden müssen. Dieser Titel erschien in der Zeit vor 1945 und wird daher in seiner zeittypischen politisch-ideologischen Ausrichtung vom Verlag nicht beworben.

Philosophy of language has been at the center of philosophical research at least since the start of the 20th century. But till now there has been no regular forum for outstanding original work in this area. That is what Oxford Studies in Philosophy of Language offers.

3 in philosophy, and therefore in metaphilosophy, cannot be based on rules that avoid spending time on pseudo-problems. Of course, this implies that, if one succeeds in demonstrating convincingly the pseudo-character of a problem by giving its 'solution', the time spent on it need not be seen as wasted. We conclude this section with a brief statement of the criteria for concept explication as they have been formulated in several places by Carnap, Hempel and Stegmiiller. Hempel's account is still very (...) adequate for a detailed introduction. The process of explication starts with the identification of one or more vague and, perhaps, ambiguous concepts, the so-called explicanda. Next, one tries to disentangle the ambiguities. This, however, need not be possible at once. Ultimately the explicanda are to be replaced by certain counterparts, the so-called explicata, which have to conform to four requirements. They have to be as precise as possible and as simple as possible. In addition, they have to be useful in the sense that they give rise to the formulation of theories and the solution of problems. The three requirements of preciseness, simplicity and usefulness. have of course to be pursued in all concept formation. (shrink)

Provability, Computability and Reflection.

Excerpt from The New Realism: Coöperative Studies in Philosophy On July 21, 1910, we published a brief article entitled 'The Program and First Platform of Six Realists,' in which we indicated the direction philosophical inquiry ought to take. We there asserted that advance would be facilitated by cooperative investigations; and the drafting of the platform was a first attempt to confirm this belief. The present volume continues, on a larger scale, the work there inaugurated; and we hope it will (...) be followed by other collections of studies. The introductory essay voices our common opinions. The other essays do so only in part. It has seemed best to publish them without laboring for complete unanimity, inasmuch as their agreements quite overshadow their differences. They have been written after prolonged conferences. A few important debatable topics are briefly discussed by dissenting members in the Appendix. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works. (shrink)

Studies in Empirical Philosophy was published in 1962 shortly after Anderson's death and had been prepared by him to include most of his published articles from the Australasian Journal of Philosophy and Psychology. It also includes a couple of articles written especially for the book. It remains the main published source of material on Anderson's systematic philosophy. John Passmore has kindly granted permission for his introduction to be included in this new release. John Anderson (1893-1962) was Challis Professor of (...) Philosophy at the University of Sydney from 1927 until 1958. He is generally regarded as the most important philosopher to have worked in Australia. His students included not only academic philosophers but also important figures in politics, law and journalism. His impact upon Sydney's social and cultural life was enormous. (shrink)

Traditional studies of literature have developed approaches ranging from historical, hermeneutic, critical, close reading and author studies perspectives. The present volume shows that there is much, much more to analysing literary texts, their readers, the literary system, movies, their structure and their effects. These diverse new ways of looking at literature are exemplified in this volume. The volume shows how these various approaches can be carried out in concrete projects in the area of literary studies. Twenty-three chapters (...) encompass research on literary studies from perspectives of psychology, linguistics, anthroplogy, history, sociology, computer science. The contributors demonstrate in non-technical language the amplitude of detail and insight that can be gained from such a wider perspective on the study of literary texts. The interdisciplinary diversity of the study of literature may launch itself as a New Beginnings in Literary Studies indeed. (shrink)

Ask a philosopher what a proof is, and you’re likely to get an answer hii empaszng one or another regimentationl of that notion in terms of a finite sequence of formalized statements, each of which is either an axiom or is derived from an axiom by certain inference rules. (Wecan call this the formal conception of proof) Ask a mathematician what a proof is, and you will rbbl poay get a different-looking answer. Instead of stressing a partic- l uar regimented (...) notion of proof, the answer the mathematician will give ilikl.. (shrink)

This volume inaugurates a new critical edition of the writings of the great English philosopher Francis Bacon (1561-1626)--the first such complete edition in more than a hundred years. It contains six of Bacon's Latin scientific works, each accompanied by entirely new facing-page translations which, together with the extensive introduction and commentaries, offer fresh insights into one of the great minds of the early seventeenth century.

The Intellectual as Stranger explores the historical association between images of the intellectual and those of the stranger, or the outsider to society. Using detailed case-studies, Pels examines the ambiguous strangerhood of political intellectuals such as Marx, Durkheim, Sorel, Freyer and Hendrik de Man.

Following the Gaza events of 2023/24, this study examines how Palestinians understand mass death and mass destruction, exploring how can such a humanitarian catastrophe be framed within a coherent narrative. The focus is on the concept of sacrifice, analysed through a theoretical framework that distinguishes between meaningful sacrifices and absurd, meaningless deaths that categorises the victims as homo-sacer. Hence, this study aims to investigate the language and literature of the Palestinian people that regards to the 2023/24 Gaza events, and the (...) way it re-conceptualises the mass death and destruction and its victims, between the concepts of sacrifice and homo-sacer. A sample of 120 literary and creative texts from the cultural magazine ‘Fusha for Palestinian Culture,’,Footnote1 was examined using the methodology of thematic analysis. Four primary themes emerged from the texts: the active documentation, the speed and intensity of death and destruction, the form of death, namely handling of bodies and burial rituals, and lastly the implementation of myths from various traditions, including the duality of mythologising and demythologising Gaza and its inhabitants. I conclude that these four themes were elemental in the rhetoric process of sanctification of the mass and random death and destruction. (shrink)