Name der Zeitschrift: Kant-Studien Jahrgang: 106 Heft: 4 Seiten: 717-721.

In today's complex business world, the question of business ethics is increasingly gaining importance as managers and employees face numerous ethical dilemmas in their jobs. The ethical climate in the Turkish business environment is also at a critical stage, and the business community as a whole is troubled by ethical problems. This study attempts to determine the effect of individual, managerial and organizational factors on the ethical judgments of Turkish managers, and to evaluate the ethical perceptions of these managers. The (...) findings of this study reveal that the ethics score, the measure of ethical judgment, of Turkish managers differs significantly only with respect to gender and that female managers have higher ethics score than male managers. Other individual, managerial and organizational factors considered in this study do not have any significant effect on the ethical judgments of the managers. A comparative analysis between female and male managers in terms of their ranking of the eleven ethical business scenarios, ranking of the sixteen unethical acts, ranking of the factors influencing managers to engage in unethical practices, and ranking of the various parties to whom a company is socially responsible enables the researchers to enlighten the subject of business ethics in Turkey. (shrink)

While many film theorists declare Agamben as, in equal part, a Deleuzian film theorist, I pose that, through this Benjaminian lens, we can parse distinctive cinematic questions that Agamben exclusively pursues - in particular, cinema's potential as a repurposive counter-dispositif to combat dominant forms via critique. This is not to suggest that parallels do not exist between Agamben and Deleuze’s approaches: as Meillassoux has noted, Deleuze's logic of representation (also known as "correlationism") develops an "image of thought that attempts to (...) overcome the binary separation” between matter and spirit, mind and body. Furthermore, Agamben is unequivocally astricted to the Bergson-bound Deleuzian tradition of "untimeliness," whereby cinema extricates "the fallacious psychological distinction between image as psychic reality and movement as physical reality." Furthermore, both Agamben and Deleuze are committed to a notion of "cinema-thought," as Jean-Luc Nancy terms it, or haecceities of Oneness—a commitment to cinema-as-immanence, or indexing thought, rather than mediating it via hermetic historicism. However, Agamben's concept of gesture, as a prelinguistic mode of communication, suspends the symbolic, replacing taxonomy and, therefore, offers a sublime breach: "Gesture is the communication of a potential to be communicated." In other words, Agamben’s gesture is something of an “enigmatic signifier,” insofar as it is impregnated with a primitive and unconscious meaning. (shrink)

A commissioned article about philosopher of ecology Levi Bryant, and his theory of urban space.

This article considers what it is for a free people to rule and to be ruled. The rule of a free people is the rule of the whole people, not merely of some part thereof, even if a majority. However, it does not follow that collective self-government requires or warrants judicial supremacy, for the courts are not better placed than the legislature to represent the whole people in choosing what is to be done. The rule of a free people involves (...) the joint action of a united people, the members of which form a purposive group. The group stands ready to recognize authority, which is an exercise in rational agency. The constitution of a free people frames this joint action, making it possible for persons jointly to respond to reasons with coherent choice. A free people consists in free and equal persons, but again this does not require or warrant judicial supremacy. The main arguments to the contrary take for granted an unsound account of the free person, a sound account of whom is central to explaining how a people may be free and why it ought to be. (shrink)

The idea of legislative intent plays a central role in legal interpretation and constitutional theory, yet is repeatedly challenged as being an illusion. Refuting these challenges, this book develops a robust account of how and why legislatures form intentions, and the importance of these intentions to understanding law and parliamentary democracy.

Review of Charles Ray's recent show, Figure Ground, at The Metropolitan Museum of Art.

This paper argues for a metacognitive reading of Kant’s doctrine of ‘aesthetic ideas’, according to which they enjoy the functional role of licensing a theory of art interpretation. I begin by offering a textualist reading of Kant’s doctrine of ‘aesthetic ideas’ and contest the received ‘semantic paradigm’ according to which aesthetic ideas either approximate the form or content of a rational idea. After showing the relationship between aesthetic ideas and artistic interpretation, I assess whether Kant’s theory delivers what we want (...) from a theory of artistic interpretation. I subsequently show how Schelling’s conception of artistic production and reception in the System of Transcendental Idealism (1800) draws from Kant’s doctrine of ‘aesthetic ideas’. After analyzing the relationship between Kant and Schelling’s accounts of art interpretation, I evaluate which account we ought to prefer. (shrink)

This study formulates the basic premises of materialism, which has largely lost its visibility despite being one of the fundamental philosophical approaches that have been effective in the development of modern scientific practice and the construction of philosophy of science, in an alternative way, and aims to develop a new materialist interpretation of it that is non-reductive, pluralistic and open to the use of more than one scientific discipline. This interpretation, expressed with the term relational materialism, first addresses matter with (...) the concept of signifier and foregrounds the concept of beable as the general philosophical category of matter. Secondly, it formulates the category of beable within the irreducible integrity of the categories of relationality, nonstaticity, and finitude; and positions knownability in terms of its correspondence to these general onto-epistemological categories. Thirdly, it clarifies the conditions of existence and knownability of particular entities under general categories based on specially corresponding onto-epistemological categories (interactability, structurability, contextuality, transformability, scale-dependency, actuality, contingency). In this respect, this study offers a pluralistic philosophical framework within which different methodological positions and scientific disciplines can be formulated and criticized based on combinations of different particular categories under general categories. In the conclusion of this article, the meaning and potential of relational materialism for the development of scientific research programs are evaluated. (shrink)

This paper seeks to show how Kant’s epistemological conception of the transcendental faculties of cognition relates to his ontological conception of the transcendental distinction between mind-dependent, ideal appearances (viz., empirical objects) and mind-independent, transcendentally real things in themselves, as they relate to the self. I engage the metaphysical foundations of Kant’s account of self-consciousness and how this account relates to the self as an empirically perceivable and conceptualizable object of observation. This paper also connects Kant’s work in the Transcendental Deduction (...) on the transcendental unity of apperception with Kant’s work on “clear” and “obscure” representations. (shrink)

This article considers Dworkin's influential argument against legislative intent in chapter 9 of Law's Empire. The argument proves much less than is often assumed for it fails to address the possibility that the institution of the legislature may form and act on intentions. Indeed, analysis of Dworkin's argument lends support to that possibility. Dworkin aims to refute legislative intent in order to elucidate his own theory of statutory interpretation. That theory fails to explain plausibly legislative action. Dworkin's argument does not (...) refute legislative intent but instead suggests there is reason to think that the legislature is capable of intentional action. (shrink)

According to commentators like Rosalind Krauss, Briony Fer, Caroline Jones, and Michael Fried, Clement Greenberg’s formalist/positivist device of “medium-specificity” debars errant affective aesthetic experiences that are embodied; despite significant differences in how these theorists arrive at this conclusion, one shared point of emphasis is Greenberg’s inheriting Kant’s disinterested conception of pleasure in reflective judgments of beauty. Offering a textualist review of Kant’s Analytic of the Beautiful, I seek to demonstrate that neither Greenberg, nor Greenberg’s critics, are correct in their account (...) of Kant’s judgments of beauty.1 Specifically, I argue that Greenberg conflates Kant’s conception of judgments of free beauty (pulchritudo vaga) with merely adherent beauty (pulchritudo adhaerens). In formulating a rejoinder to Greenberg and the misplacement of Greenberg as a Kantian, and following Diarmuid Costello, I hope to save a path for a Kantian aesthetics of the present, much in the spirit of other broadly Kantian art historians and philosophers of art/aesthetics (e.g., Thierry de Duve, Paul Guyer, Ido Geiger, etc.). (shrink)

Understanding, for Kant, does not intuit, and intuition—which involves empirical information, i.e., sense-data—does not entail thinking. What is crucial to Kant’s famous claim that intuitions without concepts are blind and concepts without intuitions are empty is the idea that we have no knowledge unless we combine concepts with intuition. Although concepts and intuition are radically separated mental powers, without a way of bringing them together (i.e., synthesis) there is no knowledge for Kant. Thus Kant’s metaphysical-scientific dualism: (scientific) knowledge is limited (...) to the world of phenomena—the world of appearance—while the thing-in-itself is unknowable because there is no intuition that can correspond to the it. This paper sets to cull Béatrice Longuenesse’s recent work on the first-person ‘I’ and put forth a novel Kantian approach to the first-person reference of mental states, working in the tradition of P.F. Strawson, Rudolf Carnap, and Wilfrid Sellars, while offering an empirical study of deafferentation to ground the thesis that the binding of representations is separate from phenomenal consciousness. Accordingly, we stake a kind of self-consciousness vis-à-vis the Fundamental Reference-Rule qua apperception that, while intimately connected to consciousness of one’s own body, apperception is nevertheless distinct from it and is, moreover, the condition for any use of ‘I’. We compliment neuroscientist Oliver Sacks’ research with Ned Block’s recent work on “no-post‐perceptual cognition” and attentional variation to couch Kant’s schema in perceptual psychology. We navigate Kant’s work on intuitions (viz. sensation, perception, and the empirical side of the cognitive faculties) and indirect realism/weak representationism first via Sellars’ naturalization of Kant’s inaccessible thing-in-itself, before challenging Sellars’ functionalist and inferentialist conception of perception and discursive intentionality. We ultimately endeavor to conceptualize the limit-conditions regarding our having reportable knowledge about our access to percepts and concepts. (shrink)

Bu makalede Marmara Denizi’nin Kuzeybatısında yer alan Rodosçuk/Tekirdağ kazasında yaşayan halkın beslenme kültürü ele alınmıştır. Hangi ürünlerin yaygın olarak tüketildiğini belirlemek için başvurulan temel kaynak narh defterleridir. Bilindiği üzere narh, mal ve hizmet fiyatlarının esnaf örgütlerinin görüşü alınarak devlet tarafından belirlenen üst sınırını ifade etmektedir. Piyasada bulunan malların listelerini barındırdığı için ayrı bir önem taşıyan narh defterleri ilgili kazaya ait şer’iyye sicillerinde yer almaktadır. 1638-1730 yıllarına ait narh listelerinde bulunan ürünler türlerine göre sınıflandırılarak başlıklar halinde değerlendirilmiştir. Bu araştırmada ayrıca narh (...) defterlerine yansıdığı kadarıyla Rodosçuk piyasasında bulunan yiyecek maddelerinin çeşitliliği, yakınlığı nedeniyle özellikle İstanbul’da ve Saray’da tüketilen ürünlerle karşılaştırılarak zaman içinde meydan gelen değişimler belirlenmiş ve incelenen dönemin başından sonuna kadar önemli bir dönüşümün yaşanmadığı ortaya çıkmıştır. Varılan sonuçlardan bir diğeri de Amerikan menşeli yiyeceklerin henüz Rodosçuk’ta sahneye çıkmamış olmasıdır. (shrink)

Over the last thirty years, once staunchly film history scholars such as Thomas Elsaesser, Jane Gaines, Siegfried Zielinski, André Gaudreault and Benoît Turquety (to name just a few) have abandoned history for historiography and film studies for media archaeology. Considering the heightened attention given to kulturtechnik (Siegert), the database as a dominant symbolic metaphor,1 and the decentered networked tenants of the postmodern global present, cinema is taking on the characteristics of new media, existing in increasingly intertextual space. Thus, the term (...) “post-cinema” has been co-opted as a viable intermediary that accounts for new media conditions, as cinema is no longer emblematic of our cultural climate. It was once presaged in 1992 that “[t]he end of the cinema truly sounds the death knell of the ultimate metaphysical adventure of Dasein. In the twilight of post-cinema, of which we are seeing the beginning, human quasi-existence, now stripped of any metaphysical hypostasis and deprived of any theological model, will have to seek its proper generic consistency elsewhere.” Accordingly, we are no longer “moviegoing animals” who seek images of ourselves among a collective in the dark but, rather, users interfacing within a network of moving images. By locating post-cinema within the semblance of social media, we are allocated a newfound series of theoretical interventions, the most marked of which is that of media archeology vis-à-vis dialectical materialism. This is a lens through which Brian Winston has recently deftly decried Virtual Reality’s “empathy machine” utopic illusionism, bolstered by Chris Milk and a slew of neurohumanities researchers, steadily maintaining that the fundamental myth of “technologies of seeing” is in disguising “their artifice, their cultural formation and their ideological import.” However, this approach, which illuminates the bifurcation between Max Horkheimer/Theodor Adorno and Walter Benjamin, neglects what Benjamin identified as occurring to the work of art in the age of its technological reproducibility—a shift from a technology’s “cult value,” associated with the unique work, to its “exhibition value,” associated with the social act of viewing as part of a mass. Speaking to this divarication, Benjamin Barber, in Strong Democracy, foresaw new media’s two-fold potential—as they are organized and networked, new media and communications technologies possess the possibility to both energize citizen information and political participation but, simultaneously, to supplement the deterioration of public debate. As evinced by Mark Adrejevic’s concept of Infoglut, this two-pronged possibility has only been exacerbated by the interlocking relationship between the advent of a “glut” of information, post-truth politics, the demise of symbolic efficiency, and a renewed focus on the role of affect and emotion as “alternative modalities for thinking about the role of communication in a post-referential era.” Manuel Castells qualifies Barber’s pessimism, noting that the Internet can “be an appropriate platform for informed, interactive politics, stimulating political participation.. […] beyond the closed doors of political institutions,” but that the Internet, like any technology, “is shaped by its uses and users.” Thus, if there exists a positive correlation between exposure to post-cinema media artifacts and political participation, then I seek to explore the revelatory political possibilities of “exhibition value” by way of a particular “post-cinema” case study: the Marxist-Leninist Turkish hacktivist group Redhack’s YouTube-circulated documentary RED! (2013), a project that demanded—by way of the moving-image—to galvanize cyberprotest and democratize a “hacktivist commons. (shrink)

Orta Çağ, özellikle Avrupa açısından fikir ve yaratma özgürlüğünün kısıtlandığı bir dönem olarak nitelenmektedir. Ancak bu kısıtlamalar felsefe, güzel sanatlar ve birçok diğer alanda yaratıcılığı engelleyememiş, örtük de olsa ortaya çıkan yenilikler Rönesans’ın gelişine zemin hazırlamıştır. Söz konusu yaratıcılık alanlarından birisi de müzik felsefesi olup, bu alana dair bir çalışma yapılmasının Orta Çağ’da belirmiş olan müzik düşüncesinin daha iyi anlaşılmasına yarar sağlayacağı düşünülmüştür. Bu düşünce doğrultusunda çağın ilk zamanlarını kapsayan Patristik Dönem’de müzik felsefesine ilişkin bir çalışma yapılması planlanmıştır. Bu araştırmanın (...) amacı Patristik Dönem müzik felsefesini bu döneme müziğe ilişkin sundukları düşünceler ile en çok katkıyı sağlamış olan Augustinus ve Boethius’un düşüncelerinden yararlanarak incelemektir. Bu amaç ışığında iki felsefecinin seçilmiş kitaplarındaki müziğe dair fikirler derlenmiş, açıklanmış ve tartışılmıştır. Her iki filozofun da fikirlerinin bilime ve akla yaptığı vurgu ile Antik Çağ filozofları Pythagoras ve Platon’dan izler taşımakta olduğu ancak Augustinus’un fikirlerinin daha çok Hristiyanlık fikriyle sentezlenmiş, Boethius’un fikirlerinin ise daha seküler bir özellikte olduğu görülmüştür. Felsefeciler ayrıca müziğin varlığı, içeriği ve etkisine yönelik özgün düşünceler de iletmişlerdir. (shrink)

In this paper, we compare Heidegger and Sellars’ respective responses to Kant’s Schematism section of the Transcendental Analytic, taking heed of how both philosophers motivate a criticism of representationalism in their respective renderings while also prodding their Kantian insights towards a holist conception of normativity. We begin with an overview and analysis of Heidegger and Sellars’ holism, comparing both thinkers’ systematic thought. We then turn to how both appraise Kant' Schematism section, first working through Heidegger’s analysis of Kant’s understanding and (...) imagination. We follow this up with Sellars’ naturalized Kantianism, taking particular interest in how Sellars emphasizes the basic foundational units, i.e., ‘this-suches’, grounding Kant’s theory of perception. We appraise both approaches, making the case that they offer a compatible productive misreading. (shrink)

Bilindiği gibi zaman Antik Çağ’dan itibaren felsefenin önemli konularından biri olmuştur. Metafor ve metaforun olmazsa olmaz sayıldığı şiir de hemen her çağda filozofların ilgisini çekmiş, metaforu kimileri ifade aracı olarak kullanmış, kimileri doğrudan araştırma nesnesi saymış, şiirin doğasına ilişkin sorgulamalar estetik felsefesinin doğmasında önemli rol oynamıştır. Bu makale zaman, metafor ve şiire felsefe değil filoloji ve edebiyat eleştirisi perspektifinden yaklaşmıştır ama hemen her adımı felsefeyi çeşitli açılardan ilgilendirdiğinden çok disiplinli ya da doğrudan felsefi başka çalışmalara katkı sağlayacağını umuyoruz. Dünyayı ve (...) insan doğasını anlama amacının birleştirdiği, hakikati arama biçimlerinin ayırdığı edebiyat ve felsefenin tarih boyunca şiddeti değişse de süren geriliminin pek çok açıdan verimli olduğu, bilişsel estetik gibi yeni yaklaşım ve bilgi alanlarının da bu ilişkiye boyut kazandırdığı açıktır. Çalışmamızda, öznel zaman algısına dayalı zaman metaforlarının ağırlıklı olarak Augustus Dönemi’ne (MÖ 27–MS 14) ait Latin şiirlerindeki başlıca örnekleri kavramsal metafor kuramı çerçevesinde çözümlenmiş ve bu kuramsal çerçevenin Latin şiirine ilişkin eleştirel çözümlemelerin geneli açısından sağlayabileceği imkânlar çeşitli yönleriyle tartışılmıştır. Catullus, Horatius, Ovidius, Tibullus, Statius ve Phaedrus’tan örnekler içeren bir seçki üzerinde yaptığımız bu çalışmanın bulguları şiirdeki metaforların oluşmasında ve algılanmasında hem bilişsel süreçlerin hem anlatı tekniklerinin devrede olduğu görüşünü desteklemekte ve Latin şiirlerinin bu çifte bakış açısıyla daha verimli yorumlanabileceğine işaret etmektedir. İncelenen örnekler zamana ilişkin öznel, başka deyişle, şair ya da anlatıcının bireysel algısının öne çıktığı metaforlardan seçilmiş olmakla birlikte, zamanla ilgili kültürel ve öznel tasarımların birbirinden kesin biçimde ayrılamadığı, belirli kavram sistemlerinin farklı katmanlarını oluşturduğu görülmüştür. (shrink)

Review of Gerhard Richter's work on randomness in his recent abstract art paintings, compared with John Cage's work on randomness; the review asks about what randomness in representation qua art amounts to.

This paper looks at dialectical inferences as they relate to Hegel’s modal metaphysics, closely examining the Actuality section of Hegel’s Science of Logic and positing a reading of Hegel’s modal actualism that engages with two strains of secondary commentary. Responding to commentators, we make the case that Hegel’s ‘das Logische’ avoids presupposing possibility’s being prior to actuality insofar as actuality and the derivation of possibility is considered as the in-itselfness of actuality, an implicit inner moment whereby actuality further determines itself. (...) Actuality is immediate yet derived as an identity from the logic of inner and outer. If actuality as immediacy is explicit/outer, then its opposition, its implicitness/innerness, has to be possibility in the logic of modality. In order to conceive of actuality as existence, and particularly as an emerging process, we must already conceive the problem of presupposing an alien form within the logic of actuality. (shrink)

A review of the recent exhibition of Wassily Kandinsky's artworks at the Guggenheim Museum, with interest in Kandinsky's career-wide separation of form from content.

Review of Etienne Balibar's On Universals with an eye towards Balibar's Hegelianism and work on translation.

Despite the seemingly neutral vantage of using nature for widely-distributed computational purposes, neither post-biological nor post-humanist teleology simply concludes with the real "end of nature" as entailed in the loss of the specific ontological status embedded in the identifier "natural." As evinced by the ecological crises of the Anthropocene—of which the 2019 Brazil Amazon rainforest fires are only the most recent—our epoch has transfixed the “natural order" and imposed entropic artificial integration, producing living species that become “anoetic,” made to serve (...) as automated exosomatic residues, or digital flecks. I further develop Gilles Deleuze’s description of control societies to upturn Foucauldian biopower, replacing its spacio-temporal bounds with the exographic excesses in psycho-power; culling and further detailing Bernard Stiegler’s framework of transindividuation and hyper-control, I examine how becoming-subject is predictively facilitated within cognitive capitalism and what Alexander Galloway terms “deep digitality.” Despite the loss of material vestiges qua virtualization—which I seek to trace in an historical review of industrialization to postindustrialization—the drive-based and reticulated "internet of things" facilitates a closed loop from within the brain to the outside environment, such that the aperture of thought is mediated and compressed. The human brain, understood through its material constitution, is susceptible to total datafication’s laminated process of “becoming-mnemotechnical,” and, as neuroplasticity is now a valid description for deep-learning and neural nets, we are privy to the rebirth of the once-discounted metaphor of the “cybernetic brain.” Probing algorithmic governmentality while posing noetic dreaming as both technical and pharmacological, I seek to analyze how spirit is blithely confounded with machine-thinking’s gelatinous cognition, as prosthetic organ-adaptation becomes probabilistically molded, networked, and agentially inflected (rather than simply externalized). (shrink)

This book is part jazz historiography, part autoethnography and part memoir. It sets forth a grounded theory of 'authenticating' as a basic socio-political process, with reference to Richard Ekins' participation in the social worlds of New Orleans jazz, and his life as a social constructionist social scientist and cultural theorist.

Book review of Anja Jauernig, The World According to Kant: Appearances and Things in Themselves in Critical Idealism (2021) by Ekin Erkan.

Review of Alison Laywine's Kant's Transcendental Deduction (2020) alongside Béatrice Longuenesse's I, Me, Mine: Back to Kant and Back Again (2017).

Respect, which is human virtue by its very nature, is a universal feeling and action. Prestige; it is expressed as being respected, valuable, and reliable. These intertwined concepts draw attention basically for nursing, in which interpersonal interactions stand out compared to other professions. Moreover, while continuing the services in a kind of mobilization environment during the pandemic process that we have been faced with since 11 March 2020 and will obviously be affected for a long time in our country, the (...) most common sense and respectful perspectives and approaches are needed. Respectful actions and respectful practices which are also included in the scope of professional ethics are more strategically important as we experience such a mass and historical human experience in which each of us is responsible for each other's health. The reputation of nursing continues to be formed and differentiated with how this profession is perceived by members of the profession and society, influenced by various processes from past to present. In this article, the change/development of the reputation of the nursing profession during the COVID-19 pandemic period was discussed. (shrink)

Legislated Rights: Securing Human Rights through Legislation aims to correct certain imbalances in constitutional thought and scholarship that burden the legislature and rights with misconceptions...