Genetic analysis of Drosophila has shown that a morphogenetic gradient of the Transforming Growth Factor‐β family member dpp patterns the embryonic dorsalventral axis. Molecular and embryological evidence from Xenopus has strongly suggested a similar role for Bmp‐4, the dpp homolog, in patterning the dorsalventral axis of chordates. A recent report has now identified mutations in two genes, dino and swirl, that disrupt dorsal‐ventral patterning in the zebrafish Danio rerio(1). Characterization of these mutations parallels findings from Drosophila, thus establishing a genetic (...) framework for the analysis of dorsalventral patterning in a vertebrate. (shrink)

It seems at least daring to speak of truth on the subject of art, when Plato, in the Sophiste, 234c, likens art to sophistry, in other words, to falsity and deformation. To be sure, this comparison is based on an exaggeration, because elsewhere Plato insists on the necessity of artistic reality: in the same Sophiste, 299e, he states that “life would be unlivable without art.” The importance thus given to art becomes obvious when we think that this same expression is (...) already used in the Apologie, 38a, with regard to philosophy, the activity that for a man conscious of his own existence is one of scrupulously examining his own life. This similarity in expression testifies to the conceptual and axiological similarity of two (but distinct) activities of the mind effected by Plato who, on a different level, as we have just seen, unhesitatingly condemns one of them, at least apparently; apparently, because basically Plato does not inveigh against art in general but against the art of his contemporaries, whom he openly accuses of accepting the postulate of verisimilitude by using artifice and acrobatics, with the sole end of pleasing the crowds by flattery. In other words, they substitute for the scarch for authenticity that of dexterity in creations conceived only for that effect, which means identifying this type of substitution of values with a prostitution of the artist himself with regard to his public. (shrink)

This article presents results from a self-report survey of misconduct behaviours and the stress students (n = 916) experienced at one Canadian community college. Results showed that students engaged in a variety of contract cheating behaviours, and experienced a myriad of stressors both in and outside the college context, including traumatic life events. Those who engaged in commercial contract cheating and inappropriate sharing behaviours experienced significantly higher levels of stress. This result differed by type of stress suggesting that not all (...) stress may lead to violation behaviour. Results also suggest that some students are exposed to more stress than others, which could put them at higher risk for engaging in contract cheating. Understanding contract cheating using the stress process framework draws our attention to how a student’s location in the social institutions of work, family, and school, how their positions of advantage or disadvantage, and their involvement in social relationships may produce stress which we have found to be associated with contract cheating. Seeing stress in this way allows post-secondary institutions to address the structural conditions which lead to stress through the development of policy, procedure, and supports for students as they navigate academic integrity throughout their programs. (shrink)

No part ot Plato's writings has been more debated than the three similes in Books VI.-VII. of the Republic, and still there is a diversity of opinion about their meaning. I believe that most of these difficulties arise from certain assumptions about their purpose which need revision. The current view applies the Cave to the Line, as Plato seems to direct, and this application, which is itself attended by considerable difficulties, leads to an assimilation of the two figures till they (...) seem to have much the same content and purpose. Again, as this makes the lower line appear to be the phenomenal world, it is thought that the simile of the sun foreshadows the theme of the Line by hinting at a connexion between the intelligible and the sensible which is made more explicit in the Line. Thus the group of similes seem mainly intended to show the dependence of Becoming upon Being. This paper will argue that such a view depends upon the misrepresentation of the symbolism adopted by Plato, that two antithetical groups of symbols are confused with one another, and that symbols are even identified with antitypes. Owing to these misinterpretations the Form of the Good has been mistaken for a material cause; both the Line and the Cave have been thought to reveal Plato as embarrassed by a dualism between sense and intellect, and the purpose of the Cave in particular, since the error is cumulative, has been completely obscured. This paper will attempt to substitute for current accounts another interpretation which will relate the three similes closely with the political arguments of Book VI., and with the Platonic education which is set forth in close connexion with them. (shrink)

The similes of the Sun, Line, and Cave in the Republic remain a reproach to Platonic scholarship because there is no agreement about them, though they are meant to illustrate. I propose to analyse the form of the argument, a clue that has never been properly weighed. The Greek theory and practice of analogia and diairesis give good evidence about the method that Plato adopted; if this usage were respected, the analogical argument would not be so loosely interpreted, and the (...) double diairesis and proportion that the Line actually is could not be mistaken for a classification. I hope also to show that Plato's terminology is definite and consistent; here too ancient usage helps to establish his meaning. (shrink)

Name der Zeitschrift: Semiotica Jahrgang: 2015 Heft: 207 Seiten: 539-550.

Philosophers and other scholars have often claimed that the arts are not only cognitively valuable but also morally improving (e.g., Nussbaum, 1997). However, their arguments often proceed with little attention to empirical evidence. At the same time, filmmakers and media creators deliberately use devices to direct their audience’s attention, with the intention of impacting viewers’ cognitive, affective, and neurological responses in meaningful ways (Carroll & Seeley, 2013). Whether these devices have the desired effects, and on whom, also remains largely untested. (...) If we want to understand the ways that film and media can have moral impacts, we must step out of our disciplinary siloes. It is not enough for film experts, philosophers, and experimentalists to merely take note of each other’s work; collaborative interdisciplinary research is required, both to improve methods and to examine questions that have not yet been empirically explored. In this article we propose a model for this kind of research, focusing on how media can influence moral understanding. We first outline the challenges that must be met for such research to be successful, including clarifying and operationalizing concepts, measuring moral understanding, and applying empirical methods to media and the arts. We then describe the advantages of interdisciplinary collaboration for meeting these challenges, in the context of some recent examples of interdisciplinary projects on related themes. (shrink)