The position of art in its juxtaposition of progress and development can be historically brought back to the position of its object in the context of its ideological and iconological discussion. The distortion of the art object in the aesthetic experience is not about the subject, but about the expectation that the art object establishes the art world among different forms of evaluation as the object of an evaluation act. The jurisdiction of criticism cannot be put forward at this point, (...) and cannot be talked about, as a result of its relevance to its ontological and epistemological bases. With all its experienced actors, the world of art is not a world of aesthetic experience with appreciation. In this study, how the object of art is distorted in aesthetic experience in the new art world created by the relevance of art will be handled from the perspective of Shusterman. (shrink)

When a member of an organization has to make a decision or act in a way that may benefit some stakeholders at the expense of others, ethical dilemmas may arise. This paper examines ethical sensitivity regarding the duties to clients and owners (principals), employees (agents), and responsibilities to society (third parties). Within this framework, ethical perceptions of male and female managers are compared between the U.S. and Turkey – two countries that differ on power distance as well as the individualism/collectivism (...) dimensions. Our results show that ethical sensitivity varies depending upon whether the interests of principals, agents, or third parties are affected by a given ethical dilemma. We also find that, contingent upon the principal-agent–society relationships, the nationality and gender of the decision-maker influences ethical sensitivity. (shrink)