Objective: The objectives of this study are to understand the current functions, structure and operation of hospital ethics committees (HECs) in Shanghai and to facilitate their improvement. Methods: (1) A questionnaire survey, (2) interviews with secretaries and (3) on-site document reviews of HECs in Shanghai were used in the study, which surveyed 33 hospitals. Results: In Shanghai, 57.56% of the surveyed hospitals established HECs from 1998 to 2005. Most HECs used bioethical review of research involving human subjects as well as (...) bioethical review or consultation regarding medical care services and administrative decision- making. Of the surveyed HECs, 14.3% did not provide any formal bioethical training to the HECs’ members and many HECs had no standard operating procedures. Some HECs had no clear definition of what was “conflict of interest” that should be considered by the HECs, while 44.4% of the HECs did not perform continuing review. Discussion: After the issues of related national regulations, more and more hospitals established HECs in Shanghai, but the functions of HECs need to be further developed and formal training on bioethics should be provided to HEC members. To assure the independence and good performance of HECs, the conflict of interest procedure, the standard operating procedures and bioethical review should be improved. Conclusion: HECs in Shanghai had developed in the preceding 10 years and they played great roles in protecting the rights and welfare of human subjects and patients; some areas need improvement. (shrink)

SS RAMA RAO PAPPU PROFESSOR PT RAJU: EVOLUTION OF HIS PHILOSOPHICAL THOUGHT "In India (PT Raju) represents and is really the original initiator of, ...

It is fortunate for my purposes that English has the two words ‘almighty’ and ‘omnipotent’, and that apart from any stipulation by me the words have rather different associations and suggestions. ‘Almighty’ is the familiar word that comes in the creeds of the Church; ‘omnipotent’ is at home rather in formal theological discussions and controversies, e.g. about miracles and about the problem of evil. ‘Almighty’ derives by way of Latin ‘omnipotens’ from the Greek word ‘pantokratōr’; and both this Greek word, (...) like the more classical ‘pankratēs’, and ‘almighty’ itself suggest God's having power over all things. On the other hand the English word ‘omnipotent’ would ordinarily be taken to imply ability to do everything; the Latin word ‘omnipotens’ also predominantly has this meaning in Scholastic writers, even though in origin it is a Latinization of ‘pantocratōr’. So there already is a tendency to distinguish the two words; and in this paper I shall make the distinction a strict one. I shall use the word ‘almighty’ to express God's power over all things, and I shall take ‘omnipotence’ to mean ability to do everything. (shrink)

The Euthyphro might well be given to undergraduates to read early in their philosophical training. The arguments are apparently simple, but some of them, as I shall show, lead naturally on to thorny problems of modern philosophy. Another benefit that could be gained from reading the Euthyphro is that the reader may learn to be forewarned against some common fallacies and debating tricks in moral disputes.

"No other work treating Indian philosophy on a comparable scale contains the illuminating comparisons between doctrines of Indian schools and the thought of Western philosophy ranging from Plato to Sartre and Wittgenstein...It will, moreover, contribute to the understanding of Western philosophy by Indian thinkers and vice versa...Raju has an intimate acquaintance with a remarkable range of Western thinkers and this distinguishes his work from most of what has gone before...Raju, moreover, is himself a critical thinker and consequently, although he has (...) written a history, he treats the ideas and doctrines in a philosophical mode and his assessments of positions are often original and illuminating." -- John E. Smith, Clark Professor of Philosophy, Yale University "Purpose: To deal with Indian philosophy in a fashion reflecting the way the best German historians of philosophy deal with Western philosophy...The book is remarkable for its comprehensiveness in combination with extensive critical discussions...Raju's book...is more critical than Radhakrishnan's and more philosophical than Dasgupta's. Radhakrishnan's comments are far less philosophically sophisticated and interesting than Raju's....a monument to a senior Indian philosopher's lifelong study and thoughtful critical consideration of the great classical systems of his tradition." -- Karl H. Potter, Professor of Philosophy, University of Washington "Raju's credentials are impeccable. He is one of the few scholars in the world who could presume to write a major work on Indian thought. Accordingly, his knowledge of the Indian schools is accurate and impressive. To the extent that one of his intentions is to cast those schools in terms which make them more intelligible to western readers, his work measures up very well." -- Harold H. Oliver, Professor of Philosophy, Boston University. (shrink)

The Euthyphro might well be given to undergraduates to read early in their philosophical training. The arguments are apparently simple, but some of them, as I shall show, lead naturally on to thorny problems of modern philosophy. Another benefit that could be gained from reading the Euthyphro is that the reader may learn to be forewarned against some common fallacies and debating tricks in moral disputes.

A leading character in a play, at any rate in a major speech, is normally doing several things: he is saying what the development of the plot requires, and sometimes also expressing the dramatist's own tragic vision; he is also expressing his own thoughts and emotions, or saying what from his point of view the rhetoric of the situation requires. There are thus at least two questions to ask about the Trugrede: What is its function in the economy of the (...) plot? Why does Sophocles give this speech to Ajax, and what light does it throw on his character as presented by Sophocles? The first question is easy enough to answer. There can be no doubt that this is a deception speech in the sense that Tecmessa and the Chorus are misled about what is going to happen, and at any rate part of Sophocles' purpose was evidently to achieve an effect of relaxation of tension or ‘retardation’. At first all is gloom and despair; then when the suicide of Ajax seems to be imminent, this speech leads Tecmessa and the sailors to think that he means to live on after all, and they express their relief in a joyful hyporchema. Then follows a messenger speech with warnings that dispel their joy but still offer a gleam of hope, until that hope is extinguished when they find the dead body of Ajax. Sophocles has thus contrived an arresting dramatic sequence to fill the interval between the opening scene and the discovery of Ajax' death. The main effect could have been produced by direct, unambiguous falsehood in the speech we are considering, but Sophocles presumably wished the spectators to be aware that the joy and relief were illusory, so that they could at once appreciate the tragic irony of the sailors' rejoicing. There was probably no way of informing the audience directly that the speech was meant to be deceptive, and Sophocles therefore included in it numerous ambiguous expressions which the Chorus and Tecmessa, eager to believe good news, interpret as indicating a change of purpose, whereas for the spectators, who are more detached and probably aware of the traditional version of the story according to which Ajax killed himself, they have ominous overtones and arouse suspicion, in the last lines verging on certainty, that in this play too he still means to take his own life. (shrink)

When I offered this title, I was engaging myself to investigate an apparent difference between two kinds of intentionality, in the hope that I should be able to find some firm logical criterion to distinguish them. I was less successful in this than I had hoped. I think I have gained a certain amount of insight into the logic and semantics of one kind of intentional context, largely due to the work I was doing while visiting the University of Pennsylvania (...) on Frege and on Michael Dummett’s monumental commentary on Frege. But as regards the other variety of intentionality I am still very much in the dark; so I am giving you thus far merely a progress report on that. (shrink)

The author states: "in a recent article searle has shown the odd irrelevance of russell's criticisms of frege in the famous paper 'on denoting'. I here offer an explanation of the oddity: russell had excusably, But wrongly, Conflated frege's distinction between sinn and bedeutung with his own distinction between what an expression 'means' and what it 'denotes'.".

The present article addresses the logic of the sphere, or the Sphere Model of Consciousness developed by Patrizio Paoletti over three decades of research. M.E.D. Ed., 2002; Flussi, territori, luogo II. M.E.D. Ed., 2002; Fare il punto nave. M.E.D. Ed., 2005; In: Proceedings conference at Leslie and Susan Gonda Multidisciplinary Brain Research Center. Bar Ilan University. Faculty of Neuroscience, Israel, 2007; Osservazione—Quaderni di Pedagogia per il Terzo Millennio, Ed. 3P, 2011; Mediazione—Quaderni di Pedagogia per il Terzo Millennio, Ed. 3P, 2011). (...) The SMC model has been experimentally applied in the educational field and lies at the base of neuroscientific and psychoeducational research conducted by the Paoletti Foundation. In recent years, it has been studied by several researchers in the field of neuroscience. Following a logical-mathematical introduction regarding the properties of the spherical shape, we illustrate for the first time the structuring of the model and its neural foundations. We emphasize the central space of the sphere, defined by the geometric model and highlight its descriptive and heuristic properties in relation to the study of consciousness. Finally, we present educational applications of the model, particularly with respect to the center of the sphere, defined in the current context as the “place of pre-existence.”. (shrink)

In this article, the author describes ethical decision-making in unique circumstances. A dichotomy exists between the dual roles of nurse and disaster manager in a wartime set ting. The circumstances of the situation had never been faced before and no precedents existed for the type of decisions being made. Clearly, professional codes of conduct existed along with international conventions with reference to war. The circumstances required the author to challenge the concepts of teleology and deon tology in a search for (...) the most fitting answers to a unique problem. His aim was to try to create the greatest good out of an impossible situation. The author reflects on his actions in the light of ethical thinking and considers whether his decisions were right. (shrink)

The language of Greek Tragedy can be considered as a whole by virtue of the characteristics which distinguish it from that of other branches of Greek literature, and the resemblance between the three tragedians in this respect is more noticeable than the differences. Still, if we compare Aeschylus and Euripides it is impossible not to feel a marked change of tone, in λ⋯ξις as in δι⋯νοια and ἤθη. As in E. the familiar legends are frequently set in a more everyday (...) atmosphere and the characters cast in a less heroic mould, it is natural that the tone of the language should be lowered, partly by the frequent use of distinctively prosaic expressions and partly by the introduction of what appear to be colloquialisms. This change of tone in language was at once noted by Aristophanes and is referred to by Aristotle as an innovation of E. On the other hand E.'s style presents a certain anomaly, since while deliberately securing a closer approximation to the language of prose and ordinary conversation he also shows a poetic and archaizing tendency in the use of Aeschylean and Homeric words and forms not found in Sophocles. This may be due to a reluctance to depart too far from the poetic tradition of Greek tragedy, and possibly to a scholar's interest in the language of Aeschylus and Homer, in a minor degree a foreshadowing of the learned archaism of the Alexandrian poets. (shrink)

The language of Greek Tragedy can be considered as a whole by virtue of the characteristics which distinguish it from that of other branches of Greek literature, and the resemblance between the three tragedians in this respect is more noticeable than the differences. Still, if we compare Aeschylus and Euripides it is impossible not to feel a marked change of tone, in λ⋯ξις as in δι⋯νοια and ἤθη. As in E. the familiar legends are frequently set in a more everyday (...) atmosphere and the characters cast in a less heroic mould, it is natural that the tone of the language should be lowered, partly by the frequent use of distinctively prosaic expressions and partly by the introduction of what appear to be colloquialisms. This change of tone in language was at once noted by Aristophanes and is referred to by Aristotle as an innovation of E. On the other hand E.'s style presents a certain anomaly, since while deliberately securing a closer approximation to the language of prose and ordinary conversation he also shows a poetic and archaizing tendency in the use of Aeschylean and Homeric words and forms not found in Sophocles. This may be due to a reluctance to depart too far from the poetic tradition of Greek tragedy, and possibly to a scholar's interest in the language of Aeschylus and Homer, in a minor degree a foreshadowing of the learned archaism of the Alexandrian poets. (shrink)