181 research outputs found

    Simbolika sablje u Yoshikawinom romanu Musashi

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    In his masterpiece Musashi (1935), the author Eiji Yoshikawa depicts the birth of an ingenious swordsman and his spiritual evolution towards the final awakening (satori). While constructing the character of Miyamoto Musashi, Yoshikawa uses the elements of Zen Buddhist philosophy and describes Musashi's progress on his way of enlightenment through a series of direct personal insights (kensho) that precede satori. The paper aims to discuss and analyze Musashi's use of different types of swords that metaphorically suggest his personal and spiritual transformation from an untamed and uncultivated person to his ultimate enlightenment. Initially, Musashi fights with a wooden sword (bokken), which symbolizes his animalistic, rampant nature. As he progresses on the way of enlightenment, Musashi embraces the steel sword (katana), though he still uses bokken at times. The struggle between his wild and civilized nature culminates at the moment of kensho, when he starts fighting with two steel swords, which represents a true evolution that elevates him to the level of the Nietzschean Übermensch. The final birth of Musashi as a Rinzaian “man of no rank” is the moment of his ultimate awakening, symbolically depicted when he again reaches for the wooden sword. This act unmasks his true Buddhist nature, thus suggesting Musashi's return to “oneself.

    The RNA-binding protein musashi-2 regulates sonic hedgehog signaling in the developing mammalian palate

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    A high degree of purifying selection prevents mutations within the coding sequence of genes that control embryonic patterning and development. Diffusing morphogenic proteins, such as sonic hedgehog, instigate tissue-specific changes in gene expression of developing embryos. Because of its morphogenic potential, sonic hedgehog expression must be tightly regulated to prevent physical deformities. Sonic hedgehog expression in craniofacial development is restricted to signaling centers of the oral palate, where its diffusion promotes tissue growth and rostral elongation. Regulation of mRNA expression is accomplished by a variety of molecules such as RNA-binding proteins. RNA-binding proteins have evolved to impart fine tuning of gene expression via mRNA manipulation. RNA-binding proteins regulate key evolutionary and developmental mechanisms, such as RNA stability, localization, and mRNA translation. Musashi binding motifs occur in developmentally relevant genes; however, their effect is largely unknown. It is hypothesized that musashi regulation influences mammalian palate morphology during embryogenesis. The musashi family of RNA-binding proteins are post-transcriptional regulators that bind mRNA motifs to promote or suppress gene expression. A novel interaction between musashi-2 and the mitotic regulator sonic hedgehog has been discovered in the developing mammalian palate using a multifaceted approach to determine the effects of musashi translational regulation. Musashi binding motifs occur at varying rates and locations in the 3' untranslated region of the bat SHH gene, and SHH expression is altered in response to motif location and abundance. Sonic hedgehog expression is highly regulated during craniofacial development because its production induces tissue growth. Bats possessing varying numbers of musashi binding motifs in their SHH 3' UTR display variable numbers of palatal rugae and interrugal distance, indicating a connection between musashi regulation and palate growth via SHH translational regulation. This previously undescribed interaction of musashi translational control of SHH mRNA has broad evolutionary implications as a modulator of mammalian craniofacial morphology.Embargo status: Restricted until 01/2025. To request the author grant access, click on the PDF link to the left

    On Udayana's Laksanavali (1)

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    A Logical Analysis of the Mūlamadhyamakakārikā

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    Differentiation Of Categories

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    On Vijñana-parinama in Sthiramati's Trimsikabhasya

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    Udayana and His Works

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    Dhatu in the Abhidarmakosabhasya

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