The Rahit Is The Code Of Belief And Conduct Laid Down By The Tenth Guru Gobind Singh For All Sikhs Who Join The Khalsa. The Book Traces The Development Of Rahit And Shows How The Modern Rahit, In Some Respects, Is Different From The Original One.

This translation of Randhir Singh's text of the Prem Sumarag (or Param Sumarag) presents an extended Sanatan account of Sikh ceremonies, Sikh ideals, and the Sikh way of life, thus providing a fresh insight into the history of Khalsa Rahit.

Over recent years, the research community has been increasingly using preprint servers to share manuscripts that are not yet peer-reviewed. Even if it enables quick dissemination of research findings, this practice raises several challenges in publication ethics and integrity. In particular, preprints have become an important source of information for stakeholders interested in COVID19 research developments, including traditional media, social media, and policy makers. Despite caveats about their nature, many users can still confuse pre-prints with peer-reviewed manuscripts. If unconfirmed but (...) already widely shared first-draft results later prove wrong or misinterpreted, it can be very difficult to “unlearn” what we thought was true. Complexity further increases if unconfirmed findings have been used to inform guidelines. To help achieve a balance between early access to research findings and its negative consequences, we formulated five recommendations: (a) consensus should be sought on a term clearer than ‘pre-print’, such as ‘Unrefereed manuscript’, “Manuscript awaiting peer review” or ‘’Non-reviewed manuscript”; (b) Caveats about unrefereed manuscripts should be prominent on their first page, and each page should include a red watermark stating ‘Caution—Not Peer Reviewed’; (c) pre-print authors should certify that their manuscript will be submitted to a peer-review journal, and should regularly update the manuscript status; (d) high level consultations should be convened, to formulate clear principles and policies for the publication and dissemination of non-peer reviewed research results; (e) in the longer term, an international initiative to certify servers that comply with good practices could be envisaged. (shrink)

Hannah Arendt’s claim that thinking is the last defense against the moral outrages of criminal political regimes sets the problematic of good and evil in relief. Human freedom, Paul Ricœur reminds us, is responsible for evil. The avowal of the evil of violence is thus the condition of our consciousness of the freedom to act anew. Aesthetic experience’s lateral transposition onto the planes of ethics and politics highlights our capacity to respond to exigencies in apposite ways. Exemplary representations of the (...) good, the right, and the justexpress a desire for being. Eros is accordingly the law of every work, word, deed, or act that answers to a difficulty, challenge, or crisis. Bound to living experiences, thought attains its true height through interrogating, demystifying, and vacating frozen norms, standards, and mores. Judgment actualizes thought’s liberating effects in answer to the demands of the situations in which we find ourselves. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Criticism, Imagination, and the Subjectivization of AestheticsRoger W. H. SavageThe growing discontent with reductivist practices signals a new current in contemporary criticism's understanding of music, literature and art. George Levine's unease with critics who are unable or unwilling to account for their continuing preoccupation with literary texts they expose as "imperialist, sexist, homophobic and racist" illumines the contradiction fueling the reduction of aesthetics to ideology.1 Cultural studies that deploy (...) literature as evidence of the aesthetics' socio-historical substance mask literature's capacity to break open new perspectives on reality by assuming that literary works are politically complicit with the aesthetics' strategic "mystification of the status quo" (A&I, p. 3). Criticism's indifference to its philosophical presuppositions exacerbates the paradox of denouncing a body of works that constitute criticism's aesthetic and intellectual heritage. According to Mario Valdés, literary studies' coming of age mandates that criticism take account of a tradition nurtured by a succession of philosophers including Hans-Georg Gadamer and Paul Ricoeur.2 For Valdés, the post-structuralist realization that literary texts are indeterminate and inexhaustible prohibits replacing the work of art with critical commentaries on it; criticism's collective and determining role belongs to a shared community of commentary whose history and thought is a record of the changing interpretations and understandings of literary texts' meanings. [End Page 164]Valdés's claim extends to the field of contemporary music criticism, where the fashion of denouncing aesthetics as socially pernicious turns against traditional musicology's institutional authority. By demystifying absolute music (instrumental music devoid of programmatic associations), a self-proclaimed critical musicology revolts against traditional musicology's perceived political and ideological agenda. Critical musicology militates against the aesthetic conceit that absolute music transcends its social construction. Yet, by overlooking the philosophical presuppositions that set music's autonomy against practical affairs, new musicology accedes to the schema it recoils against.The tradition nurtured by Gadamer's philosophical hermeneutics and Ricoeur's hermeneutic phenomenology represents a critical current whose significance has been overshadowed by postmodernist investments in decoding music's social and political content. Gadamer's critique of the subjectivization of aesthetics and Ricoeur's meditations on the imagination's capacity for invention offer an alternativeto contemporary music criticism's reaction against the principle of music's aesthetic autonomy. Gadamer and Ricoeur question art's formal separation from reality, which belongs to the history of Kant's radical subjectivization of aesthetics. Gadamer's critique of art's aesthetic differentiation prepares the ground for revealing how socially informed analyses conform to the schema Kant initiates by divorcing judgments of taste from their surrounding cultural ethos. Gadamer argues that, by discrediting theoretical knowledge that does not rely on the methodology of the natural sciences, the transcendental function Kant ascribes to aesthetic judgment lays the foundation for differentiating between art's aesthetic constitution and a concept of truth that accommodates the standard of the natural sciences. Through reducing the "sensus communis to a subjective principle," Kant legitimates his critique of aesthetic judgments by denying taste any importanceas a mode of knowledge.3Ricoeur's hermeneutical reflections on imagination complement Gadamer's critique of a differentiating consciousness that abstracts art works from their cultural worlds. For Ricoeur, imagination is productive when the fictions that works create affect our understanding of ourselves and our world by re-describing reality. Aesthetics' alignment with ideology encounters a limit in the power works evince by unfolding different ways of seeing or hearing reality. Ricoeur's reflections on imagination stand in stark contrast to the idea that individual works represent a form of cultural capital in the struggle for social position [End Page 165] and power. Contemporary critical practices' failure to account for the philosophical separation of judgments of taste from knowledge of reality precipitates the impasse criticism encounters when it identifies aesthetics with ideology at the expense of a work's capacity to affect reality in productive ways. The dispersal and potential disappearance of music's aesthetic character into the recesses of cultural and political analysis keeps step with the conceptual narrowing imposed by a restrictive sociological critique. Demystifying music's ideological representations of gender, race and identity purges romantic... (shrink)

We think that science is special: its products ‐ technological spin‐offs ‐ dominate our lives. Sometimes it enriches our lives; sometimes it impoverishes them or even takes them away. For better or for worse, no institution has had more impact on the character of our existence this millennium than science. Penicillin, computers, atomic bombs make modern life modern life.

This work has been selected by scholars as being culturally important and is part of the knowledge base of civilization as we know it. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be (...) preserved, reproduced, and made generally available to the public. To ensure a quality reading experience, this work has been proofread and republished using a format that seamlessly blends the original graphical elements with text in an easy-to-read typeface. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant. (shrink)

This work has been selected by scholars as being culturally important and is part of the knowledge base of civilization as we know it. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and (...) made generally available to the public. To ensure a quality reading experience, this work has been proofread and republished using a format that seamlessly blends the original graphical elements with text in an easy-to-read typeface. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant. (shrink)