10,563 research outputs found
A critical analysis of Christian responses to Islamic claims about the work of the Prophet Muhammad, ‘the Messenger of God’.
No full textThe aims of this study are to analyse critically the different Christian responses to the Islamic understanding of the work of Muhammad. Chapter one consists a short introduction leading to an appraisal of Muhammad which incorporates historical, hagiographal and Quranic source material, and in the light of relevant Christian and Muslim scholarship. The second chapter presents a summary critical analysis of Muhammad in Christian theological perspective, from 661 A.D. to modern times. Chapter three presents a critique of Christian responses to the Muslim allegations that the text of the Bible has been infected with corruption; and that Muhammad's advent and status are foretold in the unadulterated' scriptures, and in the Gospel of Barnabas. Chapter four examines the theological significance of the work of Muhammad for Christians. Thus, Jesus and Muhammad are critically assessed and contrasted in order to ascertain the importance, for Christians, of the Muslim claims in respect of Muhammad as ’the messenger of God’. Chapter five provides a critical evaluation of the various Christian responses to Muhammad. It is argued that many of the said responses have been entangled in myths and misperceptions which have severely distorted the true account of Muhammad's work. Consequently, many Christians have failed to appreciate the divine legitimacy of Muhammad's call to prophethood. Further, it is argued that Christians should accept that Muhammad is a genuine prophet, and the messenger of God. However, Muhammad's use of the power-structure in order to maintain Islam is in sharp contrast to Jesus’ decision to face the consequences of his ministry passively through faith in God. Accordingly, orthodox Christian belief in the passion, death and resurrection of Jesus provides another dimension to prophethood, where the messenger and the message become one, an identification which finds no parallel in Islam, and which, in the nature of the case, cannot find a parallel
Książę Adam Jerzy Czartoryski i jego stronnicy w świetle historiografii ukraińskiej
No full textIn 1937, the Warsaw historian Marceli Handelsman published a work entitled Ukraińska polityka
ks. Adama Czartoryskiego przed wojną krymską [Ukrainian politics of Prince Adam Czartoryski
before the Crimean War]. So far, this book has been used by historians as the primary source of
information on the Ukrainian issue in the views of the Hotel Lambert’s leader. The author of this
text has decided to collect Ukrainian works referring to the topic inaugurated by Handelsman. Unfortunately, no larger study has been prepared on the Ukrainian side. However, a number of articles
and encyclopaedic notes showing Prince Adam and his Eastern policy (especially during his stay
at the court of Tsar Alexander I Romanov) has been published. Ukrainian authors paid much more
attention to Czartoryski’s associates, who tried to put his ideas into practice. Ukrainian researchers
wrote mainly about Michał Czaykowski (Sadyk Pasha) organizing the Cossack troops in the Ottoman Empire, about Hipolit Terlecki striving for the union of the Orthodox and Roman Catholic
Churches, and finally about the ethnographer and writer Franciszek Duchiński clearly separating
Ukraine from Russia in his writings
ADAM SMITH'S VIEW OF HISTORY: CONSISTENT OR PARADOXICAL?
No full textThe conventional interpretation of Adam Smith is that he is a prophet of commercialism. The liberal capitalist reading of Smith is consistent with the view that history culminates in commercial society. The first part of the article develops this optimistic interpretation of Smith's view of history. Smith implies that commercial society is the end of history because 1) it supplies the ends of nature that he identifies; 2) it is inevitable; and 3) it is permanent. The second part of the article shows that Smith has some dark moments in his writings where he seems to reject completely such teleological notions. In this more civic humanist mood he confesses that commercial society does not supply the ends of nature, nor is it inevitable, nor is it permanent. Both views exist in Smith and the commentator is forced to choose between passages in Smith's work in order to support a particular interpretation of the former's view of history.Political Economy,
Hydraulic simulations to evaluate and predict design and operation of the Chashma Right Bank Canal
No full textIrrigation systems / Irrigation canals / Flow control / Velocity / Canal regulation techniques / Hydraulics / Simulation models / Design / Operations / Crop-based irrigation / Distributary canals / Water delivery / Policy / Protective irrigation / Water allocation / Water requirements / Sedimentation / Water distribution / Equity / Water conveyance / Pakistan / Chashma Right Bank Canal
Symphonia i symphoniacus u Petroniusza – analiza semantyczna
No full textHeintze Michał Adam, Symphonia i symphoniacus u Petroniusza – analiza semantyczna (Symphonia and symphoniacus – semantic analysis in Petronius).In this article the author discusses the meaning of words „symphonia” and „symphoniacus” in the Satyricon of Petronius. The semantic analysis of the words is based on dictionaries and examples from latin literature.The most important dictionary for this paper was Lexicon totius Latinitatis of E. Forcellini. Even today this Lexicon is a very usefull philological tool.Heintze Michał Adam, Symphonia i symphoniacus u Petroniusza – analiza semantyczna (Symphonia and symphoniacus – semantic analysis in Petronius).In this article the author discusses the meaning of words „symphonia” and „symphoniacus” in the Satyricon of Petronius. The semantic analysis of the words is based on dictionaries and examples from latin literature.The most important dictionary for this paper was Lexicon totius Latinitatis of E. Forcellini. Even today this Lexicon is a very usefull philological tool
Adam Smith and Roman Servitudes
No full textThis essay is a preprint of an article that appeared at: Tijdschrift voor Rechstsgeschiedenis, 72 (2004), 327–57.This essay discusses Adam Smith historical jurisprudence and his use of Roman law materials in his Lectures on Jurisprudence. It argues that Smith found it difficult to maintain his theory of legal development in the face of a highly developed body of Roman law literature
This, too, I blame on Hitler
No full textWhat becomes of those who survive? This collection of personal essays uses humor and reflection to explore the themes of inherited trauma and bicultural identity, finding sanctity in the unlikeliest of sources: irreverence. Whether reporting on Syrian refugees at the Hungarian-Serbian border, reflecting on his experimentations with sadomasochism, recounting a botched haircut at the hands of his six-year-old brother, or translating a musical written by his grandfather in a Soviet Gulag, the author grapples with the question: how does one discover nuance in personal heritage under the Manichean weight of a global atrocity like the Holocaust?M.F.A.by Adam Jano
Adam Oehlenschläger
No full textThis is a short presentation of the main works of the Danish author Adam Oehlenschläger
Adam Bede: Author, Narrator and Narrative
No full textReaders of novels seem to have a natural, almost instinctive, tendency to perceive the voices of the author and the omniscient narrator as being one and the same. This tendency is even stronger when the narrator is blatantly intrusive, frequently inserting his own opinions into the objective narrative material of the novel. And although there are certainly some novelists who truly intend their narrative voices to be perceived as their own, this is not the case with George Eliot in Adam Bede.
In analyzing the narrative voice in this particular novel, I was struck by the almost total agreement, on the part of the critics, that there is a distinction in Eliot\u27s work between the author and the narrator. In fact, Barbara Hardy goes one step further and makes a case for a third category, discriminating between characters who tell their stories, the narrator who does everything but tell his or her story, and the reticent author whose name never appeared on the cover or title-page.! For the purposes of this study, I will be using categories which are basically parallel to Hardy\u27s, though my third category differs somewhat: (1) the author - Mary Ann Evans, (2) the narrator - George Eliot, and (3) the narrative itself.
Any serious student of English literature knows that \u27George Eliot\u27 is the pseudonym for Mary Ann Evans, but the fact was hardly common knowledge to the readers of Adam Bede in 1859. The newly-published novel was an immediate success, selling thirteen thousand copies in the first year, and two thousand copies in the first month alone. A comment by Elizabeth Gaskell, the Victorian novelist and biographer of Charlotte Bronte, humorously reflects both the mystery of the author and the popularity of the novel: \u27I have had the greatest compliment paid me I ever had in my life. I have been suspected of having written Adam Bede\u27.2 While I do not wish to elaborate on the historical facts surrounding the mystery of the author hiding behind this pen name, it is important to try to understand why Mary Ann Evans chose to let George Eliot narrate Adam Bede, rather than speaking through her own authorial voice.
The use of pseudonyms has been fairly common practice throughout the history of English literature, particularly among female writers who felt the need to disguise themselves behind a man\u27s name. Just a decade earlier, the Bronte sisters had published novels and a book of poetry in the names of Acton, Currer and Ellis Bell. Pseudonyms create a situation in which the relationship between the author and the work is reserved, and the fiction creates a reality, rather than reality creating fiction. Or as Michael Ginsburg explains it, \u27The author who chooses to use a pseudonym wants to upset the normal relationship according to which he is the father of his works; he wants to be himself an offspring of his own imagination
Adam Bede: Author, Narrator and Narrative
No full textReaders of novels seem to have a natural, almost instinctive, tendency to perceive the voices of the author and the omniscient narrator as being one and the same. This tendency is even stronger when the narrator is blatantly intrusive, frequently inserting his own opinions into the objective narrative material of the novel. And although there are certainly some novelists who truly intend their narrative voices to be perceived as their own, this is not the case with George Eliot in Adam Bede.
In analyzing the narrative voice in this particular novel, I was struck by the almost total agreement, on the part of the critics, that there is a distinction in Eliot\u27s work between the author and the narrator. In fact, Barbara Hardy goes one step further and makes a case for a third category, discriminating between characters who tell their stories, the narrator who does everything but tell his or her story, and the reticent author whose name never appeared on the cover or title-page.! For the purposes of this study, I will be using categories which are basically parallel to Hardy\u27s, though my third category differs somewhat: (1) the author - Mary Ann Evans, (2) the narrator - George Eliot, and (3) the narrative itself.
Any serious student of English literature knows that \u27George Eliot\u27 is the pseudonym for Mary Ann Evans, but the fact was hardly common knowledge to the readers of Adam Bede in 1859. The newly-published novel was an immediate success, selling thirteen thousand copies in the first year, and two thousand copies in the first month alone. A comment by Elizabeth Gaskell, the Victorian novelist and biographer of Charlotte Bronte, humorously reflects both the mystery of the author and the popularity of the novel: \u27I have had the greatest compliment paid me I ever had in my life. I have been suspected of having written Adam Bede\u27.2 While I do not wish to elaborate on the historical facts surrounding the mystery of the author hiding behind this pen name, it is important to try to understand why Mary Ann Evans chose to let George Eliot narrate Adam Bede, rather than speaking through her own authorial voice.
The use of pseudonyms has been fairly common practice throughout the history of English literature, particularly among female writers who felt the need to disguise themselves behind a man\u27s name. Just a decade earlier, the Bronte sisters had published novels and a book of poetry in the names of Acton, Currer and Ellis Bell. Pseudonyms create a situation in which the relationship between the author and the work is reserved, and the fiction creates a reality, rather than reality creating fiction. Or as Michael Ginsburg explains it, \u27The author who chooses to use a pseudonym wants to upset the normal relationship according to which he is the father of his works; he wants to be himself an offspring of his own imagination
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