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1
Ramade, Bénédicte. "Can Man Survive? (1969). Exposer un avenir écologique funeste." Transbordeur 8 (2024): 100–111. http://dx.doi.org/10.4000/12gy1.
Повний текст джерелаАнотація:
En 1969, le musée américain d’histoire naturelle de New York célébra son centenaire avec une exposition multimédia uniquement constituée d’images photographiques et filmiques qui, plutôt que de mettre en avant l’exceptionnalisme de la nature du pays, documentaient sur un ton dénonciateur et alarmiste la pollution de l’eau et de l’air, la surpopulation et la dégradation globale des conditions de vie sur terre. Can Man Survive? fut à l’affiche du musée jusqu’en mai 1971 avec une scénographie inspirée par les expositions universelles et la télévision, se distinguant de l’iconographie de la défense de la nature jusque-là en vigueur. En reconstituant l’expérience de visite de cet objet expographique à partir de comptes rendus d’époque et de l’examen d’images du catalogue, puis en le comparant avec les stratégies de diffusion d’une organisation de protection des espaces sauvages et des ressources comme le Sierra Club, on peut comprendre la rupture iconographique et idéologique que représente cette exposition paradoxalement tombée dans l’oubli.
2
Miller, Kiri. "Americanism Musically: Nation, Evolution, and Public Education at the Columbian Exposition, 1893." 19th-Century Music 27, no. 2 (2003): 137–55. http://dx.doi.org/10.1525/ncm.2003.27.2.137.
Повний текст джерелаАнотація:
The Columbian Exposition (the World's Fair in Chicago, 1893) was intended to represent the entire progress of human history, with American civilization as its culminating triumph. The Exposition celebrated the four-hundredth anniversary of Columbus's discovery of the New World; it restaged that discovery in myriad ways: from the display of ““savage races”” on the Midway to the construction of an emergent American middle class as civilization's newest noble savages, hungry for education. Music was an integral part of the Exposition. America's musical elite took an active role in the fair's promotion and design. The Exposition also stimulated a flood of writing on the nature and future of ““truly American”” music. This article examines American musical culture at the Exposition, with attention to music as art, science, and commerce three categories at the heart of the Exposition's formal definition of music. The network of mutual reinforcements, contradictions and the related concepts of nation, race, and evolution has powerful implications for the ensuing history of music in America. Analysis of the educational agenda of music at the Exposition suggests it taught its visitors--5 to 10 percent of the American population--a great deal about race, class, nationhood, and their identity as consumers. Reading the musical criticism, speculative philosophy, and patriotic grandstanding that accompanied the fair shows how musical thought of the day relied on evolutionary theory.
3
T. Szabó, Levente. "International Exhibitions, Literary Capitalism, and the Emergence of Comparative Literature." Journal of World Literature 7, no. 3 (September 9, 2022): 332–47. http://dx.doi.org/10.1163/24056480-00703003.
Повний текст джерелаАнотація:
Abstract The invention of international fairs in the 19th century revolutionized both nationalism and modern thinking on global relationships since they showcased but also contested and negotiated national, imperial, and global identities. From the Great Exhibition at Crystal Palace to the 1900 Paris Exposition, the international fairs / expositions universelles were landmarks of histoire croisée of nationalism, global thinking, and capitalism. Even though they seem to be showcasing industrial progress, they also created a completely new frame for the self-fashioning, vindication, and negotiation of national arts and literatures, interpreted in a global setting and in capitalist terms. I propose to explore the pattern and experience of the 19th-century international fair / exposition universelle as an important frame for the emerging modern transnational literary scene, fueling major debates on the nature of nationalism, cosmopolitanism, and capitalism.
4
Van Zanten, Leonard None. "Wave Nature." JOURNAL OF ADVANCES IN PHYSICS 11, no. 2 (November 18, 2015): 3050–80. http://dx.doi.org/10.24297/jap.v11i2.536.
Повний текст джерелаАнотація:
This essay provides evidence that light and other such waves never at all travel on a continues sine formation, and that at no time these are produced at their full frequency. With further evidence that the dispersion of light is never at all by any change in velocity but by incidence only, and that all waves exist by half-lengths only. And in order to do it justice my exposition became rather lengthy, I therefore beg your patience to bear with me to the end. This issue then may prove to be a giant step forward in the knowledge of fundamentals.
5
Sessions, John G. "An Exposition on the Nature of the Wage Curve." Scandinavian Journal of Economics 95, no. 2 (June 1993): 239. http://dx.doi.org/10.2307/3440409.
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6
Sun, Yao. "Expositional discourse and its narrative function in the short prose of I.S. Turgenev." Филология: научные исследования, no. 5 (May 2023): 33–41. http://dx.doi.org/10.7256/2454-0749.2023.5.40855.
Повний текст джерелаАнотація:
The author explores the expositional discourse and its narrative function in the prose of I.S. Turgenev. The analysis of the lyrical beginning is given as the reason for the special Turgenev exposition, which is a manifestation of the horizons and value consciousness of the author-narrator. It is noticed that it is in lyrical descriptions that the subjective space of the narrator is formed. In Turgenev's prose, there are stories in which the exposition is based on similarities with poems in prose. In such texts, the exposition is only indirectly related to the further development of the plot. It often represents a closed system and functions at the level of metatext and meta-discourse. At this level, the lyrical introduction is designed to affect the spiritual space of the reader. The novelty of the study is given by the conclusions made regarding the cycle "Notes of the hunter". According to them, I.S. Turgenev also has such introductions to the main narrative that do not fit into the "canon". In the stories "Bezhin Meadow", "Date" and others, the exposition implements a specific strategy of the author's narrative. It is as if it is not provided for by the further development of the plot and is a pure product of lyrical and philosophical contemplation of nature. It is a reflection of the subjective perception of the hero-narrator. On its basis, an idea of the world and space belonging to the innermost side of the spiritual personality of the writer is formed. The natural images in the exposition part of the stories are artistically comprehended in the categories of "eternity", opposing the "temporary" plan of human existence.
7
Yin, Xinwei, Tong Wang, Lianghai Lv, Baoqian Dai, and Yu Wang. "Discussion on Operation Risk Analysis and Emergency Management Construction of Urban Large-scale Horticultural Exposition." E3S Web of Conferences 253 (2021): 03071. http://dx.doi.org/10.1051/e3sconf/202125303071.
Повний текст джерелаАнотація:
With the development of society, the urban large-scale horticultural exposition has increasingly become one of the manifestations of enriching people's lives, but the issue of safety management has always been an important research topic. Taking Beijing World Horticultural Exposition as an example, this paper systematically analyzes the operation risk of large-scale horticultural exposition, and expounds on the characteristics of possible risks of the world horticultural exposition from the perspective of the existing nature of risks, and puts forward the construction plan of perfecting the responsibility system of emergency management. It aims to provide a theoretical reference for the operation risk analysis and emergency management of large-scale horticultural fairs.
8
Charpentier, Angèle, and Anne-Gaëlle Rossignol. "Exposition : La nature dans les espaces périurbains français et russes." Géographes associés 25, no. 1 (2001): 125–31. http://dx.doi.org/10.3406/geoas.2001.2198.
Повний текст джерела
9
Wolfson, Murray. "The Transformation Problem: Exposition and Appraisal." Journal of the History of Economic Thought 12, no. 2 (1990): 179–95. http://dx.doi.org/10.1017/s1053837200001723.
Повний текст джерелаАнотація:
Every theory of value has to perform certain tasks. In the narrowest sense, it must explain ratios of exchange on the market. But it must also give an account of social costs and benefits, and their distribution among individuals and groups. Value theory must relate human beings to the physical and biological realities. It must explain the relations between persons and groups. In fulfilling all these tasks, value theory reflects philosophical beliefs about how human beings perceive and react to nature and to each other.
10
Alawiah, Ismi Saumi, Eli Syarifah Aeni, and Restu Bias Primandhika. "PENERAPAN HANDOUT ELEKTRONIK BERBASIS CANVA TERHADAP PEMBELAJARAN MENGANALISIS TEKS EKSPOSISI KELAS VIII." Parole : Jurnal Pendidikan Bahasa dan Sastra Indonesia 6, no. 4 (July 7, 2023): 303–14. http://dx.doi.org/10.22460/parole.v6i4.17976.
Повний текст джерелаАнотація:
21st century learning has criteria that integrate with technology. One of the efforts to use technology in learning is to use teaching materials. Electronic teaching materials can be an alternative for educators, students, and schools. Its flexible nature makes it easier for learning activities. The This study's goals were to: (1) describe how electronic handouts are used with exposition text content and (2) determine whether using electronic handouts helps students learn exposition texts. In this inquiry, the descriptive qualitative method was used information gathered by answering a questionnaire. The study's conclusions suggest that electronic handouts made with Canva are useful for studying exposition materials. This was obtained through the results of a questionnaire, namely as many as 91.2% of students agreed and strongly agreed on the usefulness of Canva-based electronic handouts in analyzing exposition texts.
11
Ibanez, Lisette, Jean-Charles Latourte, and Sébastien Roussel. "Comportements pro-environnementaux et exposition à la nature : une étude expérimentale." Revue économique 70, no. 6 (2019): 1139. http://dx.doi.org/10.3917/reco.706.1139.
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12
Armstrong, D. M. "The Nature of Possibility." Canadian Journal of Philosophy 16, no. 4 (December 1986): 575–94. http://dx.doi.org/10.1080/00455091.1986.10717137.
Повний текст джерелаАнотація:
I want to defend a Combinatorialtheory of possibility. Such a view traces the very idea of possibility to the idea of the combinations – all the combinations which respect a certain simple form – of given, actual, elements. Combination is to be understood widely enough to cover the notions of expansion and contraction. (My central metaphysical hypothesis is that all there is is the world of space and time. It is this world which is to supply the actual elements for the totality of combinations. So what is proposed is a Naturalistic form of a combinatorial theory.)The combinatorial idea is not new, of course. Wittgenstein gave a classical exposition of it in the Tractatus. Perhaps its charter is 3.4: ‘A proposition determines a place in logical space. The existence of this logical place is guaranteed by the mere existence of the constituents’ (my italics). There is a small additional combinatorial literature. I myself was converted to a combinatorial view by Brian Skyrms’ brief but fascinating article ‘Tractarian Nominalism.’
13
Nikolaeva, A. A., and T. I. Sorokina. "INTEGRATED APPROACH TO THE CREATION OF ECOLOGICAL EXPOSITIONS IN NATURAL AND ANTHROPOGENIC LANDSCAPES." Landscape architecture in the globalization era, no. 2 (2021): 54–63. http://dx.doi.org/10.37770/2712-7656-2021-2-54-63.
Повний текст джерелаАнотація:
Ecological exposition as one of the types of landscape exposition, shows plants of certain ecological groups. As a rule, conditions are created for such plants that simulate their natural habitat. At the same time, changing the existing environmental conditions is resource-intensive, and the result obtained cannot fully repeat the natural conditions due to their multicomponent nature and being confined to a certain climatic zone. It is of interest to use the existing natural and anthropogenic conditions for the arrangement of expositions, without changing them, but using the existing resource. The authors highlight the problem of using the coastal territory along the ponds on the Kamenka River of the Main Botanical Garden named after N.V. Tsitsin of the Russian Academy of Sciences (MBG RAS). The paper defines the potential of the territory for creating ecological expositions along the shoreline of the Kamensky Ponds of the Russian Academy of Sciences, using the existing natural conditions. In the course of research, a comprehensive approach to the analysis of natural conditions and historical facts is applied. For the historical analysis, the method of combining planned materials and decoding aerial photographs was used. To describe the environmental factors, a landscape-visual survey of the territory, a combination of satellite images with modern maps, an inventory of green spaces, soil mapping, and an inventory of green spaces were performed. As a result of the research, 10 zones with different environmental conditions were identified. Since the formation of the MBG RAS in 1945, the study area has been allocated to different expositions and zones (Entrance Group, Garden of Coastal Plants and part of the Garden of Continuous Flowering), which over time have completely or partially lost their relevance or decorativeness.
14
Braga, Ariane Varela. "Owen Jones, Gottfried Semper et les origines anthropologiques de l’art ornemental." Palíndromo 12, no. 27 (May 1, 2020): 034–55. http://dx.doi.org/10.5965/2175234612272020033.
Повний текст джерелаАнотація:
Suite à la première Exposition universelle de Londres de 1851, les architectes Owen Jones et Gottfried Semper font appel aux cultures primitives afin d’affirmer la nature anthropologique de l’art ornemental.
15
Braga, Ariane Varela. "Owen Jones, Gottfried Semper et les origines anthropologiques de l’art ornemental." Palíndromo 12, no. 27 (May 1, 2020): 034–55. http://dx.doi.org/10.5965/2175234612272020034.
Повний текст джерелаАнотація:
Suite à la première Exposition universelle de Londres de 1851, les architectes Owen Jones et Gottfried Semper font appel aux cultures primitives afin d’affirmer la nature anthropologique de l’art ornemental.
16
ST, Al Vincent. "On the Aporetic Nature of Plato’s Lysis." Philosophy International Journal 5, no. 4 (October 10, 2022): 1–4. http://dx.doi.org/10.23880/phij-16000274.
Повний текст джерелаАнотація:
Centering on the early Platonic dialogues, this paper delineates the importance of considering Plato’s Lysis’ as rightful inclusion to Jan Szaif’s proposal of “core group” of aporetic dialogue. This paper highlights a synoptic presentation of the development of Lysis’s reception by modern scholars of Plato (Platonic scholars) at the beginning of this discourse to establish a compelling argument for its aporetic nature. It then proceeds with a revisit to Szaif’s article Socrates and the Benefits of Puzzlement. The first section, considering its importance, emphasizes the evident possibility of opening his list of ‘core group’ of aporetic dialogue to Lysis benefitting the said dialogue. This exposition concludes with the philosophical nature of friendship, even love, must neither begin in Plato’s Phaedrus and Symposium nor in Aristotle’s conception of friendship in Nicomachean Ethics. Alternatively, cognizant of the aporetic tradition followed and practiced by Plato, all studies on the said topics may begin with Lysis.
17
Wu, Meng. "Designing exhibitions of Chinese art in Soviet Art Museums: from collectible to problematic method." Культура и искусство, no. 6 (June 2024): 200–212. http://dx.doi.org/10.7256/2454-0625.2024.6.70750.
Повний текст джерелаАнотація:
The object of research is Chinese fine art presented in Soviet museums, museum practice and scientific discourse that has developed around the study of Chinese art in the USSR. The subject of the research is the specifics of designing exhibitions of Chinese art in Soviet art museums and the issues of its historical transformation. The analysis of a number of exhibition events held in Soviet museums and dedicated to Chinese fine art is proposed. During the consideration of the topic, such issues as the factors that influenced the methods of Soviet scientists in planning Chinese expositions, the degree of their effectiveness in relation to communication between the Soviet viewer and works of Chinese fine art are traced. This material is used to reconstruct the process of transformation of Soviet art critics' approaches to presentation and communication in the field of Chinese art. The comparative historical method is used to allow a comparative analysis of the Early Soviet and late Soviet periods in order to comprehend the issues of the evolution of scientific knowledge about Chinese art, approaches to its research, museum presentation and communication in this area. A descriptive method of analyzing exhibitions and collections of Chinese fine art in Soviet museums is used. For the first time, the nature of Soviet museum studies of Chinese fine art is generalized, the approaches of Soviet researchers to presentation and communication in the field of fine art in China are revealed, and their historical transformation is traced. The main conclusions of the study are as follows. The nature of the evolution of Soviet researchers' approaches to presentation and communication in the field of Chinese fine art in USSR museums is determined by the movement towards the development of deep scientific ideas, which in the late Soviet period provide a reliable basis for the effective implementation of certain approaches to exposition planning, the complication of exhibition events, the movement of Soviet museological theory from an ideologized view of exposition material as a means education of a citizen of a new formation, to the perception of an independent artistic idea of exposition works. Since the second half of the 1980s, new principles of artistic communication between the viewer and works of fine art have been formed in the USSR: an independent artistic idea of exposition works is brought to the fore, which provides favorable conditions for the Soviet viewer to perceive traditional Chinese aesthetics as a separate phenomenon of ancient and original Chinese culture.
18
Golikov, Kirill, Ekaterina LAPTEVA, and A. SOCHIVKO. "LIVE PLANTS AS AN ADDITIONAL BOTANICAL COMPONENTOF THE THEMATIC EXPOSITION IN THE EARTH SCIENCE MUSEUM AT MOSCOW STATE UNIVERSITY." LIFE OF THE EARTH 42, no. 4 (November 25, 2020): 478–84. http://dx.doi.org/10.29003/m1777.0514-7468.2020_42_4/478-484.
Повний текст джерелаАнотація:
The article discusses the use of live plants as the botanical exposition component supplement of the “Natural areas” (hall № 17 “Natural zonality and its components” and № 20 “Desert, subtropical, tropical countries, high-altitude zone”) and “Physico-georaphic regions” (hall № 24 “Continents and parts of the world”) departments in order to visualize information presented in the Earth Science Museum. Demonstration of plants originating from different regions of the world representing different life forms and being structural components of various plant communities allows to visually characterizing thematic aspects of an exposition. That in turn reveal such principles of systematic nature organization as ecobiomorphic and phytocenotic.
19
Derlet, PM, and TC Choy. "Planck's Radiation Law: A Many Body Theory Perspective." Australian Journal of Physics 49, no. 3 (1996): 589. http://dx.doi.org/10.1071/ph960589.
Повний текст джерелаАнотація:
An exposition of Planck's Law of Radiation is presented within the context of modern quantum many body theory. In particular the generality of the Planck radiation law is demonstrated to be Valid to all orders of perturbation theory for an interacting system, regardless of the underlying statistics for the particles comprising the matter field and the precise nature of the interaction mechanism. This exposition justifies the use of Planck's law with minor modifications via the refractive index, in the optical properties of semiconductors and insulators. We conclude by clarifying when Planck's law is likely to fail.
20
Hauska, Jan. "The Causal Nature of Dispositions and Modality." Revista Portuguesa de Filosofia 77, no. 4 (January 31, 2022): 1213–42. http://dx.doi.org/10.17990/rpf/2021_77_4_1213.
Повний текст джерелаАнотація:
Theories of modality which invoke possible worlds have recently been challenged by accounts that appeal to dispositional properties. A prominent strand of the accounts maintains that there is an intimate link between dispositions and possibility. The link is said to be captured by the proposition that, at first approximation, a state of affairs is possible just in case there is some actual disposition whose manifestation is (or includes) the state. Focusing on the most detailed exposition and defence of this approach, put forward by Barbara Vetter, I critically examine the adequacy of the view of dispositional properties on which it rests and which seems to be required by any plausible dispositionalist account of possibility. In the course of doing so, I offer arguments in favour of the causal nature of dispositions.
21
Ovodova, Svetlana N., Darya V. Moiseeva, and Larisa S. Porshunova. "Representation of the culture of Finno-Ugric peoples of Ugra in museum exhibitions: Transition from the discourse of soviet modernity to the decolonial turn." Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, no. 53 (2024): 267–83. http://dx.doi.org/10.17223/22220836/53/22.
Повний текст джерелаАнотація:
The article presents the analysis of changes in the logic of representation of the culture of indigenous peoples living on the territory of Khanty-Mansi Autonomous Okrug (Khanty-Mansiysk) in ethnographic expositions of the Museum of Nature and Man (Khanty-Mansiysk). Contemporary researchers fix the crisis of ethnographic museums, which consists in the inconsistency of the narratives broadcast by the museum with contemporary discourse and is based on such processes as globalization and urbanization. Museums are facing questions about the need to reconsider their approaches to exhibiting. Using postcolonial methodology in the analysis of the experience of creating ethnographic exhibition projects allowed to distinguish colonial and postcolonial narratives, the authors based on the decolonial lens problematized the postcolonial narrative and identified in it the subjects, which could become possible scenarios for the development of future exhibitions. The ethnographic collection of the Museum of Nature and Man (Khanty-Mansiysk) consists of more than 5000 unique artifacts of Khanty, Mansi, Forest Nenets, Komi-Zyrian, as well as a great number of related photographs, film and video footage, documents and DPI objects. From the moment of its creation and up to the end of the 1990s the ethnographic expositions of the museum were a reflection of the Soviet modernist discourse exoticizing the culture of the indigenous peoples. In the early 2000s the museum underwent a complete change in its ethnographic exposition. Created under the leadership of A.V. Golovnev, the innovative exposition “Mythological Time”, based on the mythology of the indigenous peoples of the North, was a breakthrough in the museum business in Russia. The new exhibition, which is available to visitors today, marked a transition to the postcolonial logic of exhibiting. The creative approach to creating ethnographic exhibitions was preserved and developed by the museum staff in the following exhibition projects: Cape of the Sacred Dog (2014–2019, curator L.V. Porshunova) and Ringing of the Dancing Fate (2017–2018, curator I.Yu. Kopyltsova). These two projects already contained elements of decolonial discourse. In modern conditions, the development of new ethnographic exhibition projects should be based on close interaction with the local community of bearers of national culture.
22
Santiago-Ávila, Francisco J. "Muddled Facts and Values: Positivism, Egoism, and Anthropocentrism in the Anthropocene." Society & Animals 28, no. 4 (September 15, 2020): 420–29. http://dx.doi.org/10.1163/15685306-bja10020.
Повний текст джерелаАнотація:
Abstract I review biologist Chris D. Thomas’s book (2017) Inheritors of the Earth: How Nature is Thriving in an Age of Extinction and discuss its exposition and prescriptions. Thomas presents a fantastic exposition of the contemporary scientific literature documenting the biological gains mediated by human impacts on the nonhuman world. However, his prescriptions for a conservation ethic leave much to be desired. Thomas employs a philosophically narrow, positivist, and egoist approach to what is relevant when dealing with other sentient, sapient, and often social nonhuman beings. This culminates in an explicitly anthropocentric ethic that dismisses our moral obligations to nonhumans, both as individuals and collectives.
23
Bermejo-Rubio, Fernando. "Theses on the Nature of the Leben-Jesu-Forschung." Journal for the Study of the Historical Jesus 17, no. 1-2 (May 15, 2019): 1–34. http://dx.doi.org/10.1163/17455197-01701002.
Повний текст джерелаАнотація:
Criticisms addressed to the historiographical paradigm of the so-called ‘three quests’ by several scholars with different ideological backgrounds and who have worked independently have debunked it by proving its untenable character. The present paper makes a proposal for a new paradigm which allows us to understand the quest of the historical Jesus in a more comprehensive, lucid and explanatory way. This proposal has been articulated through a set of theses, accompanied in each case by an explanation (and, sometimes, by corollaries), accomplishing a threefold task: a broader characterization of historical Jesus research, a summary discussion of the main distortions contained in the ‘three-quests’ model, and, more importantly, an exposition of the basic principles of a new paradigm.
24
Nazymbetova, G. Sh, and P. A. Tleuberdina. "The nature museum is a quarter of a century old." Kazakhstan zoological bulletin 2, no. 1 (2021): 81–91. http://dx.doi.org/10.54944/kzbsd891zj28.
Повний текст джерелаАнотація:
2021 is a jubilee year for the Museum of Nature of the RSE “Gylym Ordasy” of the Science Committee of the Ministry of Education and Science of the Republic of Kazakhstan, April 15 marks the 60th anniversary of its foundation. Since the creation of the zoology sector from 1932 to 1958, scientists of the Institute of Zoology of the Academy of Sciences of the Kazakh SSR have collected and studied a variety of scientific material about the fauna of Kazakhstan. These collections of the remains of ancient prehistoric animals, collected by paleontologists and geologists in the Turgai, Zaisan depressions and in Central Kazakhstan in 1948-1957, gave the idea for the creation of the museum. The first president of the Academy of Sciences of the Kazakh SSR, academician K.I.Satpayev, timely supported this initiative. Since 1959, the museum began to receive its first visitors and gradually gained wide popularity far beyond the borders of the republic. The official opening of the museum, in accordance with the Decree of the Presidium of the Academy of Sciences of the Kazakh SSR dated April 29, 1961, No. 44, was timed to coincide with the 40th anniversary of the Kazakh SSR. The main goal of the museum is to popularize the fauna of Kazakhstan from the simplest to highly organized creatures, from the most ancient geological eras to the present day. After a long break (2006 - 2010) associated with the renovation of the building of the Academy of Sciences and the dismantling of all expositions, in 2010 the Museum of Nature returned to its former place as part of the museum complex of the RSE “Gylym Ordasy” of the Science Committee of the Ministry of Education and Science of the Republic of Kazakhstan. The exposition has been restored, updated and replenished with new unique exhibits.
25
Vaillancourt, Anita, Rebecca Barnstaple, Natalie Robitaille, and Taylor Williams. "Prescription d’exposition à la nature : nouvelles perspectives sur les approches fondées sur la réconciliation et l’inclusivité culturelle dans un centre de santé communautaire triculturel." Promotion de la santé et prévention des maladies chroniques au Canada 44, no. 6 (June 2024): 314–18. http://dx.doi.org/10.24095/hpcdp.44.6.05f.
Повний текст джерелаАнотація:
Résumé Ce commentaire souligne l’importance d’avoir des programmes de prescription sociale et de prescription d’exposition à la nature qui reflètent des perspectives et des pratiques diverses sur le plan culturel. La création et le maintien d’un espace pour les visions du monde autochtones et les autres visions du monde devraient être une priorité dans la prescription d’exposition à la nature, une approche récente au Canada qui reconnaît et promeut les avantages pour la santé de la pratique d’une variété d’activités en environnement naturel. Il est essentiel, lorsqu’on conçoit et offre des programmes de prescription d’exposition à la nature culturellement inclusifs et fondés sur le respect des obligations en matière de réconciliation, de reconnaître la domination toujours présente des visions du monde occidentales et les implications qui en découlent en matière de décolonisation et d’autochtonisation de la prescription d’exposition à la nature. Travailler consciemment à élargir les valeurs occidentales, dans l’optique d’étendre ces pratiques au-delà de la simple exposition à la nature, afin de favoriser le tissage de liens émotionnels avec la nature, est une dimension cruciale du développement actuel des interventions fondées sur la nature et des pratiques en matière de prescription d’exposition à la nature.
26
Gaertner, Hans-Martin. "Huygens' Principle: A case against optimality." Behavioral and Brain Sciences 26, no. 6 (December 2003): 779–81. http://dx.doi.org/10.1017/s0140525x03210177.
Повний текст джерелаАнотація:
I will present evidence that nature does not optimize in the sense of Fermat's principle of least time, contrary to what Schoemaker's unintentionally ambiguous exposition might suggest. First, Huygens' principle, an alternative nonteleological account of Snell's law, is outlined. Second, I confront Fermat's principle with a substantive conceptual problem.
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Mutina, Anna S. "OLD BELIEVERS: A VIEW THROUGH THE MUSEUM SHOWCASE. THE PRESENTATION OF CONFESSIONAL TRADITIONS IN THE STATE MUSEUM OF THE HISTORY OF RELIGION." Вестник антропологии (Herald of Anthropology), no. 3 (September 29, 2024): 106–18. http://dx.doi.org/10.33876/2311-0546/2024-3/106-118.
Повний текст джерелаАнотація:
The article presents a study of the exposition of the State Museum of the History of Religion in St. Petersburg, dedicated to the history of Old Believers. The limited space available at the museum precludes the presentation of the topic in its entirety, given the richness of the museum’s collection. Consequently, the creators of the exposition had to limit themselves to a concise overview emphasizing the most salient items that refer to significant events and personalities. The museum exposition aims to present the evolution of human spiritual life over many years, the history of ideas with the help of objects, to preserve and pass on to museum visitors the intangible spiritual heritage by material means. The museum ethics is also an important issue: the exhibition has to be delicate with the feelings of believers while preserving the dialogical nature of Old Believers’ culture. One showcase demonstrates the objects belonging to different groups of Old Believers, and therefore the museum has a special responsibility. Despite the original intention of the museum staff to keep the presentation of different confessional sections on the same level, the exhibits sometimes come into contradiction with this principle. Special attention in the article is paid to the most interesting objects from the museum’s collection, their role in placing semantic emphases during museum tours, and the interaction of exhibits in the semantic field of the exposition.
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Aksharananddas, Sadhu. "New Perspectives on the Brahmasūtra—An English Translation of the Brahmasūtra-Svāminārāyaṇabhāṣya’s Exposition of “Athāto Brahmajijñāsā”". Asian Literature and Translation 10, № 2 (11 вересня 2023): 93–133. http://dx.doi.org/10.18573/alt.62.
Повний текст джерелаАнотація:
Within the darśanic world, the Brahmasūtra is a seminal text that provides key insights into Upaniṣadic revelation. The recent creation of Mahāmahopādhyāya Bhadresh Swami’s Brahmasūtra-Svāminārāyaṇabhāṣya, a comprehensive Sanskrit commentary on the Brahmasūtra, presents unique readings of the text according to the teachings of the Akṣara-Puruṣottama Darśana as revealed by Bhagavān Svāminārāyaṇa. The commentary’s recent reception encourages further inquiry into its distinctive insights on Vedānta thought and the principles of the Akṣara-Puruṣottama Darśana. This article presents an English translation of the Brahmasūtra-Svāminārāyaṇabhāṣya’s exposition on the first aphorism: “athāto brahmajijñāsā,” in an effort to make the commentary’s expositions more accessible. In doing so, it highlights distinctive principles of the darśana, including its unique understanding of the nature and form of Akṣarabrahman and Parabrahman. To further contextualize the commentary, this article also presents an introduction to the darśanic commentarial tradition, focusing on the role, features, and significance of the Brahmasūtra commentaries and the Svāminārāyaṇabhāṣya.
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Strathern, Marilyn. "Gathered fields: A tale about rhizomes." Anuac 6, no. 2 (December 31, 2017): 23–44. http://dx.doi.org/10.7340/anuac2239-625x-3058.
Повний текст джерелаАнотація:
A return to Deleuze and Guattari’s famous figure of the rhizome, this paper turns the philosophical idea around by asking what we might learn, from their openended exposition of it, about plants. The account at once reduces the rhizome to its cultivated varieties and enlarges the notion of a plant by the people joined to it. A stimulus comes from the recent World Heritage designation of a site in Mt Hagen, Papua New Guinea, for its evidence of the prehistoric cultivation of plants preferentially propagated by vegetative means. Following Haudricourt’s early exposition of the yam and the implications of cloning as a way of life (as well as a way of thought), the paper elaborates on what is indissolubly tied to the rhizome as a cultivated plant, people’s actions. Rhizomic plants are well described as multiplicities. Some questions are asked about the nature of diverse contrasts that are or are not implied. The burden of ethnographic demonstration is with the Papua New Guinean material; the provisional nature of the rest will be apparent.
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Ademola, Emmanuel Ojo. "Dynamic Theory in Artificial Intelligence (AI) – An Exposition." Advances in Multidisciplinary & Scientific Research Journal Publication 10, no. 3 (August 13, 2024): 1–6. http://dx.doi.org/10.22624/aims/v10n3p1.
Повний текст джерелаАнотація:
This article aims to develop a dynamic theory of strategy considering the implications of artificial intelligence (AI) in the modern world. By integrating traditional strategic management theories with the influence of AI, the paper explores the evolving nature of strategic decision-making, competitive advantage, and organizational performance. Through a comprehensive review of existing literature and empirical evidence, the article seeks to propose a framework for understanding and adapting strategy in the context of AI. The implications for business leaders, policymakers, and researchers are discussed, focusing on the need for continuous adaptation and dynamic approaches to strategy in the AI-driven world. Keywords: Artificial Intelligence, AI, Dynamic Theory, Application, Concepts, Exposition, Implications. Aims Research Journal Reference Format: Ademola, O.E. (2024): Dynamic Theory in Artificial Intelligence (AI) – An Exposition. Advances in Multidisciplinary and Scientific Research Journal Vol. 10. No. 2. Pp 1-6 www.isteams.net/aimsjournal. dx.doi.org/10.22624/AIMS/V10N3P1
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Helytovych, Andrii. "Alfred Maksymenko “A-vision” as an authorial form of virtual exposition." Bulletin of Lviv National Academy of Arts, no. 52 (July 11, 2024): 38–53. http://dx.doi.org/10.37131/2524-0943-2024-52-4.
Повний текст джерелаАнотація:
Using the example of works up to 2019, the author's method of virtual exposition of paintings "A-vision" of the famous Lviv contemporary artist and teacher A. Maksymenko is considered. The goal is to single out and characterize the key features of the author's approach to the problem of virtual exhibition of works of art. The subject of the study is the inherent features of the combination of works of art with the exhibition environment in the "A-vision" form proposed by Maksymenko. Conclusions about the nature of the construction of the virtual space are drawn up in connection with the necessary concise analysis of the key features of the presented works. The considered samples include the works of 2006-2019, which present painting series about the impressions of visiting cities, combined into a cycle of album-catalogues "Reflections", work on which continues to this day. The A-vision formula based on the example of Reflections provides an exhibition project for a real space, but an independent presentation of paintings is also provided. The analysis of paintings in the article is presented only to the extent that it is necessary to reveal the peculiarities of visualization in the medium on which the emphasis is placed. Since the author's virtual expositions have not yet been publicly widely presented and continue to be in a state of development, they have not yet become the subject of special investigations. The primary analysis of A-vision expositions convinces of the presence of interesting author's finds in the way of virtual presentation of artworks, which constitute value and novelty within the framework of art research. Visualization of the exposition takes place both in two- and three-dimensional space, includes elements of collage, and the materialization of the exhibition in A-vision is foreseen, although not mandatory, and requires active creative interpretation and making corrections on the spot. An assumption is put forward about the connection of such a conventional way of presentation with Maksymenko's tendency to conceptualize the creative process, to reduce painting works-objects to the most laconic physical expression, even reaching the level of dematerialization; the return of such transformed images to a physical state is possible in a variety of genres, in which the visual counterpart can serve as an effective means of conveying content. The construction of a close connection between the paintings and the space was noted, in which with the help of additional elements a renewed landscape environment is created – it has its own expression, develops and complements the theme of the exhibited works. Therefore, in addition to painting, presented in the Reflections, visualization can sometimes be perceived as the idea of an installation, thanks to the introduction of a person – as a performance project, or to interpret an exhibition, so deeply connected with the environment, as a form of environmental art. It is assumed that due to its conditional nature, the virtual exhibition will require more practical adaptation of the artistic idea to the needs of the particular environment, creative rethinking.
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Grechitaeva, Marina, and Marionella Kolokoltseva. "The use of the scientific and cognitive potential of the museum of nature for forming inclusive culture in future teachers." BIO Web of Conferences 30 (2021): 04003. http://dx.doi.org/10.1051/bioconf/20213004003.
Повний текст джерелаАнотація:
The article analyses the innovative pedagogical technology of using the potential of natural science collections of nature museums, exposition and exhibition complexes, school mini-museums in new inclusion conditions for Russian education. The study is aimed at finding the most effective ways of forming an inclusive culture among future teachers included in exhibition activities on the basis of nature museums. Based on a synthesis of foreign and Russian experience in the formation of an inclusive culture among students, future teachers, a set of the most effective pedagogical tools, methods, techniques and forms of organization of the process under study has been determined. Specially developed diagnostic tools (criteria, indicators, levels, diagnostic methods) made it possible to analyse the experimental data obtained as a result of the application of empirical research methods: observation and interrogation. It was revealed that a common component of environmental culture, the formation of which is one of the most important areas of activity of nature museums, and inclusive culture is the formation of a valuable attitude to the diversity of the natural world and the human world. The huge educational potential of the natural science collections of nature museums, exposition and exhibition complexes, which allows students to increase their interest in studying nature, ecology, has been confirmed. The conditions of the exhibition and exhibition complexes make it possible to organize the work of groups of students, including students with disabilities, to study the objects of the world, as well as to teach excursions and quests for visitors with disabilities.
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Fratantuono, Lee. "Nymphaeque sorores: Virgil’s Sororities of Nymphs." Myrtia 34 (January 31, 2020): 57–89. http://dx.doi.org/10.6018/myrtia.411951.
Повний текст джерелаАнотація:
Nymphs appear frequently in the corpus of Virgilian poetry. Careful consideration of the place of nymphs in Virgil’s Eclogues and (in particular) his Georgics reveals how the poet utilizes these quasi-divine figures as important elements of his exposition of both the nature of Roman identity and the demands incurred in composing his Homeric-Callimachean epic.
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Qiao, Nan, Li Jun Liu, and Yuan Yuan Lv. "Zen View of Nature in the Performance of Modern Fashion Design." Advanced Materials Research 331 (September 2011): 666–69. http://dx.doi.org/10.4028/www.scientific.net/amr.331.666.
Повний текст джерелаАнотація:
The view of nature is an important character of Zen aesthetic. At present, the Zen view of nature and cause of design was widely used in architecture, interior, furniture, household goods and clothing designs, giving a modern design with new field and angle. Zen view of nature through the exposition, analysis of its role in modern fashion design style and influence, and the concrete embodiment of the design elements. Intended to demonstrate - not only the material culture of clothing bearing, it is "yardsticks", concerned about the soul of the "refined." Pointed out that the essence of traditional culture, to learn from the design of nutrition will have a more mellow and spiritual implication of precipitation, so the design will have a long-term vitality.
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Peters, Catherine. "Ibn Sīnā on Nature as Matter and Form: An Exposition of the Physics of the Healing I, 6 and I, 9." Journal of Islamic Philosophy 13 (2022): 50–82. http://dx.doi.org/10.5840/islamicphil2022135.
Повний текст джерелаАнотація:
The concept of nature (Gr. phúsis; Ar. ṭabīʿa) lies at the heart of classical physics. Seemingly small differences about nature can blossom into significant disagreements. The present study offers an exposition of certain neglected passages concerning ṭabīʿa in Ibn Sīnā’s al-Samāʿ al-ṭabīʿī(The Physics of the Healing). The predominant view of ṭabīʿa is that it as an active principle, a conception of nature that radically departs from Aristotle’s account of phúsis in Physics I-II. I dispute this interpretation by investigating two neglected texts in the Physics of the Healing. First, these texts indicate that nature should be associated with matter and form (I, 6) and, second, they argue that failing to account for matter and form makes knowledge of nature incomplete (I, 9).
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Groenewegen, P. "The Nature, Functions, and Value of Money: A Brief Exposition of Turgot's Monetary Theory." History of Political Economy 39, no. 2 (June 1, 2007): 253–62. http://dx.doi.org/10.1215/00182702-2007-003.
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Cichocki, Piotr, and Marcin Kilarski. "On “Eskimo Words for Snow”." Historiographia Linguistica 37, no. 3 (November 16, 2010): 341–77. http://dx.doi.org/10.1075/hl.37.3.03cic.
Повний текст джерелаАнотація:
Summary This article examines the complex interdependence of linguistics and the discourses of social sciences and philosophy based on the example of the Eskimo words for snow. In particular, we trace the life cycle of the example through three phases: (1) the origin of the misconception in the studies of Franz Boas (1858–1942) and Benjamin Lee Whorf (1897–1941); (2) its propagation in textbooks and in sympathetic and alternative theoretical contexts, and (3) the contemporary status quo following the exposition of the misconception by Laura Martin (1986), Geoffrey Pullum (1989) and Steven Pinker (1994, 2007). Further, we examine the theoretical and methodological shortcomings of the exposition, and their implications for the poverty of critical and impartial discussion on the nature of linguistic categorization and its cognitive implications, as originally discussed by Boas and Whorf.
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Pugnet, Natacha. "Mickey Cuvier et autres figures animalières dans l’oeuvre de Mark Dion." Figures de l'Art. Revue d'études esthétiques 8, no. 1 (2004): 187–206. http://dx.doi.org/10.3406/fdart.2004.1343.
Повний текст джерелаАнотація:
L’une des ambitions de Mark Dion est de mettre au jour l’idéologie sous-jacente aux représentations de l’univers naturel. Sa rhétorique visuelle, complexe, est à interpréter comme un détournement des méthodes et conventions qui régissent la mise en exposition des espèces animales. Dans ses installations foisonnantes, l’artiste américain fait explicitement référence aux cabinets de curiosités et aux muséums d’histoire naturelle. Emblématique des relations que nous entretenons avec le vivant, l’animal est tout ensemble envisagé comme objet d’étude, de collection et sujet d’enjeux écologiques. Dans cette oeuvre, les figures animalières – images, spécimens naturalisés, squelettes et peluches – constituent le moyen d’une déconstruction de l’idée même de nature.
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Ozerova, L. V., and E. V. Golosova. "PLANT DISPLAY IN THE BOTANICAL GARDENS OF SOUTH AFRICA." LANDSCAPE ARCHITECTURE IN THE GLOBALIZATION ERA, no. 3 (2022): 5–20. http://dx.doi.org/10.37770/2712-7656-2022-3-5-20.
Повний текст джерелаАнотація:
Currently, the conservation of plant species in culture is of key importance in the conservation activities of botanical gardens. Due to the destruction of natural biocenoses and the disappearance of species in nature, their role is irreplaceable. One of the tasks of botanical gardens is to develop the most effective methods of exhibiting plants with maximum demonstration of their decorative properties and popularization of botanical knowledge among the population. The analysis of the experience of foreign countries allows us to expand our own opportunities for new arrangement of expositions, which is relevant even for botanical gardens located far from each other. The botanical gardens of the southernmost African country – South Africa - demonstrate the state approach to the preservation of national flora and provide an excellent example of the exposition specialization of botanical gardens, which is greatly lacking in the botanical gardens of Russia. Using the opportunities of the surrounding natural landscapes forms a unique image of each botanical garden of South Africa, providing visitors with an extensive range of ecosystem services and botanical knowledge.
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Katz, Dana. "Barbarism Begins at Home: Islamic Art on Display in Palermo's Museo Nazionale and Sicilian Ethnography at the 1891‐92 Esposizione Nazionale." International Journal of Islamic Architecture 9, no. 1 (March 1, 2020): 91–117. http://dx.doi.org/10.1386/ijia_00005_1.
Повний текст джерелаАнотація:
Abstract In the last quarter of the nineteenth century, Palermo's Museo Nazionale (National Museum) displayed one of the earliest institutional collections of Islamic art in Western Europe. The museum's director, Antonino Salinas, exhibited objects demonstrating the island's material heritage, including its two-and-a-half centuries of rule by North African dynasties during the medieval period. The prevailing perception elsewhere in post-unification Italy ‐ that Sicily was ungovernable and barbaric in nature ‐ heightened the display's significance. Another exhibition that many Italians would have perceived as representing the 'other' was the Mostra Etnografica Siciliana (Sicilian Ethnographic Exhibition), which the folklorist Giuseppe Pitrè created for the 1891‐92 Palermo Esposizione Nazionale (National Exposition). Highlighting Sicily's volatile image, the Italian press implicitly equated Pitrè's show with the so-called Abyssinian Village, which stood in the exposition fairgrounds and marked the establishment of Italy's first colony in Eritrea at a time of unprecedented imperial expansion. At the National Museum, Salinas remained undeterred, and despite associations of the island's conditions with Africa, he expanded its Islamic holdings. Likewise, Pitrè exhibited costumes, tools, and devotional objects that further accentuated regional differences at the National Exposition. In both displays, Salinas and Pitrè presented what they conceived as Sicily's unique cultural and historical patrimony.
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Cilliers, J. "Skrifbeskouing en Skrifhantering: perspektiewe op ‘n hermeneutiek van verwagting." Verbum et Ecclesia 29, no. 1 (February 3, 2008): 62–76. http://dx.doi.org/10.4102/ve.v29i1.5.
Повний текст джерелаАнотація:
In this article the intrinsic relationship between our views on and our use of scripture is proposed. This relationship is described in terms of two basic components of the reformed understanding of scripture, namely the accommodative and performative nature thereof. This is followed by an exposition of two fundamental misunderstandings pertaining to the abovementioned components as well as some suggestions for the profiling of a hermeneutics of expectancy.
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KELLY, CHRISTOPHER. "ROUSSEAU'S “PEUT-ETRE”: REFLECTIONS ON THE STATUS OF THE STATE OF NATURE." Modern Intellectual History 3, no. 1 (April 2006): 75–83. http://dx.doi.org/10.1017/s1479244305000697.
Повний текст джерелаАнотація:
In the Confessions Rousseau provides a very helpful account of the composition of the Discourse on Inequality (as he calls the Second Discourse). This account contains two elements that prefigure the work's reputation among scholars today. First, Rousseau says that, while in his earlier works he had only partially revealed the basis of his thought, the question posed by the Academy of Dijon offered him the occasion to develop his principles, “completely in a work of the greatest importance.” A few pages later he confirms the importance of the Discourse by saying, “Everything that is bold in the Social Contract was previously in the Discourse on Inequality.” A consensus of scholars would, I think, agree that the Discourse is, indeed, a particularly bold work and the first place to look for a rigorous exposition of Rousseau's principles.
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dos Santos, Leonel Ribeiro. "Kant e a Ideia de Uma Poética da Natureza." Philosophica: International Journal for the History of Philosophy 15, no. 29 (2007): 19–34. http://dx.doi.org/10.5840/philosophica200715293.
Повний текст джерелаАнотація:
Notre propos c’est de méditer le rapport reversible d’analogie qui, d’après la Critique du Jugement de Kant, on doit supposer entre l’art et la nature (entre l’esthétique et la téléologie), et de voir en quel sens cette idée, si blâmée par Schopenhauer comme appréciée par Goethe, peut encore donner à penser autrement les problèmes qui pose la conscience é cologique contemporaine, dans la mesure où elle nous dévoile une relation de l’homme vis-à-vis de la nature qui n’est plus seulement de maîtrise et de possession, mais plutôt d’admiration profonde et de respect gracieux. Seront thèmes majeures de notre exposition la notion kantienne d’une “technique de la nature” (qu’on propose de traduire par “poétique de la nature”) et surtout le rôle qui joue l’expérience esthétique (du beau et du sublime) de la nature dans l’économie de l’esthétique kantienne et dans l’architectonique même de la troisième Critique.
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Huarcaya, Roberto, Teresa Castro, and Estelle Sohier. "Décoloniser le regard sur la nature. Roberto Huarcaya en conversation avec Teresa Castro et Estelle Sohier." Transbordeur 8 (2024): 112–21. http://dx.doi.org/10.4000/12gy2.
Повний текст джерелаАнотація:
Cet entretien avec le photographe Roberto Huarcaya a été réalisé en marge d’une exposition réunissant trois séries photographiques, Amazogrammes, Andinogrammes et Océanogrammes, présentées aux Rencontres d’Arles à l’été 2023. Figure de proue de la photographie péruvienne contemporaine, Roberto Huarcaya y conviait le public à une immersion sensible dans des formes parfois reconnaissables, souvent indistinctes, fixées sur des photogrammes de plusieurs mètres de long représentant la forêt amazonienne, l’océan, ou encore des danses. Dans cet entretien, il revient sur les limites de l’appareil photographique face au foisonnement du vivant, sur l’extrême diversité des regards possibles sur l’Amazonie, ou encore sur le rôle de l’image dans notre monde post‑colonial.
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Zinkovskyi, Taras, and Anna Zholob. "The Role of Bishop Sofron Mudryi in Shaping the Exposition of the History of the Church in Galicia at the Museum of the History of Halych." Good Parson: scientific bulletin of Ivano-Frankivsk Academy of John Chrysostom. Theology. Philosophy. History 1, no. 19 (January 11, 2024): 137–44. http://dx.doi.org/10.52761/2522-1558.2024.19.1.11.
Повний текст джерелаАнотація:
The article explores the history of the origin of objects of Christian worship and personal piety of Bishop Sofron the Wise of Ivano-Frankivsk, the essence of their functional purpose, the material from which they are made, artistic features, the nature of iconographic images on them, and their symbolic meaning. A typological classification and systematization of the items kept in the exposition of the Department of Church History in Galicia is made.
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de Waal, Marius Johannes. "The Uniformity of Ownership, Numerus Clausus and the Reception of the Trust Into South African Law." European Review of Private Law 8, Issue 3 (September 1, 2000): 439–52. http://dx.doi.org/10.54648/273250.
Повний текст джерелаАнотація:
It is generally accepted that the Anglo-American trust with its dichotomy of legal and equitable ownership cannot as such be received into a civil law legal system. Although South African private law is mainly civilian in nature, the trust was received into South African law and it has developed into a widely used and flexible institution. In this contribution the author explains how this reception and development took place in spite of the perceived obstacles. Particular attention is focused on the issues of uniformity of ownership and the numerus clausus principle. A brief exposition of the nature and uses of the modern South African trust is also provided.
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Seetsa Makateng, David. "The Philosophical and Sociological exposition of Suicide in Lesotho." Revista de Antropología y Sociología : Virajes 26, no. 2 (July 1, 2024): 169–86. http://dx.doi.org/10.17151/rasv.2024.26.2.8.
Повний текст джерелаАнотація:
One of the philosophical problem is the phenomenon of suicide. In the Kingdom of Lesotho as many nations the nature of suicide can be understood from the philosophical and sociological lenses. Among the countries in the world with the highest suicide rate is Lesotho. How come? This research article delves into the complex relationship between individual agency and social factors in context of the existence of suicide in Lesotho, drawing upon philosophical and sociological approaches. The main philosophical and sociological positions of suicide in this paper are presented. A qualitative method has been applied in this paper, secondary data has been subscribed from electronic database from various reliable sources such as World Health Organization (WHO) reports, government and private documents related to suicide and mental affairs reports. A comparative analysis of philosophical and sociological perspectives, the article seeks to deepen our understanding of the factors contributing to suicidal behaviours and their implications for prevention and intervention strategies. This paper also discusses the richness of Durkheim’s insight on suicide and four etiological types of suicide. This paper concludes by putting forward that young people in Lesotho who have serious mental illnesses at an early age have a higher risk of suicide.
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Yagboyaju, Dhikru Adewale, and Adeoye O. Akinola. "Nigerian State and the Crisis of Governance: A Critical Exposition." SAGE Open 9, no. 3 (July 2019): 215824401986581. http://dx.doi.org/10.1177/2158244019865810.
Повний текст джерелаАнотація:
Over the decades, there has been a recurrent and sustained argument that the Nigerian state, like its counterparts in Africa and other countries of the developing world, underperforms due to lack of state capacity to deal with the contemporary complexities of governance. This article examines the state of governance in Nigeria and assesses the factors militating against the promotion of public good and effective service delivery in the country. The article draws data from secondary and primary sources, which include the authors’ close observations of events in Nigeria. Governance and political leadership in Nigeria have been driven by self-interest and other primordial considerations, which take priority over that of the public. The state has failed in three major areas: security of lives and properties, promotion of the rule of law, and provision of visionary leadership. In conclusion, the nature and characters of the political leadership explains the Nigerian state incapacity for effective governance.
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Shchukin, Timur, and Oleg Nogovitsin. "Difficulties in Particular: Theological and Historical Context of the Anonymous Treatise “On the Common Nature and the Trinity”." Scrinium 15, no. 1 (July 16, 2019): 218–38. http://dx.doi.org/10.1163/18177565-00151p15.
Повний текст джерелаАнотація:
Abstract The anti-Monophysitic anonymous treatise On the common nature and the Trinity was written in the 550-560s for the educational purposes in philosophy and theology. Therefore, its content was perceived in those days as something certainly traditional. It reflects theological discussions of its time, thus making feel the degree of complication of the current theological situation and the extent of mutual comprehension between the rival parties. The anonymous author normally keeps himself within the conceptual language of the late Neoplatonism, especially the school of Ammonius of Alexandria known by its interest to peripatetic instruments. The author himself is a Chalcedonian. When rejecting both “Nestorian” and “Severian” Christologies, he claims that the human nature became a constitutive element of the hypostasis of Christ (consisting of two common natures) and by no means an independent hypostasis. There are some similarities with the teaching of Leontius of Byzantium’s Against the Nestorians and the Eutychians and Solution of the Syllogisms of Severus, whereas the present author is much more succinct, and his exposition is simplified. For instance, unlike Leontius of Byzantium, he does not distinguish the contexts, where the notions of nature and substance could be used differently; he does not state explicitly that the human nature within the hypostasis of Christ is the common nature and not a particular nature. The latter term is used but never explained. The treatise is a curious witness of the relevance of an intra-Monophysite controversy for Chalcedonites.
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Delhomme, A., D. Bar, C. Borgne, and M. Croq. "Une moindre exposition des sous-mariniers au rayonnement naturel." Radioprotection 45, no. 4 (October 2010): 561–65. http://dx.doi.org/10.1051/radiopro/2010050.
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