The Millennium Development Goal (MDG) 5 A states that the maternal mortality ratio has to be reduced to three-quarters between 1990 and 2015. The target for India is a maternal mortality ratio of 109/100,000 live births. The Janani Suraksha Yojna (JSY) (Maternal Protection Scheme) is a centrally sponsored conditional cash transfer scheme to promote institutional deliveries and thus ensure safe delivery and reduce maternal mortality. The JSY scheme and its various evaluations were reviewed. The Tannahill’s ethical framework was applied to (...) the JSY and analyzed. Evaluations have shown that the JSY has significantly increased institutional deliveries. The public health system is not fully geared up for delivering good quality maternal health services. Thus encouraging women to go to them violates the principle of doing good. There are several barriers for availing the scheme. Procuring the certificates to meet eligibility can be difficult. The women do not have power over the cash incentive. There are large inequities in access to the JSY scheme based on socioeconomic status, caste and education. The accountability mechanisms for the scheme are weak at the grassroots level. Without an overall improvement in health system and awareness among women, the JSY cannot be said to empower the women in a sustainable way. In order, that the increases in institutional deliveries due to JSY are more than just a Hawthorne effect, which is a change in behavior just due to the fact that the population is being closely observed and intervened, there is a need to bridge the ethical gaps in the program to make it an empowering, sustainable, accountable and just one. (shrink)

This volume is a collection of S.K. Chakraborty's papers on the east-west distinction in worldviews. The essays are reflective and deliberate upon philosophical diferences and attitudes of thinkers that have shaped the behavior of the common man, both in and out of the workplace.

Jean-François Revel is the first philosopher to take food seriously and to offer a topology for food practices. He draws a distinction between different kinds of cuisine -- popular (regional) cuisine and erudite (professional) cuisine. With this distinction, he traces the evolution of food practices from the ancient Greeks and Romans, down through the Middle Ages, and into the Renaissance and the Modern Period. His contribution has been acknowledged by Deane Curtin who offers an interpretation of Revel’s conceptual scheme along (...) Platonic lines. In this essay the author reviews Curtin’s interpretation, finds it wanting in certain respects, and develops an alternative reading of Revel along Hegelian lines. This interpretation, the author believes, does greater justice to Revel’s topology for food practices. (shrink)

In this work, S.K. Chakraborty develops the themes propounded in his earlier work to provide a systematic presentation of the relevant vedantic and allied principles in a conceptual and empirical framework. From an overall perspective of vedantic ethical vision and its application to managerial and corporate ethical morality, the book examines what the Vedantic ethical system, and great thinkers like Tagore, Gandhi, Burobindo and others, can teach us about such questions as individual leadership, transformation of the work ethos, ethics and (...) productivity, and others. Throughout, the conceptual and the empirical are closely intertwined, and substantial graphic appendices on the Tata leadership crisis of 1991 and the securities scam of 1991-92 give an immediacy and relevance to the analysis. (shrink)

Leo Tolstoy's theory of human nature is sketched with Descartes's and Hume's theories of human nature in the background for context. Tolstoy's view is limited to "What Is Art"?, although it could be substantially augmented by references to his other well-known works. "By words a man transmits his thoughts," to which Tolstoy adds, "by means of art he transmits his feelings." Language and art work together to give us an aesthetic education that is built around the forms of communication found (...) in the arts: story-telling, singing, acting, dancing, making, and so on. These activities reflect the fundamentals of human nature; hence, the connection Tolstoy found between human nature and art that previous thinkers had not made. (shrink)

Мета. Стаття являє собою філософсько-антропологічну репрезентацію ідеї духовності в трилогії "Фундація" американського письменника-фантаста, філософа, популяризатора науки Айзека Азімова. Теоретичний базис. Дослідження базується на розумінні світоглядних імперативів творчості А. Азімова, які висвітлюють його філософсько-антропологічне бачення духовності як історично усталеної властивості раціонально організованого суспільства і ключову умову його прогресивної еволюції. Емерджентність, стохастичність і евентуальність розвитку сучасного глобального соціуму виводить зміст філософсько-антропологічних ідей А. Азімова на принципово новий рівень розуміння подальшого розвитку людства. Артикуляція А. Азімовим ідеї духовності в трилогії "Фундація" дозволяє визначити філософсько-антропологічну (...) концепцію письменника у всій повноті її соціального, філософського, екзистенціального та аксіологічного вимірів. Наукова новизна. Автори обґрунтували доцільність та актуальність розгляду ідеї духовності в трилогії А. Азімова "Фундація" в смисловому полі філософської антропології. Показано, що філософська антропологія А. Азімова має чітко виражене телеологічне "навантаження". В інтерпретації письменника людина майбутнього – це не "постлюдина" зі зміненою за допомогою спеціальних технологій біологічною природою, а людина, орієнтована на духовний розвиток і самовдосконалення, що базуються на одвічних цінностях, зафіксованих у ментальному коді Homo sapiens – щасті, любові, свободі, гідності, незалежності, патріотизмі. Висновки. "Фундація" – твір багатоплановий, сюжетно насичений, композиційно мозаїчний, поліфонічний, у якому, на перший погляд, важко визначити якусь домінантну ідею. У процесі дослідження встановлено, що в творчості А. Азімова одним із основних змістових центрів є філософсько-антропологічний дискурс, у просторі якого значну увагу приділено духовності людини. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Hume Studies Volume XX, Number 2, November 1994, pp. 261-287 Collingwood's Understanding of Hume S. K. WERTZ What was David Hume's reception in the British idealistic tradition? In this paper, I shall contribute a short chapter on this question by examining Hume's place in R. G. Collingwood's thought.1 Such an examination has been lacking in the literature, so what follows is a comprehensive study of Collingwood's use of Hume (...) throughout all of R.G.'s writings. I shall mainly focus on two main, unrelated discussions of Hume: first is the theory of the imagination which primarily occurs in The Principles of Art, and second is the set of relations between human nature and human history which is principally found in The Idea of History. These sections will be followed by a section on minor discussions and omissions and a conclusion. It is a common misconception that Collingwood (1889-1943) has little to offer Hume scholarship, and I wish to amend that here. Actually, Collingwood has good insights into the nature of the imagination and its role in human understanding, besides instructive thoughts on Hume on human nature and history, even though his discussion of the latter is flawed. This essay serves both historical and philosophical purposes. It is to sample Hume's place in early twentieth century British idealism at a time when he began to emerge as an important philosophical figure worthy of careful study. (By "idealism," I mean the philosophical movement which takes ideas to be an irreducible part of the world and whose program is opposed to both materialism and realism.) So Collingwood's portrait is historically interesting. But over and above this, it carries significant philosophical amendments, S. K. Wertz is at the Department of Philosophy, Texas Christian University, Box 30781, Fort Worth, TX 76129 USA. e-mail: [email protected] 262 S. K. Wertz criticisms, and suggestions about Hume's thought and the eighteenth century intellectual climate. Collingwood has mostly been studied as a philosopher of history or as an aesthetician, but not in toto from the perspective of one of the historical figures to whom he is deeply indebted. Such a view affords a portrait of Hume that is instructive and rewarding. The comparison of Hume and Collingwood lead us to finer appreciation of both philosophers. Let us first look at Collingwood's positive contribution. Imagination Collingwood begins his analysis by declaring his intentions: I shall...try to show that there are such things, to be with what Hume (whose account of them I shall take as my starting-point) called 'ideas' as distinct from 'impressions'. I shall try to show that there is a special activity of mind correlative to them, and that this is what we generally call imagination, as distinct from sensation on the one hand and intellect on the other. (PA 170-71, emphasis added) Why would Collingwood start with Hume's distinction between impressions and ideas? Undoubtedly, this means that Collingwood is willing to accept the validity of the distinction and to build on it. Isn't this a strange place for an idealist to begin? Not really. When we look at British philosophy at the turn of this century, we find idealists preoccupied with the distinction,2 so it is not extraordinary to find Collingwood utilizing it to some extent. Like most Oxford students of the time, Collingwood read Locke, Berkeley, and Hume in his undergraduate program. Consequently we find them in the problems he addresses. "It was Hume who first perceived the [Lockean] problem [of confusing sensation with imagination]," Collingwood attributes, "and tried to solve it by distinguishing ideas from impressions" (PA 200). In detail: He [Hume] was right when he laid it down that the immediate concern of thought is not with impressions but with ideas; that it is ideas, not impressions, that are associated with one another and thus built up into the fabric of knowledge; and that ideas, though 'derived' from impressions, are not mere relics of them like an after-taste of onions or an after-image of the sun (as Lockeans like Condillac supposed), but something different in kind: different, if not in what he... (shrink)

THIS ESSAY DEALS WITH D F NORTON’S INTERPRETATION OF HUME’S METHODOLOGY IN THE LATTER’S FAMOUS DISCUSSION OF MIRACLES IN THE FIRST INQUIRY. NORTON CONSTRUES "EXPERIENCE" TO MEAN PERSONAL, INDIVIDUAL EXPERIENCE. THE AUTHOR SHOWS THAT THERE IS ANOTHER SENSE OF THE WORD WHICH IS MORE COSMOPOLITAN AND ONE WHICH SQUARES MORE WITH THE USES OF EVIDENCE FOUND IN THE "HISTORY OF ENGLAND". ALTERNATIVE INTERPRETATIONS OF THE HUME PASSAGE ARE GIVEN AND HUME’S METHOD IS COMPARED WITH R G COLLINGWOOD’S IMAGINATIVE RECONSTRUCTIONIST IDEA (...) OF HISTORY. (shrink)

A set S of degrees is said to be an initial segment if c ≤ d ∈ S→-c∈S. Shoenfield has shown that if P is the lattice of all subsets of a finite set then there is an initial segment of degrees isomorphic to P. Rosenstein [2] (independently) proved the same to hold of the lattice of all finite subsets of a countable set. We shall show that “countable set” may be replaced by “set of cardinality at most that of (...) the continuum.” This result is also an extension of [3, Corollary 2 to Theorem 15], which states that there is a sublattice of degrees isomorphic to the lattice of all finite subsets of 2N. (A sublattice of degrees is a subset closed under ∪ and ∩; an initial segment closed under ∪ is necessarily a sublattice, but not conversely.)It seems worth noting that the proof of the present result was preceded in time by our proof [4] of the analogous theorem for hyperdegrees, and is in fact an adaptation of that proof. Thus the present work has been influenced much more directly by the Gandy-Sacks forcing construction of a minimal hyperdegree [1] than by previous work on initial segments of degrees. (shrink)

What are the historical origins of aesthetic education? One of these comes from the eighteenth century. This became an important theme in a novel of the time. Published in 1761, Jean-Jacques Rousseau’s Julie, or the New Heloise: Letters of Two Lovers Who Live in a Small Town at the Foot of the Alps1 was an instant success in eighteenth-century Europe. Widely read, the novel made European culture self-conscious and forced it to pay attention to aspects of living that had gone (...) unnoticed or underappreciated, including taste and food.2 These aspects—taste and food—become concrete manifestations of aesthetic education. Through the voices of Julie and her tutor-turned-lover Saint Preux, they provide a lively critique of.. (shrink)