The international pharmaceutical industry has made significant efforts towards ensuring compliant and ethical communication and interaction with physicians and patients. This article presents the current status of the worldwide governance of communication practices by pharmaceutical companies, concentrating on prescription-only medicines. It analyzes legislative, regulatory, and code-based compliance control mechanisms and highlights significant developments, including the 2006 and 2012 revisions of the International Federation of Pharmaceutical Manufacturers and Associations (IFPMA) Code of Practice.

The Present Book Contains The Philosophy Of Organism Associated With The Teachings Of Prof. An Whitehead With Comparative Reference To Indian Philosophical Doctrines And Chinese Philosophy Of Change. In Part I The Author Deals With Sage Philosopher'S Conc.

The Present Book Contains The Philosophy Of Organism Associated With The Teachings Of Prof. An Whitehead With Comparative Reference To Indian Philosophical Doctrines And Chinese Philosophy Of Change. In Part I The Author Deals With Sage Philosopher'S Conc.

This concept note was produced for a symposium held under the banner of Critical University Studies – South Africa (CUS-SA) at the University of Johannesburg in August 2022. The opening plenary session was addressed by Profs. Premesh Lalu, Sarah Mosoetsa and Sarah Nuttall. A summary of a paper prepared for this symposium by Michael Peters on the university in techno-rational times was presented as part of the panel. The rest of the symposium featured critical discussion in response to this concept (...) note and presentations of potential chapter contributions for a book on the theme. The concept note is followed below by six responses by South African higher education scholars in response to Michael Peters’ and the CUS-SA concept note. (shrink)

This article announces the discovery of a Sinhalese version of the traditional meditation ( borān yogāvacara kammaṭṭhāna ) text in which the Consciousness or Mind, personified as a Princess living in a five-branched tree (the body), must understand the nature of death and seek the four gems that are the four noble truths. To do this she must overcome the cravings of the five senses, represented as five birds in the tree. Only in this way will she permanently avoid the (...) attentions of Death, Māra, and his three female servants, Birth, Sickness and Old Age. In this version of the text, when the Princess manages not to succumb to these three, Māra comes and snatches her from her tree and rapes her. The Buddha then appears to her to explain the path to liberation. The text provides a commentary, padārtha , which explains the details of the symbolism of the fruit in terms of rebirth and being born, the tree in terms of the body, etc. The text also offers interpretations of signs of impending death and prognostications regarding the next rebirth. Previously the existence of Khmer and Lānnā versions of this text have been recorded by Francois Bizot and Francois Lagirarde, the former publishing the text as Le Figuier a cinq branches (Le figuier à cinq branches, 1976). The Sinhalese version was redacted for one of the wives of King Kīrti Śrī Rājasiṅha of Kandy by the monk Varañāṇa Mahāthera of Ayutthayā. This confirms earlier speculation that this form of borān/dhammakāya meditation was brought to Sri Lanka with the introduction of the Siyam Nikāya in the mid-eighteenth century. It also shows that in Sri Lanka, as in Ayutthayā, this form of meditation—which in the modern period was to be rejected as ‘unorthodox’—was promoted at the highest levels of court and Saṅgha. (shrink)

This article argues that the specifically sexual nature of the political violence of the 1947 Partition of British India installs women's bodies as unambiguously sexed and ethnic. Through an analysis of Kirti Jain's 2001 theatre production of Aur Kitne Tukde (How Many Fragments?), I consider how Hindus, Muslims and Sikhs appropriate colonialist and nationalist ideologies surrounding the notion of ‘woman’ as repository of cultural value. The women in Jain's play are not a priori subjects who experience violence but rather (...) the experience of violence makes (and unmakes) them as gendered, ethnic and national subjects. I argue that they come into subjecthood after a violent objectification and are re-constituted by their experience of national and sexual violence. The performance of nationalism – through embodied acts of sexual violence, conversion, martyrdom and state violence – is enacted upon female bodies that are transformed into political artefacts. I ask how bodies are staged and commodified by acts of political violence and argue that marking female bodies through acts of political violence constitutes a mode of transcription to communicate with other men that will encounter this body. (shrink)