James A. Diefenbeck, Wayward Reflections on the History ofPhilosophyThomas R. Flynn Sartre, Foucault and Historical Reason. Volume 1:Toward an Existential Theory of HistoryMark Golden and Peter Toohey Inventing Ancient Culture:Historicism, Periodization and the Ancient WorldZenonas Norkus Istorika: Istorinis IvadasEverett Zimmerman The Boundaries of Fiction: History and theEighteenth‐Century British Novel.

This article reviews the globalization process and how it impacts the standards of employee relations ethics in the United States. John Dunlop's industrial relations systems framework is employed to assess how the globalization process has altered the ideology that binds the industrial relations system together and the body of rules created to govern behavior in the workplace and work community. I discuss how globalization has altered the context of industrial relations systems around the world and analyze the consequences of the (...) reduction in significance of the national context to the changing standards of employee relations ethics. I also review the significance of why national differences in the contexts of industrial relations systems relating to the technological characteristics of the workplace, the product and factor markets, and the locus of distribution and power, are disappearing and being integrated rapidly into the global economy. Additionally, the article discusses the role of multinational corporations in the globalization process and why the emerging global industrial relations system is altering the standards of employee relations ethics in the American workplace. (shrink)

Professor Webster's attempt to prove that south Italian vases of the middle of the fourth century can be used as evidence of Athenian theatrical arrangements of half or three-quarters of a century earlier leaves me unconvinced. It, is true that, as he says, ‘the plays’ which the vases illustrate ‘come from Athens'— at least, most of them probably did: but a number of scenes on the vases are not scenes presented in the plays at all, but are scenes suggested to (...) the painter by descriptions in messengers’ speeches, or, quite possibly, by the story dramatized in the plays, but not by the Athenian poet's particular treatment of the story; the plays —and the stories made popular by them—had been the common property of the Greek world for more than half a century, and there is no reason why Italian producers should have gone back to the original production in Athens, still less why Italian painters should have done so, even if they knew what the original production was like. (shrink)

The word 'athletics' is derived from the Greek verb 'to struggle for a prize'. After reading this book, no one will see the Olympics as a graceful display of Greek beauty again, but as war by other means. Nigel Spivey paints a portrait of the Greek Olympics as they really were - fierce contests between bitter rivals, in which victors won kudos and rewards, and losers faced scorn and even assault. Victory was almost worth dying for, and a number of (...) athletes did just that. Many more resorted to cheating and bribery. Contested always bitterly and often bloodily, the ancient Olympics were not an idealistic celebration of unity, but a clash of military powers in an arena not far removed from the battlefield. (shrink)