Much innovation has taken place in the development of medical schools and licensure exam processes across the African continent. Still, little attention has been paid to education that enables the multidisciplinary, critical thinking needed to understand and help shape the larger social systems in which health care is delivered. Although more than half of medical schools in Canada, the United Kingdom, and the United States offer at least one medical humanities course, this is less common in Africa. We report on (...) the “liberal arts approach” to medical curricula undertaken by the University of Global Health Equity beginning in 2019. The first six-month semester of the curriculum, called Foundations in Social Medicine, includes courses in critical thinking and communication, African history and global political economy, medical anthropology and social medicine, psychology and health, gender and social justice, information technology and health, and community-based training. Additionally, an inquiry-based pedagogy with relatively small classes is featured within an overall institutional culture that emphasizes health equity. We identify key competencies for physicians interested in pursuing global health equity and how such competencies relate to liberal arts integration into the African medical school curriculum and pedagogical approach. We conclude with a call for a research agenda that can better evaluate the impact of such innovations on physicians’ education and subsequent practices. (shrink)

O artigo se propõe a uma investigação da potência filosófica presente na poesia japonesa clássica conhecida como waka. O aspecto formal mais proeminente do waka é a sua curta estrutura composta geralmente de 31 sílabas moraicas divididas, respectivamente, em 5 versos de 5, 7, 5, 7 e 7 sílabas cada. Para erguer-se como uma forma poética, o waka emprega o recurso rítmico da pausa e uma retórica que vinculam cada poema individual ao todo da tradição através de (...) precedentes. Defendemos que na tradição intelectual constituída pelo waka há uma filosofia do real – que denominamos intertextualidade do real – que entende a realidade como vazia e impermanente. Dessa forma, seria o waka a forma mais adequada através da qual exprimir o real uma vez que ele é mais profundo e excelente a medida em que cria um movimento de esvaziamento e tornar impermanente através de seus recursos formais e retóricos: seu cerne, sua disposição e significado e suas palavras. (shrink)

「和歌」「声」「文字」という表現メディアに着目し宣長思想と教育との関わりを検証。幼児教育への応用についても検討する。.

ESSAY I THE AESTHETIC STRUCTURE OF WAKA In the tradition of Japanese poetry, there evolved several genres, of which the most representative are waka ...

This article aims to investigate and analyze Yusuf b. Muhammad Jān al-Karabāghī's (d. 1035/1626) treatise in which he discusses some issues related to existence (wujūd) and the Necessary Being (wājib al-wujūd). This study aims to bring this treatise of al-Karabāghī, which has not been studied yet, into the literature of the history of Islamic thought by investigating and analyzing its content. There is no information about Yusuf al-Karabāghī's birthplace and education in bio-bibliographical sources. It is known that he wrote works (...) in the fields of tafsīr and theology (kalām). Some of his works are Erbau' Ta'līkātin fi't-Tafsīr, Risāla fi'l-Mubāḥasa allatī waka'at fī surat al-Fath bayna al-ulamā, Hāshiya 'alā Sharhi'l-Aqā'id al-Adudiyya, Sharḥ Risāla Ithbāt al-wājib li al-Dawwānī. Three copies of this treatise, which is the subject of this study, have been identified in manuscript libraries. The first of these copies is listed as MS 791 in Selimiye Manuscript Library, the second is listed as MS 1210 in Suleymaniye Library, Carullah Efendi Collection, and the third is listed as 1960 in Suleymaniye Library, Manuscript Donations Collection. Among the mentioned copies, the copy registered in Selimiye Library ms. no 791 was preferred as the main one in the analysis both because it is very clear and readable, and because of the scribes’s collation note in the ferağ record. This is because the scribe wrote this copy in correspondence with other copies that existed in his period but have not survived to the present day. The author does not explicitly mention the name of this treatise in the introduction. In the introductory part of the treatise, he states that he has collected topics that will serve as a remedy for finding the right thought. When its content is analyzed, it is understood that the treatise includes some issues related to existence (wujūd) and especially the Necessary Being (wājib al-wujūd). It is seen that the author followed a different method in the treatise. Yusuf al-Qarabāghī divided the treatise into seven chapters, which he called "halwa". He also added subheadings to each section, sometimes one and sometimes two, which he called "waqf". In these sub-headings he added to each section, he included the views of a thinker who is an authority on the subject he examined. In the treatise, the author examines the methods of demonstration such as burhān al- tatbīq, burhān al- tazāyuf, burhān al-sullamī and concepts such as revolution, succession, wujūd, wājib al-wujūd, possible, qadīm, hadīth, cause, ma'lūl, complete cause, nūr, zulm, al-ālam al-misālī, berzāh, and juz al lā yetajjazā (jawhar al-fard). In this framework, he discusses Karabāğī's proof of the existence of the Necessary Being through the cancellation of the vicious circle and infinite regression (tasalsul), the unity of the Necessary Being (tawḥīd), the relation between essence and attribute, and the attribute of knowledge of the Necessary Being. As a result, in this treatise, Yusuf al-Karabāghī analyzed some debates and views on existence (wujūd) and the concept of Necessary Being, which is an important issue in the tradition of Islamic thought, employing his unique methodological approach. (shrink)

Contemporary notions of what constitutes tribal self government for Indigenous Peoples in the legal systems of the nation-states Canada, New Zealand and the United States of America have their origins in philosophies and theories developed by European nation-states generally, in relation to their colonial expansion into what is now called the Americas. This thesis examines the nature of these theories, and how they have formed the basis for legal precedent and public policy in the three nation-states. A representative analysis of (...) three contemporary issues will serve to illustrate the outcome of this legal/political history. I look at three sites. These are the British Columbia Treaty Process in Canada, the Waka Umanga legislation in New Zealand, and legal developments arising from the Indian Reorganization Act in the United States. Full sovereignty from an Indigenous Peoples worldview existed for Indigenous nations, and with it, self government. The notion of self government as a viable and contemporary public policy initiative is well grounded in law and history. It would seem that current initiatives to acknowledge this inherent right are more about preserving colonial hegemony rather then engaging in honest negotiation. Current initiatives are converging into a single public policy goal; namely the corporatisation of Indigenous Peoples legal personality and self governing capacity. What used to be distinct nation-state development now seems to be a four nation-state (CANZUS) unified plan being implemented on four different fronts. Clearly, from the legal history, self government is something fundamentally different from self-management. The advent of Legal Positivism has played a significant role in assumptions that inherent sovereignty and self government never existed under European legal systems. The framework of tribal self governance must be viewed in the context of the values of the specific People to be a true expression of an Indigenous Nation exercising self government. This fundamental distinction can be traced back to the legal history. The foundational laws regarding interactions with Indigenous Peoples were developed under theories of natural law. The contemporary state practice is conducted under positivist law, with a nod toward developing human rights standards. Only through continued advocacy for the legal recognition of inherent rights will the nation-states be challenged on their self management agenda. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Onitsura's Makoto and the Daoist Concept of the NaturalPeipei QiuIn haikai history, Uejima Onitsura (1661-1738) is famous for the following statement concerning the nature of comic linked verse: "Without makoto, there would be no haikai."1 The two Japanese terms used in this statement, haikai and makoto, present an obvious semantic conflict. Makoto in Japanese basically means "truth," "faithfulness," and "genuineness."2haikai, on the other hand, literally means "facetiousness" or "humor." (...) The term is used to refer to facetious poems in Japan since the first imperial poetic anthology, the Kokin wakashū (905). When haikai no renga (comic linked verse) became a popular genre during the later medieval and early Edo periods, it was conceived basically as a playful and facetious poem. By saying that "without makoto there would be no haikai," Onitsura declared a revolutionary change in the nature of the comic linked verse, a reform carried out by the joint effort of a number of haikai poets during the last two decades of the seventeenth century. Before this change took place, haikai had been characterized as a poem of "free exaggerations" and "the most deluding falsehoods."3 The shift of the critical emphasis from falsehood to truthfulness transformed the genre from an entertaining pastime to a serious literary form.An important notion in haikai poetics, Onitsura's makoto has garnered wide scholarly attention. But, because of the lack of a clear definition by the author himself, over the years scholars have been debating the precise meaning of Onitsura's makoto and trying to discover its derivation through various sources. The filiation of makoto has been traced to Zen Buddhist doctrine,4 traditional waka poetics,5 and Confucian teaching.6 The assumption that Onitsura's makoto originates in Zen doctrine is based on the preface that Onitsura wrote to Haidō Enō roku (The Way of haikai: Notes on Huineng's teaching) (1680). The preface begins with the following lines:Printed poetry books are not trees; the paper on which a poem is written also has no stand. "From the beginning not a thing is"—this is the key to my haikai.7Peculiar at first glance, these lines are derived from the legendary gatha of Huineng (Enō), the Sixth Patriarch of Zen Buddhism. Huineng's gatha appears in section 8 of Liuzu fabao tanjing (The Platform Sūtra of the Sixth Patriarch):Bodhi originally has no tree,The mirror also has no stand.From the beginning not a thing is,Where is there room for dust?8 [End Page 232]The third line of the verse, "From the beginning not a thing is", is regarded by some scholars, especially some Japanese writers, as the most important doctrine Huineng contributed to Zen Buddhism.9 It is believed that the focus on the original nothingness, or original purity, of Buddha nature distinguishes Huineng's doctrine of sudden enlightenment from those of his predecessors. Okada argues that the Zen notion of original nothingness was the major source that awakened Onitsura to the necessity of haikai reform and led him to the conclusion that "without makoto there would be no haikai."10Okada's study is enlightening in examining Onitsura's early views of poetry. It is not, however, very convincing to say that this Zen verse alone was responsible for the formation of Onitsura's makoto. For one thing, the poet's own writings suggest that Onitsura realized the significance of Huineng's words after he had become aware of the true way of haikai. In the same preface cited above, Onitsura writes:Only after I became awakened to the true way of haikai did I begin to understand the significance of Master Huineng's words "not a thing is." I see [that] many poets in the haikai circles nowadays have ignored the true way of haikai while arguing endlessly over the old and new styles. I feel sorry for them.11It is clear from Onitsura's words here that he borrowed the Zen term mainly to criticize the mannerism among the haikai poets of his time. He was calling for the haikai poets to put aside their prejudice about the stylistic differences and open their minds... (shrink)

The study discusses the relationship between Buddhism and poetry in early medieval Japan drawing on the cycle of poems “One Hundred Verses about the Seasons” (Shikidai hyakushu) dedicated to the shrine in Ise and written by the Tendai monk Jien (1155–1225). The paper deals with discursive strategies and ritual practices based on the exam­ples of the cycle “One Hundred Verses about the Seasons” by Jien, by which Buddhism in early medieval Japan consecrated a new ritual use of one of the (...) genres of court litera­ture, waka poetry. The paper briefly describes the process of incorporating the forms of Japanese waka poetry into Buddhist rites, traces the appearance of “songs of joy from following the teachings of (Buddha)” (ho:raku) in ritual practice, explains the meaning of the word ho:raku, describes a stage in the development of poetic theory formulated within the framework of Japanese esoteric Buddhism, characterizes the essence and meaning of “songs of joy” in the Buddhist tradition. The authors point to the contribution of Jien to the development of poetic theory and the relevance of new forms of waka, “songs of joy” created on the basis of this theory. The textual analysis of the cycle “One Hundred Verses about the Seasons”, its structure and content allows identifying the fea­tures of the genre of spiritual poetry ho:raku. The results also display how secular themes (nature, love lyrics) are reinterpreted to convey the experience of learning the teachings of Buddha, show the functioning of waka poetry as a means of preaching Buddhist teach­ings, as a way to comprehend the truth and achieve enlightenment. (shrink)

1. Bendō. Benmei. Ken'en zuihitsu. Ken'en jūppitsu. --2. Rongo chō. Daigaku kai. Chūyō kai. Mōshi shiki. --3. Toku Junshi. Toku Kanpishi. Toku Ryoshi shunjū. Shōshogaku. Kōkyō shiki. Keikoshi yōran. Rongo bensho. --4. Ogyū Sorai shū. Ogyū Sorai shū shūi. --5. Yakubun sentei. Kun'yaku jimō. Zekkukai. Zekkukai shūi. Kobunku, bunhen. Shibun kokujitoku. Narubeshi. Furyū shishaki. --6. Seidan. Taiheisaku. Tōmonsho. Kenroku. Kenroku gaisho. --7. Minritsu kokujikai. Gakuritsukō. Gakuseihen. Kotogaku daii shō. Yūran fu. Bakushūdo kō. Doryō kō. Somonhyō. Sosho kokujikai. --8. Sonshi kokuji (...) kai. Goshi kokujikai. Jimoku kōtatsu shomoku. Gakuryō ryōken. Ken'enroku kō. Shinruigaki Yuishogaki. Senzogaki oyobi Yuishogaki. Ogyū sensei nenpu saikun bohyō kaminushi. Ogyū sensei bokutsu oyobi shi. Ken'en zatsuwa. Kokuji shotoku. Waka. Hisseki. Inpu. Shōzō. Nenpu. Sono hoka. (shrink)

Il s’agit ici de mettre en évidence une propriété de la beauté, à la fois subtile et évidente, mais largement ignorée de l’esthétique occidentale : la capacité du beau à embellir ce qui l’entoure. L’analyse s’appuie sur le commentaire d’un waka d’Akiko Yosano et étudie les proximités et les différences de cette beauté embellissante et de concepts philosophiques européens qui s’en rapprochent : l’éclat selon Platon, l’aura selon W. Benjamin, et le cérémonial, selon H. Kuhn.