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Copyright of Journal of Anbar University for Law & Political Sciences is the property of Republic of Iraq Ministry of Higher Education & Scientific Research (MOHESR) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

A master copy is an artifact whose quality or value carries over to the copies it engenders. In the United Arab Emirates, home to a marketplace trade in Pashto‐language film and music, master copy also refers to the context of the artifact's accessibility; it describes a print made from a medium—such as a celluloid film, an audiocassette, or a vinyl record—considered to hold the earliest or highest‐quality recording. Situated at a narrowing analog‐to‐digital bottleneck, a master copy is not an original but an interface between the social circumstances afforded by storage and communication media. Thus, as distinct from the formats that manifest content or preserve data, bottlenecks and interfaces ought to be studied on their own terms, as is shown in ethnographic research on master copies that travel between Pakistan and Afghanistan, and beyond, throughout the Pashtun diaspora. [ABSTRACT FROM AUTHOR]

This paper traces the making of Bamiyan Buddhas beyond the Bamiyan valley in Afghanistan since 2002. Recounting the building and rebuilding of a monastic complex in Bangkok, the study focuses on one of these new Buddhas, more complete than the "original" Bamiyan Buddha of the dually inscribed grotto, "Bamiyanguha-Bamiyan Museum", at Wat Saket. In their global manifestations, the Bamiyan Buddhas have emerged as mobile sites, as place holders with direct and indirect citations to the destroyed Buddhas of the valley. The building of Wat Saket's Bamiyan Buddha is situated within larger transnational histories of planned, projected, rejected, and reproduced Bamiyan Buddhas, within stylistic decisions related to questions of shifting material media, scale, and iconography involved in copying and reproductions, in the context of Thailand's changing engagements with itinerance, multiplication, and copying strategies around Buddha images, and in national and global circuits of collecting, exhibitions, gift, and piety. The museum, specifically the cave-museum of Wat Saket, as a site of retinal and haptic vision which continues to challenge and blur the distinctions between curatorial visions, specialist pedagogy, visual instructions, aesthetic contemplation, and rapidly shifting and evolving complex of ritual practices and leisure, remains at the heart of this study. [ABSTRACT FROM AUTHOR]

The rise and prime of mashup-prose in 2000-2010s made this subgenre the most controversial in the modern literary process. The Ukrainian embodiment of mashup-prose stands out against the world background thanks to the writers' creative reinterpretation of its key formulas in combination with a critical vision of history and a pronounced folk humor. We define the specifics of the mature form of mashup expression in Ukrainian literature using the example of the story by O. Dekan (and I. Nechui-Levytskyi) "Kaydash Family vs Zombies" for the first time. O. Dekan's reinterpretation of the mashup model "transformation of a classical artistic work" is indicative and testifies to the creative implementation of the Western artistic matrix in the mature Ukrainian subgenre of 2020s. The interaction in this story of sequentially located plot-image blocks, where the matrix is sustained and where the classic plot by I. Nechui-Levytskyi is left behind, can be considered as a hybridization of a mature mashup-form in the previously predicted by us the transition from mashup as a subgenre to the mashup as local artistic technique. The mashup-processing strategy by O. Dekan of I. Nechui-Levytskyi's story is organic to the world experience of this subgenre and, despite the shortcomings of the text, proves the writer's original attempt to develop canonized scheme to a level of a new subgenre type. The "Kaydash Family vs Zombies" among similar national texts reflects the main parameters of the updated at the beginning of the XXI century fantasy paradigm as a whole. [ABSTRACT FROM AUTHOR]

Copyright of Bulletin of Ablai Khan KazUIRandWL: Series 'Philological sciences' is the property of Kazakh Ablai Khan University of International Relations & World Languages and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The technological process of production of biosimilars determines the degree of biosimilarity to the original biological drug. In particular, the focus is on the similarity of immunogenic responses. The primary endpoint of our retrospective study was to find the differences in SARS-CoV-2 antibody amount between patients treated with original adalimumab and biosimilar adalimumab MSB11022 (Idacio) and the differences in the SARS-CoV-2 antibody amount between patients treated with and without biological treatment. We collected the gender, autoimmune disease type, age, and treatment data of the patients in the outpatient clinic MEDICAL PLUS, s.r.o., Uherske Hradiste. These patients suffer from autoimmune rheumatic diseases. All patients received the mRNA vaccine (Pfizer/BioNTech – BNT162b2), with a 21-day (interquartile range, 21–24) gap between the two vaccinations. Patients receiving adalimumab were able to develop cellular immune responses after the second vaccination dose, as well as the individuals without adalimumab. In the period of 6–23 weeks after the second vaccination dose (D63 – D182), the SARS-CoV-2 antibody levels did not change significantly in the patients receiving the original adalimumab, while in the patients receiving biosimilar adalimumab a significant decrease was revealed. A statistically significant difference in the SARS-CoV-2 antibody amount between the patients without biological treatment (median: 504.3 U/mL) and with biological treatment (Original and Biosimilar – median: 47.2 and 28.2 U/mL, respectively) was confirmed on day 182. According to our observation, the effect of the treatment type on the increase/decrease of antibodies over time is dominant, while the impact of other variables (gender, methotrexate treatment, autoimmune disease type, and age) was confirmed as insignificant or minor.

This paper aims to show that translation is not only a fully-fledged philosophical problem, but also a specific philosophical praxis and a test bed for extracting the core of different philosophical frameworks. For this purpose, I will take into consideration the respective philosophies of Martin Heidegger and Jacques Derrida. Even if Heidegger often practices translation from the Greek in his own works and adds a few remarks towards an original investigation of this activity, he ultimately understands translation as a ‘makeshift’ or as a ‘shipwreck’. Throughout his contestation of Heidegger’s position, Derrida shows the trap of the endless appropriation of the experience of the origin structure. He also frees up the discourse by putting the hierarchical polarization between the original and the translation into question. Thus, translation becomes a chance for philosophy, even for Derrida’s deconstruction, a chance to generate new paths for investigation and to keep its question open.

Copyright of Gazi Üniversitesi Fen Bilimleri Dergisi Part C: Tasarım ve Teknoloji is the property of Gazi University and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Writing and dance have been positioned by scholars in a contraposed play throughout the chronological period from the Renaissance to today: dancing begins when writing stops. Scholars have accused dance of ephemerality and have attempted to salvage it through notation. In postmodern and contemporary dance, some choreographers challenge traditional assumptions about the primacy and stability of text and documentation. They ‘write’ with dance in both conceptual and alphabetic ways, some exploring the dimension of race. This study tests theories by Mark Franko and André Lepecki through analysis of dance reenactment strategies and interventions by choreographers Trisha Brown and Christopher-Rasheem McMillan.

The focus of this article is the comparative review of the translated versions of Franz Kafka's Metamorphosis into the Albanian language. Based on theoretical concepts on literary translation, the study uses the comparative method in the review of four translated variants into Albanian by the translators: Rexhep Hida (1992), Ardian Klosi (2010), Gjergj Vlashi (2012) and Primo Shllaku (2018), which also make up the corpus of this study. The aim is to identify the translated variant in the Albanian language which is closest to Kafka's source text, based on the fact that the difficulties of translation and its challenges are related to a number of internal and external factors such as the selection of semantic equivalences, the re-creation of the effect of the work in a new language without missing the message of the source text, etc. The paper begins with a philological analysis (Solar 1976, 31) of the editions of the versions at different times and continues the analysis on the evaluation of the translations based on three aspects: structural, semantic as well as syntactic-morphological and spelling ones. In conclusion, we can say that the translations of the work Metamorphosis represent new variants. They aim to adhere to the original source text by trying to select semantic, structural and linguistic equivalences that best preserve the meaning of the source text and convey its artistic effect. These equivalences are conditioned by the complexity and purpose of the source text, the language and style of the author, as well as by the translator's form of understanding and the linguistic competence he possesses.Received: 20 November 2022 Accepted: 26 March 2023 Published: 09 April 2023

Copyright of Herald of Social Sciences is the property of National Academy of Sciences of the Republic of Armenia and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Bulletin of Ablai Khan KazUIRandWL: Series 'Philological sciences' is the property of Kazakh Ablai Khan University of International Relations & World Languages and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Eurasian Journal of Philology: Science & Education is the property of Al-Farabi Kazakh National University and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article is the third part of a series dedicated to the documents sharing the name of "Zbylut's foundation document". The aim of the first part was to bring the three 12th-century documents into the field of interest of philologists and to review the historical literature with a view to identifying threads that may be relevant to philological (historical-linguistic) research, while the second part brought an answer to the question of the relationship between the surviving documents, the degree of imitation between them, and the number of writers who were their authors. The present, third part, shows how complicated (and sometimes impossible) it is to get to the wording of the Zbylut document's records and what procedures are used to do so. A comparison and analysis of selected records from the oldest three documents indicates the place of graphic substitution, the custom of redrawing records and the Latinization of records in the hierarchy of successive filters imposed on the record. We have also tried to show how making different assumptions leads to completely different readings of the same name and to different hypotheses about the presumed sound of its name. We have also discussed the consequences of "translating" a name written in simple graphics into the modern alphabet with which, according to the essence of transcription, ancient phonetic features were to be expressed, and which, as we often get the impression, is no better suited for this than the graphics used by 12th-century scribes. We also took up the theme of the indispensable cooperation of historians and philologists in finding out the truth hidden in the oldest records of Polish proper names. [ABSTRACT FROM AUTHOR]

A comparative analysis of the Greek and Serbian versions of the text is used to establish the authenticity of the agreement between archbishop Sava and the representatives of the Mount Athos administration at the time of Protos Eusebius (August 1228), but also to identify layers from different periods, common for a document that has multiple copies. The paper seeks to determine the methods of creating the two versions and the precise relationship between the underlying manuscript traditions, as well as the diplomatic status of some versions, especially the two earlier Greek and the only Serbian version. By relying on a methodology that separates the textual and event-history levels in the document and by tracking the consistency and deviations in the surviving variants of the texts, it is demonstrated that the Greek text was created by Saint Sava by adapting an earlier agreement made under Protos Theoktistos (1215-1218/1219). It has also been concluded that the original version was most likely written by Sava’s collaborator, that the earliest Greek copy dates from the time of Saint Sava (as inferred by V. A. Mošin), that the Serbian Slavonic translation was made some time after Saint Sava’s death (ca. 1235/1236), that an intermediate copy was based on it (ca. 1498/1499) and that it served as the source for the only surviving manuscript copy, probably made by a Russian or a Serbian monk well versed in Russian chancery practices (the very beginning or the first decades of the 17th century). The Greek copies of the aforementioned agreement and its Serbian version reveal that Saint Sava purchased land intended for a vineyard for the Hermitage of Saint Sava in Karyes on two occasions, first as an archimandrite and then as an archbishop.

Copyright of Adab Al-Kufa is the property of Republic of Iraq Ministry of Higher Education & Scientific Research (MOHESR) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

By virtue of Article 141 of the Constitution of India (hereinafter, the Constitution), the law declared by the Supreme Court of India (hereinafter, the Supreme Court) is the law of the land. The Supreme Court furtherance to its law-declaring power under Article 141 of the Constitution has declared design law only in three decisions. This Paper seeks to cull out the principles of design law declared by the Supreme Court in the last 72 years. There are only three reported decisions of the Supreme Court on the design law of which two are Division Bench decisions and one is Full Bench decision. Number of decisions per year is not even one. On an average, the Supreme Court has decided 4 cases in a year, or one design case in 8,836.66 days or in 24.21 years. Since the number of reported decisions is very less so only few questions of design law have been answered by the Supreme Court. A review of decisions of the Supreme Court on the design law reveals that: (i) unlike the patent and copyright decisions, the Supreme Court has declared the design law in all the three reported decisions; (ii) no case is reported in which the constitutionality of The Designs Act, 2000 was challenged; (iii) no Constitution Bench or Single Bench decision is reported; (iv) no Chief Justice of India was on the bench in any decision; (v) the Court has unanimously declared the design law; and (vi) no dissenting or concurring judgment is reported. [ABSTRACT FROM AUTHOR]

On the 210th anniversary of the birth of the two great titans of the opera genre from the era of musical Romanticism: Richard Wagner and Giuseppe Verdi and 140 years since the death of the first of them, we opted for a presentation of some biographical aspects of the personalities and the creation of the two musicians from the perspective of the experiences that shapes their personality and professional path. Verdi was the canonical in this case, following both the lifestyle and the composition of the laws of time, composing an opera in wich, through its choruses, it reflects the spirit of society. Wagner, with his free, eccentric style, created beyond any legalities imposed, an opera that constitutes a separate, original genre known as Wagnerian musical drama. Joining the two biographies, we note the perceptible difference of the two creative identities and their results generated in a distinct, original, unmistakable manner. [ABSTRACT FROM AUTHOR]

Copyright of Trabalhos em Lingüística Aplicada is the property of Universidade Estadual de Campinas - Portal de Periodicos Eletronicos Cientificos and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article describes the phenomenon of bilingualism, expressed in Udmurt literature at the origins of its formation. An analytical insight of this phenomenon is undertaken on the example of the works of the first Udmurt writer G. E. Vereshchagin, namely, on one of his poems. The introductory part briefly describes the various possible forms of a writer's bilingualism, one of which is adopted by the author under study. Several hypothetical versions are proposed to explain the reasons for the Udmurt writer's appeal to self-translation. An analysis of his lullaby “Glaucous, glaucous dovelet!” in Udmurt and its translated version in Russian, carried out by G. E. Vereshchagin himself, is provided. In the course of a comparative study, similarities and differences were found. It is summarized that the formation of a bilingual context in Udmurt literature begins with the works of G. E. Vereshchagin. Through the author's translation, his poetic creativity is also presented to the Russian-speaking reader for the first time. It is revealed that in the translated text the poet successfully embodied the national stylistics and figurative expressiveness inherent in the original. The study of the bilingual creativity of G. E. Vereshchagin contributes to the understanding of the bilingual phenomenon of national literature.

Relevance of the problem . The subject matter related to the rendering of the Holy Writ is relevant, which is backed up in recent decades with the emerging of a large number of the Bible translations into different languages, as well as with the presence of certain fragments in the original that allow for the ambiguous interpretation. The material for the research is a fragment from the Book of Proverbs ( yassēr binḵā kî yēš tiqwā wǝ’el hǎmîṯô ’al tiśśā’ nap̄šeḵā ) (19: 18) (“Punish your son while there is hope, and do not be indignant with his cry”) in a number of the Bible translations (the Synodal translation, the King James Bible, etc.) into various languages, as well as an analysis of comments on them related to different historical periods. Scientific novelty. The paper proves the groundlessness of the statement about the interpolation of the lexeme “cry”, supposedly contained in the Russian Synodal Bible, caused by subjective reasons, and also considers the validity / wrongfulness of replacing the word “son” in it with the inclusive form “children” based on Jewish written sources. The method of the research. The article uses the method of comparative study of various translations of this fragment, identifying its interpretations contained in them and correlating them with the exegetics available in the Jewish tradition. General results: 1) The coincidence of rendering this fragment with that which we find in the King James Bible, while being different from its representation in a number of translations into other languages, allows us to put forward a hypothesis about its possible influence on the Russian text. 2) The availability of such interpretation among some interpreters, both ancient and modern, indicates in this case the absence of any deliberate distortion of the original in the Synodal translation. 3) The use of inclusive and gender-neutral forms for male people in relation to this fragment instead of those presented in the original should be qualified as a deviation from the original, since according to the norms of Biblical Hebrew, such use is permissible only when the word “ son ” is used in the plural form ( bānîm ), while in the singular it is not used in a similar sense.

Copyright of Zbornik Radova Vizantološkog Instituta is the property of Institute for Byzantine Studies of the Serbian Academy of Sciences & Arts and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Abstract Background Honey is consumed for the derived benefits as sweetener, for healing wounds, skin burns, regulating blood sugar level, treatments of some ailments, etc. In Nigeria, adulteration of honey is a serious concern, and these adulterated or fake honeys have health implications. This research aims to compare and contrast the physicochemical qualities, functional health and medicinal values of honey samples from local honey parkers, supermarkets and beekeepers’ sales outlets in Southwest Nigeria. Results The darkness of the honey from the three sources was significantly different. The honey samples from the beekeepers have ash contents values of 0.25–1.0 in line with CAC and IHC, whereas 7(46.66%) and 2(13.33%) of honey samples from the supermarkets and local handlers/parkers, respectively, deviated from this standard values. The wound healing development after 8 days of topical treatment of incision wounds with honey from beekeepers shows a good development. 93.3% of the honeys sourced from the beekeepers, 58.06 and 66.05% of the honeys sourced from the supermarkets, and the local honey markets were found to be original. Conclusion The originality of honey for consumers’ satisfaction is dependent on the complimentary factors of physicochemical properties, functional health and medicinal values. These findings provide information for consumers’ awareness on categorization of honey as original/pure, adulterated and fake and the health implications.

The shift in trends in organizing MICE events which are conventionally known as mass gathering activities and as a result of the pandemic there have been changes. This already happened in all countries in the world which then responded with various policies to maintain business sustainability despite being pessimistic. Stakeholders are hesitant in changing the paradigm of MICE activities from conventional models to virtual or hybrid models. This doubt is caused by the advantages and disadvantages of each type of event which will most likely reduce business profits. A simple literature review known as feature selection is used to find answers to this problem. Based on the analysis it was found that event activities are now popular in virtual and hybrid ways. Both virtual and hybrid events have changed the conventional perspective of understanding events. Although the implementation is simpler, the two events have a smaller economic impact compared to regular events that were popular in the pre-pandemic era. This paper also tries to find case studies in several countries that have successfully organized MICE events during the pandemic. In the end, a new taxonomy of event management emerged, namely original (regular) events, virtual events, and hybrid events. This change in the landscape of organizing MICE events will be an important consideration for MICE business people who may experience stagnation in recent times due to the Covid-19 pandemic.

Copyright of Revista Jurídica (0103-3506) is the property of Revista Juridica and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This paper evaluates the influence of a number of factors taken into account when a branded drug is replaced by a generic. It also assesses the responses of healthcare professionals - doctors and pharmacists -and patients on the issue of replacing the two classes of medicines. We compared their responses to identify new points of cooperation for the desired benefit of the patient. Thus, we extracted information from all three groups, consisting of 10 doctors, 10 pharmacists and 50 patients. We gathered information on age, residence, income level and education level for patients, as well as age and experience of specialists. Based on the survey responses, replacing the original drug with a generic one raises many issues, such as lack of information for the patient and specialist, lack of collaboration between doctor and pharmacist, ineffective communication between specialist and patient, and the influence of the general problem related to profit. [ABSTRACT FROM AUTHOR]

The article shows that global climate change and natural landscape degradation have led to a sharp decline in the gene pool of domestic and livestock breeds worldwide and the complete extinction of some breeds, as well as a decline in the gene pool and productivity of karakul sheep. The article also states that for the first time on a scientific and practical basis, selection and genetic methods for the preservation and restoration of the gene pool of Surkhandarya sur karakul sheep with unique and antique variety have been developed. [ABSTRACT FROM AUTHOR]

The article provides a comparative analysis of an electronic manuscript and a printed book by O.O. Suleimenov Word code. Introduction to the Universal Etymological Dictionary 1001 Words. The similarities and differences in semantic and stylistic nominations of titles and paragraphs in the manuscript and in the printed original are considered. Structural and qualitative differences in the content of the new titles of the book, the peculiarities of the semantic advancement in them, which include a brief reflection of the content of the corresponding section of the study, are revealed and analyzed. The analysis and thesis description of new paragraphs, which were introduced by the author after working on the electronic manuscript of the book, are carried out. The main conceptual approach of O.O. Suleimenov to the search for the ancient primary source of the word (etymon) and writing both in the manuscript and in the original of the book, is to consider in unity, in close interconnection, the main five aspects of a scientific problem: figurative image (drawing, hieroglyph), concept, word, meaning, pronunciation linguistic unit in languages, adverbs, dialects, dialects in antiquity and now, their semantic and sound similarities and differences in different regions of the earth. The evolution of the wording of the titles and the semantic and stylistic advancement in them is significant, which is associated either with a slight lexical change in the wording of the title of the paragraph, or with the introduction of a different (updated) title, or with the introduction of a new paragraph into the structure of the book. These innovations of the author contributed to the improvement of the structural and logical-content significance of the book.

Статья является результатом исследования, проведенного в рамках работы над научным каталогом «Русская живопись XVIII – первой половины XIX века в собрании Приморской картинной галереи». Многие десятилетия никто не пересматривал «традиционную» атрибуцию «Портрета императора Петра III» кисти немецкого художника Георга Христофа (Кристофа) Гроота. И только при работе над каталогом авторство Г.Х. Гроота подверглось сомнению. Автор статьи опирается на классические методы исследования в искусствоведении: стилистический анализ, технико-технологическую экспертизу.

Variation is one of the most commonly used concepts in translatology. To one degree or another, it becomes obvious in an interlingual transfer of texts of various genres; however, first of all, one has to deal with it when translating pieces of fiction (broadly speaking). This becomes especially evident in cases when one and the same source text has several versions in another language (or in other languages). First of all, this applies to the Bible, which surpasses other literary masterpieces in the number of existing translations into different languages and also has the longest tradition of interlingual transfers. Such fact determines the relevance of the subject of this article. Despite a large number of studies on various aspects of the Holy Writ translations, a number of issues related to their variation cannot be considered fully investigated, which makes it possible to speak of the scientific novelty of this article. A few fragments of the versions created in different languages were used as the material for this research, and the method of comparative analysis was applied for their study. The research results lead to the following conclusions: a) the variation in different translations of the selected fragments may be caused by both objective and subjective factors; b) the availability of the so-called unclarities in the source text, which allow for different interpretations, leads to significant differences in their representation in the target language; c) the aiming for pragmatic adaptation of the content for a foreign cultural audience in a number of cases entails the replacement of realities, sometimes distorting the actualness shown in the original text; d) modern translations may reflect issues related to political correctness, an inclusive language, etc., which do not always correspond to the ideology of the source text.

The text offers enlightening reflections on issues concerning reproductions of works of art, the status of an original and a copy, the problem of conservation, and the role of digital photography. Latour and Lowe raise the contentious issue of how good and bad reproductions can affect the original, participate in what they call “the migration of the aura”. This is primarily a case study of a production, presentation, reception and the meaning of a facsimile of a Veronese work, Nozze di Cana at its original location, San Giorgio in Venice. The second part of the text (the appendix) is a meticulous, technical description of the stages of production of the picture by Lowe.

Este artículo desarrolla, mediante cinco casos de estudio, la improbabilidad de la copia en el arte de la pintura. Los cinco casos de estudio considerados tienen que ver con: el acento, la voz, el proceso, la verdad y el error. Considerada desde el acento, es decir desde la desviación que cada autor puede imponer a una obra, la copia literal no existe. Considerada la pintura como poesía no sonora, resultaría difícil encontrar la misma voz en el original que en la copia. Considerada desde el proceso, la obra es un acto inacabado y el concepto finalista de copia carece de sentido. Considerada desde la verdad, la verdad es inagotable e insondable, no tiene ni deudas ni dueño, no hay copias. Considerada, por último, desde el error, la copia y el original forman parte de un mismo experimento, un bello experimento. Estas mismas apreciaciones pueden trasladarse a la arquitectura.

SARS-CoV-2 Omicron strain emergence raised concerns that its enhanced infectivity is partly due to altered spread/contamination modalities. We therefore sampled high-contact surfaces and air in close proximity to patients who were verified as infected with the Omicron strain, using identical protocols applied to sample patients positive to the original or Alpha strains. Cumulatively, for all 3 strains, viral RNA was detected in 90 of 168 surfaces and 6 of 49 air samples (mean cycle threshold [Ct]=35.2±2.5). No infective virus was identified. No significant differences in prevalence were found between strains.

The essay reconstructs the initiatives promoted in the field of art copies from the Fine Arts Academy “Pietro Vannucci” of Perugia: an artistic cenacle founded in 1573 that, even today, boasts a plaster cast gallery in which hundreds of plaster casts of author statues are exhibited –from Michelangelo Buonarroti to Antonio Canova. In recent years these initiatives were sealed by the idea of designing the concept of a multimedia replica of its own plaster cast gallery and, moreover, by the idea of placing at the entrance to the headquarters, between the façade of the Oratory of San Bernardino and the façade of the church of San Francesco al Prato, a one-to-one scale copy of the plaster cast of the Ercole Farnese –one of the most famous statues of antiquity– made by 3D printing with polylactic acid filaments: a bold hypothesis, not only from an environmental point of view, because it has an undoubted visual impact, but also and above all from a cultural perspective, because mistrust of the artistic value of copies continues to persist even in an era, such as the present, characterised by maximum technical reproducibility.

La discussion sur le processus de la traduction est complexe et parsemée d’embuches, particulièrement lorsqu’il est question de la notion de l’équivalence et l’adéquation à l’original. Cette question acquiert une importance cruciale surtout quand il s’agit de la traduction des œuvres littéraires. Cet article étudie le problème fondamental qui se pose aux traducteurs de tous les temps et de tous les pays – transmettre l’idée créatrice de l’auteur de l’œuvre originale sans la trahir, tout en gardant, lors de la traduction toutes ses nuances sémantiques et stylistiques qui forment son contenu. Telle est la question autour de laquelle gravite notre problématique de recherche. Nous étudions ici les voies choisies par le traducteur ukrainien Y. Kravets dans le but de recréer dans la traduction l’image sonore que J. M. G. Le Clézio a réussi à produire dans son roman Ritournelle de la faim. Pour rendre cette recherche plus opérationnelle, nous avons adopté une démarche méthodologique fondée sur deux axes : la collecte des unités lexicales du texte source qui servent à créer l’image sonore ; et l’analyse comparative de l’original et de la traduction du roman de J. M. G. Le Clézio Ritournelle de la faim pour repérer les moyens de les transmettre dans l’objectif de recréer cette sonorité du texte source. En réponse anticipée à la problématique, cette recherche consacrée à la possibilité de recréer dans la traduction du roman de J. M. G. Le Clézio Ritournelle de la faim des effets sonores essayera de confirmer ou d’infirmer notre hypothèse : la version de la traduction proposée par Y. Kravets respecte l’esprit et la lettre du texte source.

The article discusses the problem of choosing ways and means of pragmatic adaptation in translating a text. The relevance of the topic is due to the necessity to facilitate cross-cultural communication in view of the increased intensity and diversity of forms of international contacts. The definition of pragmatic adaptation as the actions of a translator aimed at adapting the source language text to its perception by a recipient belonging to a different culture, does not answer the questions of when and how a translator can and should change the text in order to preserve the pragmatic potential of the original. The aim of the article is to analyze the problems arising in translating texts requiring pragmatic adaptation and evaluate the impact of different types of pragmatic adaptation on reproducing the pragmatic potential of the original and achieving the possible purposes of translation. In order to do it an experiment was carried out: a text was translated in four different ways with different means used for its pragmatic adaptation, and the translations were compared. The results of the experiment show that the choice of pragmatic adaptation methods and techniques is determined not by the type of text or the type of adaptation, as is usually believed, but by the specific purpose for which the text is translated. Thus, when translating a literary text, which always contains factual, conceptual, emotional, aesthetic, and cultural information, the choice between the naturalness of the text, the preservation of the author’s style, the completeness of the content and the communication of culturally relevant information means, in fact, setting different accents. The means of pragmatic adaptation used by the translator depend entirely on the prioritization of these types of information, in other words, on the purpose of translation.

There is disagreement as to the ontological status of works associated with an original. Some hold that works like paintings are identical to the concrete particular the artist worked on while creating the artwork. Others suggest that works of this sort cannot be instantiated more than once. In this paper, it is argued that, even if artworks like paintings cannot be instantiated in reproductions, they are nevertheless possibly instantiated more than once. Moreover, it is tentatively suggested that the same holds for improvisations in music. Therefore, even the best candidates on offer do not allow for an identification of the work with a particular or for an identification of the work with a type that is instantiated maximally once. The argument rests on thought experiments, and an inference to the ‘best’ explanation. This inference is, of course, defeasible. Four alternatives, three of which are potentially fruitful, will be identified, and it will be argued that, on balance, these alternatives should be dismissed.

Background: Honey is consumed for the derived benefits as sweetener, for healing wounds, skin burns, regulating blood sugar level, treatments of some ailments, etc. In Nigeria, adulteration of honey is a serious concern, and these adulterated or fake honeys have health implications. This research aims to compare and contrast the physicochemical qualities, functional health and medicinal values of honey samples from local honey parkers, supermarkets and beekeepers' sales outlets in Southwest Nigeria. Results: The darkness of the honey from the three sources was significantly different. The honey samples from the beekeepers have ash contents values of 0.25–1.0 in line with CAC and IHC, whereas 7(46.66%) and 2(13.33%) of honey samples from the supermarkets and local handlers/parkers, respectively, deviated from this standard values. The wound healing development after 8 days of topical treatment of incision wounds with honey from beekeepers shows a good development. 93.3% of the honeys sourced from the beekeepers, 58.06 and 66.05% of the honeys sourced from the supermarkets, and the local honey markets were found to be original. Conclusion: The originality of honey for consumers' satisfaction is dependent on the complimentary factors of physicochemical properties, functional health and medicinal values. These findings provide information for consumers' awareness on categorization of honey as original/pure, adulterated and fake and the health implications. [ABSTRACT FROM AUTHOR]

Objective: To compare the effectiveness and safety of original (Enbrel®) and biosimilar (Benepali®) etanercept in Biologic Disease-modifying Antirheumatic Drug (bDMARD)-naïve patients, measured by persistence rates over 36 months of follow-up. Methods: A retrospective multicentre observational study using data collected prospectively from The Rheumatic Diseases Portuguese Registry (Reuma.pt) was performed, including patients with: age = 18 years old; diagnosis of Rheumatoid Arthritis (RA), Psoriatic Arthritis (PsA) or Spondyloarthritis (SpA) (axial or peripheral) with active disease and biologic-naïve who initiated treatment with etanercept as the first line biological treatment after 2010. Kaplan-Meyer and Cox regression were used to calculate the persistence rate in treatment. Disease activity at baseline and follow-up data at 6, 12, 18 and 24 months of treatment were compared. Causes for discontinuing therapy were summarized using descriptive statistics. Statistical significance was assumed for 2-sided p-values <0.05. Results: We included 1693 patients (413 on Benepali® and 1280 on Enbrel®): 864 diagnosed with RA, 335 with PsA and 494 with SpA. The 3-year persistence rates were not significantly different between both treatment groups in RA, PsA and SpA patients. In the adjusted Cox model, hazard ratios of discontinuation were not statistically different (p>0.05). The proportion of subjects in remission or low disease activity in each disease was similar in both groups. Overall, 535 (31.6%) patients discontinued etanercept (428 patients on Enbrel® and 107 patients on Benepali ®). The major cause of discontinuation was inefficacy (57.8%). No differences for the occurrence of inefficacy or adverse effects were found between treatment groups. Conclusions: Benepali® and Enbrel® demonstrated similar effectiveness and safety in RA, PsA and SpA in our cohort of patients. These data corroborate that the original and biosimilar drugs have similar quality characteristics and biological activity. [ABSTRACT FROM AUTHOR]

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During the commentary process of the Vedas, the appearance of the Upanishads marked a transition from mythological - religious thinking to philosophical thinking; explain the nature of the world and human life with an original, that is Brahman - “The absolute ultimate cosmic spirit”; The “Individual soul” Ātman is just a different manifestation of the Brahman in every being. Upanishads divided human awareness into two levels: Upper wisdom (para-vidyā) is the level that can perceive the nature of the universe and human beings; and the lower position (apara-vidyā) is the level of awareness of the world of things, phenomena, tangible, finite, often variable. Because “The absolute ultimate cosmic spirit” manifests in the bodies of sentient beings, it is mistakenly thought that “Individual soul” is something different from “The absolute ultimate cosmic spirit”. The emotions, will, and actions that are intended to satisfy all sentient beings' desires have obscured their true nature, causing karma (karma), samsara (samsàra). To return to one's true nature, to attain enlightenment and liberation (moksạ), one must practice morality (karma-yoga) and practice wisdom (prajñā-yoga). [ABSTRACT FROM AUTHOR]

Background: Perfumes, whether original or fake, are considered of great economic value. However, overzealous use of perfumes could be associated with local or systemic side effects. Aim: This study was conducted to investigate the effects of daily use of original and fake perfumes on numbers and distribution of mast cells in several organs and tissues of Wistar rats. Methods: Three different kinds of original perfumes coded as O1, O2, and O3 and their fake counterparts coded as F1, F2, and F3 were applied once daily directly on the skin of rats for 28 consecutive days. At the end of the study, representative tissue samples were taken and processed for histopathological examination using Hematoxylin and Eosin, toluidine blue, and Wright’s stains. Results: A significant (p < 0.05) elevation in mast cell count was observed in F3, O3, F1, and F2 compared to the control group. The majority of mast cells were distributed in the hepatic perivascular tissues, peribronchial and pleural tissues. There was a significant (p < 0.05) elevation in mast cell count in along the interalveolar wall, peribronchial area, and pleura tissues in F1 and O3 groups. Conclusion: Results of this study indicated that repeated use of both original and fake perfumes was associated with an increased number of mast cells in different body organs and tissues.