We explore themes in Nobel Prize–winning economist James M. Buchanan’s work and apply his Ethics and Economic Progress to problems facing individuals and firms. We focus on Buchanan’s analysis of the individual work ethic, his exhortations to “pay the preacher” of the “institutions of moral-ethical communication,” and his notion of law as “public capital.” We highlight several ways people with other-regarding preferences can contribute to social flourishing and some of the ways those who have “affected to trade for the (...) public good” might want to redirect their efforts. We show how Buchanan’s work has considerable implications for business ethics. Just as his economic analysis of politics changed how we understand government, we think his economic analysis of ethics can (and should) change how we understand business. (shrink)

BackgroundCORE (Clarity and Openness in Reporting: E3-based) Reference (released May 2016 by the European Medical Writers Association [EMWA] and the American Medical Writers Association [AMWA]) is a complete and authoritative open-access user’s guide to support the authoring of clinical study reports (CSRs) for current industry-standard-design interventional studies. CORE Reference is a content guidance resource and is not a CSR Template.TransCelerate Biopharma Inc., an alliance of biopharmaceutical companies, released a CSR Template in November 2018 and recognised CORE Reference as one of (...) two principal sources used in its development.MethodsThe regulatory medical writing and statistical professionals who developed CORE Reference conducted a critical review of the TransCelerate CSR Template. We summarise our major findings and recommendations in this communication. We also re-examined and edited the Version 1 CORE Reference Terminology Table that we first published in 2016, and we present this as Version 2 in this communication.ResultsOur major critical review findings indicate that opportunities remain to refine the CSR Template structure and instructional text, enhance content clarity, add web links to referenced guidance documents, improve transparency to support the broad readership of CSRs, and develop supporting resources.The CORE Reference ‘Terminology Table’ Version 2 includes estimand as a defined term and an adaptation of the original ‘worked study example’ to incorporate the recently evolved concept of ‘estimands’.ConclusionsAs TransCelerate’s CSR Template represents an important milestone in authoring CSRs, we offer CSR authors advice and recommendations on its use, similarities, and differences with CORE Reference and advise them to consider shared interpretations between the two.RegistrationCORE Reference is registered with the EQUATOR Network. The TransCelerate CSR Template is not registered with any external organisation to the knowledge of the authors of this paper. (shrink)

Genetically engineered organisms have been at the center of ethical debates among the public and regulators over their potential risks and benefits to the environment and society. Unlike the currently commercial GE crops that express resistance or tolerance to pesticides or herbicides, a new GE crop produces two bioactive nutrients and docosahexaenoic acid ) that heretofore have largely been produced only in aquatic environments. This represents a novel category of risk to ecosystem functioning. The present paper describes why growing (...) oilseed crops engineered to produce EPA and DHA means introducing into a terrestrial ecosystem a pair of highly bioactive nutrients that are novel to terrestrial ecosystems and why that may have ecological and physiological consequences. More importantly perhaps, this paper argues that discussion of this novel risk represents an opportunity to examine the way the debate over genetically modified crops is being conducted. (shrink)

George Will, the well-known pundit, once observed: “A society's recreation is charged with moral significance. Sport—and a society that takes it seriously—would be debased if it did not strictly forbid things that blur the distinction between the triumph of character and the triumph of chemistry.” In opposition, Dan Duchaine, the highly publicized “steroid guru” and counter-culture columnist, declared: “There comes a time for many in competitive athletics where winning is more important than those initial goals of health, recreation, and relaxation.” (...) The parallels of these two philosophies to life in general are patent simply by substituting “sports” and “winning” for “career” and “success,” respectively.This paper will review the basis for banning anabolic steroids in athletics, and consider especially the recent medical findings that support this prohibition. This survey leads into a discussion of the available deterrents, and the secondary, but essential, role of random drug testing as a final safeguard. (shrink)

George Will, the well-known pundit, once observed: “A society's recreation is charged with moral significance. Sport—and a society that takes it seriously—would be debased if it did not strictly forbid things that blur the distinction between the triumph of character and the triumph of chemistry.” In opposition, Dan Duchaine, the highly publicized “steroid guru” and counter-culture columnist, declared: “There comes a time for many in competitive athletics where winning is more important than those initial goals of health, recreation, and relaxation.” (...) The parallels of these two philosophies to life in general are patent simply by substituting “sports” and “winning” for “career” and “success,” respectively.This paper will review the basis for banning anabolic steroids in athletics, and consider especially the recent medical findings that support this prohibition. This survey leads into a discussion of the available deterrents, and the secondary, but essential, role of random drug testing as a final safeguard. (shrink)

As the first President of the Royal Academy of Arts, Joshua Reynolds played a pivotal role in shaping the course of British art in the 18th century. In these discourses, Reynolds reflects on the nature of art, the role of the artist, and the importance of aesthetic education. With insightful commentary on the works of the Old Masters and a wealth of practical advice for aspiring artists, this volume is a must-read for anyone interested in the history of art or (...) art theory. This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work is in the "public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant. (shrink)

Our think tank tasked by the Dutch Health Council, consisting of Radboud University Nijmegen Honours Academy students with various backgrounds, investigated the implications of Deep Brain Stimulation for psychiatric patients. During this investigation, a number of methodological, ethical and societal difficulties were identified. We consider these difficulties to be a reflection of a still fragmented field of research that can be overcome with improved organization and communication. To this effect, we suggest that it would be useful to found a centralized (...) DBS organization. Such an organization makes it possible to 1) set up and maintain a repository, 2) facilitate DBS studies with a larger sample size, 3) improve communication amongst researchers, clinicians and ethical committees, and 4) improve communication between DBS experts and the public at large. (shrink)

Our think tank tasked by the Dutch Health Council, consisting of Radboud University Nijmegen Honours Academy students with various backgrounds, investigated the implications of Deep Brain Stimulation for psychiatric patients. During this investigation, a number of methodological, ethical and societal difficulties were identified. We consider these difficulties to be a reflection of a still fragmented field of research that can be overcome with improved organization and communication. To this effect, we suggest that it would be useful to found a centralized (...) DBS organization. Such an organization makes it possible to 1) set up and maintain a repository, 2) facilitate DBS studies with a larger sample size, 3) improve communication amongst researchers, clinicians and ethical committees, and 4) improve communication between DBS experts and the public at large. (shrink)

The fragility of democracy and the political aesthetics of public art -- Voices and places: the space of public art and Wodiczko's the homeless projection -- Democracy's "empty place": Rawls's political liberalism and Derrida's democracy to come -- Public art's "plain tablet": the political aesthetics of contemporary art -- Democracy and public art: Badiou and Ranciere -- The political aesthetics of Chicago's Millennium Park -- The political aesthetics of New York's National 9/11 Memorial -- Public (...) art as an act of citizenship -- Badiou on "being and the void.". (shrink)

The aesthetic and political sides of public art have recently been examined from different theoretical vantage points. Pragmatist accounts, however, have been largely absent from the discussion. This article develops a theory of public art on some central ideas of John Dewey's aesthetics and social philosophy. From a pragmatist perspective, the best cases of public art turn out to have high social significance, for they are means of promoting the sense of community, which Dewey saw as foundational (...) for well-functioning democracies. The Deweyan account of public art developed in this article is set against theories that explain its social value by public artworks’ ability to disrupt people's everyday routines and beliefs, as well as by the political alertness they often raise. Diana Boros's recent treatment of what she calls “visionary public art” serves as the main specimen of this approach. The Deweyan understanding of public art is illuminated and defended with the help of a reading of John Adams's On the Transmigration of Souls—a piece composed in memory of the victims of 9/11—that highlights its capacity to generate such communal experiences that have a fundamental role in Dewey's theory of democracy. (shrink)

Modern medical research shows that art aesthetic plays a positive role in healing and relieving people’s stress, improving mental health and improving social adaptability. Based on the aesthetic experience of visitors, this article conducts an empirical study on the aesthetic experience of the Long March Memorial Museum in Ninghua County, Fujian province, by means of survey data questionnaire (SD) and in-depth interview. Firstly, to conduct a questionnaire survey to understand the psychological characteristics of visitors’ aesthetic experience. Secondly, the combination of (...) in-depth interviews and the aesthetic differences of public art psychological analysis. Thirdly, to clarify the relationship between public art aesthetics and psychological healing. By constructing a model of the relationship between public art aesthetics and psychological healing, it puts forward five ways of psychological healing, such as enhancing aesthetic experience, arousing life interest, enriching cultural and artistic knowledge, shaping individual psychology and relieving emotional pressure. Contribution: Public art aesthetics is not only influenced by the politics, culture, customs and lifestyles of society but also has a close relationship with religious beliefs. This article attempts to explain the relationship between public art aesthetics and psychological healing from the dimension of cognitive psychology and proposes a path for public art aesthetics to promote psychological healing, so as to enrich and expand the connotation of traditional aesthetic thought and further deepen the study of religious art in psychological healing, aiming to provide useful ideas and references for promoting the all-round development of human beings. (shrink)

By considering the museum itself as art, rather than as a receptacle, Hein's Public Art: Thinking Museums Differently argues for an improved understanding of the role museums play in shaping public discourse.

Not all public art is bad art, but when public art is bad, it tends to be bad in an identifiable way. In this paper, I develop a Waltonian theory of the category of public art, according to which public art standardly is both accessible to the public and minimally site-specific. When a work lacks the standard features of the category to which it belongs, appreciators tend to perceive the work as aesthetically flawed. I then (...) compare and contrast cases of successful and unsuccessful public art to show that accessibility and site-specificity are features which tend to preclude the other. It is difficult, although hardly impossible, for a site-specific work to remain accessible, and difficult for an accessible work to engage adequately with the site on which it is situated. As a result, while not all public art is bad, the features peculiar to public work encourage a latent tendency toward badness. (shrink)

Danto's discussion of site‐related and site‐specific art opens up perspectives on both his conception of the ethics and politics of public art and on his ultimately idealistic ontology of art. Danto's analysis of the Vietnam Veterans Memorial involves an important distinction between monuments and memorials that is highly relevant to current controversies, like those about Confederate statues. His differing responses to two site‐related public art works by Richard Serra exhibit a nuanced sensibility to the taste of the (...) class='Hi'>public audience and the aesthetics of genius loci. Danto's enthusiastic account of several site‐specific works involving minimal interventions on the ground (some of which remained in the planning stage) disclose his inclination to reduce art to its idea, prescinding from its material presence. (shrink)

Responding to Open Philosophy’s call ‘Does public art have to be bad art?’, in this paper we argue that this discussion should pay attention to the consequences of structural transformations that guide the production and presentation of public art in today’s increasingly private city. While entrepreneurial governance and corporate branding strategies generate new opportunities, they might also result in increased risk averseness and control over the content of public art, thus putting its critical potential at risk. That (...) observation ushers in urgent questions about control, complicity and criticality. We aim to reflect on those questions through two public art projects in Hong Kong: Antony Gormley’s Event Horizon (2015) and Our 60-second friendship begins now (2016) by Sampson Wong Yu-hin and Jason Lam Chi-fai. After drawing conclusions on the justification of public funding for co-productions, the legitimacy for artists to sometimes not ‘follow the rules’, and the problematic nature of a narrow definition of professionalism as a means to discredit artists, our analysis underlines the urgent need to develop a framework that can guide discussions on the consequences of control and complicity for the critical potential of public art. (shrink)

In this paper, I argue for what I define as the multiplicity thesis. According to MT, there is not a single public of public art, but a multiplicity of them. I defend MT both as a descriptive and a normative claim. I explore different types of publics of public art that can be distinguished from one another in terms of their different sizes. I expand my analysis of the differences among separate publics of public art by (...) considering temporary and enduring ones. (shrink)

Surprising artistic interventions in the landscape of the public everyday are psychologically, socially, and politically beneficial to individuals as well as their communities. Such interventions enable their audiences to access moments of surprising inspiration, self-reflection, and revitalization. These spontaneous moments may offer access to the experience of distance from the rational “self,” allowing the irrational and purely emotive that resides within all of us to assert itself. It is this sensual instinct that all we too frequently push aside, particularly (...) in the public realm, for the sake of our responsibilities. Urban communities in particular are persistently accosted by visual and aural advertisements and consumerist lures, that further discourage individuals from accessing their non-rational selves. Yet, I argue that it would improve the health and vibrancy of our communal lives if we encountered among others in public, even for a moment, the strong feelings of sudden elation or confusion that we generally consider to be private. I also argue that an addition could be made to the already diverse oeuvre of artistic approaches that comprise the realm of “sound art” and that it may be termed “musical intervention art” – or, simply put, music played in a circumscribed area in the form of an outdoor installation, that is designed to accost, surprise, overwhelm, and through this, actively engage. This article will describe an imaginary example of musical installation art. (shrink)

How do permanent artworks installed in public places shape the relations that take place around them? Drawing upon the works of Maurice Merleau-Ponty and Luce Irigaray I claim that two public artworks, Richard Serra’s Tilted Spheres (2002-2004) and a bronze casting of Louise Bourgeois’ Maman (1999) work to open up embodied being and to creatively transform reality. Serra’s work reveals an important aspect of public space, that of the space/time of the anonymous body, as well as the (...) ways in which a shared and hence relational embodied perception is necessary for dwelling. Bourgeois’ Maman reveals possibilities for helping us to think out what it might mean to share the same world even as we dwell in different worlds, in a space/time that we cultivate as our own. (shrink)

Public Art has represented a rising artistic genre for the last few decades. Art abandoned museums and galleries to conquer the public space, a fact which gave birth to passionate controversies that cannot be approached only in terms of paradigms of art history. Taking Richard Serra’s controversial sculpture, Tilted Arc, as an example, this article aims at tracing, by means of an interdisciplinary approach, the challenges that public art has been confronted with in the contemporary city.

The question naturally arises: Is public art inherently violent, or is it a provocation to violence? Is violence built into the monument in its very conception? Or is violence simply an accident that befalls some monuments, a matter of the fortunes of history? The historical record suggests that if violence is simply an accident that happens to public art, it is one that is always waiting to happen. The principal media and materials of public art are stone (...) and metal sculpture not so much by choice as by necessity. “A public sculpture,” says Lawrence Alloway, “should be invulnerable or inaccessible. It should have the material strength to resist attack or be easily cleanable, but it also needs a formal structure that is not wrecked by alterations.”12 The violence that surrounds public art is more, however, than simply the ever-present possibility of an accident—the natural disaster or random act of vandalism. Much of the world’s public art—memorials, monuments, triumphal arches, obelisks, columns, and statues—has a rather direct reference to violence in the form of war or conquest. From Ozymandias to Caesar to Napoleon to Hitler, public art has served as a kind of monumentalizing of violence, and never more powerfully than when it presents the conqueror as a man of peace, imposing a Napoleonic code or a pax Romana on the world. Public sculpture that is too frank or explicit about this monumentalizing of violence, whether the Assyrian palace reliefs of the ninth century b.c., or Morris’s bomb sculpture proposal of 1981, is likely to offend the sensibilities of a public committed to the repression of its own complicity in violence.13 The very notion of public art as we receive it is inseparable from what Jürgen Habermas has called “the liberal model of the public sphere,” a dimension distinct from the economic, the private, and the political. This ideal realm provides the space in which disinterested citizens may contemplate a transparent emblem of their own inclusiveness and solidarity, and deliberate on the general good, free of coercion, violence, or private interests.14 12. Lawrence Alloway, “The Public Sculpture Problem,” Studio International 184 : 124.13. See Leo Bersani and Ulysse Dutoit, “The Forms of Violence,” October, no. 8 : 17-29, for an important critique of the “narrativization” of violence in Western art and an examination of the alternative suggested by the Assyrian palace reliefs.14. Habermas first introduced this concept in The Structural Transformation of the Public Sphere: An Inquiry into a Category of Bourgeois Society, trans. Thomas Burger and Frederick Lawrence . First published in 1962, it has since become the focus of an extensive literature. See also Habermas’s short encyclopedia article, “The Public Sphere,” trans. Sara Lennox and Frank Lennox, New German Critique 1 : 49-55, and the introduction to it by Peter Hohendahl in the same issue, pp. 45-48. I owe much to the guidance of Miriam Hansen and Lauren Berlant on this complex and crucial topic. W. J. T. Mitchell, editor of Critical Inquiry, is Gaylord Donnelly Distinguished Service Professor of English and art at the University of Chicago. His recent book is Iconology: Image, Text, Ideology. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Teacher as Public ArtSheila Wright (bio)I entered the public art arena as an idealist optimist. Now, two decades later, I am a pragmatist realist. How did my dream of a populist marketplace turn into a nightmare?—Richard Posner, Artist vs. PublicLike Posner, many faculty members enter the academy as idealists, optimistic that their goals for and the promise of higher education will be fulfilled and their quest for (...) knowledge inspired, only to discover years later that they have become pragmatist realists.1 For many, change is necessary for survival, career success, and fulfilling dreams. At what point, however, might otherwise idealistic, visionary, and highly capable people become oppressed, disillusioned, and/or marginalized as professors? Under what conditions do professional dreams of transforming education and critical pedagogy become frustrated by rigid adherence to the status quo? How might initial aspirations of achieving a higher education become politicized and racialized as seemingly inescapable nightmares?For some faculty—particularly those of color and, especially, women working in historically white institutions—the assault on dreams occurs not only in nightmares during sleep but as monochrome, white-mares while awake.2 So, what does it mean just to be a professor in an environment where the simple quest to teach, conduct research, and serve can be frustrated by faulty, stereotypical, and often hostile assumptions, attitudes, and reactions to gender and skin? How might professors in these circumstances [End Page 83] respond to social constructions that manifest as body politics and racialized consciousness while simultaneously celebrating their identity, inner spirit, and cultural self—their ideals and visions? How do professors in these situations respond to institutional policies and practices and the social, cultural, and political nuances of place? Further, how can professors learn from their experiences and strive for meaningful transformation without the risk of being viewed as an "other," "unorthodox," an "activist," or worse?In this article "teacher as public art" is used as a metaphor to describe and explain the all-too-common perceptions and experiences of professors of color, especially women, within the academy. More specifically, this article reports findings from a qualitative study focused on what it means to be a woman of color in the academy. The findings presented are consistent with those encountered in a growing body of literature on the topic. Like other work in this area, an analysis of historical contexts can provide a critical link to understanding the cultural nuances framing the formation of professors' work identities. Triangulated data for this study included a visual art exhibition, personal reflections on the experiences of teaching in higher education, and formal research involving women faculty of color. Data were analyzed and interpreted based on literature defining the three worlds of professorship (scholarship, teaching, and service). The presentation of results and findings included here is intended to encourage further conversation regarding the retention, promotion, and tenure of faculty of color.Information and PerspectiveHighlighted throughout this discussion are (1) the relevance of locating self within the context of people and place; and (2) the importance of bringing meaning, authenticity, and credibility to teaching and research through continued reflection, self-assessment, and inquiry. The case presented is essentially a first attempt to accomplish these goals using self-study, personal experience, and public knowledge as an integrated vehicle for professional transformation. As both the researcher and a participant, the process required that I be simultaneously subjective and objective in order to examine the multiplicity of dialogues related to the professional self. In other words, the process required that I honor the voice of the person within—for example, artist, professor, woman, person of color—while, as a researcher, at the same time honoring the voices of those who participated in the study. As someone who came late to the academy (I was forty when I received my first tenure-track position), I drew for this study not only upon my prior experience and identity as a professor and educational researcher but also upon a myriad of pre-academy experiences and identities as, for example, an artist, art educator, administrator, and aspiring social reformer. The dynamic relationship [End Page 84] between those various identities facilitated and sustained a more cohesive... (shrink)

This essay interprets the controversy over Richard Serra's monumental sculpture, Tilted Arc , which was designed for a public plaza in downtown Manhattan in 1979 and then torn down five years later after intense public outcry. Levine reads this controversy as characteristic of contemporary debates over the arts, which continue the tradition of the nineteenth century avant-garde, pitting art against a wider public, and insisting that art must deliberately resist mainstream tastes and values in favor of marginality (...) and innovation. This definition of art has posed a lasting dilemma for democratic societies: how, after all, should a democracy deal with art that represents an intentional rejection of the majority? The problem becomes even more intractable when it comes to avant-garde art commissioned for public spaces, where the art object can challenge public tastes and movements in a way that is inescapable for those who must live and work in the space. Disturbed by the imposition of a massive and incomprehensible art object in a public plaza, Serra's opponents argued that Tilted Arc frustrated a whole range of socially beneficial activities, labor and leisure alike. And they claimed that Serra's supporters were dangerously anti-democratic. But despite the avant-garde's challenge to majority tastes, this essay makes the case that it remains a democratic value to continue to sponsor avant-garde art in public spaces. (shrink)

Much of the literature on public space focuses on physical inclusion and exclusion rather than social inclusion or exclusion. In this paper, the implications of this are considered in the context of two monuments, The Volunteers/Les Bénévoles, and The Emigrant, located outside the Canadian Museum of Immigration at Pier 21 in Halifax, Nova Scotia. These monuments, while perhaps designed to celebrate Canadian multiculturalism, can be read instead as signaling Canada’s enduring commitment to white supremacy, Eurocentricity and colonization, when viewed (...) through the eyes of racialized immigrants. Thus the “public space” becomes exclusionary. In the context in which the monuments are situated, the racial subtext cannot be ignored. This article purports that images, text and placement, regardless of intention, have significant implications on public space and public demeanor. (shrink)

The article proposes a new, interspecies interpretation of Joanna Rajkowska’s Oxygenator. Read as what Anna Tsing calls latent commons and problematized through Chantal Mouffe’s concept of agonistic spaces, the canonical piece of public art is shown to have been an experimental site of more-than-human resurgence.

Cosmopolitanism seeks a political ethics of world togetherness and a political aesthetics that can contribute to this task critically and imaginatively. Regarding political ethics, I explore the world as a “cosmopolitan mind” composed of “dialogic voices” and threatened by neoliberalism, neofascism, and other nihilistic “oracles.” I also construct a criterion for determining which public artworks (1) resist oracles and (2) help us imagine a “cosmopolitan democracy” and its political ethics. The latter includes the concordance of three ethico-political virtues—solidarity, heterogeneity, (...) and fecundity (creating new voices through the interplay among other voices)—and must appeal to different peoples worldwide. I also examine how this political ethics and aesthetics can be applied to nonhuman life and non-sentient formations in a non-anthropocentric manner; indeed, how the cosmos in its entirety and plurality can also be thought of as voices and participants in the cosmopolitan mind and its artistic expression. Moreover, I contend that my ontology of dialogic voices and proposed public art criterion, like the cosmopolitan mind itself, are “events” or “becomings.” This means that there can never be an articulation of the ontology that is final nor a public art criterion that could curtail the imaginative reach of art. (shrink)

Suzanne Lacy introduced the term ‘New Genre Public Art’ (NGPA) to refer to art practices that depart from those traditional of public art (such as installing works in parks and plazas) and focus instead on the direct engagement of artists with audiences to deal with pressing socio-political issues. In this paper, I argue that some works of NGPA should be valued for the intellectual value grounded in their artistic features, not dissimilarly to works of conceptual art. In developing (...) my argument, I take distance from Vid Simoniti’s recent account of ‘Socially Engaged Art’, offer a thorough analysis of Thomas Hirschhorn’s Bataille Monument (2002) and Kathrin Bohm’s and Stefan Saffer’s Mobile Porch (1999), and submit that both such works qualify as good works of NGPA. (shrink)

This article asks whether there were, in post-dictatorship Chile, limitations of the autonomy of cultural and artistic production addressing the memory of traumatic events. In particular, the article analyzes the content and history of the production of some relevant sections of the mural painting Memoria Visual de una Nación by the Chilean artist Mario Toral. The article demonstrates that public art was an arena of struggle for the meaning of democracy during the postdictatorship period. To do this, he uses (...) concepts from post-structuralist political theory, cultural studies, the philosophy of memory, and memory studies. The article also offers an interpretation of cultural production as an open and contingent process. It concludes that the transition via transaction in Chile had a negative influence on the field of artistic production, reducing its autonomy and divergence from the dominant political discourse in the period. (shrink)

The purpose of this article is threefold: to examine the elements of an artful apology; to sequence them in a comprehensive configuration; and to use the taxonomy for assessing the effect of public apologies. The model identifies seven sequential components of an apology: revelation, recognition, responsiveness, responsibility, remorse, restitution, and reform. Also included in the model are four deflective stratagems: dissociation, diminution, dispersion, and detachment. Analysis focuses on actual offense situations rather than artificial simulated settings. Specifically, the study examines (...) whether seven well-publicized apologies conform to the proposed construct. These public figures include Alec Baldwin, Lloyd Blankfein, Jamie Dimon, Gerald Levin, Iris Robinson, Tiger Woods, and Mark Zuckerberg. The article closes with suggestions to direct future research. (shrink)

Philosophy & Social Criticism, Volume 48, Issue 5, Page 782-788, June 2022.

Philosophy & Social Criticism, Ahead of Print.