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Megjelent: HERJ
Megjelenés dátuma: 2014:01:08

Megjelent: Profuturo
Megjelenés dátuma: 2014:03:11
Absztrakt: According to the Food and Agriculture Organization of the united nations (FAo), at least 868 million people are undernourished nowadays. Combating against hunger and malnutrition shall not only be a moral duty, but a legally binding human rights obligation. the right to food is recognized irstly within the text of the Universal Declaration of Human rights adopted in 1948, as part of the right to an adequate standard of living, however nowadays it is considered to be a substantive right. this study deals with the key aspects of the right to adequate food in public international law, including its deinition, content and enforcement, as well.

Megjelenés dátuma: 2014:10:08
Absztrakt: By the superimposition of two similar periodic structures translated, or rotated relative to each other, a new structure arises with longer periods. This one is called Moiré pattern and it consists of the Moiré fringes. Moiré imaging (used mostly in spinal deformities) is non-contact, fast, and its harmful radiation does not load patients and can be repeated any number of times. For detecting the spinals shape, a software has been implemented in LabVIEW programming environment with several image processing method. The shape of the spine could be sufficiently reproduced using this program. Screening can be established without X-Ray images, which is much faster and healthier for patients.

Megjelent: Studia Litteraria
Megjelenés dátuma: 2011:06:24
Absztrakt: György Kalmár The wounded subject Post-human rewritings of the figure of man in David Cronenberg’s Crash The article analyses David Cronenberg’s Crash (1996) from a complex theoretical perspective. My starting point is the idea that human subjectivity is open, never finished, in process, something that is always negotiated through a number of signifying practices, such as language, images, and film; therefore different signifying economies produce different kinds of subjectivities. In this article I investigate the ways Crash rewrites some of the fundamental characteristics of humanistic systems of meaning to produce different subjects. I argue that the film produces a post-human world in which meaning is different, the use of the body is different, the forms of subjectivity are different, just like their relation to what Lacan calls the ‘paternal metaphor.’ I think that Crash owes its radicalism (as well as its scandalous reputation) to this displacement of the humanist subject, and it is precisely this displacement that I attempt to investigate. The main focus points of my analysis are the following: the relationship between the body, its image, and subjectivity; non-normative practices of sexuality; violence; repetition; abjection; the relationship between technology and the human body; and the disintegration of the Oedipal subject.

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