This article refines a foundational tenet of rational choice theory known as the principle of description invariance. Attempts to apply this principle to human agents with imperfect knowledge have paid insufficient attention to two aspects: first, agents’ epistemic situations, i.e. whether and when they recognize alternative descriptions of an object to be equivalent; and second, the individuation of objects of description, i.e. whether and when objects count as the same or different. An important consequence is that many apparent ‘framing effects’ may not violate the principle of description invariance, and the subjects of these effects may not be irrational.

This paper provides an overview of the development and the sociopolitical background of legislation pertaining to abortion in Finland from the nineteenth century to the current day. The first Abortion Act came to force in 1950. Before that, abortions were handled under criminal law. The 1950 law was restrictive and allowed abortions in very limited circumstances only. Its main aim was to reduce the number of abortions and especially illegal abortions. It was not very successful in reaching these goals, but, significantly, it moved abortions from the realm of the criminal law to the hands of medical professionals. The birth of the welfare state and the prenatal attitudes of 1930s and 1940s Europe played their part in shaping the law. By late 1960s, with the rise of the women’s rights movement and other changes in society, there was pressure to change the outdated law. The new 1970 Abortion Act was broader and allowed abortions for limited social reasons too but left very limited, if any, room for a woman’s right to choose. After a citizen’s initiative in 2020, the year 2023 will see a significant amendment to the 1970 law; during the first 12 weeks of pregnancy, an abortion can be performed on the woman’s request alone. However, there is still a long way to go in terms of women’s rights and abortion laws in Finland.

One of the criteria used by many transplant centers in assessing psychosocial eligibility for solid organ transplantation is social support. Yet, social support is a highly controversial requirement that has generated ongoing debate between ethicists and clinicians who favor its consideration (i.e., utility maximizers) and those who object to its use on equity grounds (i.e., equity maximizers). The assumption underlying both of these approaches is that social support is not a commodity that can be purchased in the marketplace. This essay argues for the reconceptualization of social support as a product that can—and should—be purchased for transplant candidates to render them eligible for transplant.

Musical biography, particularly that which focuses on non-Western performers, has long been marginalized in musicology. This article critically examines the performing career and performance style of China's first recital and recording pianist, Ding Shande, by scrutinizing written documents and analysing recordings. It was found that Ding's performing career was short-lived, peaking in 1935 and ending in the 1950s, and that he tended to play with fast and even tempo, emphasize metrical organizations, and highlight structural divisions through long-range dynamic variation. These findings shed light on how the changing concept of semi-colonialism influenced the career trajectories and performance styles of the earliest Chinese pianists, and hence offer insights into early history of piano performance in China. This article shows that performers’ performances are just as important in biographical writings as is the story of their lives, and that interweaving the two helps develop a more thorough and comprehensive understanding of a performer's biography.

This article analyses Moses Maimonides' account of the AfterDeath and, more specifically, of olam ha-ba’ (lit.: the world to come), the state of ultimate human happiness and perfection (in contrast to this world). Maimonides is unequivocal about what olam ha-ba’ is not. Contrary to a competing medieval Jewish tradition, it is utterly incorporeal and, contrary to rabbinic tradition, it is not a motivational reward nor compensation for undeserved suffering in a theodicy. Instead, Maimonides gives two positive accounts of the metaphysics of olam ha-ba’. The first is an intellectualist account on which the denizens of olam ha-ba’ are perfected intellects engaged in intellectual apprehension of the deity. The second is sceptical: it denies that humans have any understanding or knowledge (‘ilm, episteme) of olam ha-ba’ and claims that all language used to describe it is purely equivocal or homonymous, although it allows that some immutable thing, whatever it is, survives death. Instead of being a motivational reward or compensation, olam ha-ba’ is the end, that is, final cause or telos, of the best possible human life in this world at which one aims and which one attempts to approximate even if one cannot actually realize it.

Drawing on a qualitative study of Hong Kong's Women's Commission (‘WoC’), this article examines how institutional mechanisms for the advancement of women function in a hybrid regime that includes both democratic and authoritarian elements. Hong Kong has a rights-based legal framework and equality agencies that support the operation of equality laws and policies. Paradoxically, Hong Kong's political system is non-democratic, and Beijing's Central People's Government is exerting more direct control on the territory. Grounded in qualitative interviews conducted with WoC members, non-governmental organisations, and scholars in Hong Kong, this article concludes that the WoC's full institutional potential in drawing attention to gender inequalities has not been realised. The implementation of authoritarian governance practices also has implications for the WoC's composition and agenda and may inhibit the development of progressive gender equality strategies to advance the status of women.

Disability segregated employment (also referred to as ‘sheltered workshops’) violates disabled people's human right to work and employment. This article argues that modern slavery law might serve as one part of a broader strategy to end disability segregated employment, ensure accountability for the injustices within them and ensure equal access to open employment opportunities for disabled people. This is on the basis that disability segregated employment can be understood as a form of labour exploitation under modern slavery law – specifically forced labour and servitude. Modern slavery law is a useful legal tool to unseat deeply entrenched ableist attitudes of disability segregated employment as beneficial and necessary and build corporate/charity, public and government momentum towards the transition away from disability segregated employment, even if this particular area of law cannot itself legally compel the closure of sheltered workshops and an increase in open employment opportunities for disabled people.

Self-borrowing was a common practice in primo ottocento opera. Even though commentators of the era could find it somewhat troublesome, composers indulged in the practice. Drawing on existing scholarship, and reflecting on the work of my co-contributors to this journal issue, I ponder a few sundry notions about the procedure and its context, addressing theoretical, historical and practical perspectives relating to composers, historical commentators, listeners and modern-day scholars. I begin with a survey of terminology that has been applied in discussions of self-borrowing and a review of the manner in which selected present-day scholars have characterized the practice. I then consider the nature of self-borrowing in the ottocento opera repertory against a backdrop of contemporaneous theoretical discussions about how to compose opera, and I contemplate the extent to which self-borrowings in this repertory can be deemed to bear meaning. I conclude by raising the possibility of applying concepts from cognitive theory to operatic encounters with self-borrowing, proposing that the practice served as a tool for composers to fuel expectation, predictability, anticipation and even surprise to enhance musical pleasure. My purpose is to prompt reflection on the reasons behind as well as an appreciation for the value of this oft-maligned compositional ‘tool’ in the interest of gaining insight into its impact on the listening experience and the evaluation of musical works.

This introduction to the special issue looks back at 30 years of nation-building in the post-Soviet states. Initial hopes that national self-determination would reinforce democratization proved misplaced. While that synergy worked well in the Baltic states, elsewhere authoritarian leaders embraced nationalism, while democracies like Georgia, Moldova, and Ukraine lost control of parts of their territory to secessionist movements backed by Russia. Each of the post-Soviet states promoted a national language (except for Belarus) and forged a new historical narrative for their “imagined community,” but in most cases they remained multi-ethnic and multi-lingual communities. In recognition of this persisting ethnic diversity, nation-building was accompanied by policies of ethnicity management. The international economic environment was rapidly changing due to globalization, posing new challenges for nation-builders. The gender dimension is important to the new national identities being forged in the post-Soviet space: the categories of race and class, less so. The article concludes with a review of the salient features of each of the newly-independent states.

During the Spanish Civil War, cinema became one of the most powerful weapons of propaganda. The music of the films, full of anthems and political references, was an essential tool for displaying the documentary's intentions and for influencing spectators’ reactions. Between 1936 and 1939, there was a surge in the production of documentaries targeting international audiences, as they were an invaluable resource for engaging the European countries that had signed the Non-Intervention Agreement against involvement in the Spanish conflict. The objective of this article is to analyse the music of the documentaries set in Spain that were exhibited internationally during the years of the war. We will study the politically tendentious uses of anthems and popular songs on the soundtracks, as well as the importance of the figure of the composer – for those documentaries with original music – attending to the social and political circumstances surrounding their participation in the production.

Quality-Adjusted Life Years (QALYs) and Disability-Adjusted Life Years (DALYs) are two of the most commonly used health measures to determine resource prioritization and the population burden of disease, respectively. There are different types of problems with the use of QALYs and DALYs for measuring health benefits. Some of these problems have to do with measurement, for example, the weights they ascribe to health states might fail to reflect with exact accuracy the actual well-being or health levels of individuals. But even if these weights represent accurately the well-being levels of individuals, there is room for questioning whether these measures capture everything that we care about in these cases, or whether there are important issues that they leave out, including considerations of fairness or equality. In this regard, the measures have been criticized for treating the aggregation of small benefits as greater than the aggregation of fewer but bigger benefits,1 for disregarding fair chances in favor of utility maximization,2 and for raising problems when applied in the context of variable population size.3 Perhaps one of the most pervasive ethical issues that has been associated with the use of these measures is the fact that they seem to discriminate against disabled people.4 Since the measures assume that disabled people have lower well-being and a shorter life span, treating a disabled person’s medical condition contributes less to the maximization of years of life with good health than treating a non-disabled patient’s medical condition.