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Der Beitrag benennt Kriterien für eine gute Anfangslektüre im Lateinunterricht und sucht an konkreten Beispielen die besondere Eignung von Eutrops "Kurzabriss der römischen Geschichte" für den gymnasialen Lektüreunterricht nachzuweisen.

ジェイムズ・ジョイス著『フィネガンズ・ウェイク』の第1部第5章104ページの1行目から125ページの23行目までを訳出した。逐語的に訳した箇所もあるが、内容をくみとりながらその主意を表した箇所もあり、「概要」といった題名にした。この第５章では、ALPの手紙が主に扱われている。すなわち、如何にその手紙が見つかったか、その様相、その読み方、その内容、そこに扱われている愛の問題をどう考えればよいのか、その中の文字、句読点、記号がどのような様相を持ち、どのような意味を持っているのか、それがどのように評価されているか、といったことである。, I translated into Japanese James Joyce’s Finnegans Wake I.5 (104.1〜125.23). In some parts I translated it word for word, but in other parts I just gave the gist of the sentences or the paragraphs. So in naming the title I used the word ‘epitome,’ not ‘translation.’ The part I translated in this journal mainly treats ALP’s manifesto or letter found on the mound by a hen: how it was found, how it looks, how it should be read, how the problem of love which it treats should be considered, how each letter or punctuation or sigla looks and means, how it is criticized, and so on., 大島由紀夫: 東京海洋大学名誉教授, Yukio OSHIMA: Professor Emeritus of Tokyo University of Marine Science and Technology

ジェイムズ・ジョイス著『フィネガンズ・ウェイク』の第１部第４章75ページの1行目から103ページの11行目までを訳出した。逐語的に訳した箇所もあるが、内容をくみとりながらその主意を表した箇所もあり、「概要」といった題名にした。この第4章では、HCEの死と墓、復活への兆し、フェスティ王（HCE）の裁判の模様、無罪放免後の彼の動向についての各噂話、４博士の議論、ALPのHCEへの愛情等がモチーフとして扱われている。, I translated into Japanese James Joyce’s Finnegans Wake I.4 (75.1〜103.11). In some parts I translated it word for word, but in other parts I just gave the gist of the sentences or the paragraphs. So in naming the title I used the word ‘epitome,’ not ‘translation.’ The part I translated in this journal treats HCE’s death, grave and resurrection, a quarrel and reconciliation between two male characters (perhaps HCE and Cad), King Festy’s (HCE’s) trial and acquittal, a variety of rumors about Festy after his acquittal, four masters’ argument and ALP’s affection toward HCE and so on., 大島由紀夫: 東京海洋大学名誉教授, Yukio OSHIMA: Professor Emeritus of Tokyo University of Marine Science and Technology (TUMSAT)

Background: Plants having active constituents possess pharmaceutical use and nutritional values. Herbal medicine or food supplement is gaining popularity, as well as scientific research on wheatgrass as a “functional food”. Objective: The target behind accepting wheatgrass as a study for review is to have clinical and non-clinical investigations on the wheatgrass plant at an equivalent stage. To let individuals, think about different affirmed uses and activities of the plant. Methods: Plants having so many nutritional and therapeutic values have been selected for review so that consumers or patients could be benefitted from their therapeutic uses. Recently, the interests in the use of herbal products have grown dramatically in the western as well as developing countries. The review was extracted from searches performed on Google Scholars, Google Patents, etc. Data from sources have been collected and reported here at one place in order to provide further research on wheatgrass. Results : Wheatgrass is a high source of various vitamins and minerals; it possesses many activities like anti-oxidant, anti-inflammation, anti-bacterial and many more. Wheatgrass’ uses, benefits and properties non-clinical data and clinical studies has been thoroughly studied. Patents filed related to wheatgrass are mentioned here, so as to motivate other innovators to search for new activities or molecules. Conclusions: Wheatgrass can be used in pharmaceutical formulations and can be used as nutritional supplements due to its anti-oxidant nature, anti-microbial activity, anti-bacterial activity, anti-fungal activity. It is also called “Panacea on Earth” owing to its wide range of nutritive and medicinal aspects.

This article examines the digital media revolution as a revolution reliant upon a sustained legacy of colonial violence in regions such as the Congo, the locale of this study. Contemporary production is foreshadowed by the industrial genocide of the late nineteenth and early twentieth centuries visited upon the Congo by Belgium. In an era defined by globally distributed trade networks, colonialism is equally distributed and mercurial – its complex supply chains obfuscating responsibility toward either the environment or its human inhabitants. The paper looks at the minerals required for latter day digital devices which have become the latest iteration of conflict in the region. Minerals are traced through a number of modern technologies including matches, atomic clocks and mobile devices, all of which evoke alchemical transformation and spectacle. We trace the legacy of colonial violence through smartphones, as the contemporary epitome of technical supremacy – highlighting their qualities of immediacy, mobility and making the remote proximate, especially by bringing remotely sourced geological elements into everyday use. Moving away from our own techno-romantic affiliation with such commodities, the article highlights the fact that focus on effect often further obfuscates the causal factors and consequences of resource extraction in commodity production. Even as we summon stories of global trade with our fingertips on mobile, networked devices, we are implicated in these cycles of violence.

Цель исследования заключается в подробном разборе принципа грецизации в переводе «Епитомий» Константина Арменопула, выполненном Епифанием Славинецким во второй половине XVII века. Особое внимание в работе уделяется описанию орфографического и лексического уровней языка. В статье рассматриваются такие аспекты темы, как сохранение этимологического написания греческих слов в славянском переводе, принцип антистиха, написание греческих имен и топонимов в соответствии с греческой орфографией, введение новых грецизмов в основной текст, использование грецизмов в качестве уточнений в глоссах, активное употребление грецизмов-зкзотизмов. Новизна исследования заключается в анализе языка рукописей, ранее не исследованных с лингвистической точки зрения. Основные результаты проведенного исследования заключаются в том, что протограф последовательно соблюдает все указанные выше принципы, тогда как в списках, даже самых ранних, наблюдаются отхождения от заданной протографом тотальной ориентации на греческий язык., The objective of the study is to analyze the principle of Greekization and its specifics in the translation of “Epitome” by Constantine Harmenopoulos, performed by Epiphanius Slavinetsky in the second half of XVII century. The author provides a detailed description of the orthographic and lexical levels of the language and thoroughly examines aspects such as preserving the etymological spelling of Greek words in the Slavic translation, the principle of anti-verse, the writing of Greek names and toponyms according to Greek orthography, introducing new Greek borrowings into the main text, using Greek borrowings as clarifications in glosses, and actively using Hellenisms-neologisms. The novelty in the research lies in the linguistic analysis of manuscripts that have been previously unexplored by scholars. The main results of the study show that the protograph consistently adheres to all the principles mentioned above, whereas in the lists, even the earliest ones, there are deviations from the protograph’s total orientation to the Greek language.

This essay addresses the anguish of Job which he pours out in Job 10. Job’s anguish is heightened by the fact that he does not know why he is suffering. He directs his protest to God whom he believes knows everything and judges the deepest intentions of human heart. How can God who is the sole author of life and judges rightly be responsible for this unjustifiable torment of the life a righteous man? This study examines the different outpourings of Job’s anguished heart and sees them as the epitome of the anguish of a whole group that passes through unjust suffering. The approach adopted in the study is exegetical but with practical pastoral concerns.

From the classical Chinese literary masterpiece Investiture of the Gods to contemporary film animation, Nezha’s image is profound. Examining the portrayals of Nezha, namely in those most celebrated animated films, we argue that his role as the epitome of a ‘god like figure’ is in constant displacement and return. Using the framework of archetype and displacement as advanced by Northrop Frye, with a more pluralistic myth analysis extension found in the myth critique of Gilbert Durand, this article examines the multi-layered mythical mini structures within Nezha’s displacement and return in Chinese animation, to explore the themes, images, and archetype represented by the character from the perspective of Chinese history and culture. We argue that Nezha’s displacement and return in Chinese animation expresses the need and call for a traditional heroic image in a particular era. As such, Nezha’s intertextuality exposes the profound inner patterns that form and refashion the Chinese collective unconscious, performing as a recurring mirror that symbolically inform and transform human experiences in China.

The rural landscape in the global south has become the subjectivation¹ of ruthless economies and the demand for detachment and independence has been building up since the time of Discovery. As contemporary colonization is slowly reaching a rupture point between the corporation and minorities, governments and locals, urban and rural, developed and developing, architecture can mitigate the impacts as an agent of reconciliation. A space designated for the revitalization of land degradation, not in the sense of making land fertile again, but from the standpoint of a new foundation of cultures, communities and traditions, and more importantly, a setting for celebrating rural human existence, from life to death and infinity. A sacred space, or a rural hybritopia, embodies the epitome of redemption, reconciliation and renewal for villages, towns, minorities and displaced communities. ¹The term was coined by Michel Foucault, and it is when the subject is analyzed through the relationships and circumstances of the real world rather than the inherent qualities of being (Rebughini, 2014)

— This paper proposes a Peripheral Silhouette Chasing Technique (PSCT) that lessens vigor feasting for stalking movable boards in wireless stratagem nets in footings of detecting and message vigor ingesting. PSCT preserves get-up-and-go by hire only a least quantity of feeler bulges contribute in announcement and accomplish detecting for objective pursuing. The trifling succeeding extent founded on the vehicular kinematics. The showing of objective’s kinematics agrees for clipping available share of the stalking part that cannot be instinctively visited by the movable objective within reserved time. So, sends the stalking expanse material to only the instrument bulges within negligible stalking expanse and wakes them up. Equated to the inheritance pattern which uses sphere-based pursuing expanse, our suggested structure uses not as much of integer of antennae for stalking in cooperation epistle and distinguishing deprived of objective gone. From side to side recreation, us show that PSCT leave behind the round-constructed arrangement with near 70% vitality exchangeable beneath convinced epitome circumstances. Index Term — Stratagem Linkage, Objective Stalking, Vigor, Stalking Expanse, Peripatetic Objective, Automobile, Kinematics, Round, Recognizing, Decree, Optimization.

Despite the dramatic effect of the railway age on the natural surroundings, it was not seen necessarily as destructive to nature. Railways were both the epitome of progress as well as integral features in pastoral landscapes. This seemingly paradoxical perception of railways is partially explained by historicising the “naturalisation” of the German train system. This article describes the rapid transformation of the German train from a symbol of dynamic industrialisation to an integral part of the landscape. Visual images, such as lithographs and postcards, were the catalysts in this process. Railway companies, local elites and travel guide publishers promoted the process of “naturalisation” for economic reasons, but the iconography was a result of visual discourse in nineteenth-century German culture. This paper shows that unlike American, British and French depictions of railways, German artists portrayed a railway system, which rather than conquering nature, was blending peacefully into an existing natural landscape.

Theoretical basis This case uses concepts from Korten’s strategies of development-oriented four generations of non-government organizations (NGOs) and social psychology such as stereotypes, prejudices and actions to explain the social phenomenon. In furtherance, the case presents Aristotle’s approach to creating a message for masses that include use of ethos, pathos and logos. Stood’s (2017) narrative, engagement and technology (NET) model of social leadership was used to analyse the characteristics of social leaders. Research methodology Prima facie the case was developed from primary sources i.e. interviewing with Ashish Thakur. Literature from secondary sources was obtained to make teaching notes. List of references is presented towards the end that depicts the use of textbooks, research papers, websites and blogs. This case was tested in the classroom with MBA students learning business communication. Case overview/synopsis The case dealt with the challenges of an NGO that included conducting respectful last rites of unclaimed dead bodies. As the NGO grew, Ashish Thakur, the initiator of Moksh started facing resource management challenges, namely, volunteer induction, fundraising and managing non-human resources. These issues are deeply embedded in several social stereotypes about dead bodies. Learning covers strategies of four generations of NGO development, a NET model of social leadership, breaking social stereotypes related to dead bodies and last rites (necrophobia), designing social communication and opportunity to assess faulty rationalizations and do critical thinking around the socio-religious practices. Complexity academic level This case is intended to be used for the students of the social leadership or social entrepreneurship, social psychology, business communication or communication skills, organizational behaviour, advertising and social media.

Traces of reception in codex Paris, Bibliothèque nationale de France, lat. 4419 (Epitome monachi). This short article deals with the manuscript Paris lat. 4419, which contains the Epitome monachi and was written at the end of the 9th or at the beginning of the 10th century. Some interesting annotations in the margin show the reception and interaction of users with the text. Selected annotations are discussed and analysed and an appendix with all marginal annotations of the codex is given.

In China, theatre studies has been dominated by Western discourse on serious drama, mostly the theatre of purgation. It is equally important, however, to study popular Western theatre genres, such as musicals, comedies, and relatively uplifting plays, especially in terms of their similarities with Chinese opera—an epitome of theatre of cultivation.

This article explores the way Basque language cinema is adapting to streaming platforms, focusing on the case of the three Basque language films that have made it to Netflix: Loreak (2014), Handia (2017) and Errementari (2018). Firstly, it explains Netflix particularities and its emphasis on diversity, among other reasons that could explain the platform’s interest in these particular films. Secondly, it describes the way these aforementioned films have landed on Netflix and the impact this exhibition has had. I base my research on in-depth interviews with directors Jon Garaño and Paul Urkijo as well as producer Xabi Berzosa to know the insights of the process. More broadly, the article discusses the impact that becoming available on Netflix and other SVOD platforms might have for Basque cinema, especially when it comes to production and transnational distribution. On the other hand, I will also point at the challenges that this new landscape poses for the Basque audiovisual industry, and non-hegemonic languages in general. The streaming revolution, of which Netflix is currently the epitome, is changing the production, distribution, exhibition and consumption model globally, and policy makers and Basque institutions should take this transformation seriously. Loreak, Handia and Errementari should not just become happy exceptions. El presente artículo se centra en cómo el nuevo cine en euskera se está adaptando a las plataformas de streaming, tomando el caso de las tres películas presentes en Netflix hoy en día: Loreak (2014), Handia (2017) y Errementari (2018). Primero se analiza Netflix y su estrategia de branding en torno a la diversidad, y cómo esta puede también entenderse como diversidad cultural y lingüística. Después se analiza el proceso por el que estos tres films en euskera han llegado a la plataforma de streaming. Mediante entrevistas a los actores implicados (los directores Jon Garaño y Paul Urkijo, y el productor Xabi Berzosa) y el seguimiento de las películas, se concluye que, aun siendo notables las oportunidades ofrecidas por Netflix a este cine (en cuanto a financiación y distribución), los desafíos son inmensos en un panorama cambiante y volátil. La revolución del streaming debería tomarse en serio por las corporaciones públicas responsables de producir contenidos y otras alternativas al gigante Netflix (hoy epítome de la OTT) deberían ser tenidas en cuenta para que este caso de tres films no se convierta en mera anécdota.

Propomos que a segunda edição de Raízes do Brasil (1936), publicada em 1948, representa o epítome da guinada negativa de Sérgio Buarque de Holanda quanto ao seu companheiro de geração Gilberto Freyre. As modificações incisivas nessa edição do clássico livro não podem ser, em parte, compreendidas sem que se leve em conta o constrangimento da influência exercida por Casa-grande & Senzala (1933), bem como os mecanismos de consagração apropriados por Holanda no âmbito das instituições, a partir de finais da década de 1940. Para tanto, além das duas primeiras edições de Raízes do Brasil e do clássico de Freyre, lançaremos mão de alguns escritos anteriores e posteriores a esse marco, 1948, a fim de apresentar a historicidade dessa interlocução, que vai da competição literária à disputa pela interpretação do Brasil; perpassa por questões epistemológicas, dentre essas a forma ensaio; e toca as desavenças constituintes das batalhas simbólicas no campo intelectual, a partir das quais anatematiza-se o nome do pernambucano do ensaio revisado.

Isaac Hayes provides a vital public figure through which scholars can analyze, evaluate, and more fully understand the comprehensive nature of the black freedom struggle as it progressed into the 1970s. Hayes merged the integrationist political objectives of mainstream civil rights organizations and leaders with the notions of racial pride, assertiveness, and autonomy that characterized the popular appeal of the black power movement. Hayes, through his “Black Moses” persona and LP of the same name, moved those freedom struggle promises and opportunities into the cultural realm, where he personified African American artistic self-determination. In doing so, he demonstrated that the contemporary conceptualization of black masculinity was not monolithic, as Hayes introduced and embodied an ideal that countered the prevailing notion of black manhood which pervaded popular culture and remains a central component of popular memory concerning black power. Most importantly, Isaac Hayes embodied a model of black masculinity that contradicted the prevailing “black macho” ideal. “Black Moses,” therefore, embodied the freedom of African Americans to move beyond contemporary racial classifications in a cultural capacity and presents scholars with an intriguing model through which to examine the evolution, possibilities, and accomplishments of the post-1960s American black freedom struggle.

Miguel Caballero is the epitome of what can be called a ‘Fashionable Protective Wear’. The brand was named after its brainchild Miguel Caballero himself during the raging times in Columbia. Back in the 1990s specifically, the political beliefs were compartmentalized into different violent groups in the country. Miguel envisioned this as a fancy business opportunity with a little bit of trick up his sleeve. His idea was to add fashion and pliability to a category of apparel that was once deemed to have been nothing more than a baggy, ugly-looking and inconvenient piece of must wear; not to mention the noticeability of the clothing and how it magnified the ones wearing it even more to the eyes of the oppressor. Although it was part of a graduation project, yet it turned into a whole business model. This case discloses Miguel Caballero’s journey and evolution of the brand throughout the decades. The brand has now become a state-of-the-art enterprise with a global value chain, and it is also standing at the top of its industry because of its unique strategy execution of engagement marketing. The company is the trendsetter and holds a massive market share with distinguishing strategies which exemplifies a perfect paradigm of the contemporary business world.

In this article I contrast the ease with which I have always been able to study Scientology with the near impossibility to speak about my research in France unless it is to attack the Church, considered as the epitome of the dangerous tentacular cult. Any factual presentation of its origins and workings will be interpreted as a biased promotion of this dangerous ‘secte.’ I narrate a year-long attack by anti-cultists against my work and against CESNUR.

This essay stems from our growing concern about the carbon intensity of academia, and of conferencing as an epitome of this. Face-to-face conferencing is widely recognised as both unsustainable and inequitable. Against this backdrop, digital conferencing (online only, or in hybrid form) offers a viable alternative. However, shifting to digital forms of conferencing does not automatically bring about equity. Drawing on white papers, academic discussions and results from a PollEverywhere survey, this essay explores issues of sustainability and equity across modes of face-to-face and digital conferencing, with the aim of charting a path towards more sustainable and accessible digital practises for a diverse community of linguists.

ジェイムズ・ジョイス著『フィネガンズ・ウェイク』の第１部第３章64ページの30行目から74ページの19行目までを訳出した。逐語的に訳した箇所もあるが、内容をくみとりながらその主意を表した箇所もあり、「概要」といった題名にした。この第３章の訳出部分では、本筋から少し離れた、あるパトロンと愛人についての逸話、ALPがHCEに書いた手紙、HCEを誘惑した2人の女子、ALPのHCEに対する迫り方、ある変人のHCEに対するハラスメント、などがモチーフとして扱われている。, I translated into Japanese the latter part of James Joyce’s Finnegans Wake I.3 (64.30〜74.19). In some parts I translated it word for word, but in other parts I just gave the gist of the sentences or the paragraphs. So in naming the title I used the word ‘epitome,’ not ‘translation.’ The part I translated in this journal treats the episode of a sugar-daddy, the letter which ALP wrote to HCE, HCE’s trial and acquittal, the two girls who tempt HCE, ALP’s seductive behavior toward HCE, and HCE’s being abused by an eccentric., 東京海洋大学名誉教授, Professor Emeritus of Tokyo University of Marine Science and Technology (TUMSAT)

El dilema de preservar la forma o el contenido ha sido discutido in extenso en los estudios traductológicos durante gran parte del siglo XX. Hayes (1975) confiaba en el sentido común del traductor al momento de encarar el arte de la traducción literaria. Por su parte, con un enfoque más descriptivo, Ben-Ari (1992) y Shavit (1992) estudiaron las características específicas de la literatura infantil traducida del alemán al hebreo revisando variables históricas y entendiendo la fuerza canónica de ciertos libros dentro del catálogo del sistema estudiado. En inglés, como en castellano, la literatura infantil carece en cierta medida de importancia canónica. Sin embargo, existen ejemplos específicos (tal el caso de las obras de grandes autores ingleses del siglo XIX como Lewis Carroll, Stevenson, o C. S. Lewis) que lograron adquirir estatus canónico. Como el epítome de la escritura periférica, la traducción (en este caso la traducción de literatura infantil) deviene una práctica periférica de una literatura periférica. Si consideramos que en el polisistema las obras tienden a ir y venir de posiciones centrales a posiciones periféricas y viceversa, podemos concluir que es importante abrir espacios a culturas alternativas, y que la traducción puede tener un papel preponderante en este proceso. Este trabajo analiza las estrategias utilizadas por tres traductores diferentes de tres obras de la serie de Dr. Seuss. Nuestros hallazgos persiguen hacer foco en las ideas de Hayes, Ben-Ari y Shavit centrados en la literatura para niños.

With the death of Brian MacLean at age 91, Arctic marine geologists lost a long-time friend and valuable colleague. Brian was the epitome of a “gentle man” who loved his work and was always willing...

espanolThis article explores Agusti Villaronga's Tras el cristal (1986)by focusing on the iron lung, Klaus's notebook, and photography as relics whose liminality configures a traumatic spectral past that haunts Angelo. As traces of a past ineffectively buried, these artifacts condemn Angelo to relive the abuses he suffered, progressively dispossessing him of his voice and turning him into his own abuser. As a result, Angelo performs ritualistic, mimetic murders as a means of understanding and exorcising his own trauma. Klaus's murder illustrates the superposition and confusion of times and voices, as well as the propagation of violence perpetuated now on Rena. The end of the movie is suspended and frozen in a crystal ball, a new relic and enigma to decipher, the epitome of an emblem of trauma that has presented the fable of Klaus and Angelo in the universal power dynamic of victim and abuser. EnglishEste articulo explora Tras el cristal (1986) de Agusti Villaronga centrandose en el pulmon de acero, el cuaderno de Klaus y fotografia como reliquias cuya liminalidad configura un pasado traumatico espectral que acecha a Angelo. Como vestigios de un pasado mal enterrado, estos artefactos condenan a Angelo a revivir los abusos sufridos, progresivamente quitandole su voz y convirtiendolo en su propio agresor. Angelo lleva a cabo asesinatos rituales y mimeticos para entender y exorcizar su propio trauma. El asesinato de Klaus ilustra la superposicion y confusion de tiempos y voces, asi como la propagacion de la violencia perpetuada ahora en Rena. El final de la obra se suspende y congela en una bola de cristal, una nueva reliquia y enigma que descifrar, el epitome de un emblema de trauma que ha presentado la fabula de Klaus y Angelo en una dinamica de poder tan universal como la de victima y verdugo.

The new Italian vocal style that arrived in Britain at the end of the seventeenth century with teachers such as Pietro Reggio and Pier Francesco Tosi – and which soon became regarded as the epitome...

Dante Alighieri (1265-1321) was a life-long obsession for Samuel Beckett (1906-1989), and the Divine Comedy (1320) had a great impact on his literary trajectory. Concerned with “Purgatory” in particular, Beckett was fascinated with Dante’s Belacqua, a character Dante encounters in Ante-purgatory where the souls wait for a lifetime in order to begin their journey of purgation. Belacqua is portrayed by Dante as a slothful figure who is not much interested in purging his soul and seems quite content with his lethargic state. While for Dante, Belacqua is a pitiful soul, an epitome of sloth, and a negative example for humankind; for Beckett, he is the ultimate representative of the modern man who has lost his purpose in life and his will to make sense of the world he occupies. In Beckett’s novels, then, Dante’s Belacqua is transformed from an exemplary character serving for a moral message into an ‘everyman’ figure reflecting the existential predicament of the twentieth-century individual. Dante’s Belacqua, in this sense, constitutes the gist of Beckett’s outsider protagonists who are depicted as aimless and indifferent wanderers. Therefore, these characters are portrayed as merely different versions of Belacqua. In this light, this article purposes to discuss how Beckett adapts Dante’s Belacqua to the twentieth-century context and revives him as the epitome of the modern everyman who suffers from an existential plight, and how Beckett’s oeuvre is, indeed, shaped by this very character.

La teoría clásica de las ideas innatas conoció en las últimas décadas un resurgir de la mano de filosofía chomskyana del lenguaje y la mente al amparo de una coartada genética. Sin embargo, la clarificación del alcance del papel de los genes en el desarrollo y de la complejidad y pluralidad de los sistemas en que aquellos se integran ha ensombrecido, si no apagado definitivamente, la infuencia del planteamiento. En este trabajo se argumenta, además, que históricamente se produjo un efecto semejante con el innatismo cartesiano, al ser interpretado como un modelo disposicional de lo innato y acomodado al modelo epigeneticista del desarrollo orgánico. El precio de la supervivencia de alguna forma de innatismo parece ser el de permanecer aislado de cualquier lectura naturalista o científica y reafirmarse como una postura metafísica, epítome de la cual sería el modelo monadológico de Leibniz.