Plagiarism, which Indiana University’s Writing Tutorial Service defines as "using others' ideas and words without clearly acknowledging the source of that information", is often described as a major problem. However, standard definitions such as this one suggest only limited solutions to the problem: acknowledging sources or forbidding reuse. Since all scholarship involves engaging with the ideas of others and academic writing tends to reuse certain expressions, these solutions – though important – are of limited utility. This paper examines a type (...) of plagiarism to which the standard solutions do not apply: the reuse of linguistic models without sufficient attention to the logic or thoughts the texts express. We present two cases of plagiarism, from which we can see that plagiarism shows a gap between the written texts and the thoughts of the author. In order to fill the gap, one needs to know how to integrate not only the texts borrowed from others into one’s writing but also the thoughts expressed by the texts. Thus a satisfactory solution to the plagiarism problem requires not only writing skills but also logical thinking skills. (shrink)

This chapter delves into the museological side of ‘the way forward’ to conservation for planetary health bioethics. Specifically, it highlights the crucial role that museums play – their curatorial or exhibition interventions, conservation operations, development policies, or practices – which present or represent the vital relationship between human and planetary health. While it is not new to stress the significance of museums’ link to the environment and environmental education, it is necessary to re-examine recent cases in light of the rapid (...) changes brought about by climate change and the constant call for sustainability. We thus offer a review of some recent literature that appraises the museum’s role in bioethically considering the health of our living planet. Learning this role taps into relatively new themes such as ecomuseums and architectural heritage, or critical eco-museology. (shrink)

After the WHS inscription of the Historic Centre of Macau in 2005, the relationship between citizens of Macau and their heritage is not distanced. Most of these monuments remain functional for religious and social purposes and are actively engaged in public commercial activities such as the annual Macau Light Festival. Several historic houses have been transformed into either a permanent library or a museum where people can experience various events. With such frequent interaction, these monuments are more than just heritage (...) to locals; they are the venues where people’s daily lives are attached. However, this familiarity will cause a paradox in preservation since losing the distance might mean being unable to deliver the message of protection. It would be difficult to find a balance between preservation and reuse of heritage. This paper will use the Historic Centre of Macau as a case study to discuss the types of adaptive reuse in Macau and propose potential risks of these approaches. (shrink)

Seeking consensuses from the public is difficult, this also applies to the heritage sector, particularly in heritage preservation. ‘What, why and how to preserve?’ are the core of debates in the field and the differ- ences between points of views are basically due to the difference in valuation. In order to know everyone’s needs, views and expectations better and for sustainability, involving the community for preservation be- comes fundamental. Education, an experience which does not only provide opportunities for enlightenments and (...) widening horizons, but also introduce various concepts in terms of moral, ethical and social through systematic instructions. Having such great impact to community, promoting heritage education can be an effective approach awakening public consciousness on heritage preservation, and thus, enhancing people’s responsibility towards heritage, for both tangible and intangible, and developing a sustainable future for heritage through public engagement. However, it is necessary to understand the structure or the level of engagement prior setting the goal for heritage education. A model for classifying the level of engagement from performance is proposed for clarification and appraisal. This model is part of the research project of Community Engagement with Heritage in Macau which has an intention to examine its level of community engagement and give suggestions. This essay will first discuss community engagement, then classify the levels of engagement with models and lastly argue heritage education can elevate the level of community engagement which ultimately achieves the aim of heritage preservation. (shrink)

We describe the rationale for an application ontology covering the domain of human body fluids that is designed to facilitate representation, reuse, sharing and integration of diagnostic, physiological, and biochemical data, We briefly review the Blood Ontology (BLO), Saliva Ontology (SALO) and Kidney and Urinary Pathway Ontology (KUPO) initiatives. We discuss the methods employed in each, and address the project of using them as starting point for a unified body fluids ontology resource. We conclude with a description of how the (...) body fluids ontology initiative may provide support to basic and translational science. (shrink)

This paper reports on an ongoing ARC Discovery Project that is conducting design research into learning in collaborative virtual worlds (CVW).The paper will describe three design components of the project: (a) pedagogical design, (b)technical and graphics design, and (c) learning research design. The perspectives of each design team will be discussed and how the three teams worked together to produce the CVW. The development of productive failure learning activities for the CVW will be discussed and there will be an interactive (...) demonstration of the project's CVW. (shrink)

Waivakaviti is in english is Fijian Medicine. Medicine Native to Fijians or used by Fijians. This mostly include parts of plants or combinations of several parts. -/- It discusses parts of plants, how to prepare, administer and dosage. It decentralises medicine-making giving the so called trade secrets to others. Medicine making was kept secret because it was community edge over others it was an asset extra knowledge meant control. Something like what pharmaceutical companies are doing now...holding the cure as a (...) form of control to get money. Waivakaviti is that counter to control it has collected a handful of knowledge of Medicine men and women and the result is this written in the Fijian Language. An english version may be added later. (shrink)

This essay investigates the tensions between traditional music and its modern codification as intellectual property. It will begin by considering the myths concerning the divine source of music. In traditional music and in folk music, music is closely connected to religious ritual. In these rituals the source of the music is recognized and attributed to certain deities. For instance, in Thai traditional music, the Wai Khru ceremony venerates the Duriyathep or devatas drawn from Indian mythology: Phra Visawakarm, Phra Panjasinghkorn, and (...) Phra Parakhonthap (Narot). Much of modern and contemporary music has long been disengaged from ritual and its traditional forms of transmission. Especially since the nineteenth century with the growth of popularity of music printing, it has been subject to copyright law. With these restrictions in transmission, the more fluid routes of transmission have become broken and the ritualistic and religious identifications have been transferred to the cult of performers, to legal codification, to the control of corporations, and the construction of new mythologies through marketing. This essay will use Walter Benjamin’s reflections on the loss of “aura” in the reproduced work of art to try to understand the consequences of this transition in the function of music. And it will consider the situation in Thailand where traditional music and mythology stands side by side with marketed music, and traditional performance stands side by side with commercial performance. It will demonstrate that these conflicts cannot be resolved. But it is precisely in the appreciation and preservation of these conflicts, that traditional culture can itself be recognized and preserved. (shrink)

Mengzi maintained that both benevolence (ren 仁) and rightness (yi 義) are naturally-given in human nature. This view has occupied a dominant place in Confucian intellectual history. In Mencius 6A, Mengzi's interlocutor, Gaozi, contests this view, arguing that rightness is determined by (doing what is fitting, in line with) external circumstances. I discuss here some passages from the excavated Guodian texts, which lend weight to Gaozi's view. The texts reveal nuanced considerations of relational proximity and its limits, setting up requirements (...) for moral action in scenarios where relational ties do not play a motivational role. I set out yi's complexity in these discussions, highlighting its implications for (i) the nei-wai debate; (ii) the notion of yi as "rightness," or doing the right thing; and (iii) how we can understand the connection between virtue and right action in these early Confucian debates. This material from the excavated texts not only provides new perspectives on a longstanding investigation of human nature and morality, it also challenges prevailing views on Warring States Confucian intellectual history. In the well-known debate between Mengzi and Gaozi in Mencius 6A, Mengzi maintained that both ren and yi are naturally-given 1 in human nature. The figure 1 To say that ren and yi are naturally-given is not to say that they are fully-developed from the start. I use the phrase "naturally-given" throughout the paper to indicate where a particular capacity or resource (ren or yi) may be found, rather than its final polished state. (shrink)

uses Schopenhauer, Lacan, and Buddhism to elucidate the tragic sense of human existence as conveyed by Wong Kar-wai.

Cursul va contine patru parti pe urmatoarele filme si lucrarile: I. Andrei Tarkovski: “Solaris”, “Calauza”, “Nostalghia”, “Sacrificiul” - Friedrich Nietzsche si “eterna reintoarcere” - Mircea Eliade si “eterna reintoarcere” II. Wong Kar-wai: “In the mood for love”, “2046” III. Cristi Puiu: “Sieranevada” IV. Constantin Brancusi: Ansamblul de la Targu Jiu + sculpturile principale (Pasarea in zbor, Mlle Pogany, etc.).