Context: A growing number of Japanese people have completed advance directives, especially living wills, even though there is no legislation recognising such documents and little empirical research on their impact on clinical care at the end of life in Japan.Objectives: To investigate physicians’ attitudes about living wills and their experiences with patients who had completed a living will and later died.Design: Self administered survey and qualitative study using open question and content analysis.Setting: Japan.Participants: Physicians known to have cared for a (...) patient who had presented a living will prior to death.Measurements: The physician’s response to receiving a living will, communication about the living will, the impact of the living will on clinical care, demographics, and their opinion on advance directives, especially living wills.Main results: Fifty five per cent of respondents approved of advance directives in general, and 34% had more opportunities to communicate with a patient and his/her family after receiving the living will. Sixty nine per cent of the physicians who received a living will did not, however, change their course of therapy as a consequence of receiving the living wills. Based on the analysis, we identified three areas of concern in the comments on living wills: concerns relative to patients, physicians, and families; social context, and clinical and administrative concerns. The physicians raised various topics for discussion; they tended to describe the issues from a clinical perspective.Conclusions: Our identified areas of concern should prove helpful in better understanding the clinical and ethical implications of living wills in Japan. (shrink)

昨今の脳神経科学的知見からは、刑法的な責任も再検討を迫られる。現代的な視点から法哲学と法理論の融合を試みる「法倫理学」へ。.

Previous findings in cultural psychology indicated that East Asians are more likely than North Americans to be attentive to contextual information (e.g., Nisbett & Masuda, ). However, to what extent and in which conditions culture influences patterns of attention has not been fully examined. As a result, universal patterns of attention may be obscured, and culturally unique patterns may be wrongly assumed to be constant across situations. By carrying out two cross-cultural studies, we demonstrated that (a) both European Canadians (...) and Japanese attended to moving objects similarly when the task was to simply observe the visual information; however, (b) there were cultural variations in patterns of attention when participants actively engaged in the task by constructing narratives of their observation (narrative construction). These findings suggest that cultural effects are most pronounced in narrative construction conditions, where the need to act in accordance with a culturally shared meaning system is elicited. (shrink)

The intermediate logics have been classified into slices (cf. Hosoi [1]), but the detailed structure of slices has been studied only for the first two slices (cf. Hosoi and Ono [2]). In order to study the structure of slices, we give a method of a finer classification of slices & n (n 3). Here we treat only the third slice as an example, but the method can be extended to other slices in an obvious way. It is proved that each (...) subslice contains continuum of logics. A characterization of logics in each subslice is given in terms of the form of models. (shrink)

To apply reinforcement learning to difficult classes such as real-environment learning, we need to use a method robust to perceptual aliasing problem. The exploitation-oriented methods such as Profit Sharing can deal with the perceptual aliasing problem to a certain extent. However, when the agent needs to select different actions at the same sensory input, the learning efficiency worsens. To overcome the problem, several state partition methods using history information of state-action pairs are proposed. These methods try to convert a POMDP (...) environment into an MDP environment, and thus they are sometimes very useful. However, their computation cost is very high especially in large state spaces. In contrast, memory-less approaches try to escape from the aliased states by outputting actions stochastically. However, these methods output actions stochastically even in unaliased states, and thus the learning efficiency is bad. If we desire to guarantee the rationality in POMDPs, it is efficient to output actions stochastically only in the aliased states and to output one action deterministically in the other unaliased states. Hence, to discriminate between aliased states and unaliased states, the utilization of χ² -goodness-of-fit test is proposed by Miyazaki et al. They point out that, in aliased states, the distributions of the state transitions by random search and a particular policy are different. This difference doesn't occur owing to non-deterministic actions. Hence, if the agent can collect enough samples to implement the test, the agent can distinguish between aliased states and unaliased states well. However, such a test needs a large amount of data, and it's a problem how the agent collects samples without worsening learning efficiency. If the agent uses random search in the course of learning, the learning efficiency worsens especially in unaliased states. Therefore, in this research, we propose a new method called Extended On-line Profit Sharing with Judgement (EOPSwJ) to detect important incomplete perception, which doesn't need large computation cost and numerous samples. We use two criterions for detecting important incomplete perceptions to attain a task. One is the rate of transitions to each state, and the other is the deterministic rate of actions. We confirm the availability of EOPSwJ using two simulations. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.4 (2003) 3-11 [Access article in PDF] A Historical Overview of Art Education in Japan Introduction The stage of art education in Japan that was given its form by "imports" from overseas — mainly Western countries — is now over. Recently, even at international art education conferences and similar venues, a wide range of dynamic presentations and speeches were heard representing Japan's unique perspective. (...) There is, however, a rather long and involved history leading up to this shift.In this essay, I present a general outline and an overview of art education in Japan, by looking back at the transitions this system of education has undergone. My hope is to increase understanding of the unique features of art education in Japan, examining the characteristics ofmodern art education, and determining the form that art education should take in the future. The Birth of Art Education: 1872-1910 Art education in Japan began in 1872 with the promulgation of the "Gakusei" as a formal system for school education. 1 It was in this same year that Germany introduced a similar system, an indication that Japan was more or less in step with advanced Western nations. Moreover, from the end of the Tokugawa shogunate through to the Meiji era (1868-1912), the seeds of Westernization had clearly taken root. Although the term "art education" is used, for many years the emphasis in art education was on drawing.The first curriculum was established at this time. In the context of art education, Kikagaku Keiga Taii [Introduction to Geometrical Line Drawing] (renamed Keiga the following month) was introduced as a compulsory subject in upper elementary grades (students 10 to 13 years of age) at ordinary elementary schools. Keiga referred to a method of copying pictures from a copybook using graph paper — a method that was extremely restrictive and emphasized practicality.By 1887, under the new government's policy, Westernization was being promoted in all aspects of society, including politics and culture. Art education was no exception, as Western style education began to focus on pencil drawings. During this period, a liberal system for issuing and selecting textbooks was in place, and a consequently a large number of art-related texts were issued. The first drawing textbook in Japan was Seiga Shinan [Guide to [End Page 3] Western Pictures] (1871), a translation of "The Illustrated Drawing Book" by English author Robert Scott Burn, with selected figure quotations from"The American Drawing-Book" by American author John G. Chapman. 2 In addition to these texts, many other books on drawing and the natural sciences were quoted. These textbooks adopted a pragmatic approach, using a "progressive method" in which students were taught to draw easy subjects and gradually moved to more difficult ones.The next significant change came in the form of calls for nationalism, as a reaction to the wave of Westernization early in the Meiji period. Educationalcircles underwent a shift toward nationalist education, and the art worldexperienced a resurgence in traditional Japanese art led by the American Ernest Fenollosa and Tenshin Okakura, among others. Reflecting this trend, a large number of brush painting textbooks were written, and an authorization system similar to the one currently in effect was adopted. The ZugaTorishirabe Gakari [the Committee for the Study of Drawing] was launched in 1885, and then reorganized in 1887, at which time it was renamed the Tokyo Fine Arts School (currently the Tokyo National University of Fine Arts and Music). The education offered at this new institution placed a strong emphasis on purely Japanese elements.In 1903, the Elementary School Order was revised and government-designated textbooks were issued. This system remained in force from 1904 until 1947. The debate surrounding pencil drawing and brush painting continued, and two types of texts were issued — a Enpitsuga Tehon [pencil drawing copybook] and a Mohitsuga Tehon [brush painting copybook] — either of which could be used by the instructor. Both copybooks had similar configurations, with copying as the basic theme, and using a progressive study method. Drawing was still an optional subject in ordinary elementary schoolsat the... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.4 (2003) 3-11 [Access article in PDF] A Historical Overview of Art Education in Japan Introduction The stage of art education in Japan that was given its form by "imports" from overseas — mainly Western countries — is now over. Recently, even at international art education conferences and similar venues, a wide range of dynamic presentations and speeches were heard representing Japan's unique perspective. (...) There is, however, a rather long and involved history leading up to this shift.In this essay, I present a general outline and an overview of art education in Japan, by looking back at the transitions this system of education has undergone. My hope is to increase understanding of the unique features of art education in Japan, examining the characteristics ofmodern art education, and determining the form that art education should take in the future. The Birth of Art Education: 1872-1910 Art education in Japan began in 1872 with the promulgation of the "Gakusei" as a formal system for school education. 1 It was in this same year that Germany introduced a similar system, an indication that Japan was more or less in step with advanced Western nations. Moreover, from the end of the Tokugawa shogunate through to the Meiji era (1868-1912), the seeds of Westernization had clearly taken root. Although the term "art education" is used, for many years the emphasis in art education was on drawing.The first curriculum was established at this time. In the context of art education, Kikagaku Keiga Taii [Introduction to Geometrical Line Drawing] (renamed Keiga the following month) was introduced as a compulsory subject in upper elementary grades (students 10 to 13 years of age) at ordinary elementary schools. Keiga referred to a method of copying pictures from a copybook using graph paper — a method that was extremely restrictive and emphasized practicality.By 1887, under the new government's policy, Westernization was being promoted in all aspects of society, including politics and culture. Art education was no exception, as Western style education began to focus on pencil drawings. During this period, a liberal system for issuing and selecting textbooks was in place, and a consequently a large number of art-related texts were issued. The first drawing textbook in Japan was Seiga Shinan [Guide to [End Page 3] Western Pictures] (1871), a translation of "The Illustrated Drawing Book" by English author Robert Scott Burn, with selected figure quotations from"The American Drawing-Book" by American author John G. Chapman. 2 In addition to these texts, many other books on drawing and the natural sciences were quoted. These textbooks adopted a pragmatic approach, using a "progressive method" in which students were taught to draw easy subjects and gradually moved to more difficult ones.The next significant change came in the form of calls for nationalism, as a reaction to the wave of Westernization early in the Meiji period. Educationalcircles underwent a shift toward nationalist education, and the art worldexperienced a resurgence in traditional Japanese art led by the American Ernest Fenollosa and Tenshin Okakura, among others. Reflecting this trend, a large number of brush painting textbooks were written, and an authorization system similar to the one currently in effect was adopted. The ZugaTorishirabe Gakari [the Committee for the Study of Drawing] was launched in 1885, and then reorganized in 1887, at which time it was renamed the Tokyo Fine Arts School (currently the Tokyo National University of Fine Arts and Music). The education offered at this new institution placed a strong emphasis on purely Japanese elements.In 1903, the Elementary School Order was revised and government-designated textbooks were issued. This system remained in force from 1904 until 1947. The debate surrounding pencil drawing and brush painting continued, and two types of texts were issued — a Enpitsuga Tehon [pencil drawing copybook] and a Mohitsuga Tehon [brush painting copybook] — either of which could be used by the instructor. Both copybooks had similar configurations, with copying as the basic theme, and using a progressive study method. Drawing was still an optional subject in ordinary elementary schoolsat the... (shrink)

Narrative Representation Theory, an evolved framework of Verse Analysis, has come into existence with the mission of explaining the operation of macro-systemic structure that could be hardwired in the brain. Based on the analyses of creoles or archetypal human languages, the theory puts forward the premise stating that the fundamental design of the human language faculty possesses the computational system for internalized discourse. The theory preserves the principles of Quint-patterning, Idea-formatting, N-ary-branching and X-numbering, complying respectively with the hierarchical orderings of (...) constituency, the atomic elements of componentiality, the linear sequences of precedence and the specific measurement of terminal nodes. NRT tells that the macro-system of narrative superstructure must have emerged autonomously, yet links closely with the micro-system of phonology, morphology and syntax. This article explores for the first time scientific insights into the nature of human language, referring to recent research on the right cerebrum as well as on the prefrontal lobes of the brain, the relationship between mental disorders and their genetic deficiencies, and the investigations of human evolution during the period 200,000–40,000 years BP. All the converging evidence in biological sciences reinforces the hypothesis that the narrative superstructure of language faculty manifests as an inherent linguistic capacity in our mind. (shrink)

The mitotic spindle contains the machinery responsible for sister chromatid segregation. It is composed of a complex and dynamic array of microtubules, which are nucleated from the spindle poles. Studies of yeast spindle functions by molecular genetic analysis and by in vitro functional analysis have identified proteins that are mitosis‐specific and present at very low concentrations in the cell, and have revealed the molecular bases of several processes required for the formation and functioning of the mitotic spindle. Here I review (...) the current knowledge of the processes that are common to most eukaryotes: microtubule nucleation at the spindle poles, bipolar spindle assembly, maintenance of the spindle structure, chromosome attachment to the spindle and chromosome separation on the spindle. (shrink)

"El amor en su singularidad erótica es tratado en esta obra desde el auspicio de la poesía y la filosofía, las cuales nos llevan de la mano a los desolados parajes del mundo biológico-psíquico para retener aquello de lo que "no se puede decir nada". Aun así, no es éste un intento de explicar fenomenológicamente el amor, sino una modesta evocación de los momentos y comportamientos humanos en su tránsito hacia el Eros y la experiencia que de ellos se ha (...) obtenido."-- Cubierta trasera. (shrink)

‘Substance’ (substantia, zelfstandigheid) is a key term of Spinoza’s philosophy. Like almost all of Spinoza’s philosophical vocabulary, Spinoza did not invent this term, which has a long history that can be traced back at least to Aristotle. Yet, Spinoza radicalized the traditional notion of substance and made a very powerful use of it by demonstrating – or at least attempting to demonstrate -- that there is only one, unique substance -- God (or Nature) -- and that all other things are (...) merely modes or states of God. Some of Spinoza’s readers understood these claims as committing him to the view that only God truly exists, and while this interpretation is not groundless, we will later see that this enticing and bold reading of Spinoza as an ‘acosmist’ comes at the expense of another audacious claim Spinoza advances, i.e., that God/Nature is absolutely and actually infinite. But before we reach this last conclusion, we have a long way to go. So, let me first provide an overview of our plan. In the first section of this paper we will examine Spinoza’s definitions of ‘substance’ and ‘God’ at the opening of his magnum opus, the Ethics. Following a preliminary clarification of these two terms and their relations to the other key terms defined at the beginning of the Ethics, we will briefly address the Aristotelian and Cartesian background of Spinoza’s discussion of substance. In the second section, we will study the properties of the fundamental binary relations pertaining to Spinoza’s substance: inherence, conception, and causation. The third section will be dedicated to a clarification of Spinoza’s claim that God, the unique substance, is absolutely infinite. This essential feature of Spinoza’s substance has been largely neglected in recent Anglo-American scholarship, a neglect which has brought about an unfortunate tendency to domesticate Spinoza’s metaphysics to more contemporary views. The fourth section will study the nature of Spinoza’s monism. It will discuss and criticize the interesting yet controversial views of the eminent Spinoza scholar, Martial Gueroult, about the plurality of substances in the beginning of the Ethics; address Spinoza’s claim in Letter 50 that, strictly speaking, it is improper to describe God as “one”; and, finally, evaluate Spinoza’s kind of monism against the distinction between existence and priority monism recently introduced into the contemporary philosophical literature. The fifth and final section will explain the nature, reality, and manner of existence of modes. We therefore have an ambitious plan; let’s get down to business. (shrink)

Maquiavelo y su tiempo.--Reacción de algunos escritores españoles de los siglos XVII y XVIII ante la doctrina de Maquiavelo.--El maquiavelismo y las prácticas de gobierno.

Planteamiento de la naturaleza, de la filosof a y de su raz n hist rica, al contemplar panor micamente la totalidad de su pasado e intentar reconstruir el dram tico suceso de su origen.

DICTIONARY OF SPANISH VERBS WITH THEIR ENGLISH EQUIVALENTS AND MODELS OF CONJUGATION/DICCIONARIO CON LOS VERBOS EN ESPAÑOL, SU TRADUCCIÓN AL INGLÉS Y CONJUGACIONES.

1. Escritos doctrinales -- 2. Escritos histórico-filosóficos.