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This article examines the institutional pathology of corruption within the Nigerian Navy, and its broader manifestation and implications within Nigeria’s maritime industry. Beginning with an examination of the disappearance of the vessel, MT African Pride, in October 2003, the article reflects on the African Pride case to show that far from being a one-off incident, it was indicative of the opportunism and criminality that naval operations within the oil-rich Niger Delta have generated. Other primary case studies relevant to corruption within Nigeria’s maritime industry, and interrogated by the article, include the Nigerian Ports Authority (NPA) and the Nigerian Maritime Administration and Safety Agency (NIMASA). The article shall also examine a range of secondary case studies. These are relatively brief meditations on incidents, individuals and maritime industry private contractors and government parastatals, which are relevant to the debate to naval and maritime corruption in Nigeria.

Some harm reduction strategies encourage individuals to switch from a harmful addictive good to a less harmful addictive good. This approach is controversial, with advocates claiming it helps switching to a less harmful substance, and opponents claiming it may lead to new substance abuse. This paper builds on theories of addiction to model the introduction of a harm reduction method, and it demonstrates when each side is correct, depending on the enjoyableness of the harm reduction method, the addictiveness of the harm reduction method, and the substitutability with the original addictive good.

This article brings to bear findings from the debate on the boundary problem in democratic theory on discussions of workplace democracy to argue that workplace democrats’ focus on workers is unjustified and that more constituencies will have to be included in any prospective scheme of workplace democracy. It thereby provides a valuable and underdiscussed perspective on workplace democracy that goes beyond the debate’s usual focus on the clarification and justification of workplace democrats’ core claim. It also goes beyond approaches like stakeholder theory in law and economics that determine decision-making rights without taking into account genuinely democratic considerations. My discussion proceeds by considering three principles for inclusion from democratic theory for the specific case of the corporation. I submit that two of them, the all-coerced and the all-subjected principle, are not appropriate for this specific case, because they cannot capture the distinguishing features of the corporation. The all-affected principle however is appropriate but has a very wide range. I further argue that this is not as big of a problem as it first might seem and that this principle is still the most appropriate for defining the demos of the democratic corporation. The article closes by pointing out the consequences of this result for the workplace democracy debate and for the legitimacy of the market as a coordination mechanism.

Commentators claim that drug repositioning (ie developing new uses for authorised drugs) significantly slows when generics are authorised and, therefore, law reform is necessary to encourage more R&D. This study empirically examines this claim by analysing records of clinical trials. It finds that once generics are authorised: i) commercial trials continue at ‘active’ rates for approximately half of the drugs studied, and ii) the number of hospital and university trials actually increases. These findings cast doubt on whether additional incentives are needed. They also indicate that a more effective way to reposition drugs is for recently established government programmes to embrace IP strategies and leverage the hospital and university trials as an R&D pipeline.Keywords: drug repositioning, patent law, regulatory protection, clinical trials, empirical study, generic drugs.

Abstract In current research, there is a widespread idea that the history of the universal basic income proposal begins with Thomas Paine and his famous pamphlet Agrarian Justice, published in Paris in 1797 in the context of the French Revolution and under its intellectual influence. In this article, the author rescues a largely unknown text by Paine published without a title under the pen name “Amicus” in the Pennsylvania Magazine in 1775. The transcript demonstrates that he was already reflecting on the proposal at least twenty years earlier, shortly after he arrived in the American colonies. The debates and discussions in which Paine wants to intervene cannot be the same in Wilkes's England as in revolutionary France. Locating the proposal of a universal basic income in this context has important implications for the history of its conception. It compels us to highlight the importance of Paine's experience as an exciseman in England, as well as the context of popular radicalism and religious dissent that prevailed in the country at the start of the Industrial Revolution.

Figurative language is part of our everyday life where meaning is communicated indirectly. Metaphor is among the major figurative devices that are commonly encountered in interactions. The aim of this study is to investigate the use of metaphors to conceptualize abstract concepts namely that of anger in both English and Arabic. To this extent, a corpus consisting of metaphorical expressions denoting anger in both languages was utilized. These expressions were classified based on their metaphorical mappings and later on analysed using Kövecses’ (2002) framework. Results indicated that even though the two languages share a number of anger conceptualizations, they had certain differences. These differences were attributed to difference in language, in the sense that language genius and vocabulary repertoire often influence the conceptualization process. Culture, too, proved to be another source of as elements like climate and life style manipulate the conceptualization process. Note that the study of metaphorical conceptualization of emotions in general and anger specifically is underestimated in Arabic and further research is required

Dans cet article, j’explore certains aspects de la façon dont l’opéra a été affecté par la dynamique de rupture et d’expérimentation en Union soviétique dans les années 1920 et au début des années 1930. En particulier, j’examine la critique de l’opéra en tant que genre parmi les compositeurs et les praticiens du théâtre, tels que Nikolaï Foregger, qui a préconisé une fusion de l’opéra et du ballet inspirée par les rythmes, les mouvements et les sons de la modernité, et Adrian Piotrovsky, qui a plaidé pour le transfert des dispositifs cinématographiques à d’autres formes d’art, y compris l’opéra. L’article explore en outre certaines intersections avec le culte futuriste et constructiviste de la machine, comme en témoignent les expériences lyriques de Vladimir Dechevov et Aleksandr Mosolov, qui ont été presque immédiatement supprimées par la montée d’une esthétique plus populiste, et qui restent largement inconnues. In this article I explore some of the ways in which opera was affected by the dynamics of rupture and experimentation in the Soviet Union in the 1920s and early 1930s. In particular, I examine the criticism of opera as a genre among composers and theatrical practitioners, such as Nikolay Foregger, who advocated a fusion of opera and ballet inspired by the rhythms, movements, and sounds of modernity, and Adrian Piotrovsky, who argued for the transfer of cinematic devices to other art forms, including opera. The article further explores some intersections with the Futurist and Constructivist cult of the machine as reflected in the operatic experiments of Vladimir Deshevov and Aleksandr Mosolov, which were almost immediately suppressed by the rise of a more populist aesthetics and remain largely unknown.

La Joie de vivre d’Anthony Gross et Hector Hoppin est un cas précoce d’animation d’avant-garde qui transpose une esthétique moderniste dans la formule du dessin animé musical des années 1930. Ses décors alternent le machinisme inspiré de la banlieue ouvrière parisienne (usines, une centrale électrique, le chemin de fer) avec un paysage bucolique. Sans être ouvertement critique de l’industrialisation, cette dichotomie pourrait être perçue comme évasion pastorale. La musique originale composée par Tibor Harsányi joue un rôle central dans l’esthétique du film, et son analyse permet de réinterpréter la dualité machine/nature dans une perspective « post-pastorale ». Anthony Gross and Hector Hoppin’s La Joie de vivre is an early example of animated avant-garde cinema that transposes a modernist aesthetic into the musical cartoon formula of the 1930s. Its setting alternates the machinisme inspired by the Parisian working-class suburbs (factories, a power station, a railway) to a bucolic idyll. Though not overtly critical of industrialization, this dichotomy could be seen to represent an escapist pastoral. The original music composed by Tibor Harsányi plays a central role in the film’s aesthetic and its analysis can offer a better understanding of the machine/nature duality from a “post-pastoral” perspective.