A complete list of Finsler, Scott and Boffa sets whose transitive closures contain 1, 2 and 3 elements is given. An algorithm for deciding the identity of hereditarily finite Scott sets is presented. Anti-well-founded sets, i. e., non-well-founded sets whose all maximal ∈-paths are circular, are studied. For example they form transitive inner models of ZFC minus foundation and empty set, and they include uncountably many hereditarily finite awf sets. A complete list of Finsler and Boffa awf sets with 2 (...) and 3 elements in their transitive closure is given. Next the existence of infinite descending ∈-sequences in Aczel universes is shown. Finally a theorem of Ballard and Hrbáček concerning nonstandard Boffa universes of sets is considerably extended. (shrink)

The paper explores the logical strength of Isbell's zig‐zag theorem using the framework of reverse mathematics. Working in, we show that is equivalent to Isbell's zig‐zag theorem for countable monoids: If B is a monoid extension of A, then is dominated by A if and only if b has a zig‐zag over A. Our proof of Isbell's zig‐zag theorem avoids use of strong comprehension axioms common in traditional proofs. We also analyze the strength of theorems concerning binary relations.

Mark Jago’s four arguments against Takashi Yagisawa’s extended modal realism are examined and shown to be ineffective. Yagisawa’s device of modal tense renders three of Jago’s arguments harmless, and the correct understanding of predications of modal properties of world stages blocks the fourth one.

It seems to be a challenging task for those non-Western scholars who are deeply immersed in European intellectual resources to theorise multiple forms of modernity and deparochialise political theory. What difficulty awaits us in non-Western contexts, when we attempt to throw off these shackles and to open up alternative views of modernity? To address this question, this article attempts to critically examine Maruyama Masao (丸山眞男, 1914–1996), an influential scholar on the history of Japanese political thought, with respect to his view (...) of Japanese modernity, thereby exploring what obstacles await him in pursuing the multiplicity view of modernity and how he actually or potentially overcomes them. In doing so, I develop two arguments. First, Maruyama's move towards multiple modernities remains incomplete because he fails to throw off the shackles of universal history. Second, however, we can identify an alternative way in his own thought that, though not taken by himself, potentially goes beyond universal history towards multiple modernities. (shrink)

Macroautophagy is a major degradation mechanism of cell components via the lysosome. Macroautophagy greatly contributes to not only cell homeostasis but also the prevention of various diseases. Because macroautophagy proceeds through multi‐step reactions, researchers often face a persistent question of how macroautophagic activity can be measured correctly. To make a straightforward determination of macroautophagic activity, diverse monitoring assays have been developed. Direct measurement of lysosome‐dependent degradation of radioisotopically labeled cell proteins has long been applied. Meanwhile, indirect monitoring procedures have been (...) developed. In these assays, autophagosome marker proteins, microtubule‐associated proteins 1A/1B light chain 3B‐II (LC3B‐II) and gamma‐aminobutyric acid receptor‐associated protein‐II (GABARAP‐II) have been analyzed and the validity of the assays strongly depends on appropriate assessment of the fluctuation of LC3‐II and/or GABARAP‐II levels in the presence or absence of lysosomal inhibitors. This article describes these monitoring methods, paying special attention to the principles and characteristics of each procedure. (shrink)

Modal realism -- Time, space, world -- Existence -- Actuality -- Modal realism and modal tense -- Transworld individuals and their identity -- Existensionalism -- Impossibility -- Proposition and relief -- Fictional worlds -- Epistemology.

The Body at the Limits of Representation. The Theory of the Body and Painting in Merleau-PontyIn Eye and Mind,” Merleau-Ponty quotes a phrase from Valéry: “the painter brings his body with him.” He interprets the corporeal experience of the artist, not only as the center of a perceptual orientation or kinesthesis, but also as the inspiration for poets and for painters. In this sense, one can place his theory of body not only within the problematic of the phenomenological constitution of (...) the perceived object, but also in the context of the deconstruction of representation or in the genealogy of “de-representation” (Lyotard). By following Merleau-Ponty’s interpretation of the works of Cézanne and Klee, we are going to see how his theory of the experience of body and the formation of their works of art meet up in his consideration of the reversibility of the visible and the invisible. When Merleau-Ponty quotes Valéry’s phrase “the painter brings his body with him,” the body of the artist is no longer “subject-body” perceiving the world in a prosaic way; rather, the body is implicated in the anonymous vision at the source from which the painter’s expression emerges. Just as nature is recounted through the poet, it has the faculty of seeing itself through the painter. In the “Methods of Natural Research,” Klee says “the resonance surpasses all the optical foundations between myself and that which opposes me,” “the united anti-optic way of the root going out of the earth, which looks at me from down below all the way up to my eyes” and of the “united non-optic way of the universe come from above.” He demonstrates that this non-optic resonance, rather than a mirror and a black screen separating the light, allows the eye to be seen as a point of junction of non-optical things and thereby it constitutes a part of the circle created by the new nature of works (eine neue Natürlichkeit des Werkes). Following what is particular to Merleau-Ponty’s thought in which the body is conceived as a principle of de-representation, one sees, by means of his intention of assessing modern artistic creation as the deconstruction of classical ontology, the overcoming of the ontology of the object. In conclusion, we note that the theory of body and of painting in Merleau-Ponty brings to light the limit of the possibility of representation in modern art, by emphasizing especially the non-perception or the transcendence that one can discern in the perceptual field. By interrogating the body of the painter and the poet, that is, the poetic body or the body as symbolism, prior to its being diverted into being a result of the brain and of the libido where the body is no longer the body visible in the world, by doing this, Merleau-Ponty has found a way of placing the body beyond representation. Poièsis is no longer mimèsis in the banal sense of imitation, and the poetic body is not the representational body. But, he has found a way of placing it still in Visibility, as if there were a hinge in this border between the visible and the invisible, in this border between representation and de-representation, a border that one cannot definitively overcome by structuring it as a dichotomy. (De-representation, but the visible. Therefore the possibility of visible de-representation in the artistic creation, in poièsis.) This hinge, which denies us an alternation, is the body, the flesh, which is the condition of thought as ontological interrogation: an ontological interrogation in the age of ir-representation, in the age of the impossibility of representation (Vorstellung) and of poem (Dichtung), in the age of crowds where the image appears as one of my fellow creatures just like the shadow cast by existence.Il corpo ai limiti della rappresentazione. La teoria del corpo e della pittura di Merleau-PontyNe L’occhio e lo spirito Merleau-Ponty cita una frase di Valéry: “il pittore si dà con il suo corpo”. Egli interpreta l’esperienza corporea dell’artista non solo come il centro di un orientamento percettivo o cinestesico, ma anche come motivo d’ispirazione per poeti e per pittori. In questo senso, si può collocare la sua teoria del corpo non solo all’interno della problematica della costituzione fenomenologica dell’oggetto percepito, ma anche nel contesto della decostruzione della rappresentazione o nella genealogia della “derappresentazione” (Lyotard). Seguendo l’interpretazione merleaupontiana delle opere di Cézanne e di Klee, vedremo come la sua teoria dell’esperienza del corpo e la formazione delle loro opere d’arte convergano nella considerazione della reversibilità del visibilee dell’invisibile. Quando Merleau-Ponty cita la frase di Valéry “il pittore si dà con il suo corpo”, il corpo dell’artista non è più un corpo soggettivo che percepisce il mondo in modo prosaico; il corpo è piuttosto implicato nella visione anonima dell’origine dalla quale emerge l’espressione del pittore. In Wege des Naturstudiums, Klee afferma che “la risonanza sorpassa tutti i fondamenti ottici tra me e ciò che mi si oppone”. Egli dimostra che questa risonanza non-ottica, piuttosto che essere uno specchio o uno schermo nero che separa la luce, permette di vedere l’occhio come un punto di giunzione di cose non ottiche e ciò costituisce una parte del circolo creato dalla nuova natura delle opere (eine neue Natürlichkeit des Werkes). Seguendo la particolarità del pensiero merleaupontiano, secondo il quale il corpo è concepito come un principio di de-rappresentazione, si nota, in virtù della sua intenzione di interpretare la creazione nell’arte moderna come la decostruzione dell’ontologia classica, il superamento dell’ontologia oggettivistica. In conclusione, osserviamo come la teoria del corpo e della pittura di Merleau-Ponty chiarisca i limiti della possibilità della rappresentazione nell’arte moderna, enfatizzando l’impercezione o la trascendenza che si può distinguere nel campo percettivo. Interrogando il corpo del pittore e del poeta – il corpo poetico o il corpo come simbolismo, a monte del suo porsi come risultato della mente o della libido, là dove il corpo non è ancora corpo visibile nel mondo – Merleau-Ponty ha trovato il mondo di collocare il corpo al di là della rappresentazione. Poièsis non è più mimesis nel senso banale d’imitazione, e il corpo poetico non è il corpo rappresentativo. Egli ha trovato il modo di posizionare il corpo nella Visibilità, come se esistesse un punto di rovesciamento situato sul confi ne tra visibile ed invisibile, ovvero sul confine tra rappresentazione e de-rappresentazione: un confine che non si può definitivamente superare se lo si continua a strutturare come dicotomia. Questo punto, che ci nega un’alternativa, è il corpo, la carne, che è condizione del pensiero come interrogazione ontologica: un’interrogazione ontologica nell’era dell’ir-rappresentazione, nell’era dell’impossibilità di rappresentare (Vorstellung) o di creare poemi (Dichtung), nell’era delle masse, in cui l’immagine appare come uno dei miei simili, come l’ombra proiettata dall’esistenza. (shrink)

Modal realists should fashion their theory by postulating and taking seriously the modal equivalent of tense, or modal tense. This will give them a uniform way to respond to five different objections, one each by Skyrms, Quine, and Peacocke, and two by van Inwagen, and suggest a non-Lewisian path to modal realism.

Call a sentential context semantically transparent if and only if all synonymous expressions are substitutable for one another in it salva veritate. Nathan Salmon has boldly advanced a refreshingly crisp semantic theory according to which belief contexts are semantically transparent. If he is right, belief contexts are much better behaved than widely suspected. Impressive as it is, this author does not believe that Salmon’s theory is completely satisfactory. This article tries to show that Salmon’s theory, in conjunction with a number (...) of auxiliary but important claims he makes to buttress the theory, seems to lead to failure of semantic transparency of belief contexts. (shrink)

This article contributes to the critical engagement with luck egalitarianism by advancing two arguments. Firstly, it questions the cogency of the dichotomies – e.g., luck/choice, person/circumstance, agency/structure – and the accompanying moral ideal of pure voluntarism. This makes it difficult for luck egalitarianism to dissect appropriately the inequalities embedded in social relations, such as social networks and involuntary associations, in which voluntariness and contingency as well as agency and structure are intertwined. Secondly, it suggests that the relational approach, which has (...) been developed, inter alia, in the empirical study of inequality, provides a morally and practically adequate perspective on egalitarian justice. The relational approach achieves this by converging upon those in‐between social relations that are irreducible to the macro‐level structure and to micro‐level agency. Moreover, a relationally sensitive perspective on inequality can adeptly respond to the difficulties that luck‐egalitarian theories encounter. (shrink)

Osmoregulation in insects is an essential process whereby changes in hemolymph osmotic pressure induce the release of diuretic or antidiuretic hormones to recruit individual osmoregulatory responses in a manner that optimizes overall homeostasis. However, the mechanisms by which different osmoregulatory circuits interact with other homeostatic networks to implement the correct homeostatic program remain largely unexplored. Surprisingly, recent advances in insect genetics have revealed several important metabolic functions are regulated by classic osmoregulatory pathways, suggesting that internal cues related to osmotic and (...) metabolic perturbations are integrated by the same hormonal networks. Here, we review our current knowledge on the network mechanisms that underpin systemic osmoregulation and discuss the remarkable parallels between the hormonal networks that regulate body fluid balance and those involved in energy homeostasis to provide a framework for understanding the polymodal optimization of homeostasis in insects. (shrink)

In this article, I highlight the following points. In 2022, the publication of the two volumes Inédits I (1946-1947) and Inédits II (1947-1949) was a great surprise. Among the many discoveries I made, I will focus here on the reading notes Merleau-Ponty had prepared on Hegel’s Aesthetics. I suggest that the motives of his reading of Hegel’s Aesthetics must be understood according to two aspects, intimately linked: they are first due to the fact that he himself was trying to formulate (...) his own theory of art and aesthetics; and second that he had in mind Sartre’s work What is Literature? I show that, indeed, in his reading of the Aesthetics, Merleau-Ponty very clearly focuses on the distinction between the different genres of art and on their historical divisions. This is a point that leads me to raise the following question: What are the distinctions between artistic genres in Merleau-Ponty? Here, for me it is above all a question of taking into account Merleau-Ponty’s reservations, exposed in his later essay “Indirect Language and the Voices of Silence,” concerning the Sartrean conception of literature which distinguishes poetry from prose. Ultimately, I defend the idea that Merleau-Ponty proposes an experience of art that is inter-genre and inter-media, which opens an indefinite horizon from the historical limitation of art. Based on his theory of language and art, he thus recognized the historicity of language and art, while considering the possibility of transforming this historicity into something open. (shrink)

In contemporary Japanese society, it is difficult to find a marriage partner, and therefore, “Konkatsu,” the search for a marriage partner, has become a socially accepted activity in Japan. In response to this social challenge, in addition to private companies, governments and non-profit organizations are supporting individuals in their search for a marriage partner. This paper reviews statistical information related to marriage hunting published in Japan. In addition, some of the authors’ collaborative activities and academic publications based on these activities (...) are reviewed. Subsequently, the paper discusses and highlights the importance of helping individuals have confidence in their physical attractiveness. (shrink)

DNA with a curved trajectory of its helix axis is called bent DNA, or curved DNA. Interestingly, biologically important DNA regions often contain this structure, irrespective of the origin of DNA. In the last decade, considerable progress has been made in clarifying one role of bent DNA in prokaryotic transcription and its mechanism of action. However, the role of bent DNA in eukaryotic transcription remains unclear. Our recent study raises the possibility that bent DNA is implicated in the “functional packaging” (...) of transcriptional regulatory regions into chromatin. In this article, I review recent progress in bent DNA research in eukaryotic transcription, and summarize the history of bent DNA research and several subjects relevant to this theme. Finally, I propose a hypothesis that bent DNA structures that mimic a negative supercoil, or have a right‐handed superhelical writhe, organize local chromatin infrastructure to help the very first interaction between cis‐acting DNA elements and activators that trigger transcription. BioEssays 23:708–715, 2001. © 2001 John Wiley & Sons, Inc. (shrink)

In this paper, I show that Aristotle’s refutation of the Eleatic argument in Physics I.8 is based on the idea that a thing at the starting point of coming to be is composite and is made up of what underlies and a priva­tion. In doing so, I clarify how the concept of accidentality as used in his solution should be understood in relation to the composite nature of what comes to be. I also suggest an explanation of why Aristotle’s discus­sion (...) of the Eleatic dilemma in Physics I.8, unlike his discussion in the previous chapter, is not clear. (shrink)

I argue that Aristotle’s arguments in passages regarding chance in the Physics and in passages about ignorance in action in the Nicomachean and Eudemian Ethics presuppose two different uses of ‘for the sake of something’, which are able to explain respectively the wish or thought of agents and the type or nature of what they actually do. In my view, however, this does not commit Aristotle, in the ‘ignorance’ passages from the two Ethics, to holding that the type or nature (...) of what the agents actually do is for the sake of killing or wounding. (shrink)

Molecular and biochemical analysis of the biogenesis of peroxisomes has made rapid progress in recent years. Research on the mechanism of targeting of peroxisomal proteins has revealed that many, but not all, peroxisomal proteins have a conserved tripeptide motif in their carboxy‐terminal portions which is required for entry into peroxisomes; the topogenic signal mechanism thus differs in these instances from those employed in mitochondria and endoplasmic reticulum. Other factors involved in peroxisome biogenesis are also coming to light.