Despite evidence indicating that public health services are the most effective means of improving the population's health status, health care services receive the bulk of funding and political support. The recent passage of the Affordable Care Act, which focused on improving access to health care services through insurance reform, reflects the primacy of health care over public health. Although policymakers typically conceptualize health care and public health as two distinct systems, gains in health status are most effectively and cost-efficiently achieved (...) through their integration into a single health system. The Act does little to compel integration; however, there are numerous opportunities to encourage the coordination of public health and health care in the Act's implementation. (shrink)

A dry record, without argument, of conclusions reached on a wide variety of topics through fifty years of scholastic philosophizing.--L. K. B.

Kasm does not offer any concept of proof which is regulative for all metaphysics, for he is convinced that each metaphysical approach requires its own proper logic and methodology. Within this pluralistic framework he seeks to discern the structure of formal truth as expressed in the concept of proof inherent in various metaphysical approaches.--L. S. F.

The question addressed here is whether evidence concerning defendants' past criminal records should be introduced at their trials because such evidence reveals their character and thus reveals whether they are the kinds of persons likely to have committed the crimes with which they are currently charged. I strongly caution against the introduction of such evidence for a number of reasons. First, the link between defendants' past criminal records and claims about their standing dispositions to think and act is tenuous, at (...) best. Second, noncharacter, or trace, evidence should have primacy in determining the guilt or innocence of defendants. Third, character evidence will vary in its freshness and specificity. Other things being equal, only relatively fresh and specific character evidence has probative value. Moreover, such evidence will have greater probative value in criminal cases where the issue before the court is whether a crime has been committed than in cases where the issue is whether it was the defendant who committed the crime. Finally, we might be more sanguine about the introduction of fresh and specific character evidence under conditions likely to work against its misuse or misinterpretation. However, the relevant conditions may not often be satisfied in the real world of criminal trials and defendants. (shrink)

I will explore possibilities for formulating linguistic semantics in terms of records and record types of the kind used in recent developments of Martin-L¨of type theory (Betarte, 1998, Betarte and Tasistro, 1998, Coquand, Pollock and Takeyama, 2003, Tasistro, 1997). I will suggest that they give us the tools to develop a theory which includes aspects of Montague semantics, using the lambda calculus1, Discourse Representation Theory (DRT)2, situation semantics3 and Head-Driven Phrase Structure Grammar (HPSG)4 in a single theory. I will (...) also argue that formulating these theories in terms of record types may provide us not only with a unified approach but also with certain improvements over the individual theories. (shrink)

Mamluks reigned in Egypt a long time is an era of Kipchak Turks that have influence management, and Kipchak Turks has been influential in a period in the administration there. During this period, that Turkish rulers do not know Arabic language well, Turkish language is spoken in the palace and also idea of being closer to Turkish manager screated an interest in learning. One of the famous scholars realizing that interest is Abū Ḥayyān al-Andalusī. Abū Ḥayyān by learning Turkish language (...) especially from Fakhr al-dīn Divrigi and analysing written previously works, wrote Kitāb al-Idrāk li-lisān al-Atrāk. This book has consisted of introduction, vocabulary and grammar section. We also aimed in our study to examine Kitāb al-Idrāk in terms of content and than in terms of lexicography of the linguistic branch. -/- SUMMARY Mamluks reigned in Egypt a long time and in its reign Kipchak Turks had influence in management. Because of the Turkish rulers who have military background did not know Arabic language well, Turkish language was spoken in the palace and also idea of being closer of scholars and notable people to Turkish rulers got brought an interest in learning Turkish. One of the famous scholars realizing that interest is Abū Ḥayyān al-Andalusī (d. 745/ 1344). The true name of Abū Ḥayyān is Muḥammed b. Yūsuf b. Ali b. Ḥayyān al-Tawḥīdī and he is an Andalusian linguist and exegete. Abū Ḥayyān who came from a Berber family born in the Matahsharesh village of Granada in 654/1256 and died in Cairo in 28th time 745 (11 July 1344). There is not much information about his family in the sources, but it is mentioned that he has a daughter whose name is Nada, a son named Hayyân in his name, and some grandchildren which are named Muḥammad and Ummu Ḥayyān. Abū Ḥayyān became a famous as Ethīr al-dīn and at the same time, he is also known as Naḥvī, Ghirnātī (Granadian), Ceyyānī, and Nafzī. He took lessons in Granada from great scholars such as Abd al-ḥaķ b. Ali al-Anṣarī, Abū Ḥasan al-Ubbezī, Abū Cafer Aḥmed b. Ibrahīm b. Zubair, Ibn Abū al-Ahvas and became a proficient scholar and teacher in matters such as morphology, syntax, language, commentary, hadith, methodology of Fiqh and Kalām. He wrote about 18 works in different sciences and if we mention some of that are al-Baḥr al-muhīt, al-Nahr al-mād, Tuhfat al-arīb bimā fī al-Qur'ān min al-gharīb and some of his works have reached to our time and some of those did not. Abū Ḥayyān left Andalus for various reasons and visited many centers of science and eventually continued his scientific activities in Cairo. Abū Hayyān, who is a great interest in learning languages, has learned Turkish language with the other popular languages ​​such as Persian, Amharic and Himyarite language and written books about these languages. His mainly works about Turkish language are the Kitāb al-Idrāk li-lisān al-Atrāk, Zehv al-mulk fi naḥv al-Turk, al-Af'al fi lisān al-Turk and al-Durret al-mudiyye fi lughat al-Turkiyye. These works did not reach to our days except Kitāb al-Idrak. Kitāb al-Idrāk consists of three sections, namely introduction, dictionary which includes 2200 words, and grammar that is composed of morphology and syntax and this book which is known as al-Idrāk is written in the Turkish which is spoken in XIV-XVI century tongue and named as Middle Turkish Period-Mamluk Kipchak Turkish. The first chapter begins with basmala and continues with detailed his genealogy, personal record, praise to Allah and salawat and salaam to Prophet Muhammad. After this introduction, it is explained the intention of writing this work. The second chapter is a dictionary which the words are explained in alphabetical order. Although Abū Ḥayyān speaks about 23 letters in the Kipchak alphabet, he does not explain the words related to all, but examines 19 items. In this dictionary, it does not take part some letters, that is letters sā, zāl, zā (letters of lips which is written in English th); letters dâd, ayn, fa (letters of throat) which Arabs use. In the third chapter, there is a part of the tasrif (knowledge of morphology) which is generally called knowledge of morphology today. In this section, it is dealt with about the types of words namely, name of diminutive, name of belonging name, plural, agent name, passive name, exaggerated factor name, infinitive, name indicating the location, name of device, arbitrary name, and idâd (which adds are derivation of noun from name like lık, lik at the end of the word) and then it comes to the end with shadda. Section of syntax which is called by the author as consisted of compound and is prepared according to systematic of Arabic grammar begins with the sentence structure in Kipchak language. After that it continues with definite-ambiguous names, verb (orders, past, imperfect verbs), subject-predicate in nominal sentence, nevāsiḫ (additional actions helped change the meaning of the noun phrase), Arabic leyte which express by the actual wish mold and the like, such as two mef'ūl area of ​​the heart of verbs in Arabic told (I think) were deaf ( Turkmen thinks he), acts like it yet scientists (verb phrase in), acts offender (verb-subject), the abutment of the verb nefiy prepositions, prepositions, the nehiy (ban), passive verbs and naib-i fail (so-called subject); other elements of the sentence, called the act müteallakat are: cognate accusativ, direct object, time period (time complement), the envelope space (located complement), state (envelope), causative object, the exception, the specification, conflict of laws, the annexation, the oat, the dependencies: adjective, conjunction, confirm, the apposition; conditional structure. After these, he mentions to letters of meanings (huruf al-maani), and concludes this chapter with information about the date, place, and name of the author of the book. Abū Hayyān used induction method in the book. Since he gave the forms of the words in double, then the triple, quadruple, quintet and other forms. He tried to teach the pronunciation of words by explaining the etymology of word sand the changes of the voices. He examined the words which are synonyms/ contrasted, synonym voice, singular/plural, and words that are passed by foreign languages into Turkish dialects then they are turned into Turkish word structure; brought out witnesses from proverbs and poetries. As a result, in this work, which consists of dictionary and grammar sections, it can be said that it is used predominantly in linguistic information - translation method . (shrink)

Vesicovaginal fistula was a catastrophic complication of childbirth among 19th century American women. The first consistently successful operation for this condition was developed by Dr J Marion Sims, an Alabama surgeon who carried out a series of experimental operations on black slave women between 1845 and 1849. Numerous modern authors have attacked Sims’s medical ethics, arguing that he manipulated the institution of slavery to perform ethically unacceptable human experiments on powerless, unconsenting women. This article reviews these allegations using primary historical (...) source material and concludes that the charges that have been made against Sims are largely without merit. Sims’s modern critics have discounted the enormous suffering experienced by fistula victims, have ignored the controversies that surrounded the introduction of anaesthesia into surgical practice in the middle of the 19th century, and have consistently misrepresented the historical record in their attacks on Sims. Although enslaved African American women certainly represented a “vulnerable population” in the 19th century American South, the evidence suggests that Sims’s original patients were willing participants in his surgical attempts to cure their affliction—a condition for which no other viable therapy existed at that time. (shrink)

Joseph Morton Ransdell left a record of experimentation with the communicational process of philosophy from 1992 to his passing in 2010. This record includes the Arisbe website and the peirce-l e-forum and its archives, of which the earliest are not on the Internet, but may yet be recovered and made available. Philosophy’s communication process, and the possibility of creating and developing a telecommunity, as Ransdell called it, were among his chief theoretical and practical interests. Such interests were focused (...) in terms of the ideas of Charles S. Peirce, including fallibilism, pragmaticism, and semiotic, in particular the sign’s determination by the represented object, and iconicity in relation especially to .. (shrink)

This article contains the notes made by the Italian poetess Antonia Pozzi while attending the university courses held by Antonio Banfi during 1931-1932 and 1932-1933. They are useful for an understanding not only of her academic studies but also of Banfi’s thinking on aesthetics in the 1930s. In two appendices, the Author describes the content of the Italian philosopher’s courses on aesthetics between 1931-1932 and 1934-1935 and Antonia Pozzi’s university career. Unpublished until now, these notes by a student are the (...) only existing record of those courses since Banfi’s lecture notes never appeared in print. (shrink)

Not a full treatment of Newton’s scientific method, this book discusses his optical research only in passing (342–43). Its subtitle better indicates its scope: it focuses narrowly on the argument for universal gravitation in Book III of the Principia. The philosophical project is to set out an “ideal of empirical success” realized by the argument. Newton claims his method is to “deduce” propositions “from phenomena.” On Harper’s interpretation Newton’s phenomena are patterns of data, which are used to measure “parameters” by (...) which the theory explains them. An example is Kepler’s Area Rule. Its fit to the data confirms the hypothesis that the force maintaining a body in orbit is directed toward the .. (shrink)

The greatest intensity of “live” life is captured from as close as possible in order to be borne as far as possible away. Jacques Derrida. Echographies of Television . Rainer Ganahl has made a study of studying. As part of his extensive autobiographical art practice, he documents and presents many of the ambitious educational activities he undertakes. For example, he has been videotaping hundreds of hours of solitary study that show him struggling to learn Chinese, Arabic and a host of (...) other languages. The stacked boxes of tapes are then presented like minimalist monoliths, dense archives of effort. About fifteen years ago, Ganahl began photographing the lectures that he attends. At the time, he hadn’t seen anyone else doing it, so besides his spare selection of images of the speaker and the audience, much of the time the lectures would just pass into memory, undocumented, or recorded in writing alone. Since then, he has felt the transition to digital cause a significant shift in his process. At the same time, he has seen the habit become ubiquitous as others photograph, record, and videotape the lectures all around him. In keeping with the theme of this inaugural issue of continent. , can we propose each small grouping of photographs that result an isthmus stretching between two disparate bodies of mind? The first being the body of the lecture as spelled out in the title of each work – the experience of the event in all its constituent parts. The second is the body of the recipient, the listener, in this case an artist, who plays a minimal role just beyond the prescripted behavior of sitting and listening. He uses a gesture of documentation to draw a line between himself and the event, creating an artwork. Františka + Tim Gilman: As we mentioned before, the theme of the magazine for this issue is "isthmus." It seems like a very good way into your work, and it leads us to ask what connection you see between your photographs of the lecture and the lecture itself? Rainer Ganahl: The relationship is of course a concrete, pictorial one, or if you want a mimetic one but also an abstract one because the photographs carry the title of the lecture, the names of the lecturers, the site, the institution and the time of the lecture. Photos are fixed moments of time and can reproduce images displayed and reproduce visuals presented at a moment but they don’t come with time based recordings that video or sound takes are offering. What remains of a lecture is usually just the memory, some notes and all the announcements of it. In my case I end up with a visual product I declare as my artwork. It might not differ from any snapshot taken by any other student or member of the audience but I do this in a semi-systematic way with certain rules and procedures I have set up. While I am at a lecture I am mainly focusing on the lecture itself. Last night I went to one of Slavoj Žižek which demanded quite some concentration. I even was asking him a question at the end. I took photos as well but still didn’t lose track of the lecture. I didn’t walk around, I was not preoccupied by where I was sitting and what light I was having like some of the other photographing and filming people in the room who came and left, moved around and tried to capture him from this and that angle, from close and far. I just sat there and concentrated on the lecture and yet managed to take about 30 or so images of him, the public around me and of the film clips he presented. Once the lecture is over the story changes: it all becomes a question of the images, their selection, their visual qualities, their labeling and archiving. The function of the images also change: not only do they stand for an intellectual event in a row of lectures that become part of my intellectual history within many possible such histories but they also have to function as art, something not everybody else with images of lecturers demands of their images. This is my specific claim as an artist to impose them as artworks. And as with all artistic propositions the offer can be accepted or rejected. I basically spend my life trying to do exactly that: making what I declare as art, offering something to anybody interested in it as my art, an offer that is not and will never be accepted as such by all people. F+T: What are your criteria for selection, i.e. how do you choose which lectures to photograph, by lecturer, by topic, or do you photograph any and every lecture you can? RG: As everything in my life, I go by my interest which is the result of many factors. If I am aware of a lecturer, read his books or appreciate his works my interest of attending his much higher than if I am not aware of it. I usually don’t go to lecturers simply based on their subjects—something that can happen of course, if the subject, the title of the lecture is promising or at the heart of my interest. Sometimes I also wait for years to get a change to photograph certain people but I do that in a very low-level “keep your ears up” mentality and not in a systematic scanning of all channels and possibilities. I do not go into philosophy departments and photograph everybody teaching there. I go with the flow—and unfortunately a great deal of great talks I also miss because I hear too late of them. Often, I also stumble into them by traveling, by getting emails from friends and by simply being in the right spot at the right time. Somehow you could look at my lecture par cours as some kind of loose intellectual flâneurism . If you know of interesting lectures and events, please, let me know. F+T: Is your selection of images more of a production or post-production method? That is, do you take a lot of photos and select only a few images from each lecture, or do you take them very selectively? Do you have a particular methodology for the selection of images? RG: This all changed a bit with the arrival of digital photography. In the beginning I had to pay a lot of money for film developing. Hence, I was taking either one role - 36 images - or half a role - 13 images - depending on who talked and whether they projected images. With the unlimited capacity of digital imaging I easily end up between 30 and 150 images of one event still depending of whether images are presented or not. In the first years of that project when I wasn’t fully aware yet of what I was doing, I printed at least 2 images of any lecture and sometimes three or even four, a choice that was also constrained by costs. But again, since I have a web site and since images can easily be selected and presented on my web site without generating remarkable costs I have now more and more pain to reduce them to less than ten or eight images for an event. Now, before I have them printed which really is expensive, I can present them already as artwork on my web site without any immediate costs. Thus the economic factor is at the end of the chain which enables me to be more ‘generous’ and include more images. Over the last years I have been mostly selecting at least four photographs for a lecture unit but recently also as many as ten. But so far only one set above four images has been actually printed and sold. What might sound even more shocking is the likely fact that if a curator or a collector demands me to reduce the number of images due to costs, I might compromise at this current stage if the images have not been yet printed or published outside my own web site. This means that to a certain degree any selection that has only seen publication on my web site and not yet been produced runs the risk to change in numbers of images included. Needless to say, I am the last one that finally makes a decision and I do honor all given earlier decision if those were final. F+T: How do you feel the act of photographing the lecture affects your reception of the contents of the lecture? And your recollection afterwards, do you remember the lecture more having photographed it, or just having sat and listened? RG: As mentioned above, I get very little distraction from photographing since I can multitask well and do not obsess about the quality of the image: I photograph from where I am and listen with my ears and not my eyes. I am not sure whether the images serve as a mnemonic devise to the content of the lecture if there are no images involved but they at least remind me that the lecture existed, the title of the lecture and the name of the people and institutions involved. The titles of the hundreds of lectures I took during the past 15 years can also be read as an essay of theoretical life in that period. This will be come more and more visible as time passes by. These images age much better than I do. F+T: You mentioned at the outset of our discussions that you started this practice some time ago and have seen the practice of photographing lecturers become more commonplace. Why do you think that this shift has taken place? RG: The answer is very simple. Photographing is now free of any charge and hence omnipresent. You buy a phone or any other personal digital assistant and it has a camera integrated in it whether you want it or not. There is no need to develop images and there is no hassle to keep images, to distribute images, to organize images and save them. It is all virtual, not creating any costs and doesn’t require any efforts. You don’t spend twenty dollars for photo-developing anymore, you don’t need to walk anymore to your pharmacy or your photo shop to drop off and return to pick up and pay. You don’t need to go to the post office to send somebody a picture. You have a program like Photoshop already built into your camera. Photographing is now a thing for everybody—with functioning cameras made for two year olds. It is technically now nearly impossible to make bad images. The image quality is virtually guaranteed by cheap, high performing, mini-computers packed into miniscule cameras. With all these technological changes, we are undergoing now a cultural paradigm shift that includes permanent recording (not only still image taking) of everything. I wonder even whether babies are just born to be photographed—at least a process where the first photograph is right there. What is interesting now, is how the law is trying to catch up. I am experiencing and expecting more restrictions on photographing and recording—something already in place in many museums and in certain galleries—as the recording devices become more and more invisible and undetectable. It is an interesting cat and mouse play and will end up with some of us that are photographing the world around us in court. The world has become very transparent and everybody is contributing to it with social networking technologies—like twitter and Facebook—that are designed to monitor and communicate every step we make in our lives. F+T: Why did you start the practice? As a way to remember, or to capture the experience of the lecture and the environment there? RG: A couple of years earlier I started to photograph my own reading seminars as part of my art work with results that surprised me positively. I really liked these images of students and people discussing heavy non-fiction with me. The reading seminars justified this kind of pictorialism. Then in 1995 I had the chance to attend an entire seminar by Edward Said entitled “The Representation of Intellectuals at Columbia University,” which really gave me the idea to start this series. Why not also photograph these lectures I visit all the time since this really is a way of representing intellectuals? F+T: The constellation of images and the title seem like a kind of portrait, do you agree? If so, is it a portrait of the speaker, of yourself, or of the event? RG: Well, to follow up on the previous question the lectures are more than just portraits of lecturers since I include not only the speakers but also the audience, an audience that is not named or specifically highlighted as is the speaker. So if we stick with the metaphor of the portrait we would have to extend it also to the environment, the class room, the lecture hall, the arrangements of seats or benches, tables, lecture stands and other stuff typically seen on my images. Often the walls are decorated or even tagged with graffiti or posters and other stuff. There is a big difference between a small seminar room at the English Department of Columbia University, full with books and cabinets and a lecture room at a Paris or Frankfurt university that accommodates 50 to 150 people. We should, maybe, also distinguish between lectures that are one time events—mostly open to the public, free of charge or paid—and events that are weekly, closed to the public and held mostly in universities that can cost fortunes or be paid by the State as it is still predominantly the case in continental Europe. All this, of course, is not necessarily announced in the title of the lecture and is subject to information that isn’t visible on the images. To a certain degree we see also portraits of a general privilege when it comes to the public of certain institutions that are highly selective and extremely costly without forgetting that most of the lectures are dealing with theory, art, philosophy and other highbrow subjects. In general, I would say we see very little if we don’t know already what’s going on, who the lecturer, the institutions, the context are in which we subsequently can zoom into variants like sexual, racial, or age-related make-up without ignoring clothing fashions, hair styling, body mannerisms, gadgets and stuff. F+T: Do you see a relation between this body of work and your other work, for example your language studies? RG: Everything I do is “unfortunately” related. I say unfortunately because this makes my work not so easy to grasp. The relationship to the language studies is relatively clear since both are originally grounded in the domain of education and knowledge production. Nearly all my work comes across that nexus where knowledge and power are addressed. I was at one point wondering what the relationship was to some of my earlier indexical work where I was happy alone with footnotes from books painted on the walls: I came to understand that both are just different manifestations of knowledge and information. F+T: Do you foresee continuing the series indefinitely, or is there an end to it? RG: I think that I will continue this series indefinitely or to be more precise, as long as I go listen to lectures and want to learn something which brings me to your previous question: What do the reading seminars, language studies, historical research and lecture hopping have in common: I learn something. Further Reading Rainer Ganahl’s website William Kaizen. “ Vulgar Politics .” art&education . April 2009. Web. Smith, Roberta. “ Rainer Ganahl: ‘Language of Emigration & Pictures of Emigration .’” New York Times April 23 2010. Web. (shrink)

Will streaming have a “feedback effect” on musical creation, comparable to the one enforced by the precedent distribution modes of musical contents? In other words, could it be compared to the one generated by the invention of 45rpm vinyl record or 33rpm LP linked to the “concept albums” from the seventies, or even CD and DVD? I will use the description of “Apple Music”, the new Apple streaming site, to demonstrate that the innovations brought along with this site clearly (...) evince that this new mode of distribution has achieved its own end and will exert, if my predictions are true, an important effect on musical creation in the upcoming years. Since those optimistic conclusions far from being shared by all musicians, I will have to discuss their points of view in this article as well. (shrink)

“Just for the record, however: I don't hate Communists.” So wrote Arcadius Rudolph Lang Gurland to his longtime friend, colleague, and collaborator Otto Kirchheimer in 1958.1 Behind this straightforward statement lay over thirty years of Gurland's experience as a passionate scholar, spokesperson, and advocate of that most dialectical of the many forms of socialist politics, revolutionary social democracy. Throughout his peripatetic life of near-constant exile in Russia, Germany, France, and the United States as student, journalist, theoretician, researcher, writer, teacher, (...) and translator in the service of political organizations, newspapers, research institutions, universities, governments, publishers, and his own political and scholarly.. (shrink)

On the basis of a comparison between a French record store and a Malian street vendor, the article questions the various forms of listening at stake in each case, forms which constitute simultaneously various modes of appropriating the music, and various trademarks of possible worlds of musical exchanges. In such worlds, ordinary and specific as they are, the shop-keeper remains our favorite gate-keeper: this is a tale of the « withering away of the intermediaries s, only in reverse.

« Foucault and the Problematic of Origins » : Althusser’s Reading of Folie et déraison. In 1963, Althusser gave a lecture on Foucault’s Folie et deraison to his seminar on structuralism. His notes, the only written record of his impassioned encounter with this text, suggest that he was particularly interested in the way Foucault defined culture not on the basis of the values it proclaimed, but through that which it rejected and refused. Althusser distinguished Foucault’s analysis from those of (...) Husserl and Nietzsche, both of whom also theorized the necessary acts of repression by which a culture constitues itself. While Husserl demonstrated the forgetting and concealment of origins, and Nietzsche their destruction, Foucault’s work, according to Althusser, opens the possibility of thinking history without the category of origin, even if Foucault did not entirely escape the transendental temptation. (shrink)

The archaeological record is very limited and its analysis has been contentious. Hence, molecular biologists have shifted their attention to molecular dating techniques. Recently on April 2013, the prestigious Cell Press Journal Current Biology published an article (Fu et al. 2013) entitled “A Revised Timescale for Human Evolution Based on Ancient Mitochondrial Genomes”. This paper has twenty authors and they are researchers from the world’s top institutes like Max Planck Institute, Harvard, etc. Respected authors of this paper have emphatically (...) accepted that the fossil record is inadequate and unreliable. These statements clearly substantiate that now biologists are agreeing that fossil records do not provide any significant evidence at all for conventional evolution theory. Despite the well-recorded fact of the continual grand propaganda of Darwinism based on fossil evidence for more than 150 years, in recent times biologists are surprisingly coming up with such statements, based on their confidence that evolution can be explained purely by the genealogical/genomic record provided by modern molecular biology. Still many respected journals (for example the article in Nature, Retallack, 2013) continue to publish articles on fossil evidence to support Darwinian evolution. These incoherently diverse claims prove that Darwinists are struggling with unscientific ideological approaches to explain biodiversity. Darwinian evolutionary theory is not only the basis of modern biology, but also acts as the guiding principle of science and intellectual reasoning for modern civilization. Hence, a scientific understanding of the breakdown of the Darwinian theory of objective evolution is very important for overcoming the traditional scientific temper of mechanistic intellectualism that characterizes this ideology. In my article “21st Century Biology Refutes Darwinian Abiology” (published in two parts in November and December 2012 issues of The Harmonizer: www.mahaprabhu.net/satsanga/harmonizer) it was noted that several recent findings challenge the credibility that random mutations and natural selection can provide a valid basis for justifying the naturalistic evolution of species. The present article summarizes the problems associated with the fossil record and dating techniques, and its implication on the neo-Darwinian mechanistic misconception of biological life as mere molecular chemistry or abiology. An alternative approach based on the Vedāntic view for explaining biodiversity in the light of 21st century biology is also discussed in the end of the article. (shrink)

Twenty years ago, people thought only cranks or sentimentalists could be seriously concerned about the treatment of non-human animals. However, since then philosophers, scientists and welfarists have raised public awareness of the issue; and they have begun to lay the foundations for an enormous change in human practice. This book is a record of the development of 'animal rights' through the eyes of one highly-respected and well-known thinker. This book brings together for the first time Stephen R.L. Clark's major (...) essays in one volume. Written with characteristic clarity and persuasion, Animals and Their Moral Standing will be essential reading for both philosophers and scientists, as well as the general reader concerned by the debates over animal rights and treatment. (shrink)

Through photographs and translations of Friedrich Nietzsche's evocative writings on his work sites, David Farrell Krell and Donald L. Bates explore the cities and landscapes in which Nietzsche lived and worked. "A brilliant juxtaposition of life and thought.... The sympathy of this pictorial biography is rivaled by few books on Nietzsche."—Charles M. Stang, _Boston Book Review_ "[A] distinguished addition to the Nietzsche-friendly corpus."—Alain de Botton, _Los Angeles Times Book Review_ "An odd and oddly endearing record of Nietzsche's travels."—John Banville, (...) _New York Review of Books_. (shrink)

With _Aristotle’s Teaching in the “Politics,” _Thomas L. Pangle offers a masterly new interpretation of this classic philosophical work. It is widely believed that the _Politics_ originated as a written record of a series of lectures given by Aristotle, and scholars have relied on that fact to explain seeming inconsistencies and instances of discontinuity throughout the text. Breaking from this tradition, Pangle makes the work’s origin his starting point, reconceiving the _Politics_ as the pedagogical tool of a master teacher. (...) With the _Politics_, Pangle argues, Aristotle seeks to lead his students down a deliberately difficult path of critical thinking about civic republican life. He adopts a Socratic approach, encouraging his students—and readers—to become active participants in a dialogue. Seen from this perspective, features of the work that have perplexed previous commentators become perfectly comprehensible as artful devices of a didactic approach. Ultimately, Pangle’s close and careful analysis shows that to understand the _Politics_, one must first appreciate how Aristotle’s rhetorical strategy is inextricably entwined with the subject of his work. (shrink)

The best-known controversy in film criticism of recent years has been over the authorship of the Citizen Kane script. Pauline Kael first raised the issue in a flamboyant piece in The New Yorker in 1971. Contrary to what Orson Welles would like us to believe, Kael charged, the script for the film was actually not his work but almost wholly the work of an all-but-forgotten figure, one of Hollywood's veteran screenwriters, Herman J. Mankiewicz. . . . The first two drafts (...) of the Citizen Kane script were written by Herman Mankiewicz and John Houseman in seclusion in the desert at Victorville, California, during March, April, and May 1940. Officially, Houseman was there as an editor. But part of his job was to ride herd on Mankiewicz, whose drinking habits were legendary and whose screenwriting credentials unfortunately did not include a reputation for seeing things through. Detailed accounts of the Victorville interlude have been given by Houseman in his autobiography and by Kael in "Raising Kane." There was constant interchange between Victorville and Hollywood, with Houseman going in to confer on the script and Welles sending up emissaries and regularly receiving copies of the work in progress. Welles in turn was working over the draft pages with the assistance of his own secretary, Katherine Trosper, and handing the revised screenplay copy in its rough state over to Amalia Kent, a script supervisor at RKO noted for her skills at breaking this kind of material down into script continuity form, who was readying it for the stenographic and various production departments.1 · 1. John Houseman, Run-Through: A Memoir , pp. 445-61. "Raising Kane," pp. 29-39. Amalia Kent had impressed Welles with her work on the problematic first-person script for his unproduced Heart of Darkness film, and she worked directly with him on various script supervision capacities on other of his RKO projects, including The Magnificent Ambersons and the unproduced Smiler with the Knife. She also continued as the script supervisor throughout the shooting of Citizen Kane and prepared the cutting reports for the film's editor, Robert Wise. Kael gives the impression that Rita Alexander, Herman Mankiewicz's private secretary, was performing all these specialized studio functions herself. Robert L. Carringer is associate professor of English and cinema studies at the University of Illinois at Urbana-Champaign and the author of Ernst Lubitsch. His forthcoming edition of The Jazz Singer will begin the Warner Brothers script series. "Citizen Kane, The Great Gatsby, and Some Conventions of American Narrative," his previous contribution to Critical Inquiry, appeared in the Winter 1975 issue. (shrink)

Anna Chavlovski,1 Greg A Knoll,1–3 Timothy Ramsay,4 Swapnil Hiremath,1–3 Deborah L Zimmerman1–31University of Ottawa, 2Ottawa Hospital, 3Kidney Research Centre, Ottawa Hospital Research Institute, 4Ottawa Methods Centre, Ottawa, ON, CanadaBackground: In patients with end-stage renal disease, use of vitamin D and calcium-based phosphate binders have been associated with progression of vascular calcification that might have an impact on renal transplant candidacy. Our objective was to examine management of mineral metabolism in patients wait-listed for renal transplant and to determine the impact on (...) cardiac perfusion imaging.Methods: Data was collected retrospectively on patients wait-listed for a renal transplant, being either active and on hold. Demographic data, medications, serum concentrations of calcium, phosphate, parathyroid hormone, and cardiac perfusion imaging studies were collected from the electronic health record. Chi-square and Student’s t-tests were used to compare active and on-hold patients as appropriate. Logistic regression was used to examine variables associated with worsening cardiac imaging studies.Results: The wait-listed patients were of mean age 56 ± 14 years and had been on dialysis for 1329 ± 867 days. On-hold patients had received a significantly greater total dose of calcium and were more likely to have developed worsening cardiovascular imaging studies. Total doses of calcium and calcitriol were associated with worsening cardiovascular imaging studies.Conclusion: Patients on hold on the renal transplant waiting list received higher total doses of calcium. A higher total dose of calcium and calcitriol was also associated with worsening cardiovascular imaging. Time on dialysis before transplant has been associated with worse post-transplant outcomes, and it is possible that the total calcium and calcitriol dose received contributed to these inferior outcomes.Keywords: dialysis, calcium, cardiac, transplantation. (shrink)