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This article examines the cases for and against commercializing, or "commodifying," reproductive materials and services. Using a supply/demand third-party framework, three basic scenarios in which commercial-exchange relationships may be possible--exchange of gametes and zygotes, exchange of gestational services, and exchange of fetal material--and the major parties of interest, or stakeholders, are identified. The study sketches the liberal, essentialist, and radical contingency theories that shape the debate over the commercialization of reproductive materials and services. The article then attempts to derive some basic governing principles that reflect as much common ground as possible amongst these various normative perspectives, while recognizing that complete reconciliation is impossible. Taken together, these principles are designed to reflect a strategy of "constrained commodification," where commercialization or commodification, that is, financial remuneration, plays a relatively neutral role in the utilization of reproductive materials and services. In light of these principles, the article concludes by sketching legal and regulatory regimes with respect to the exchange of gametes and zygotes, gestational services, and fetal tissue. 相似文献
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"The research is based on a study carried out between 1989 and 1991 in the three rural communities in the state of Morelos [Mexico] that included a socio-demographic survey and interviews. The methodological goal of the authors is to view nuptiality from demographic and anthropological standpoints.... The authors seek to pinpoint the elements that account for changes that have taken place in nuptiality, as well as to identify the impact of these changes on [descendants]." (SUMMARY IN ENG) 相似文献
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Prentki T 《Development in Practice》1998,8(4):419-429
This article discusses the reasons for use and nonuse of folk theater for communicating development messages. Theater for Development (TFD) is a tool used by development agencies for improving the quality of life among vulnerable populations. TFD uses fiction and the "safe space" of performance to comment on reality and offer alternatives. The medium offers the opportunity to explore roles that would normally be denied in real life and to explore a community's developmental aspirations. Most TFD draws on talent from the dramatic arts that is unfamiliar with development perspectives. TFD is finally being recognized as important for cultural expression suitable for self-development. Communication is the single most important aspect in the process of development. The constraints to TFD are lack of inclusion within development policy, the lack of development artists, and most importantly, time. Groups with a history of silence, oppression, and marginalization need facilitators. The Freirean model is a consciousness raising one. Participatory theater is centuries old. The most vigorous, sustained TFD theaters are in places with deprivation, poverty, disease, and hunger. These situations are well suited to TFD as a critical intervention for change. An example from the Nigerian Popular Theater Alliance is used to illustrate consciousness raising about government provision of services. TFD allows communities to draw agendas of their own. India has a substantial tradition of Social Action Groups and street theater. TFD can reverse power relations, is not dependent on literacy, and offers an entertaining way of spreading information. 相似文献
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