Stem cells are likely to be used as an alternate source of biological material for neural transplantation to treat Parkinson’s disease in the not too distant future. Among the several ethical criteria that must be fulfilled before proceeding with clinical research, a favourable benefit to risk ratio must be obtained. The potential benefits to the participant and to society are evaluated relative to the risks in an attempt to offer the participants a reasonable choice. Through examination of preclinical studies transplanting (...) stem cells in animals and the transplantation of fetal tissue in patients with Parkinson’s disease, a current set of potential benefits and risks for neural transplantation of stem cells in clinical research of Parkinson’s disease are derived. The potential benefits to research participants undergoing stem cell transplantation are relief of parkinsonian symptoms and decreasing doses of parkinsonian drugs. Transplantation of stem cells as a treatment for Parkinson’s disease may benefit society by providing knowledge that can be used to help determine better treatments in the future. The risks to research participants undergoing stem cell transplantation include tumour formation, inappropriate stem cell migration, immune rejection of transplanted stem cells, haemorrhage during neurosurgery and postoperative infection. Although some of these risks are general to neurosurgical transplantation and may not be reduced for participants, the potential risk of tumour formation and inappropriate stem cell migration must be minimised before obtaining a favourable potential benefit to risk calculus and to provide participants with a reasonable choice before they enrol in clinical studies. (shrink)

A fundamental way in which human thought has developed has been constantly to explain the earliest "classics" that are the source of that thought. All in all, the number of such classics is not very high, their explanations are past counting. Moreover, they are constantly increasing, giving rise to an explanatory chain deriving from the classics. In the development of Chinese philosophy, this aspect is particularly noticeable, so that one can describe Chinese philosophy as a continual explanation of the classics. (...) This holds for both Confucianism and Daoism. The main classics of Daoism are the Laozi and the Zhuangzi. These two works have been constantly reread and reinterpreted throughout history. From the late nineteenth century onward, Chinese philosophy came into closer contact with Western philosophy. Foreign concepts were brought in to provide philosophers with new "insight." Some thinkers applied this new insight or these foreign concepts to the Daoist classics. In this way, they brought a new explanation of the Daoist classics and enriched the ways of interpreting the texts.1 Paving the way in this direction were Yan Fu (1853-1921). Zhang Taiyan (1869-1936), Liang Qichao (1873-1929), Wang Guowei (1877-1927), and Hu Shi (1891-1962). (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Painting in Tongues:Faith-Based Languages of Formalist ArtKevin Z. Moore (bio)A philosophical problem is created by the incoherence between the earlier state and the later one.—Ian Hacking, Historical OntologyWhatever is happening to evidence-based treatment? When the facts contravene conventional wisdom, go with the anecdotes?—New York Times, "Science Times," February 14, 2006Cephalopods have a visual language that may be considered artful; humans have written and vocalized languages that are sometimes artful; (...) but it is doubtful that there is such a thing as a "language of art," particularly in the sense that twentieth-century formalists and their critics carelessly speak of one or many. Cephalopods flash color-forms on their hides to communicate intents and emotions, maybe even to project plans. They speak in tattooed tongues through neurologically embossed patterns and color field designs displayed on the skin. The large-eyed sea creatures communicate voicelessly in a visual language of pure color-forms, each species perhaps having its own dialect. Though not a full or official language by any means, their color-forms display the ideal that twentieth-century formalist artists sought to graphically realize (referential and conceptual immediacy, emotional coloring, communication via pure, that is, nonpictorial, form). Formalist inspired artists and their critic-expositors describe abstract pattern-painting as though it were a visual language equal to that of the cephalopod. Yet [End Page 40] although we can reasonably imagine cephalopods getting the correct message by observation, we cannot reasonably imagine observers getting any message at all, let alone the intended message, from abstractionist painting. This casts suspicion on the formalists' claims about visual language. Observers cannot and famously do not get anything "out" of formalist pattern paintings, though they do project quite a lot "into" them. The telling difference between octopus and artist? Cephalopods communicate visually—their survival depends on it. Formalists do not, though the survival and flourishing of their art depends upon the belief that they do.Notably, explanations of what exactly a formalist language of art is goes missing from accounts of sense and reference in the relevant literature, where we learn that this or that painting exhibits this or that language of art but never how this or that painting functions as a language of any sort. The "language of art" phrase, it seems, has the same force as mentioning truth or existence: it explains nothing. Talk of a language of art suggests merely that a painting exhibits a communicative intent; it does not explain how that intent is linguistically mediated. The phrase is ostensive and nominal, not descriptive and expository.Prior to the twentieth century there may have been some justification for this language since art was shaped by objective reference, identifiable codes (sign and symbol systems), and recognizable scenes (compositions) that made painting a language-like public media. Observers could see immediately or "read" paintings by observation as though they were reading a language. Images were shaped by observation; reference was fixed by convention. The formalist revolution in the late nineteenth and early twentieth centuries dismantled the public character of representation in painting. After the revolution, the new art that appeared was a sort of visual humpty-dumptyism, to invoke a language metaphor. Formalist imagery functioned the way words did for Mr. Carroll's Mr. Dumpty: they meant what the artist intended them to mean and not what observation or convention constrained them to mean. Reference and meaning were as arbitrary as the visual forms chosen to bear them. Once a communicative medium, painting became an expressive medium, the values of the latter superseding those of the former wholly or in part. Even when a formalist painting alluded to a conventional arrangement (a landscape or portrait, for example), the composition was as visually parodic of genre as Mr. Carroll's Jabberwocky was verbally parodic of narrative poetry, preserving syntax (form) but not the integrity of the formal agents of communication. Both are forms of nonsense, yet only one intentionally so.Styles of formalism do not facilitate the observation of intended reference; they are not effective forms of communication because they are not languages. If the basic function of a visual art is to communicate a specific... (shrink)

Purpose. Philosophy of culture is an extremely multifaceted field, which includes the anthropological segment as well. In particular, we can talk about the role of man in cultural progress in a particular period of development of the society. To some extent, this problem may also apply to the theory of archetypes, which is rapidly developing today, being used not only in philosophy but also in other fields, deeply penetrated into the methodology of humanities knowledge. Therefore, we used interdisciplinary tools for (...) this study. The purpose of this work is to study the influence of personality on the development of Ukrainian culture in a global, comprehensive dimension, based on the experience and works of famous figures that carried out cultural activities in a certain historical period. In this case, we can appeal to the archetype of the Wise Old Man, which contains a set of permanent features that connect its projections with both the "foretype" and at the same time the "accumulation" of experience. Theoretical basis. Based on the work of famous researchers in the field of philosophy, anthropology, analytical psychology, ethnophilosophy, the authors note the insufficient elaboration of the topic regarding the distinction of anthropological dimensions of different cultural periods of Ukraine in chronological order. Originality. The authors of the article prove that the continuity of the accumulation of anthropocentric features in individuals gives them transcendence, elevate to the archetype of the Wise Old Man, which can be perceived as a universal process against the ethnic development background. Conclusions. As a result of the study, we can say that the role of individual key figures in the development of national culture is quite noticeable. This can be traced both at the local level and at the national level, when we should talk about individuals who in a certain period of development of society and culture were leading and became a kind of embodiment of universal experience accumulated in an individual with a certain identity, which is the "personality" required in "that place" and "that time". For this reason, we turn to the archetype of the Wise Old Man as an "invariant", a "conductor", which reflects the most realized and individualized personality in a particular chronotope. (shrink)

Purpose. Romanticism as a movement developed in Germany, where, becoming the philosophy of time in the 18th-19th centuries, spread to all European countries. The "mobility" of the Romantic doctrine, its diversity, sometimes contradictory views, attitude to man as a free, harmonious, creative person led to the susceptibility of this movement by ethnic groups, different in nature and mentality. Its ideas found a wide response in Ukraine with its "cordocentric" type of culture in the early nineteenth century. Since the peculiarity of (...) "Ukrainian Romanticism" was its "literary-centric" nature, the purpose of this study is to analyse and comprehend the place of man in the national philosophy and literature of this period. Accordingly, the main tasks of the work are as follows: to determine the main features, the nature of Ukrainian Romanticism; to trace the main vectors of comprehension and image of man in the literature of this time. Theoretical basis. The ideas of European Romanticism were creatively rethought and assimilated during the emergence of new Ukrainian literature. It provided samples of highly artistic works, unique names of talented writers – creators and thinkers, who in their works reflected the philosophy of time. Based on the works of F. Schlegel, partly E. Husserl, M. Heidegger, K. Jaspers, Romanticism in the Ukrainian humanities, in terms of philosophy, culturology, as well as at the intersection with literature, was studied by T. Bovsunivska, Y. Hrybkova, S. Efremov, N. Kalenichenko, S. Kozak, T. Komarynets, D. Nalyvayko, Y. Nakhlik, I. Ogorodnyk, V. Ogorodnyk, A. Sinitsyna, D. Chyzhevsky, M. Yatsenko, E. Kyryliuk, M. Biletsky, D. Dontsov, S. Efremov, G. Kostyuk, S. Krymsky, Y. Sherekh and others. Originality. The authors of the article prove that Romanticism in Ukraine, being "literary-centric" inherently, having absorbed the main ideas and features of European Romanticism, has its own features and vectors of formation and development. Man in this kind of movement, thanks to the means of art, appears very clearly as a spiritually rich, sensitive, vulnerable and strong person. For him or her, the highest value is freedom, the ability to make freely independent fateful decisions. Conclusions. Ukrainian writers, reflecting the philosophical ideas of Romanticism, saw in man a harmonious combination of "natural" and "social", through which he indirectly carries out his own national existence. In addition to the objective realities of the external world, in their works, Romantic writers appeal to the subjective, internal, spiritual, "ideal" world of the hero, who interacts with reality through his own system of values. At each level of development of the humanities and methodology of cognition, this allows a new reading of these works. (shrink)

Evolution and literature bring us into thinking about literature as an evolutionary adaptation and perception of literature as something that is strongly anchored in the distant history of mankind and even in its evolutionary prehistory.

deo 1. Srpske logike u srednjem veku -- deo 2. Srpske logike u ranoj moderni -- deo 3. Srpske logike u poznoj moderni -- deo 4. Suštastvo u srpskoj filozofiji.

The book offers a novel exploration into the semantic development of English terms concerning the concept of 'joy' (bliss, cheer, delight, dream, game, gladness, glee, joy, and mirth). The author adopts a panchronic perspective, according to which language reflects the way speakers experience the world.

In Ilić and Boričić, the right-handed cut-free sequent calculus $GRW$ for the contraction-less relevant logic $RW$ is defined. In this paper, we show that the enlargement of the system $GRW$ with the structural rule of intensional contraction presents the sequent system for the principal relevant logic $R$ but the rule of cut cannot be eliminated in $GRW+$.

SummaryA detailed database on the genealogy of the Makarska region in Croatia has been created. The twinning rate for three villages in the region were analysed over the period 1870 to 1940 and factors such as mother's age and birth order are discussed. Of the three villages, Podgora was identified as having the highest twinning rate and consequently records for Podgora were examined further to include almost 400 years of historical data.

The logic of the weak law of excluded middleKC p is obtained by adding the formula A A as an axiom scheme to Heyting's intuitionistic logicH p . A cut-free sequent calculus for this logic is given. As the consequences of the cut-elimination theorem, we get the decidability of the propositional part of this calculus, its separability, equality of the negationless fragments ofKC p andH p , interpolation theorems and so on. From the proof-theoretical point of view, the formulation presented (...) in this paper makes clearer the relations betweenKC p ,H p , and the classical logic. In the end, an interpretation of classical propositional logic in the propositional part ofKC p is given. (shrink)

A normalizable natural deduction formulation, with subformula property, of the implicative fragment of classical logic is presented. A traditional notion of normal deduction is adapted and the corresponding weak normalization theorem is proved. An embedding of the classical logic into the intuitionistic logic, restricted on propositional implicational language, is described as well. We believe that this multiple-conclusion approach places the classical logic in the same plane with the intuitionistic logic, from the proof-theoretical viewpoint.

The language of the propositional calculus is extended by two families of propositional probability operators, inductively applicable to the formulae, and the set of all formulae provable in an arbitrary superintuitionistic propositional logic is extended by the probability measure axioms concerning those probability operators. A logical system obtained in such a way, similar to a kind of polymodal logic, makes possible to express a probability measure of truthfulness of any formula. The paper contains a description of the Kripke-type possible worlds (...) semantics covering the considered logical systems, being followed by the corresponding completeness results. (shrink)