What Is Wrong with Global Bioethics? On the Limitations of the Four Principles Approach

2001 ◽  
Vol 10 (1) ◽  
pp. 72-77 ◽  
Author(s):  
TUIJA TAKALA
Keyword(s):  
Biomedical Ethics ◽  
Global Perspective ◽  
Global Bioethics ◽  
Perspective Theory ◽  
History Of ◽  
Bioethical Issues ◽  
The One ◽  
History Of Bioethics

Within the latter half of the 30-year history of bioethics there has been an increasing pressure to address bioethical issues globally. Bioethics is not traditionally a theory-based enterprise, rather the focus has been problem related. With the introduction of the global perspective, theory has, however, become more important. One of the best known, probably the best known, theory of bioethics is the one presented by Tom L. Beauchamp and James F. Childress in their Principles of Biomedical Ethics in 1979. This theory is known as the “four principles” or the “Georgetown mantra” approach or “mid-level principlism.” It is the attempt to create a global framework for bioethics on the four principles—autonomy, justice, beneficence, and nonmaleficence—that I will scrutinize in this paper.

Modernism and World Art, 1950–72

ARTMargins ◽  
2019 ◽  
Vol 8 (2) ◽  
pp. 55-76
Author(s):  
Nikolas Drosos
Keyword(s):  
Twentieth Century ◽  
Modern Art ◽  
American Art ◽  
Global Perspective ◽  
The Other ◽  
Soviet Bloc ◽  
Universal History ◽  
History Of Art ◽  
History Of ◽  
The One

Focusing on a series of exhibitions of modern art from the 1950s to the early 1970s, this article traces the frictions between two related, yet separate endeavors during the first postwar decades: on the one hand, the historicizing of modernism as a specifically European story; and on the other, the constitution of an all-encompassing concept of “World Art” that would integrate all periods and cultures into a single narrative. The strategies devised by exhibition organizers, analyzed here, sought to maintain the distance between World Art and modernism, and thus deferred the possibility of a more geographically expansive view of twentieth-century art. Realist art from the Soviet bloc and elsewhere occupied an uneasy position in such articulations between World Art and modernism, and its inclusion in exhibitions of modern art often led to the destabilizing of their narratives. Such approaches are contrasted here with the prominent place given to both realism and non-Euro-American art from the twentieth century in the Soviet Universal History of Art, published from 1956 to 1965. Against the context of current efforts at a “global” perspective on modern art, this article foregrounds the instances when the inner contradictions of late modernism's universalist claims were first exposed.

scholarly journals OPPORTUNITIES FOR TEACHING THE DISCIPLINE «BIOMEDICAL ETHICS» IN THE FORMATION OF PROFESSIONAL AND MORAL QUALITIES FOR MEDICAL STUDENTS

2021 ◽  
pp. 29-34
Author(s):  
P. G. Vorontsov ◽  
Keyword(s):  
Medical Students ◽  
Biomedical Ethics ◽  
History Of ◽  
Moral Qualities ◽  
The Subject ◽  
Foreign Education ◽  
History Of Bioethics ◽  
Medical University ◽  
Future Doctor

The article reveals a brief history of bioethics and the relevance of the subject of biomedical ethics in a medical university for the formation of professional and moral qualities of a future doctor. The main content of this discipline in domestic and foreign education is revealed. Topical issues of the theory and methodology of teaching bioethics in a medical university are described, including the ones based on the author’s pedagogical experience. The main problems in teaching biomedical ethics at the beginning of the XXI century are noted.

scholarly journals Reclaiming the Idea of the University as a Possible Solution to Today’s Crisis

2014 ◽  
Vol 4 (2) ◽  
pp. 91-104
Author(s):  
Sonia Pavlenko ◽  
Cristina Bojan
Keyword(s):  
Higher Education ◽  
Economic Crisis ◽  
Bologna Process ◽  
Global Perspective ◽  
History Of Higher Education ◽  
History Of ◽  
The One ◽  
The University ◽  
The Bologna Process ◽  
Idea Of The University

Higher education has always been associated in one way or another with crisis. One could even argue that the university has always faced one type of crisis or another. The one debated the most is the economic crisis; however, there are many debates focusing on other types of crisis. Furthermore, all major reforms in the history of higher education (from Humboldt’s reform in 19th century Prussia to the views promoted by Y Gasset against the background of the Spanish revolution, or even the Bologna Process) have arisen as a result of a crisis. Today, the global economic crisis has yet again highlighted the fact that the idea of the university, the very foundation on which it was built, is no longer present when addressing contemporary issues in higher education. Our paper argues that there is an imperative need to reclaim and reconsider the idea of the university, as this could provide a possible solution to today’s crisis in higher education. Furthermore, we will attempt to show the reasons why this should occur, as well as the manner in which it could be achieved. The focus today is on too many minute, detailed aspects of higher education institutions, which are managed, evaluated, quality assured, ranked, assessed and so forth, while the global perspective on the university has been lost/ignored. Today’s crisis could be used as an opportunity to reassess and re-establish a relevant idea for today’s university. 

Misreading Egypt

2018 ◽  
Author(s):  
Jesse Schotter
Keyword(s):  
New Media ◽  
Narrative Form ◽  
Experimental Film ◽  
Tower Of Babel ◽  
Avant Garde ◽  
Sergei Eisenstein ◽  
History Of ◽  
The One ◽  
The Relationship ◽  
Modern Technologies

The first chapter of Hieroglyphic Modernisms exposes the complex history of Western misconceptions of Egyptian writing from antiquity to the present. Hieroglyphs bridge the gap between modern technologies and the ancient past, looking forward to the rise of new media and backward to the dispersal of languages in the mythical moment of the Tower of Babel. The contradictory ways in which hieroglyphs were interpreted in the West come to shape the differing ways that modernist writers and filmmakers understood the relationship between writing, film, and other new media. On the one hand, poets like Ezra Pound and film theorists like Vachel Lindsay and Sergei Eisenstein use the visual languages of China and of Egypt as a more primal or direct alternative to written words. But Freud, Proust, and the later Eisenstein conversely emphasize the phonetic qualities of Egyptian writing, its similarity to alphabetical scripts. The chapter concludes by arguing that even avant-garde invocations of hieroglyphics depend on narrative form through an examination of Hollis Frampton’s experimental film Zorns Lemma.

Theodor W. Adorno

2018 ◽  
Author(s):  
Colby Dickinson
Keyword(s):  
The Other ◽  
History Of Thought ◽  
History Of ◽  
The One

In his somewhat controversial book Remnants of Auschwitz, Agamben makes brief reference to Theodor Adorno’s apparently contradictory remarks on perceptions of death post-Auschwitz, positions that Adorno had taken concerning Nazi genocidal actions that had seemed also to reflect something horribly errant in the history of thought itself. There was within such murderous acts, he had claimed, a particular degradation of death itself, a perpetration of our humanity bound in some way to affect our perception of reason itself. The contradictions regarding Auschwitz that Agamben senses to be latent within Adorno’s remarks involve the intuition ‘on the one hand, of having realized the unconditional triumph of death against life; on the other, of having degraded and debased death. Neither of these charges – perhaps like every charge, which is always a genuinely legal gesture – succeed in exhausting Auschwitz’s offense, in defining its case in point’ (RA 81). And this is the stance that Agamben wishes to hammer home quite emphatically vis-à-vis Adorno’s limitations, ones that, I would only add, seem to linger within Agamben’s own formulations in ways that he has still not come to reckon with entirely: ‘This oscillation’, he affirms, ‘betrays reason’s incapacity to identify the specific crime of Auschwitz with certainty’ (RA 81).

Sea Urchins and Circuses: The Modernist Natural Histories of Jean Painlevé and Alexander Calder

2018 ◽  
Vol 13 (2) ◽  
pp. 187-211
Author(s):  
Patricia E. Chu
Keyword(s):  
New Media ◽  
Sea Urchins ◽  
Life Sciences ◽  
Three Dimensional ◽  
Machine Age ◽  
Avant Garde ◽  
History Of ◽  
And Performance ◽  
The One ◽  
Natural Historian

The Paris avant-garde milieu from which both Cirque Calder/Calder's Circus and Painlevé’s early films emerged was a cultural intersection of art and the twentieth-century life sciences. In turning to the style of current scientific journals, the Paris surrealists can be understood as engaging the (life) sciences not simply as a provider of normative categories of materiality to be dismissed, but as a companion in apprehending the “reality” of a world beneath the surface just as real as the one visible to the naked eye. I will focus in this essay on two modernist practices in new media in the context of the history of the life sciences: Jean Painlevé’s (1902–1989) science films and Alexander Calder's (1898–1976) work in three-dimensional moving art and performance—the Circus. In analyzing Painlevé’s work, I discuss it as exemplary of a moment when life sciences and avant-garde technical methods and philosophies created each other rather than being classified as separate categories of epistemological work. In moving from Painlevé’s films to Alexander Calder's Circus, Painlevé’s cinematography remains at the forefront; I use his film of one of Calder's performances of the Circus, a collaboration the men had taken two decades to complete. Painlevé’s depiction allows us to see the elements of Calder's work that mark it as akin to Painlevé’s own interest in a modern experimental organicism as central to the so-called machine-age. Calder's work can be understood as similarly developing an avant-garde practice along the line between the bestiary of the natural historian and the bestiary of the modern life scientist.

Global Development

2019 ◽  
Author(s):  
Sara Lorenzini
Keyword(s):  
Cold War ◽  
International Organizations ◽  
Development Aid ◽  
Global Perspective ◽  
Modern World ◽  
Development Projects ◽  
Berlin Wall ◽  
History Of Development ◽  
History Of ◽  
The Cold War

In the Cold War, “development” was a catchphrase that came to signify progress, modernity, and economic growth. Development aid was closely aligned with the security concerns of the great powers, for whom infrastructure and development projects were ideological tools for conquering hearts and minds around the globe, from Europe and Africa to Asia and Latin America. This book provides a global history of development, drawing on a wealth of archival evidence to offer a panoramic and multifaceted portrait of a Cold War phenomenon that transformed the modern world. Taking readers from the aftermath of the Second World War to the tearing down of the Berlin Wall, the book shows how development projects altered local realities, transnational interactions, and even ideas about development itself. The book shines new light on the international organizations behind these projects—examining their strategies and priorities and assessing the actual results on the ground—and it also gives voice to the recipients of development aid. It shows how the Cold War shaped the global ambitions of development on both sides of the Iron Curtain, and how international organizations promoted an unrealistically harmonious vision of development that did not reflect local and international differences. The book presents a global perspective on Cold War development, demonstrating how its impacts are still being felt today.

NURTURING OF CHILDREN THROUGH DRAMA AND THEATRE: THE CASE OF INTWASA KOBULAWAYO PERFORMANCES

2016 ◽  
Vol 13 (2) ◽  
pp. 86-99
Author(s):  
Vimbai Moreblessing Matiza
Keyword(s):  
Political Development ◽  
Children And Youth ◽  
Main Task ◽  
Growing Up ◽  
Theatrical Performances ◽  
History Of ◽  
The One

Dramatic and theatrical performances have a long history of being used as tools to enhance development in children and youth. In pre-colonial times there were some forms of drama and theatre used by different communities in the socialisation of children. It is in the same vein that this article, through the Intwasa koBulawayo performances, seeks to evaluate how drama and theatre are used to nurture children and youth into different developmental facets of their lives. The only difference which this article will take into cognisance is that the performances are done in a different environment, which is not the one used in the pre-colonial times. Although these performances were like this, the most important factor is the idea that children and youth are socialised through these performances. It is also against this backdrop that children and youth are growing up in a globalised environment, hence the performances should accommodate people from all walks of life and teach them relevant issues pertaining to life as they live it now. Thus the main task of the article is to spell out the role of drama and theatre in the nurturing of children and youth through socio economic and political development in Intwasa koBulawayo festivals.

Responsive Architecture and the Problem of Obsolescence

2014 ◽  
Vol 8 (3) ◽  
pp. 95 ◽  
Author(s):  
Mark Meagher
Keyword(s):  
Computer Science ◽  
Digital Information ◽  
Material Response ◽  
Responsive Architecture ◽  
History Of ◽  
The One

Responsive architecture, a design field that has arisen in recent decades at the intersection of architecture and computer science, invokes a material response to digital information and implies the capacity of the building to respond dynamically to changing stimuli. The question I will address in the paper is whether it is possible for the responsive components of architecture to become a poetically expressive part of the building, and if so why this result has so rarely been achieved in contemporary and recent built work. The history of attitudes to- ward obsolescence in buildings is investigated as one explanation for the rarity of examples like the one considered here that successfully overcomes the rapid obsolescence of responsive components and makes these elements an integral part of the work of architecture. In conclusion I identify strategies for the design of responsive components as poetically expressive elements of architecture.

‘I Fight Anyone Who Doesn’t Act as a Communist Should...’ Letter of F. A. Zemit to N.N. Krestinsky on Financial Work in Siberia. January 5, 1920.

2018 ◽  
pp. 1137-1148
Author(s):  
Dmitrii I. Petin ◽  
Keyword(s):  
Civil War ◽  
Soviet Society ◽  
Difficult Situation ◽  
Professional Activities ◽  
Regional Finance ◽  
Difficult Time ◽  
History Of ◽  
Source Study ◽  
The One ◽  
Major Impediment

The article offers a source study of the letter of the head of the Financial Department at the Siberian Revolutionary Committee F. A. Zemit to the People's Commissar of Finance of the RSFSR N. N. Krestinsky. Its text analysis clears up the issue of creation of Soviet regional governing bodies in the financial–economical sphere in Siberia at the final stage of the Civil War. The published source allows to outline major impediment to restoration of the Soviet finance system in Siberia after the Civil War: shortage of financial workers, their low professional qualifications, lack of regulatory documentation for organizing activities, etc. Key methods used in the study are biographical and problematic/chronological. Biographical method allows to interpret the document and to link it with professional activities of F. A. Zemit in Omsk. The problematic/chronological method allows to trace the developments in regional finance and to understand their causes by placing them into historical framework. The letter was written by F. A. Zemit in early January 1920 – at a most difficult time in his career in Siberia. The author considers this ego-document unique and revealing in its way. On the one hand, it is an official appeal of an inferior financial manager to the head of the People's Commissariat of Finance; its content is practical and no-nonsense. On the other hand, its style indicates a warm friendly and trusting relationship between the sender and the addressee; F. A. Zemit was, apparently, able to report personally to the People's Commissar of Finance of the RSFSR on the difficult situation in the region and to do so with great frankness. This publication may be of interest to scholars in history of Russian finance, Russia Civil War, Soviet society, and Siberia of the period.

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