The European project European and Latin American Systems of Ethics Regulation of Biomedical Research Project (EULABOR) has carried out the first comparative analysis of ethics regulation systems for biomedical research in seven countries in Europe and Latin America, evaluating their roles in the protection of human subjects. We developed a conceptual and methodological framework defining ‘ethics regulation system for biomedical research’ as a set of actors, institutions, codes and laws involved in overseeing the ethics of biomedical research on humans. This (...) framework allowed us to develop comprehensive national reports by conducting semi-structured interviews to key informants. These reports were summarised and analysed in a comparative analysis. The study showed that the regulatory framework for clinical research in these countries differ in scope. It showed that despite the different political contexts, actors involved and motivations for creating the regulation, in most of the studied countries it was the government who took the lead in setting up the system. The study also showed that Europe and Latin America are similar regarding national bodies and research ethics committees, but the Brazilian system has strong and noteworthy specificities. (shrink)

Within the philosophical discussion between Idealism and Romanticism that took place in Germany toward 1800, they were formed the basic directives that will guide all (critical or apologetical) later exposition about the subjectivity. The Idealism, represented by Fichte, Schelling and Hegel (its ..

Quelles mutations de la scène contemporaine le concept de paysage, de plus en plus présent dans le discours théâtral actuel, est-il capable d’éclairer? De quoi le paysage est-il le nom? Par le prisme de la scène-paysage, l’article engage une réflexion sur les possibles conceptions d’une scène non anthropocentrique, en visitant des spectacles de Robert Wilson, Claude Régy et Maguy Marin. Ni décor pour les personnages ni fond de scène pour les acteurs, le paysage, caractérisé par la ligne d’horizon qui l’unifie (...) et par son absence de centre, nous inciterait à penser la scénographie en lien direct avec l’activité cognitive du spectateur et, plus précisément, avec l’expérience du regard. (shrink)