This paper analyzes the role of six tropes （metonymy, synecdoche, metaphor, analogy, allegory, and irony） in Nietzsche＇s and Novalis＇ writings on language and cognition, using the comparison to show how a negative...This paper analyzes the role of six tropes （metonymy, synecdoche, metaphor, analogy, allegory, and irony） in Nietzsche＇s and Novalis＇ writings on language and cognition, using the comparison to show how a negative element in Nietzsche＇s attitude towards the tropic nature of cognition underlies well-known problems in his response to nihilism. These problems include ambiguities in Nietzsche＇s attitude to truth, and the question of how well he can carry through his project of affirming the individual on the basis of a creative reinterpretation of experience. I maintain that Novalis understands language and cognition to be tropic in a similar way as Nietzsche does, and that these writers provide similar critiques of discursive reason on the basis of what they view as its stultifying rigidity and misleading claims to a ＂literal＂ form of objectivity. However, I argue that Novalis avoids Nietzsche＇s difficulties by maintaining that a creative element in cognition does not rule out a variant of a correspondence notion of truth. Although Novalis＇ account thus falls foul of Nietzsche＇s goal of providing an immanent affirmation of human experience, the comparison shows that a Nietzschean attempt to provide a convincing model of individual self-affirmation should integrate a more positive role for trope, which can support a satisfying conception of the value of human creativity.展开更多
This paper discusses some of the conventional accounting concepts, such as historical cost concept, conservatism concept, matching concept, objectivity concept, stable monetary unit assumption, and going-concern assum...This paper discusses some of the conventional accounting concepts, such as historical cost concept, conservatism concept, matching concept, objectivity concept, stable monetary unit assumption, and going-concern assumption, which are not in accordance with the Islamic accounting paradigm due to their divergence with some verses of the Holy AI-Qur＇an, the Hadiths of the Prophet Muhammad, peace be upon him （pbuh）, and the basic of Zakat calculation. This is a conceptual paper describing some of the conventional accounting concepts that are not in accordance with the paradigm of Islamic accounting. The paper concludes that the historical cost concept can be replaced by： current cash equivalent concept, historical cost and current value concepts （market selling price）, current cost concept, historical cost concept in all （except for Zakat purposes） accounting calculations, current valuation concept, and fair value concept. Conservatism concept must be eliminated if historical cost concept is not used anymore. Matching concept can be replaced by asset-liability approach concept. Objectivity concept can be replaced by Zakat accountability concept. Stability of the monetary unit assumption can be replaced by gold or silver measurement, or Dirham currency, and going-concern assumption must be eliminated.展开更多
How to teach creative writing at school？ If the procedures inherited from writing workshops have undoubtedly proved efficient as regards text production, it is also clear that in Switzerland, as elsewhere in Europe a...How to teach creative writing at school？ If the procedures inherited from writing workshops have undoubtedly proved efficient as regards text production, it is also clear that in Switzerland, as elsewhere in Europe and in the Anglo-Saxon world, the present use of evaluation grids with their numerous items prevents secondary school pupils from adopting the stance of an author. Why？ Simply because the most innovative and ＂literary＂ texts are always surprising： They are ＂different＂, and could not possibly result from writing guidelines devised only to facilitate a mechanical evaluation itself conceived for the sake of some illusory objectivity... Now, in our postmodern age with its rejection of models, what is more difficult than assessing the quality of creative writing？ In our approach, we suggest restoring confidence in the teacher, an expert reader if any, who, acting as a publisher, dramaturge, or mere aesthete, knows how to take his pupils＇ texts seriously, acknowledge their aesthetic value, and look at apparent clumsiness as a possible promise of innovation. The teaching of creative writing lies both in this specific reception of budding works and in the teacher＇s performative utterances that, then and there, make the pupil a writer.展开更多
文摘This paper analyzes the role of six tropes （metonymy, synecdoche, metaphor, analogy, allegory, and irony） in Nietzsche＇s and Novalis＇ writings on language and cognition, using the comparison to show how a negative element in Nietzsche＇s attitude towards the tropic nature of cognition underlies well-known problems in his response to nihilism. These problems include ambiguities in Nietzsche＇s attitude to truth, and the question of how well he can carry through his project of affirming the individual on the basis of a creative reinterpretation of experience. I maintain that Novalis understands language and cognition to be tropic in a similar way as Nietzsche does, and that these writers provide similar critiques of discursive reason on the basis of what they view as its stultifying rigidity and misleading claims to a ＂literal＂ form of objectivity. However, I argue that Novalis avoids Nietzsche＇s difficulties by maintaining that a creative element in cognition does not rule out a variant of a correspondence notion of truth. Although Novalis＇ account thus falls foul of Nietzsche＇s goal of providing an immanent affirmation of human experience, the comparison shows that a Nietzschean attempt to provide a convincing model of individual self-affirmation should integrate a more positive role for trope, which can support a satisfying conception of the value of human creativity.
文摘This paper discusses some of the conventional accounting concepts, such as historical cost concept, conservatism concept, matching concept, objectivity concept, stable monetary unit assumption, and going-concern assumption, which are not in accordance with the Islamic accounting paradigm due to their divergence with some verses of the Holy AI-Qur＇an, the Hadiths of the Prophet Muhammad, peace be upon him （pbuh）, and the basic of Zakat calculation. This is a conceptual paper describing some of the conventional accounting concepts that are not in accordance with the paradigm of Islamic accounting. The paper concludes that the historical cost concept can be replaced by： current cash equivalent concept, historical cost and current value concepts （market selling price）, current cost concept, historical cost concept in all （except for Zakat purposes） accounting calculations, current valuation concept, and fair value concept. Conservatism concept must be eliminated if historical cost concept is not used anymore. Matching concept can be replaced by asset-liability approach concept. Objectivity concept can be replaced by Zakat accountability concept. Stability of the monetary unit assumption can be replaced by gold or silver measurement, or Dirham currency, and going-concern assumption must be eliminated.
文摘How to teach creative writing at school？ If the procedures inherited from writing workshops have undoubtedly proved efficient as regards text production, it is also clear that in Switzerland, as elsewhere in Europe and in the Anglo-Saxon world, the present use of evaluation grids with their numerous items prevents secondary school pupils from adopting the stance of an author. Why？ Simply because the most innovative and ＂literary＂ texts are always surprising： They are ＂different＂, and could not possibly result from writing guidelines devised only to facilitate a mechanical evaluation itself conceived for the sake of some illusory objectivity... Now, in our postmodern age with its rejection of models, what is more difficult than assessing the quality of creative writing？ In our approach, we suggest restoring confidence in the teacher, an expert reader if any, who, acting as a publisher, dramaturge, or mere aesthete, knows how to take his pupils＇ texts seriously, acknowledge their aesthetic value, and look at apparent clumsiness as a possible promise of innovation. The teaching of creative writing lies both in this specific reception of budding works and in the teacher＇s performative utterances that, then and there, make the pupil a writer.
