This paper aims to present possible approaches, resources and programmes to introduce the topic of biosecurity to life scientists and engineers at the higher education level. Firstly, we summarise key findings from a number of international surveys on biosecurity education that have been carried out in the United States, Europe, Israel and the Asia–Pacific region. Secondly, we describe the development of our openly-accessible education resource, illustrating the scope and content of these materials. Thirdly, we report on actual cases of biosecurity (...) education that have been implemented. These include achievements in and lessons derived from the implementation of biosecurity education at the National Defense Medical College in Japan. These experiences are followed by presentation of the expert-level “Train-the-Trainer” programmes subsequently launched by the University of Bradford in the United Kingdom. These examples will help readers to understand how educators can enhance their own understanding about biosecurity issues and how they can then disseminate their knowledge through development of their own customised, relevantly-targeted and stage-tailored education programmes within their own life science communities. By providing these examples, we argue that education for life scientists, policy-makers and other stakeholders about social responsibility on dual-use issues is easily achievable and need not be expensive, time-consuming or over-burdening. We suggest that recurring classes or courses be held at appropriate times during educational programmes to accommodate the developing expertise and advancing learning stages of students. (shrink)

単眼・一点透視の“遠近法”ではなく、複眼・多様性の“遠近法”の「図式語彙」で読み解く。“図式語彙”による作品解釈の新しい地平。.

The concept of contingency is very much debated. In this paper, I’ll offer a novel interpretation of it in Dharmakīrti’s ontology, focusing on his treatment and understanding of vināśa which is, according to Dharmakīrti, not contingent and thus occurs necessarily to everything. I will do so by clarifying some important terms, motivating and explaining Dharmakīrti’s position, and analyzing firsthand some Dharmakīrtian debate excerpts with Nyāya and/or Vaiśeṣika philosophers as the main opponents. In the course of this, I will show that (...) basically, for Dharmakīrti, contingency is tantamount to dependency, whereas Nyāya and/or Vaiśeṣika authors, e.g., Śrīdhara and Bhāsarvajña, claim that something can be dependent on something else and still be necessary. (shrink)

This paper studies the theory and practice of Minna in Manabi, as the Japanese concept of learning from the perspective of moral education. The Japanese word Minna, which means “all” or “everyone,” plays an important role in Manabi. The word “Minna” is often found in textbooks used in moral education classes, and great value is placed on “thinking about everyone.” Minna, a component of Manabi, not only makes the self (the learner) nothing and selfless, but also makes it possible to (...) enter all, everyone, and the world. This may create possibilities for inclusiveness, reciprocal harmony, hospitality, solidarity, and cooperativeness. This Manabi of “thinking about everyone” can be found in moral classes and in all aspects of learning (educational) activities in Japanese schools. Among them, in addition to being a traditional Buddhist practice dealing with Nothingness and Selflessness, Souji (cleaning time) is also very important in schools as a Japanese moral practice of “thinking about everyone.” The moral concepts developed in the West, such as democracy, community, solidarity, engagement, and citizenship, are not only realized through the establishment of the individual, self-realization, and perfection of personality, but by “thinking about everyone,” as expressed in Nothingness, Selflessness, and Minna. (shrink)

Dharmottara, one of the most outstanding commentators of Dharmakīrti, re-uses arguments in the Pramāṇaviniścayaṭīkā, his broad commentary on Dharmakīrti’s Pramāṇaviniścaya, from his independent essay, the Kṣaṇabhaṅgasiddhi. By analyzing contents of re-used arguments in the Pramāṇaviniścayaṭīkā, this paper clarifies Dharmottara’s intention of paraphrasing his arguments in his commentarial work on Dharmakīrti. I argue that, in terms of content, such arguments are original and never fit into Dharmakīrti’s own system. It can be said that Dharmottara has a clear intention to display his (...) new innovations not only in his independent monograph, but also in his commentarial work. For Dharmottara, a commentary on Dharmakīrti is a better place than an independent monograph for showing off his advanced notions, since it is only in a commentary that his ideas can stand out directly against those of Dharmakīrti. In this sense, Dharmottara writes his commentary strategically. At the end of the article I discuss the significance of composing independent monographs or essays in the intellectual history of medieval India in the case of Dharmottara. (shrink)

Face à l’extension d’un art disséminé, nous nous arrêtons sur un registre de pratiques et de notions malentendues, les arts martiaux japonais, confondus avec des « sports de combat ». Par « art » nous entendons une conduite soucieuse de mener une pratique et une production à la perfection, et foncièrement à la perfection de soi, quelle que soit la manière culturelle locale d’envisager cet état d’accomplissement. En regard de l’art du bouquet ( ikebana ), de pratiques shintoïstes (comme le (...) kototama ), nous examinons des notions comme celle d’art martial ou bugei, littéralement l’art ( gei ) d’arrêter la lance ( bu ). Ce que les Occidentaux ont interprété comme un « art de la guerre » se voulait un « art de la paix ». Les arts martiaux japonais mobilisent en ce sens des notions et des expériences parfois connues en Occident comme le ki, l’énergie, ou méconnues comme le shin (le cœur-esprit), le ma (l’espace-temps) ou l’ aï (l’un). Nous nous proposons de démonter un malentendu à partir d’une pratique artistique, le kino-michi, élaboré par Masamichi Noro, dérivée de l’aïkido, en vue de comprendre en quoi ces bugei sont une éducation, une élévation de l’âme et du corps au même titre que la musique ou la danse. (shrink)