Purpose of the study is to shed light on the role of psychophysiology in the creative process, namely, the style corrections connected with pathological changes in the artist’s organism, deviating from empirical-descriptive methods. Theoretical basis of the study implies the interpretation of the notions style and disease not in their narrow professional limitation but from the standpoint of expanding the parameters of these concepts to philosophical dimensions. Based on the principle of analogy, the research findings prove that non-mimetic creative process (...) manifests itself exclusively in connection with a human from a bodily viewpoint through anthropological mimesis, which can program the propensity to certain capabilities of the individual organism. C. G. Jung was the first who pointed to the productivity of this method in his work "Theoretical Reflections on the Nature of the Psyche". The creativity phenomenon reflects not only "pure" psychology and the intellectual and spiritual component but also its relation to the artist as a physical being. It, outside its belonging to and being conditioned by transcendent factors, includes a quantitative aspect related to the moment of intensity. The disease acts to some extent as a stimulator of the production/change of aesthetic enzyme. In this context, the dialectic method is also effective because the subject of study cannot be comprehensively argued using naturalistic approaches only and requires a semantic explanation too. The essence of it is the logic of contradictions. In this case, the antinomy of matter-spirit plays a conceptual role in the projection on the plane of word-formation. Originality of the research findings is in the expansion of the causal relationship range of the creative process, namely the inclusion of the factor of psycho-physiological pathology into the system artist-work. This factor performs important stylistic functions. Conclusions. In contrast to scientific studies, where 1) style is analyzed separately and 2) the figure of the artist, this study argues the need to correlate these issues, taking them beyond descriptiveness to avoid schematics and one-dimensionality. (shrink)

1. Amūnīyūs ibn Hirmiyās wa-atharuh fī falsafat al-Farābī = Ammonius son of Hermias and his influence on the philosophy of Al-Farabi--2. Simbilīlīkūs wa-atharuh fī mītāfīzīqā Ibn Sīnā = Simplicius and his influence on Avicenna's metaphysics.

Now, we can draw a conclusion on the matter of the necessity of angādhikāra in Pā $$ \underset{\raise0.3em\hbox{$\smash{\scriptscriptstyle\cdot}$}}{n}$$ ini's grammar. We have seen that angādhikāra constitutes a very important section of the grammar where the relation of the suffixes and their bases is crucial. We also have observed that the concept of anga cannot be separated from Pā $$ \underset{\raise0.3em\hbox{$\smash{\scriptscriptstyle\cdot}$}}{n}$$ ini's system due to its being a part of many sūtras as well as many paribhā $$\underset{\raise0.3em\hbox{$\smash{\scriptscriptstyle\cdot}$}}{s}$$ ās. We have also (...) seen that at least three exclusive prayojanas exist for the justification of angādhikāra. Another justification can be given in the form of preventing the double samprasāra $$ \underset{\raise0.3em\hbox{$\smash{\scriptscriptstyle\cdot}$}}{n}$$ a in forms like vavraś which we discussed while determining the limit of angādhikāra. We saw that three important paribhā $$\underset{\raise0.3em\hbox{$\smash{\scriptscriptstyle\cdot}$}}{s}$$ ās, which are accepted by Patañjali, depend on angādhikāra. Finally we saw that an alternative suggested by Patañjali for angādhikāra is in no way better, but actually defective.Kātyāyana's use of angādhikāra in other sections to counter some objections has been shown too. Patañjali's apparent rejection of angādhikāra on the basis of Kātyāyana's vārtika on ‘angasya’ (6-4-1) is not supported by his own treatment of the subject in other places. So, we conclude that Patañjali did not really intend to refute the angādhikāra and the view which appears in his commentary on 6-4-1 should not be taken as his siddhānta on this matter. Tasmād angādhikāra iti bhagavato gūdho 'bhisandhir iti bhāvah. Naitāni ity ādi grantha $$\underset{\raise0.3em\hbox{$\smash{\scriptscriptstyle\cdot}$}}{h}$$ ekadeśyuktir iti tātparyam. Nāgeśa, ‘Uddyota’, MB, Vol. 5, p. 273.Thus the necessity of angādhikāra in Pā $$ \underset{\raise0.3em\hbox{$\smash{\scriptscriptstyle\cdot}$}}{n}$$ ini's A $$\underset{\raise0.3em\hbox{$\smash{\scriptscriptstyle\cdot}$}}{s}$$ $$\underset{\raise0.3em\hbox{$\smash{\scriptscriptstyle\cdot}$}}{t}$$ ādhyāyī is established. (shrink)

The problem of ethics in medical care as seen from the bioengineering results from the almost incredible technological achievements based on scientific research: On the one hand there is inadequate handling of technology and fear on the part of the patient; on the other hand there is admiration on the part of the physicians and the nursing staff. This article will survey the points of criticism concerning ethical behavior and will present and evaluate general problems of mechanization in medical care. (...) General phenomena of human interaction, and especially problems related to medical care, will be discussed. It will be necessary to develop clinical medical technology, aiming primarily at realizing the patient's concern. After analyzing these concerns, it is necessary for the clinical medical engineer to develop an invisible technology. Criteria for such an invisible technology (function, design, automatic control, methods of implantation, whether chronic application is necessary) are being demonstrated by particular devices (artifical heart, functional electro-stimulation, diaphragmatic pace-maker). (shrink)