In 2015 the United Kingdom (UK) became the first nation to legalize egg and zygotic nuclear transfer procedures using mitochondrial replacement techniques (MRTs) to prevent the maternal transmission of serious mitochondrial DNA diseases to offspring. These techniques are a form of human germline genetic modification and can happen intentionally if female embryos are selected during the MRT clinical process, either through sperm selection or preimplantation genetic diagnosis (PGD). In the same year, an MRT was performed by a United States (U.S.)-based (...) physician team. This experiment involved a cross-border effort: the MRT procedure per se was carried out in the US, and the embryo transfer in Mexico. The authors examine the ethics of MRTs from the standpoint of genetic relatedness and gender implications, in places that lack adequate laws and regulation regarding assisted reproduction. Then, we briefly examine whether MRTs can be justified as a reproductive option in the US and Mexico, after reassessing their legalization in the UK. We contend that morally inadequate and ineffective regulations regarding egg donation, PGD, and germline genetic modifications jeopardize the ethical acceptability of the implementation of MRTs, suggesting that MRTs are currently difficult to justify in the US and Mexico. In addition to relevant regulation, the initiation and appropriate use of MRTs in a country require a child-centered follow-up policy and more evidence for its safety. (shrink)

In this paper, I present the Kingdom Hearts series as a video game declination of the ontological concept of relation and the phenomenological view on the empathy. My aim is to explicit the philosophical background of the video games, concluding that they offer a solidly grounded analysis of what is about to be a self, and what are bounds for the subjectivity.

Although overshadowed by its filmic adaptations (Hideo Nakata, 1998 and Gore Verbinski, 2002), Koji Suzuki’s novel Ring (1991) is at the heart of the international explosion of interest in Japanese horror. This article seeks to explore Suzuki’s overlooked text. Unlike the film versions, the novel is more explicitly focused on the line between self-preservation and self-sacrifice, critiquing the ease with which the former is privileged over the latter. In the novel then, the horror of Sadako’s curse raises questions about the (...) terrors of moral obligation: the lead protagonist (Asakawa) projects the guilt he feels over his self-interested actions, envisaging them as an all-consuming apocalypse. (shrink)