The article analyzes the interdisciplinary methodology of city research within the philosophical and cultural approach. The authors argue that at present, besides sociological and economic approaches to the interpretation of the city, the cultural and philosophical examination of city is of special interest. It combines both theoretical issues and the practical aspects. The authors present the philosophical and cultural analysis of the city as well as the general concept of chronotopia. The concept of chronotope, proposed by M. M. Bakhtin and (...) his followers, is most often used as a tool for the analysis of fiction. According to the authors, the spatio-temporal diagnostics of the city also has significant theoretical and practical potential. The authors discuss various literary and philosophical texts analyzing the feautures and evolution of the “soul of the city” (written by Russians N.P. Antsiferov, I.M. Grevs, Y.M. Lotman, M.S. Kagan, I.I. Mitin as well as by foreign scholars Y. Slezkine, K. Schlogel, exploring the chronotope of Soviet cities). The article presents other modern Russian and foreign researchers who directly collaborated with the authors of this research in joint urban projects: M. Golovanivskaya (“syntax” of urban squares), “Ural matrix” (A. Ivanov, I. Lisovets, E. Trubina), chronotope of a small Israeli city (E. Rimon), Stanford chronotopes (J. Bender, D.E. Wellbery). Since the city, like any cultural phenomenon, manifests itself within a set of spatio-temporal coordinates, the chronotope can be considered as the basic tool for its philosophical and cultural interpretation. The article substantiates the practical aspects of applying chronotopia to the analysis of the city: chronotopes of the past and everyday life in cities of certain types, strategic opportunities and boundaries of the chronotopes of a given city. The authors concludes that the chro-notopia of city is a transdisciplinary field in the cultural and philosophical studies of the city. (shrink)

_Purpose._ The study is aimed at the "philosophy of translation" methodology outlining as an original philosophical texts translation tool from the point of view of culture as anthropological phenomena, namely, individuals’ participating in the text creation process providing the consistent following tasks solution: a) clarifying the text author’s role, which is the object of recipients’ perception; b) the human psyche inexhaustible potential realization for the primary text semantic content understanding by the translator to prevent its distortion; c) defining the requirements (...) for the translation process as a mean of bringing the reader closer to author’s understanding by language barrier elimination as an intuitive "obstacle" on its way. _Theoretical basis._ The author proceeds from the factual absence of the "philosophy of translation" concept unambiguous definition in the modern anthropological and philosophical space and seeks to take into account all the factors affecting the newly created text quality due to the all participants’ features reviled on every stage of the text translation process. Today, the "philosophy of translation" is a widely used phrase, though ignoring the characteristics of man as a single meaning creator of the concept under study. The article provisions are based on philosophical, translation, and psychological studies with an emphasis on classical and non-classical anthropology research (Gadamer, Khoma, Holovach, Chepeleva, Dizdar, Leonov, Lotman, Bakhtin, etc.). _Originality._ The author proposes a methodology for the original philosophical text adaptation and presents a generalized step-by-step scheme for its translation, which helps to solve the personality of the researcher and/or translator’s influence problem on the individual author’s meaning preservation during its reproduction in a reader’s convenient language. _Conclusions._ A look at the "philosophy of translation" from the philosophical anthropology point of view allows us not only to consider the process of translation from the individual characteristics of all the participants (author/philosopher-reader-researcher/translator-reader-philosopher/reader) but also to describe such translation methodology by concentrating on highlighting the author’s reasoning course, which rises new knowledge and encourages further philosophical reflection within the human nature instability problem. The translation of a philosophical text not only reproduces the semantic structure of the original message but also provides a number of possible dialogical reactions to it as an object of human phenomenology. The proposed concept takes into account any reader’s needs, fully preserving the author’s position. (shrink)

RESUMO Busco traçar uma articulação teórica em torno de duas obras póstumas de Mikhail Bakhtin e Yuri Lotman, expoentes chave para pensar a cultura sob uma perspectiva semiótica. Nessas produções tardias, os dois pensadores expõem um interesse compartilhado em refletir como o medo se materializa, podendo-se ler em textos concretos que buscam explicar os fenômenos que estão ocorrendo no horizonte cultural. Nesse sentido, Lotman e Bakhtin estão focados em investigar a aparência regular de um conjunto de princípios e (...) motivos que seriam sistematicamente atualizados na relação entre laços sociais e medo. Meu objetivo vai além do descritivo para delinear aparatos críticos sobre o medo na perspectiva semiótica, à luz da interpretação desses artigos que mantêm o poder heurístico e fornecem um instrumento para iniciar uma reflexão sobre esse modo cultural de sentimento.ABSTRACT I seek to draw a theoretical articulation around two posthumous works by Mikhail Bakhtin and Yuri Lotman, key exponents to think about culture from a semiotic perspective. In these late productions, both thinkers expose a shared interest in reflecting how fear materializes, being able to be read in concrete texts that seek to account for the phenomena that are occurring on the cultural horizon. In this sense, Lotman and Bakhtin focus on investigating the regular appearance of a set of principles and motives that would be systematically updated in the relationship between social ties and fear. My purpose is not only to describe, but also to outline a critical apparatus about fear from a semiotic perspective, in light of the interpretation of these articles that keep heuristic power and provide an instrument to initiate a reflection on this cultural mode of feeling.RESUMEN Busco trazar una articulación teórica en torno a dos trabajos póstumos de Mikhail Bakhtin y Yuri Lotman, exponentes clave para pensar la cultura desde una perspectiva semiótica. En estas producciones tardías, ambos pensadores exponen un interés compartido por reflexionar de qué manera el miedo se materializa, pudiendo leerse en textos concretos que buscan dar cuenta de los fenómenos que van produciéndose en el horizonte cultural. En tal sentido, Lotman y Bakhtin se abocan a indagar sobre la aparición regular de un conjunto de principios y motivos que se actualizarían, sistemáticamente, en la relación entre lazo social y miedo. Mi propósito irá más allá de lo descriptivo para esbozar aparato crítico sobre el miedo en perspectiva semiótica, a la luz de la interpretación de estos artículos que guardan potencia heurística y proveen de un instrumental para iniciar una reflexión sobre este modo cultural del sentir. (shrink)

La semiósfera, término empleado por Iuri Lotman, constituye todo el universo representado en La ciudad y los perros (1963), con un enfoque prioritario en la institución articulada. A partir de este espacio configurado, se aprecia la construcción de una sociedad condicionada al ejercicio militar, pero también es transgredida por su código moral al ejercer una violencia que está siendo permitida y aceptada. Por otro lado, el colegio como universo posible permite que el autor se apropie de elementos peculiares para (...) la creación literaria y la crítica de los desniveles de su propia realidad. (shrink)

Pegaso Zorokin es una novela experimental que fue publicada en 2012 en cinco volúmenes de la revista digital [Radiador] Magazine. Está compuesta por veintitrés capítulos sin aparente conexión entre ellos. Esta estructura complica una lectura global y pone en crisis la idea de novela. Sin embargo, es posible encontrar continuidad dentro de los fragmentos si se atiende a los puentes hipertextuales dentro del texto. Estas conexiones logran la unidad buscada. La conformación de la novela es muy similar a la de (...) cualquier red social digital. El objetivo de este artículo es explicar este funcionamiento dinámico. El trabajo analítico fue realizado bajo un método semiótico que involucra los conceptos semiósfera y persona semiótica de Yuri Lotman; hipertextualidad de Gerard Genette y propagabilidad de Gabrielle Marino. El análisis fue aplicado a tres de las cinco entregas de la novela de Arana, demostrando que el texto está compuesto por una red interna cohesionadora. (shrink)

Las formas verbal y expresiva que desarrollan los personajes de un texto literario se muestran mediante el dialogismo y el monologismo —conceptos ficcionalizados que desarrollan Mijaíl Bajtín, Iuri Lotman y Lubomír Doležel—; los mismos que se enfatizan con una atmósfera de violencia en la primera novela La ciudad y los perros (1963) del Premio Nobel de Literatura Mario Vargas Llosa. Estas modalidades adoptan una representación tripartita a través de amenazas, degradaciones a una persona con frases y al cosificar a (...) cualquier individuo: los agresores hacen sentir a sus víctimas como si se tratasen de objetos desvalorizados; asimismo, se aprecia de modo verbal indirecto, el cual consiste en obviar al sujeto de un determinado tema que podría agredirlo, al estar él presente. (shrink)

Este artículo examina La ciudad y los perros (1963) de Mario Vargas Llosa para fundamentar cómo se logra la estratificación teórica de estilos y técnicas que se emplean para abordar la violencia en el texto. Sobre la epistemología, recurre principalmente a Todorov, Hamburger, Lotman y Genette. Y, para argumentar la manifestación de la violencia, considera las eventualidades que padecen los personajes del Colegio Militar Leoncio Prado; en especial, el Jaguar, el Poeta y el Esclavo. Esas acciones serán justificadas por (...) la instrucción castrense, la evolución humana, la necesidad de una conducta hegemónica idónea y la búsqueda del efecto perlocutivo en el lector. Para sistematizar esas peculiaridades, se opta por una metodología adscrita al cotejo de información teórica para que sea confrontada con el discurso literario. El análisis que se desarrolla es complementado con fragmentos representativos para que las formulaciones sean más directas y convincentes. Como resultado, se confirma esa correspondencia entre las teorías heterogéneas, la novela y la interpretación, por lo que el concepto de violencia adoptaría una multidimensionalidad que evidencia su existencia y su requerimiento esencial en los personajes. Con ello, se sustenta como conclusión que la violencia en ese contexto debería ser permanente e imprescindible para subsistir. (shrink)

En 1964, Glauber Rocha dirigió la película Dios y el Diablo en la Tierra del Sol. Año en el que Brasil sufrió el golpe de estado militar. En este momento, hablar de política o problemas sociales era un asunto turbio debido a la fuerte amenaza de represión. Glauber escribió y dirigió esta película que versa acerca de la dicotomía entre el bien y el mal, lo culto y lo inculto, el orden y el desorden, las diferencias sociales, las construcciones simbólicas (...) del espacio como semiosfera, las fronteras y la ruptura de éstas, que provocan el caos. Para el director, la religión guarda una relación muy estrecha con la política. Se plasma el deseo por el poder en los vínculos sociales-políticos (interés de los terratenientes sobre los trabajadores) y religiosos (interés de los predicadores sobre los creyentes). Este análisis discurre sobre dichas dualidades simbólicas, fijándonos en la discusión semiótica realizada por teóricos como Yuri Lotman, Michael Foucault, Mijaíl Bajtín, Umberto Eco, entre otros. La intención es analizar de qué manera Glauber Rocha construye los espacios simbólicos a lo largo de su discurso fílmico, y conocer el mensaje crítico que transmite. (shrink)

Este artículo cuestiona la composición endógena de los personajes protagónicos de los largometrajes Días de Santiago (2004) y Hombre Araña (2002). Ellos presentarán dos estereotipos distintos de vivencias y coincidirán con el cuestionamiento consuetudinario de sus propias identidades. Esa percepción permitirá precisar en el objetivo de este trabajo, que consiste en fundamentar las transgresiones psicológicas de los involucrados, pese a su configuración definida y reconocible para el espectador. Para lograrlo, se recurrirá al análisis sociológico que propone Iuri Lotman desde (...) la semiótica cultural, que será complementado con la confrontación con los filmes Un perro andaluz (1929), Tiempos modernos (1936), Ahí está el detalle (1940), Gregorio (1984) y La espalda del mundo (2000). Luego, se empleará la semiótica tensiva de Jacques Fontanille para elaborar esquemas afines al desenvolvimiento del superhéroe, así como también se diferenciarán los regímenes de sentido que se asemejan a la lógica de la trama. (shrink)

Esta obra literaria de Mario Vargas Llosa plasma una configuración asimétrica en sus personajes. Esta es distintiva de la condición moderna que justifica su inestabilidad ontológica, tal como lo constata Milagros Ezquerro. A su vez, se comprende por el contexto en el que se desarrolla: etapa dictatorial que se atraviesa en el Perú y Latinoamericana en la segunda mitad del siglo XX. Retomando esta premisa, este artículo tendrá como objetivo fundamentar cuáles son los enclaves que delimitan y convergen la constitución (...) de las jerarquías que adoptan las autoridades responsables y los cadetes que oscilan en el universo castrense de la novela. Para ello, se corroborará con la noción de violencia que fluctúa Walter Benjamín, la concepción de espacio de Iuri Lotman y el paradigma del universo militar que aborda Herbert Morote. Estas categorías se imbricarán para demostrar con triángulos jerárquicos la implicancia que se alcanzó con este tipo de instrucción. (shrink)

The relevance of the study is that the theme of the influence of “Smart-technologies” on the development of “Smart-city” in the media space is one of the most popular in the theoretical array and actual from the practical point of view. The task is the selection of different approaches for understanding the phenomenon of “City” and “Smart”; definition of the specifics of “Smart-technologies”, “Smart-cities”, ecological design of the city. Analysis of recent releases and publications. The problem of the “city” as (...) a sociocultural phenomenon is one of the most complex, acutely debatable and sustainably relevant in the system of humanitarian knowledge for a long time. The city is considered in the works of Aristotle, Plato, Farabi, T. Mora, T. Kampanella. In the works of I.Sabsovich, N.Ohitovich the ecological ideas of town-planning, the concept of “garden city” became popular. The philosophical comprehension of the city's existence was considered by M. Antsiferov, V. Aleksashin, M.Kogan, D.Likhachev, Y. Lotman, M.Uvarov in his works. Among Ukrainian researchers, T. Voznyak, I. Voronin, O. Gladkogo, M.Preptonsky, T.Korienenko and others should be mentioned in the understanding of the existence of the city. Methods of research. Methods of structural-system, structural-functional analysis are widely used in the theory and practice of the “Smart-city” research. It allows to penetrate deeply into the phenomenon of the influence of Smart-technologies on the development of Smart-city in the information society. The result of the study. In order to solve the problems of the influence of Smart-technologies on the development of Smart-city in the information society, a concept for the smart technologies strategy development aimed at cooperation with leading companies of this industry and the production of domestic analogues in accordance with world standards. Conclusions. The rapid development of Smart-technologies gives the opportunity to bring the educational process to a new high level, which will provide a better training of specialists in the field of design. Getting of specialists are necessary for the formation and alignment of the country in the format Smart, as well as to increase Ukraine's competitiveness in the international arena. The practical significance of the research topic is that the designer artifacts that are differentiated in the cultures of the informational society are being researched. (shrink)

The report is devoted to elaboratation creative philosophical models for optimization multi-cultural dialogue into “post modern” global society. The main idea of the article is to describe the basic philosophical models (rooting in ancient philosophy, as the most seriously and fundamental theoretical positions for solution the problem of many-pole's world), connecting them with the main points of modern philosophers (F. Fucuyama, A. Toffler, S. Hantington, S. Averintsev, A. Panarin, Y. Lotman, S. Filatov, A. Malashenco, E. Volkhova etc). The dialogue (...) of cultures is the “other side” of the process of globalization. The question about possible strategies of intercultural interaction, its opportunities and limits, as well as potential grounds for mutual understanding is ultimately vital todayfor contemporary philosophy of culture. Its solution determines perspective of consolidation of sodium as well as selection of definite position in the dialogue itself – whether it will be an isolationism leading to the “end of history” as to the returning to cyclic model of life of human community; or there will be retained an orientation for mutual displacement of value priorities (war of ideologies) as competitive adaptive programs. In any case the globalizing world in the order of self-organization in the next decades will stop at the selection of any definite strategy. (shrink)

This paper provides arguments for and against M.Lotman’s (2002) contention that Y.Lotman’s seminal concept of semiosphere is of post-modernist (post-structuralist; Posner 2011) orientation. A comparative reading of the definitional components of the semiosphere, their hierarchical relationship and their interactions is undertaken against the two principal axes of space and subjectivity in the light of Kantian transcendental idealism, as inaugural and authoritative figure of modernity, the Foucauldian discursive turn and the Deleuzian (post) radical empiricism (sic), as representative authors of (...) the highly versatile post-modernvernacular. This comparative reading aims at highlighting not only similarities and differences between the Lotmanian conceptualization of the semiosphere and the concerned modernist and postmodernist authors, but the construct’s operational relevance in a post-metanarratives cultural predicament that has been coupled with the so-called spatial turn in cultural studies (Hess- Luttich 2012). (shrink)

El presente trabajo tiene como finalidad mostrar cómo la regla hermenéutica tal cual es descripta por Hans-Georg Gadamer en Wahrheit und Methode representa un sistema de significación que produce texto. Para ello se utilizará la semiótica de Iuri Lotman y la semiótica connotativa de Hjelmslev como cooperaciones teóricas que posibilitan describir con mayor analiticidad la regulación de la regla hermenéutica en el fenómeno de la comprensión.

Este trabajo está divido en dos partes: en la primera de ellas se aborda la novela decimonónica de Eça de Queirós El crimen del padre Amaro: Escenas de la vida devota, así como la adaptación cinematográfica de Carlos Carrera y el guión de Vicente Leñero para la película El crimen del padre Amaro. Y un particular retorno al género novelístico El padre Amaro de Vicente Leñero. La metodología que se usará en este primer apartado será: exégesis de la adaptación, resumen (...) y elementos característicos de la novela Eça de Queirós, la denuncia social, y la relación amorosa; en una segunda parte se realizará un análisis de El crimen del Padre Amaro bajo la perspectiva de semiótica de la cultura de Yuri M. Lotman basada en su texto Estructura del texto artístico. (shrink)

RESUMO Em seu livro Cultura e explosão, no qual analisa a dinâmica cultural, Lotman utiliza as figuras do “tonto” e do “louco” como termos paradigmáticos de atitudes humanas que encarnam as formas de mudança social. Imersos no espaço de uma semiosfera, os atos humanos ganham significado em relação à totalidade desse universo. O autor propõe considerar a estrutura ternária tonto/inteligente/louco como um continuum que permite visualizar graus de adequação individual e coletiva à norma. Neste texto, sintetizarei a múltipla descrição (...) de Lotman a ela acrescentando meus comentários e alguns exemplos, em especial da figura do tonto e do louco em diferentes espaços representativos. Estou particularmente interessada em defender a possibilidade de encontrar certas mudanças de paradigma por meio da leitura de textos da cultura contemporânea, ou melhor, certas manifestações complexas da loucura e da estupidez, cuja tradução se torna difícil para mim, sem que seja frequentemente o resultado de um juízo de valor. RESUMEN En el libro Cultura y explosión, en el que Lotman analiza la dinámica cultural, emplea las figuras del “tonto” y del “loco” como paradigmas que encarnan las formas del cambio social. Inmersos en el espacio de una semiosfera, los actos cobran significación en relación con la totalidad de ese universo. Propone considerar la estructura ternaria tonto/inteligente/loco en tanto continuum que permite visibilizar grados de adecuación a la norma en lo individual y en lo colectivo. Sintetizaré la múltiple descripción de Lotman añadiendo mis comentarios y algunos ejemplos, en especial de la figura del tonto y del loco en diferentes espacios representativos. Me interesa plantear la posibilidad de encontrar ciertos cambios de paradigma leyendo textos de la cultura contemporánea o mejor dicho, ciertas manifestaciones complejas de la locura y la estupidez, que hacen difícil para mí su traducción sin que ella sea a menudo el resultado de un juicio de valor. ABSTRACT In his book Culture and Explosion, Lotman studies the dynamics of culture using thefool and the madman as paradigm characters incarnating social change. Immersed in the space of a semiosphere, human acts gain meaning only in the context of the particular universe they take place in, when understood as a whole. Lotman invites us to consider the ternary structure fool/smart/crazy as a continuum where we can gauge individual and collective adequacy to the norm. Here, I summarize Lotman’s multifaceted description through my own lens with the aid of some examples centered on the notion of the fool and the madman in some representative spaces. I am particularly interested in finding paradigm changes through the reading of contemporary texts, or better said, through some complex manifestations of madness and stupidity, which are difficult to translate accurately without a subjective assessment. (shrink)

El presente artículo propone un análisis semiótico de los elementos que conforman el discurso visual de Libia Posada, a partir de la teoría de la semiósfera de Yuri Lotman. Se aborda la producción artística de Posada como una construcción de identidades sociales y políticas que desafían las narrativas hegemónicas. Con dicho enfoque, se revela cómo las obras de Posada operan como discursos visuales que visibilizan y problematizan diversas identidades.

Explaining how stereotypes and norms influence role-identities during reflected appraisal processes, we develop a theory about diverse groups of minority men—the “minority masculinity stress theory”—and apply it to Asian American men. We conceptually integrate hegemonic masculinity, stereotypes, and mental health to examine how Asian American men experience masculinity and how their experiences are uniquely stressful. We analyze elicited text from an open-ended questionnaire to explain two experiences of masculinity-related stress: trying to live up to the masculine ideal and enacting work-related (...) role-identities. Regarding the former, we discuss four illustrations—toughness, body image, restrictive emotionality, and heterosexuality—and two involving the latter—achiever and provider. We found that Asian American men receive stereotypical reflected appraisals that contradict potentially positive self-concepts and emphasize achievement beyond typical standards of hegemonic masculinity. Moreover, Asian American men’s role-identities contradict hegemonic masculinity, resulting in reflected appraisals that predispose them toward stress. (shrink)

In many Western European countries, gender equality and sexual tolerance have increasingly become markers of national cultures and European values that face an insistent threat from Muslims. Gender equality and sexual tolerance are increasingly framed in cultural terms and they play an important role in the construction of a social imaginary based on a cultural antagonism between ‘us’ and ‘them’. This article argues that a new ‘culturalized’ social imaginary has been established by turning ‘immigrant workers’ into ‘Muslim immigrants’ over the (...) last three decades. The unending moral panics around Muslim immigrants’ cultural practices such as honor killings, forced marriages, headscarves, female circumcision and homophobia create a sense of imminent threat and force progressive movements to forge unlikely alliances with right-wing groups against the insidious threat. These alliances are not, however, ephemeral mobilizations in defense of ‘common achievements’; the notion of common achievements creates a sense of cultural sameness vis-a-vis Muslims. Thus, what we see is the displacement of the internal frontiers and the creation of a new ‘hegemonic bloc’ around ‘common cultural values’. And this hegemonic displacement creates unresolvable tensions within feminist and queer movements. (shrink)

Science can (also) be studied as responsible and rational human activity, guided and legitimated by its own normative system: a finite and ordered set of norms and values for agents in a given field of activity. Such norms of inquiry are needed for a rationality requirement of science, which also presupposes a partial agreement on (acceptance of, respect for) these norms between scientists and their social environment. The notions of scientific accountability, autonomy, and freedom of inquiry are elucidated by means (...) of an action-theoretic definition of science and by a certain use of the distinction between internal methodological) and external norms of science. (shrink)

All these activities of living beings, and the functioning of their organs, and the functioning of instruments demand a teleological explanation. Why do human beings toil? Why do living beings try to maintain the activities of the organism? What are the functions of specific organs or instruments? Intelligible answers can be given in teleological terms. Of course, one could ask many questions about these situations that would not require the teleological explanation; for example, questions concerning the mechanical structure of living (...) beings or of instruments. Yet this fact would not eliminate the legitimacy nor the utility of the teleological category. (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)

Over the past two decades, Victor and Cullen’s (Adm Sci Q 33:101–125, 1988 ) typology of ethical climates has been employed by many academics in research on issues of ethical climates. However, little is known about how managerial practices such as communication and empowerment influence ethical climates, especially from a functional perspective. The current study used a survey of employees from Taiwan’s top 100 patent-owning companies to examine how communication and empowerment affect organizational ethical climates. The results confirm the relationship (...) between these two managerial practices and organizational ethical climates. We discuss our results and their implications for both future academic research and practice. (shrink)

Open peer commentary on the article “Consciousness as Self-Description in Differences” by Diana Gasparyan. Upshot: Gasparyan’s article ignores the inherent tension of being a human who is both a subject and an object at the same time. Any theory of consciousness must include both of these dimensions.

The purpose of this study was to explore situations experienced by 12 health-care providers working in two nursing homes. Individual interviews, using a narrative approach, were conducted. A phenomenological–hermeneutical method, developed for researching life experiences, was applied in the analysis. The findings showed that good care situations are experienced when the time culture is flexible, the carers act in a sovereign time rhythm, not mentioning clock time or time as a stress factor. The results are discussed in terms of anthropological (...) and sociological theory: time as event and action and flexible time cultures. Care settings for persons with dementia represent many challenges, such as a heavy workload and time strain. Time ethics is a construction, understanding time used in caring for persons suffering from dementia, which involves a mature, responsible and flexible nursing approach to these patients. (shrink)