Sanctity of Human Life in the Context of Human Genetic Research

The study on the concept of sanctity of human life is a journey in finding out what is it said to be “human” in human life. It is an evaluation of the universal concept and the role it plays in controlling and moulding human conduct and relationships. This concept is a foundational principle of human rights law and the grundnorm of every legal system. However, of late, the challenges by way of certain advances in human genetic research had prompted the need to evaluate the significance and extent of the concept in human endeavours. Scientific advances by way of human genetic research promises significant diagnostic and therapeutic advances but at the same time pose threat to fundamental notions and assumptions on humanity, hence there is a global concern to derive common legal standards, Thus the major challenge is to analyse universal principles which can be a common criteria for evolving legal standards to control certain advances in human genetic research. Hence the relevance of the study. The study aims at analysing the content, scope, extent and limitation of the concept of sanctity of human life. In this attempt it evaluates the extent to which the concept had been accommodated by legal systems and international human rights regimes. The problem which had been undertaken in the study is the extent of intrusion made to the concept by virtue of certain advances in human genetic research.

Saraswati Sings: The Slide-Guitar in India

Thesis (Ph.D.)--University of Washington, 2016-08

El copernicanismo en las Españas del XVI y el XVII. Ciencia, filosofía y literatura.

In 1543 Nicolas Copernicus published his Revolutionibus Orbium's Coelelestium. This is the scientific work that gave birth to modern science, something thoroughly European, since scientists of different countries contributed to it: Poland, Italy, Germany, Spain, France, Holland, etc. A work that appeared in a crucial moment obviously represented the need of that time to correct the Julian calendar. A new procedure to calculate the positions of the stars was necessary for astrology and for the making of predictions that were important at that time. Our intention is to outline the history of how it was introduced in Spain at the beginning of the scientific revolution. We will not conceal that Spain has been a country that has only contributed to scientific literature in a deficient way, maybe we can offer some arguments that help to understand why this has happened.

Dançando às avessas: relatos de um processo de criação

The term body without organs is present in a poem by the french writer, actor and director Antonin Artaud, written in 1947 and titled: To Have Done with the Judgement of God. I aim, in this work, from what we call investigative scenic writing, to problematize this term and its possible relations with the theater and also with some aspects of the Hindu myths. I unite the idea of the body without organs with the body in trance present in the stories of an Indian master named Caitanya Mahaprabhu. These ideas, along with the development of practices that come from some principles of Theatre Anthropology, are incentives for a creation process that highlights the work of preparation and creation of corporeal work of the actor. The relationship between the concepts and the practice raise discussions about where I stand as an actor-researcher in process

Edukacja w/dla wielokulturowości. Casus Singapuru

Singapore brings together representatives of different cultures. Currently, 76% of the Singapore population is Chinese, 14% - Malay, 8% Hindu. All of them (with the rest 2%) have a possibility to participate in one of the best education models in the world. However, education and other political institutions are assessed in an ambivalent way. The article will address these controversies, including the Confucian thought of self-improvement and Peranakan Chinese as an example for the hypothesis.

W stronę radykalnego pluralizmu religijnego

Książka stanowi poszerzoną i uzupełnioną wersję pracy magisterskiej, napisanej pod kierunkiem prof. Tadeusza Buksińskiego w Instytucie Filozofii im. Adama Mickiewicza w Poznaniu.

Dançando às avessas: relatos de um processo de criação

The term body without organs is present in a poem by the french writer, actor and director Antonin Artaud, written in 1947 and titled: To Have Done with the Judgement of God. I aim, in this work, from what we call investigative scenic writing, to problematize this term and its possible relations with the theater and also with some aspects of the Hindu myths. I unite the idea of the body without organs with the body in trance present in the stories of an Indian master named Caitanya Mahaprabhu. These ideas, along with the development of practices that come from some principles of Theatre Anthropology, are incentives for a creation process that highlights the work of preparation and creation of corporeal work of the actor. The relationship between the concepts and the practice raise discussions about where I stand as an actor-researcher in process

"The Cure of Bytyng" in London, Wellcome Library, MS 411 (ff. 56r-61r)

London, Wellcome Library, MS 411 is a codex in one volume which dates from the late fifteenth century. It houses a collection of practical treatises and tracts in English and Latin, in verse as well as in prose, on different topics including prognostications, nativities, medical astrology, reproduction, toxicology, bloodletting, etc. In this paper, the Middle English anonymous treatise on venomous bites, written in prose and held in folios 56r to 61r, is taken into consideration. The objective is twofold: on the one hand, to examine the contents, transmission and sources of the text and, on the other, to describe it from a physical standpoint. Investigation on those aspects of the treatise contained in Wellcome MS 411 can shed some light on the function and diffusion of the text, and may also prove significant for a better understanding of it.

Análisis del cambio de las relaciones políticas entre India y Pakistán, a la luz de la cultura de anarquía hobbesiana, como consecuencia de los atentados de Mumbai 2008

Esta investigación busca analizar como se modificaron las relaciones entre India y Pakistán luego de los atentados de Mumbai 2008, a la luz de la cultura de anarquía hobbesiana. Para ello, se explicará como la estructura de anarquía ha sido un catalizador en la modificación de la toma de decisiones de los Estados, sobretodo teniendo en cuenta la característica de Pakistán como un Estado predador. Se demostrará si gracias a estos atentados la actuación de India en el conflicto ha cambiado y percibe a su par como un ente violento y predispuesto a la agresión. Para ello se entrará a explicar el devenir histórico de la relación, la intensidad del grupo perpetrador (Lashkar-e-Taiba) y las posiciones de ambos Estados frente a los atentados.

Memoires de Soie en Inde: La Ville de Kanchipuram et son art de Tissage

A cidade de Kanchipuram, no Estado de Tamilnadu, sul da Índia, é sinónimo de templos hindus, mas também do sari em seda. A migração de comunidades de tecelão para esta cidade começou durante o reinado da Dinastia Chola nos Séculos 8-13 d. C. Anteriormente, o pano de seda foi considerado como tecido dos Deuses e os tecelões satisfizeram as necessidades religiosas do templo da cidade. Paulatinamente, um tecido de seda torna-se, tanto um tecido dos "mortais", como dos Deuses, e houve um aumento da procura dos têxteis em seda, especialmente, do sari em seda. A particularidade dos tecelões de Kanchipuram reside na sua técnica complicada de tecelagem e nos ricos motivos que são uma expressão da paixão do tecelão. Nosso trabalho de investigação centra-se nas técnicas de tecelagem e no seu produto final - o sari - para destacar a sua singularidade. Neste contexto, quero propor um projecto de documentação dos motivos do sari, para ilustrar um dos principais meios de valorização desta tradição de tecelagem que remonta a vários séculos. RÉSUMÉ: La ville de Kanchipuram, située dans l'état du Tamilnadu, dans le sud de l'Inde, fait souvent écho aux temples hindous mais également au sari en soie. Les tisserands ont migré à l'époque Chola (850- 1279 ap.J.C.) pour répondre aux besoins religieux de la ville car au départ, la soie était un tissu destiné à I 'usage des dieux. Au fur et à mesure, la soie est devenue aussi bien un tissu destiné aux 'mortels' qu'aux dieux. Ces tisserands ont connu par la suite, une forte demande, plus particulierement, pour les saris en soie. La particularité des tisserands de la ville de Kanchipuram réside dans sa technique laborieuse de tissage et dans les motifs élaborés parle billet desquels s'exprime la passion du tisserand dans sa tâche. Le présent mémoire s'attache à la technique de tissage et à son produit final - le sari - pour mettre en valeur son unicité. Dans ce cadre, je propose un projet de documentation des motifs des saris pour illustrer un des vecteurs clés de valorisation de cette tradition de tissage qui remonte à plusieurs siecles. ABSTRACT: The city of Kanchipuram, located in the State of Tamilnadu in southern India, is synonymous with Hindu temples and silk saris. The migration of weaver communities to the city started during the Chola reign (81 131 centuries A.D). Early on, silk was considered the cloth of the gods and these weavers met the needs of the temple city by producing silk textiles for religious use. Gradually, silk became a cloth as much for the 'mortais' as for the gods and demand increased for silk textiles, especially saris. The importance of Kanchipuram weaving lies in its complex techniques and rich motifs as expressions of the. weaver’s passion. This text examines the weaving techniques popularly known as the korvai technique, as well as the saris produced using this technique. ln addition, it attempts to catalogue certain motifs woven into the saris as a first step in promoting and valorizing the cultural richness of an art dating back several centuries.

La performance rituale delle Nava Durgā: musica e danza tra i Banmālā di Bhaktapur, Nepal

Il presente lavoro è il risultato di cinque anni di ricerca sulla performance rituale delle Nava Durgā del popolo newar a Bhaktapur (Nepal). Dal 1512, per circa nove mesi all'anno, gli uomini della casta inferiore Banmālā reincarnano le nove manifestazioni femminili della dea Durgā ed eseguono le danze in maschera. La performance della Nava Durgā è una pratica culturale molto complessa, composta da suoni, danze, processioni, momenti di venerazione (pūjā), rituali tantrici e momenti sacrificali. Gli aspetti musicali e teatrali della performance costituiscono il focus dell’indagine di questo studio. Dopo una descrizione analitica degli strumenti musicali utilizzati nella performance, alcuni elementi sonori vengono trascritti e analizzati mettendo in luce le caratteristiche tipiche della musica newar. I contenuti narrativi delle danze e il ciclo vitale delle Nava Durgā rispecchiano la vita hindu. La loro interpretazione viene realizzata in base alle osservazioni etnografiche; alcuni temi che costituiscono gli obiettivi dei devoti hindu (puruṣārtha) vengono esaminati attraverso l’approccio storico e quello etnografico, anche al fine di sottolineare il ruolo didascalico e formativo della performance. Un altro argomento discusso in questo lavoro consiste nell'identità dei danzatori Banmālā e quella del popolo newar in generale; questo aspetto è emerso in modo rilevante anche durante le fasi di mediatizzazione della performance delle Nava Durgā avvenute nel periodo del COVID-19. Da questo punto di vista, il presente lavoro costituisce un contributo alla diffusione della conoscenza della tradizione delle Nava Durgā; questo converge con l'obiettivo dei Banmālā di aumentare la visibilità della performance al fine di affermare la propria identità sia nel contesto nazionale che in quello internazionale.