The article introduces the concept of mega-essay as an integrated format into literary circulation in the era of postmodernism. Its specificity is outlined in other forms of ensemble association of essay works: mega-essay as an integrated formation is a consolidated format, it differs from other forms of essay compilations with greater completeness, more thorough basis of design. It has a closed structure, because all its structural components are interconnected. They are closely related to the author's intention, outlined in the preface (...) or introduction, concluded on the basis of causal and associative principles. Based on the analyzed works of Ortega y Gasset, O. Zabuzhko’s «Notre Dame dʼUkraine», N. Zborovska’s «My Lesia Ukrainka», etc. conclusions are made about specific features of the mega-essays, in which the phenomenon chosen for comprehension is described in detail by incorporating internal and external contexts, authoritative references, other works, and if necessary, with the dominance of the essayistic method of presentation of opinions, related to the personal views of the author. Emphasis is placed on the affinity of ideas and selected essay formats of Ortega y Gasset and O. Zabuzhko, given their content and structural organization. Conclusions are made about the role and significance of essays of this format in postmodern European literature. (shrink)

Chyzhevsky’s work Essays on the History of Philosophy in Ukraine has become a fundamental study of the history of Ukrainian philosophy since its publication in 1931. But even earlier, Chyzhevsky wrote the work Philosophy in Ukraine. An Attempt at Historiography (1926), its first part had a second edition (1929) and contained some additions and clarifications. Chyzhevsky’s reaction to the reviews of the first edition of his Philosophy in Ukraine included in the second edition of this work is interesting and worthy (...) of attention. In it, he responds to the comments and objections made by the reviewers of the first edition of the work (by Y. Kolubovsky, V. Zaikyn, I. Mirchuk, S. Hessen). This reaction has a twofold nature. On the one hand, Chyzhevsky admits that some points in his work require correction, in particular, the assessment of the role of Protestantism in the development of Ukrainian philosophical thought, the need for a more detailed consideration of the worldview of such thinkers as Gogol, Kostomarov, Shevchenko. On the other hand, Chyzhevsky, clarifying his position, continues to defend his principles, according to which he includes certain authors in the “canon” of Ukrainian philosophy. At the same time, he still admits that some authors should be included in this “canon” (... Spir). Chyzhevsky also responds to the Marxist review of P. Hanin (P. Demchuk), but does not stop at her meaningful remarks. However, some of these remarks are not unfounded, as they relate to Chyzhevsky’s evaluative judgments expressed about Skovoroda and philosophy in Kharkiv after Schad. A more careful analysis and comparison of the two editions of Philosophy in Ukraine (1926, 1929) and Essays on the History of Philosophy in Ukraine in the cases of Skovoroda, Schad, and Jakob proves that Chyzhevsky changed his initial, sometimes harsh, evaluative judgments to neutral ones. There is no reason to definitely assert that such changes occurred under the direct influence of reviews. However, there are reasons to affirm that many innovations and reassessments in Essays correlate with the remarks formulated in the reviews. In contrast to Western European favorable reviews of Essays (S. Hessen, G. Frolovsky, V. Zaikyn, D. Doroshenko, N. Lossky), the reaction of Soviet philosophy turned out to be unscientific and ideologically engaged (Y. Bilyk, V. Yurynets). (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)

We propose new definitions of (causal) explanation, using structural equations to model counterfactuals. The definition is based on the notion of actual cause, as defined and motivated in a companion article. Essentially, an explanation is a fact that is not known for certain but, if found to be true, would constitute an actual cause of the fact to be explained, regardless of the agent's initial uncertainty. We show that the definition handles well a number of problematic examples from the literature.

Machine generated contents note: Cajal and Consciousness: Introduction. By PEDRO C. MARIJUAN1 -- Part I. Consciousness, One Hundred Years after Textura -- Progress in the Neural Sciences in the Century after Cajal (and the Mysteries -- That Remain). By THOMAS D. ALBRIGHT, THOMAS M. JESSELL, -- ERIC R. KANDEL, AND MICHAEL I. POSNER11 -- Part II. Biological Complexity and the Emergence of Consciousness -- Consciousness, Reduction, and Emergence: Some Remarks. -- By MURRAY GELL-MANN41 -- The Epistemic Paradox of Mind and (...) Matter. By HAROLD J. MOROWITZ50 -- The Conscious Cell. BY LYNN MARGULIS55 -- Complexity and Tinkering. By FRANCOIS JACOB71 -- Consciousness, the Brain, and Spacetime Geometry. By STUART HAMEROFF. 74 -- Consciousness, the Brain, and Spacetime Geometry: An Addendum-Some -- New Developments on the Orch OR Model for Consciousness. -- By ROGER PENROSE105 -- Part III. From Primary to Higher-level Consciousness -- Consciousness: The Remembered Present. By GERALD EDELMAN111 -- Consciousness and the Binding Problem. By WOLF SINGER123 -- Cajal on Neurons, Molecules, and Consciousness. By JEAN-PIERRE CHANGEUX 147 -- A Neuronal Model of a Global Workspace in Effortful Cognitive Tasks. By -- STANISLAS DEHAENE, MICHEL KERSZBERG, AND JEAN-PIERRE -- CHANGEUX152 -- Consciousness and the Brain: The Thalamocortical Dialogue in Health and -- Disease. By RODOLFO LLINAS AND URS RIBARY166 -- The Neuroanatomy of Phenomenal Vision: A Psychological Perspective. -- ByPETRA STOERIG176 -- Co-evolution of Human Consciousness and Language. By MICHAEL A. ARBIB 195 -- From Computing with Numbers to Computing with Words-From -- Manipulation of Measurements to Manipulations of Perceptions. -- By LOTFI A. ZADEH221 -- Part IV. Closing Remarks -- Who Was Cajal? By ALBERTO PORTERA-SANCHEZ253 -- Index of Contributors259 -- Subject Index261. (shrink)

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)

Medical paternalism has long been a common medical practice. However, patient autonomy in healthcare has been recently adopted by doctors and patients alike. This study explored whether doctors and patients in a tertiary care hospital in Saudi Arabia preferred autonomy or paternalism in shared decision‐making. A total of 118 participants (51 patients requiring total knee replacement, owing to stages 3–4 of osteoarthritis, and 67 doctors) from the Eastern province, Saudi Arabia. responded to a 17‐question category‐based questionnaire involving four scales of (...) autonomy. Descriptive statistics and chi‐square test results revealed that in this hospital, patients preferred a paternalistic approach toward their medical care along with a full disclosure of the risks related to surgical procedures. We recommend health education regarding the specific autonomy subscales (doctor knows best, patient should decide, right to non‐participation, and obligatory risk information), and the implementation of protocols that protect patients' rights and enhance personal autonomy. (shrink)

Offers practical advice on how to make your way in a chaotic world, and how to make it well. The 300 aphorisms contained here remain remarkably relevant today, addressing us today as practical guides for civility in an often uncivil world, and may serve as invitations to participate in making an uncivil world as civil as possible.

Two thought experiments are discussed which suggest, first, a geometric interpretation of the concept of a (say, vector) potential (i.e., as a kinematic quantity associated with a transformation between moving frames of reference suitably related to the problem) and, second, that, in a quantum treatment one should extend the notion of the equivalence principle to include not only the equivalence of inertial forces with suitable “real” forces, but also the equivalence of potentials of such inertial forces and the potentials of (...) suitable real forces. The two types of cancellation are physically independent of each other, because of the Aharonov-Bohm effect. Finally, we show that the latter effect itself can be understood “geometrically” as a kinematic effect arising upon the transformation between the two reference frames. (shrink)

David Friedell has recently discussed the relationship between intrinsic and extrinsic properties of art, specifically in music. Friedell claims that normative social rules dictate who can change the intrinsic or extrinsic properties of a piece of music. I claim that in text-based theater—as a particular art form—the dividing line between intrinsic and extrinsic properties of a play is sometimes tenuous. This tenuousness is due to a play's bifurcated existence as a dramatic text and as many theatrical performances.

As M. Loux has recently reminded us, there are two basic strategies for explaining the character of particular objects, the ‘relational approach’ and the ‘constituent approach’. The prime example of a constituent approach would be Aristotelian hylomorphism. This article reveals three things. First, it gives a roadmap towards what the author considers to be the exegetically correct reconstruction of Aristotle’s hylomorphic theory. Second, it provides a presentation of the basic claims of a neo-Aristotelian hylomorphic theory, the one argued for by (...) M. Johnston. Finally, it argues that regardless of whatever shortcomings it may have, Aristotle’s theory has an advantage over that proposed by Johnston. Unlike Johnston’s theory, it may give us a complete account of the character of a particular object. (shrink)

How and why did comparative political economy lose sight of the sources of growing macroeconomic and political instability, a problem that encompassed a growing financial bubble and then a crash in the housing market, a period of sluggish growth that plausibly constitutes secular stagnation, and a crisis of political legitimacy manifesting itself in the rise of antisystem “populist” parties? A gradual shift in CPE’s research agenda from macroeconomic to microeconomic concerns, and from demand-side to supply-side explanations, diminished its ability to (...) analyze adequately the central economic and political problems of the past twenty years. This article traces CPE’s evolution through successive “supermodels” that constituted its core research foci. To understand the current crisis, CPE needs to revisit and update its original roots in Keynes, macroeconomics, and the demand side. This shift is already happening at the margins, as CPE scholars struggle to understand the current crisis. (shrink)

Comparative work on philosophy of Indian spiritual leader, Aurobindo Ghose, 1872-1950 and Friedrich Wilhelm Nietzsche, 1844-1900, western philosopher.