Purpose: To examine how conceptualizations of caregiver adaptation to traumatic brain injury have changed over time. The objectives were to identify research traditions, adaptive outcomes assessed ...

Investigating the adaptation of caregivers of people with traumatic brain injury: a journey told in evolving research traditions.

The article discusses the status and role of regulatory bodies and the aftermaths of their independence and accountability to the public and the parliament. The author analyses different legal statuses of regulatory bodies in Montenegro and Serbia in the central banking and energy sectors and concludes that it is necessary that national constitutions, as the highest legal acts in each state, prescribe in a separate article that “Regulatory bodies are independent and accountable to Parliament”. Relevant separate legal acts should closely define the procedures for establishing, enforcing, and sanctioning of possible breaching of: 1) independence of regulatory bodies, 2) accountability of regulatory bodies to the parliament, and 3) transparency of their activities.

/pdf/role-of-regulatory-bodies-in-the-banking-and-energy-sectors-bb01eqap6c.pdf

Role of Regulatory Bodies in the Banking and Energy Sectors

A treaty to regulate the global antimicrobial commons can be appropriately framed around the model provided by multilateral environmental agreements. At the same time, it is not clear that a comprehensive treaty is the only possible entry point and other options, such as an agreement on technology transfer or funding may be apt starting points. Any legal instrument adopted to regulate the global antimicrobial commons needs to reflect the global South-North dichotomy and integrate the principle of common but differentiated responsibilities and respective capabilities. Further, it would need to go beyond environmental instruments that have been structured around the sovereign interests of negotiating states even when dealing with issues of global concern, such as climate change. The proposed legal instrument would also need to be based not just on the precautionary principle as a marker of the necessity to address the negative environmental and health impacts, but also be based on the interests of patients and integrate concerns raised in terms of the human right to health. 

https://link.springer.com/content/pdf/10.1007/s10728-023-00454-y.pdf

Regulating the Global Antimicrobial Commons: Climate Agreements and Beyond

Programme annotators have often embraced an uncomplicated narrative of Sir Edward Elgar’s career in which the composer sprang overnight from provincial obscurity to international fame with the 1899 premiere of his Variations on an Original Theme op. 36, now known as the Enigma Variations. Unsurprisingly, the historical narrative is more complex: Elgar’s reputation was already growing thanks to a series of acclaimed choral works, including The Black Knight op. 25 (1892), Scenes from the Saga of King Olaf op. 30 (1896), The Banner of Saint George op. 33 (1897) and Caractacus op. 35 (1898). All of these scores were highly successful at their first performances; British choral societies took them up rapidly – singers delighted in the challenges posed by the music, while both audiences and critics relished Elgar’s brilliant orchestration. It is clear, however, that the composition of the Enigma Variations gave Elgar insights into his own creative process that had a marked and lasting effect upon his music: a greater richness, consistency, technical mastery and expressive depth. This change is evident in the works that appeared immediately after the Enigma Variations, particularly the orchestral song-cycle Sea Pictures op. 37 and the oratorio The Dream of Gerontius op. 38 (1900). Comparing two recent recordings from Chandos best illustrates the differences between Elgar’s music before and after the Enigma Variations. One of these features Scenes from the Saga of King Olaf and The Banner of Saint George, while the other includes Sea Pictures and

Byron Adams

Papers

Edward ElgarChandos 5140, 2014 (2 CDs: 124 minutes), $32