O texto tem como preocupação central refletir sobre a relação entre ética e gestão de instituições educacionais. É fru to de preocupações e de pesquisas em desenvolvimento voltadas, principalmente, para o âmbito da gestão. O objetivo principal é mostrar como as várias teorias éticas podem nortear as ações para uma gestão ética. Sua relação e contribuição, como parâmetros para uma gestão ética, estão condicionadas pelos modelos da gestão e pelos pressupostos básicas das teorias éticas, entre elas, autilitarista tem tido maior (...) aplicabilidade na gestão das organizações. (shrink)

In "Making Sense of Animal Disenhancement" Adam Henschke provides a framework for fully understanding and evaluating animal disenhancement. His conclusion is that animal disenhancement is neither morally nor pragmatically justified. In this paper I argue that Henschke misapplies his own framework for understanding disenhancement, resulting in a stronger conclusion than is justified. In diagnosing his misstep, I argue that the resources he has provided us, combined with my refinements, result in two new avenues for inquiry: an application of concepts from (...) political theory to disenhancement, and an inquiry in to the mode of valuation that underlies industrial animal agriculture and disenhancement proposals. (shrink)

No presente artigo expomos alguns aspectos das concepções gödelianas acerca da percepção. Procuramos mostrar aqui que a comparação realizada por Gödel entre percepção sensível e racional, bem como suas concepções sobre esta última, correspondem a uma análise do conceito de percepção. Em uma primeira seção, expomos a analogia gödeliana entre percepção sensível e racional, salientando que ambas são comparadas tendo em vista seu status de relação de acesso a entes. A partir disto, argumentamos, na segunda seção, que subjazendo à analogia (...) há uma análise do conceito de percepção como o conceito geral ou formal de uma relação de acesso, do qual a percepção sensível e a racional são casos particulares. Tal análise, como defendemos, acaba por ser mais adequada ao uso comum que fazemos deste conceito do que pareceria à primeira vista. (shrink)

The thesis of this article is that engagement and suffering are essential aspects of responsible caregiving. The sense of medical responsibility engendered by engaged caregiving is referred to herein as clinical phronesis, i.e. practical wisdom in health care, or, simply, practical health care wisdom. The idea of clinical phronesis calls to mind a relational or communicative sense of medical responsibility which can best be understood as a kind of virtue ethics, yet one that is informed by the exigencies of moral (...) discourse and dialogue, as well as by the technical rigors of formal reasoning. The ideal of clinical phronesis is not (necessarily) contrary to the more common understandings of medical responsibility as either beneficence or patient autonomy — except, of course, when these notions are taken in their disengaged form (reflecting the malaise of modern medicine). Clinical phronesis, which gives rise to a deeper, broader, and richer, yet also to a more complex, sense than these other notions connote, holds the promise both of expanding, correcting, and perhaps completing what it currently means to be a fully responsible health care provider. In engaged caregiving, providers appropriately suffer with the patient, that is, they suffer the exigencies of the patient's affliction (though not his or her actual loss) by consenting to its inescapability. In disengaged caregiving — that ruse Katz has described as the silent world of doctor and patient — provides may deny or refuse any given connection with the patient, especially the inevitability of the patient's affliction and suffering (and, by parody of reasoning, the inevitability of their own. When, however, responsibility is construed qualitatively as an evaluative feature of medical rationality, rather than quantitatively as a form of calculative reasoning only, responsibility can be viewed more broadly as not only a matter of science and will, but of language and communication as well — in particular, as the task of responsibly narrating and interpreting the patient's story of illness. In summary, the question is not whether phronesis can save the life of medical ethics — only responsible humans can do that! Instead, the question should be whether phronesis, as an ethical requirement of health care delivery, can prevent the death of medical ethics. (shrink)

Joaquin Segura. Untitled (fig. 40) . 2007 continent. 1.2 (2011): 117-124. The interview that follows is a dialogue between artist and gallerist with the intent of unearthing the artist’s working strategies for a general public. Joaquin Segura is at once an anomaly in Mexico’s contemporary art scene at the same time as he is one of the most emblematic representatives of a larger shift toward a post-national identity among its youngest generation of artists. If Mexico looks increasingly like a foreclosed (...) home burning to the ground, Segura could likely be the one walking away, charred matchstick between thumb and forefinger and shit-eating grin on his face. His corrosive attacks on institutions, ideologies, and power reflect a deep general distrust of authority, increasingly evident within the work of younger Mexican artists. It is perhaps most directly the result of President Calderon’s deeply unpopular war against the cartels but no doubt equally the product of decades upon decades of rampant corruption and errant policy within Mexico. Brett W Schultz (BWS): A recurring—if not dominant—theme within your current work and investigation explores ideological extremism in reaction to some perceived political and economic disenfranchisement, especially that espoused and practiced by right-wing groups in United States. That's exactly why I thought of you when I was approached to contribute a piece to an issue on the subject of the moraine—taken metaphorically here to signify a certain set of beliefs that have resurfaced within mainstream American culture in the wake of a probably over-exaggerated political sea-change, marked by Obama's election. You're a Mexican artist who now lives and works in Guadalajara, far from the border cities where such concerns would seem more likely to be relevant to a contemporary artist; of course, you're even farther from the culture that birthed this nature of extremism. What interests you so intensely about this movement, if we can call it that? Joaquin Segura (JS): I think there are several seminal points that you touch on in this particular question. There's a very specific set of interests that make me address the socio-political issues I've been dissecting through my practice in the last few years. First of all, I don't really consider myself a 'mexican' artist. As I've made clear in the past, I don't really believe in the notion of 'identity' or the idea of 'nation', which I find totally laughable and heartwarmingly passé. I'm convinced that these are totally outdated models of understanding our differences and similarities, expanding our already immense and irreconcilable cultural abysses instead of bringing them together, thus resulting in their total dispersion among the complex and extremely arbitrary weaving of contemporary social nucleii. Pretty much a frankly bad joke, if I may say so. The fact that I live and work in Mexico is a completely random geographical and temporal factor, which of course affects what I think and what I do, but I've chosen not to be limited by this specific circumstance. In the past, while working abroad, I've taken advantage of this preconception of Mexico—to be more exact, pretty much all of Latin America—as one of the last barbaric bastions of western civilization. Totally amusing, if you ask me about it. I consider my practice to be, among other things, a gonzo strategy of deceit: there are quite a few roles you can adopt in this approach that may actually reveal themselves to be a privileged vantage point. In my experience, the gentle savage is one of the most effective ones to establish my standing position. Thus, I'm a mexican artist if I need it to prove my point. If it's not necessary in a specific circumstance, I'm not. Quite simple, I think. Said in other words, it's just an ace I can play to win a particular match. It has worked so far, at least for me. L: Hey, America… , 2009. R: The Inaugural Address , 2009. I am interested in the nature of power and the rise and fall of totalitarian ideological and political apparatuses nowadays. But I guess, going even further, I'm essentially fascinated by the fissures and contradictions that have made these structures spectacularly crumble to the ground. I do believe extreme ideologies have played a crucial role in the globalization of socio-political crisis. In the end, our world is nothing more than a fading monument to all things gone wrong—the inspiring triumph of failure, in every sense. I see this as an exciting parable. And of course, it is an undeniable fact that the US, through their influence in world economy, international policies and general attitude towards the rest of the planet is the largest structure waiting to collapse. I think we are all secretly awaiting that moment of splendor, even americans. It'll be disastrous and as nasty as it can get, but it will also be liberating and incredibly inspirational. Not just because it’s the US but because it'll prove that absolutely everything is susceptible to fall. And not only that, most importantly, it would confirm that radical change may actually be possible and not just one more of the unfulfilled promises modernity has left us to struggle with on our own. BWS: I want to talk first about two of your works in particular: Hey, America... and The Inaugural Address . I feel like your more recent work has a subtle —or even hidden—sinisterness, but these two works are perfect examples of how brutally confrontational your earlier work has been. When we showed Hey, America... at Mexico City's Zona Maco art fair in 2010, there were at least a couple visitors to our stand who were absolutely ready to punch me in my gringo face for having done so. Certainly the shock value of these works is crucial to their central ideas, but can you tell me more about your intentions and how these works relate to your general oeuvre? JS: So funny. Perhaps we do deserve to be punched in the face. I think that's what I'm sometimes looking for, but I hardly ever get it. I do think of such works as some sort of logical trap, a somewhat perverse ambush waiting for someone to walk into head-on. I think what I tried to do with those two specific works, as well as some other past projects, is just emphasize issues or themes that do disturb or make me uneasy and restless. I consider my essential intention a need to make clear that we do not have to look the other way, ignore or forget. We must address, understand and solve these manifestations of senseless violence and absurdity because if we don't confront them this way, they'll end up consuming us. In other words, I do consider these works as a personal need of coming to terms with the nonsense of the world we all are living in. I don't particularly consider myself to be someone with a clear set of beliefs. Perhaps my only certainty would be that everything is there to be denied, demolished and obliterated—even my supposed unquestionability of that particular 'dogma.' My practice is a reflection of that paradox, and I do think that's how these two pieces relate to a wider body of work. Every democratic system and so-called developed contemporary society is deeply flawed on the inside, and that is because each has swept things under the rug. Of course, there's tolerance, good will and eagerness to make a difference but there's also hatred, pain and fear lingering all around. We must learn to relate to both sides of the spectrum. In a way, I approach the themes behind these particular works in what I think to be a non-biased, somewhat 'neutral' way. I do think there's an encryption process going on in the way I work, some sort of formal refinement of this somewhat outrageous content. A digest of infamy, if we can refer to it that way. It is up to the individual experiencing the work to decide which way these pieces lean. They can easily be seen from both positions and I'm ok with that. If you look closely at these works, there's nothing that establishes an unrelenting position—neither support nor rejection. I don't want my personal political views to directly set an agenda for the spectator as that’s essentially propaganda, which is one of the things I absolutely despise. To sum it up, I strive for the spectator to complete the piece in that sense. The work then becomes a reflection of his or her own contradictions, a playground of the mind. I'm interested in achieving a deadpan and deadlock state in the observer. So, in a way, those visitors threatening to beat the shit out of you unconsciously became that particular issue the work is alluding to. Just blind and senseless reaction to god knows what people feel must be defended, the overwhelming virtue of ambiguity. Beautiful. Perhaps you can also think of my practice as a uber-sophisticated and snobbish version of Punk'd. And you wouldn't be far from what I'm trying to convey. Untitled (Disturbance Scenarios #2) . 2010. BWS: To me, an important transitional marker in the overall trajectory of your work is the series, Disturbance Scenarios , which evokes a similar generalized state of panic, paranoia, and impending doom through its incorporation of sensationalist newspaper headlines, yet also suggests this slyly mysterious meta-narrative via the context in which the newspaper itself is placed. How did you arrive at this series and why did you choose photorealistic painting as the medium for it? JS: I consider this series to be a by-product of the process I follow when making work. I spend an important part of my time just doing research, going through documentation and accumulating visual or historical references for the themes or episodes I'm interested in, in that particular moment. These are, of course, valuable assets that connect among themselves in a mysterious and almost undetectable manner, sometimes a few years between one and the other. I've employed similar production strategies in the past, in ongoing series like Random Moments of Urban Decay , in which I document what I consider to be physical traces of ethnic, religious or ideological violence in the form of text graffiti, invisibly scattered in different cities of the world, mostly in the US. Disturbance Scenarios was started in early 2010, following a particularly intense period of traveling here and there that lasted for most of the year. I've always felt compelled by text, as I find quite intriguing the idea of how words can create equally intense evocations of what I call a mental panorama of uneasiness than those produced by aesthetically-charged imagery; of course, if handled right. I have a close relationship to print media—due both to my academic background and to my attraction to its ubiquity and almost unlimited influence, which in the end, is nothing else but power—so I found myself with a growing archive of newspaper headlines snapshots from cities like Melbourne, Auckland, London, and LA. Going through them, I noticed that they had in common a very specific thematic slant: they were all about some sort of conflict: energy crisis, political unrest, local episodes of domestic violence, you name it. So as you very well put it, I felt they all connected through this feeling of anxiety and anguish and I decided to start thinking of them as a body of work. Basically, I felt an interest in creating what I think of as my personal fragmented prefigurements of the end of civilization. There were few elements on the shots that could give away its actual location, geographically speaking, and I liked that. I find this sensation of vagueness and uncertainty quite alluring. The more subtle, the more perverse. The formal resolution of the series—as photo-realistic painting—is linked to my intention of creating distance between me as the artist and the themes I work with. I rarely execute my own work, and that is more a personal choice as I'm more interested in the ideas I mingle with than in the actual outcome of that process, understood as an "art-object" with certain market value. I did some tests with light-jet prints of those snapshots and I found them devoid of that nightmarish, disturbing indistinctness that I felt was so important for them to be able to project the turmoil I experienced upon encountering them and in conceiving of them as a series. So I thought that photorealistic painting would be an interesting resource to play with, as I hardly had worked with that medium before because of my lenient animosity toward painters and their craft. So they were executed like that and I think it turned out to be just right. Homemade (Napalm #2) . 2010. BWS: Though Disturbance Scenarios remains ongoing, it's an interesting contrast to another series of yours, Homemade, which are these beautifully banal photographs of the ingredients used to make improvised explosives. Whereas Disturbance Scenarios still confronts the viewer aggressively with its visual emphasis on loaded texts, in Homemade , you've dropped the surface-level bravado entirely. They're pieces that require explanation to someone not already versed in the fine art of amateur explosive-making. You weren't known for subtlety in your past work; why this change in direction? JS: I'm personally convinced that these are just two angles of the same conceptual preoccupation. I mentioned before my obsession with the idea of encryption. I'm quite enticed by how these processes of translation can politically and semantically alter and deviate purportedly subversive materials such as the ones these works allude to. I do think subversion is futile. I was really troubled by that thought for some time, but I think now I understand that it's not really that important. What is really significant is to elaborate on these alternate views, to envision and refine possible escape routes. It doesn't really matter if they go nowhere, but that is because nothing really matters. A "mute" artwork is a notion that captivates me. When you look at the works you mention, you know there's something off, but it's not fully clear how and why that is. I rely on that insecurity—on that moment of hesitation. And that can also be achieved through an approach like the one I'm now interested in. Let's just call it a smoke screen, a surrogate ruse to get to the same point: to talk about impotence and defeat in contemporary life. The notion that readily accessible information is actually a weapon is a double-edged fallacy: sure, you can make use of whatever resources you can lay your hands on, but that doesn't set you free because freedom is impossible. Still, that doesn't mean you can't blow up stuff during the process, metaphorically or not. I didn't understand the nature of subtlety before. I used to think that you needed to be loud and manifest anger and unconformity in the most aggressive manner possible. Then I finally realized that you can actually permeate and rarify a battleground—because after all, this is low-intensity war—if you actually aim at silently building up the contradictions and making the symbolic value of ideas and acts clash within themselves. Or perhaps it is that I am just getting old. I guess I used to be an angry kid until recently. Now I think of myself as a disenchanted post-teenager, and of course that reflects in my work and my approach to art-making. Kind of a rite of passage and I laugh at it because, overall, it has been overwhelmingly fun. And that doesn't mean that I'm not ready to stick it in someone or something's face again if I feel like it. BWS: You're now taking the subtlety of the Homemade series even further with your newest series, Definitive Reader For a Botched Revolution , in which you photograph a series of politically-charged books side-on, negating their content entirely—essentially reducing them to purely aesthetic objects in which the subject matter is only revealed in the title of the work. Can you talk about the ideas behind this series? Furthermore, is your recent interest in this idea of the "botched revolution" an indication of a general attitudinal or philosophical shift you've since adopted? JS: This new series of works is the logical outcome of a brief period I went through. Probably the last couple years, in which due to a number of circumstances that don't really have to do with my art-making, I was forced to renegotiate my ideas, my beliefs and practically everything that surrounds me. It was quite distressful and turbulent, but in the end, I think it was also almost epiphanic. I came to terms with myself and now I'm calm and serene. That is, of course, my personal take on it but I mention it because I do think it's important to address this shift you mention. The idea of an artwork as a container for latent revelations enthralls me quite a bit. That's how I see these particular works: art as an incendiary agent. It's up to the artist and the spectator to do whatever they please with it. I think the detachment and almost surgical cleanliness from the Definitive Reader series is also my take at poking fun of the way some art is totally innocuous and uncompromising. These images may be pleasing to the eye, but there's something twisted and rotten within them, well hidden beneath. You'll either see it or not, but without a doubt, it will not cancel its presence. This series is intrinsically linked to Homemade . I'm pretty much horsing around with similar ideas and statements here. And well, yes, I do think any revolution is a botched one. There's nothing too heavy about their own downfall. Decay and breakdown are here and will not go away. Perhaps we must learn to embrace them in one way or another, for our own sake. L: Untitled (T.A.Z.). R: Untitled (United States Marine Guidebook of Essential Subjects) . 2011. BWS: Finally, let's discuss the near future. You've got an upcoming solo show at the Sala de Arte Público Siqueiros [SAPS] in Mexico City this summer. What can we expect from that? What else do you have planned? JS: I'll go and get seafood as soon as I'm done with this interview. It's pretty good here in Guadalajara. That's my top priority at this very moment. About my solo project at SAPS, it's due to open in late July. I'm quite looking forward to it. I'm still closely working with the curator on the general feel for the show but I can say that it'll be more of a revision of past works that have not been shown in Mexico City except for a couple pieces. It definitely won't be a showcase for new projects, although we may include one or two previously unseen works. What you can expect is a rereading of what I've been working on during the past few years. In a way, that's exciting to me because for some reason I don't really care about, I'm not that active in Mexico City even though that's where I lived and work for years. I've hardly shown there after my solo project at Yautepec in February of 2010. It'll be nice to see how it all comes together and I'm more thrilled about it because I totally love the space and I think they're doing an excellent job with their programming and its direction. And in a certain way it feels like going back home. About everything else, I need a period to reflect and fully understand what I've been thinking and working on. I've got a few group shows here and there: New York, San Francisco, and Melbourne are the ones happening soon. I will present my censored project Untitled ( Gringo Loco ) as part of the programming of the Museo de Arte de Zapopan in Guadalajara, two years after being escorted at gunpoint from the installation site by police sent by the extreme right-wing mayor of the city, which I found pretty amusing for an otherwise typical Saturday afternoon. I'm also involved in a couple "curatorial" projects. In my case, "curatorial" means that I help put together stuff I like and I'm interested in. One of them will open in late September of 2011 at Arena Mexico Arte Contemporaneo, and I will work with three of whom I consider to be some of the best artists in a lively and active scene such as the one here in Guadalajara. But most importantly, I've been doing heavy research so there are also a number of projects that I've yet to finalize. That'll be my main focus during the rest of the year, even though I really enjoy procrastination. There'll be time for that later. Or maybe not. We'll see. About Joaquin Segura The action, installation, intervention and photographic work of Joaquin Segura (b. Mexico City, 1980) has been shown in solo and group exhibitions in Mexico, the United States, Europe, and Asia. Some spaces that have featured his work include La Panaderia, Museo de Arte Carrillo Gil, Centro de la Imagen and Ex-Teresa Arte Actual in Mexico City; El Museo del Barrio and apexart, New York, NY; Museo Nacional Centro de Arte Reina Sofia in Madrid, Spain; National Center for Contemporary Art, Moscow, Russia; and Palace Adria in Prague, Czech Republic. In 2008 and 2009, Segura was an artist-in-residence at the International Studio and Curatorial Program, New York, NY and at the 18th Street Arts Center, Santa Monica, CA. He is represented YAUTEPEC in Mexico City and by Arena Mexico Arte Contemporáneo in Guadalajara. Further Reading Joaquin Segura’s website YAUTEPEC artist page for Joaquin Segura Capps, Kriston. “ID-ENTITY: Washington, DC.” ART PAPERS . 2009. (shrink)

The article discusses the “paradox of the late (around 1940) arrival of academic applied mathematics in the U.S.” as compared to Europe, in particular Germany. A short description of both the indigenous traditions in the U.S. and (in some more detail) of the transfer of scientific ideas, persons, and ideals originating in Europe, particularly in Germany, is given, and some theses, relevant literature, and a tentative solution of the “paradox” are provided.

In lieu of an abstract, here is a brief excerpt of the content:THOMISTIC METAETIDCS AND A PRESENT CONTROVERSY XOOD STARTING point for understanding the recent controversy regarding the Grisez-Finnis interpretaition oi St. Thomas Aquinas's ethical theory is Finnis's claim that "by a 'Simple act of non-inferential understanding one grasps that the objeot of the [natural] inclination which one experiences is an instance of a general form of good, for oneself (and others like one)." 1 For here Finnis is denying an (...) inferential process by which one moves from a theoretical understanding (" understanding this nature from the outside, as it were" 2) of what inclinations humans,as humans have to the conclusion that the object oi the particular inclination in question is ·a human good. Instead, he is asserting that it is in a practical context that one understands an object of an inclination to be a human good, and thus generates, via the practical reason, ·a practical, prescriptive principle. An example of such a principle is " Knowledge is something good to have " which, for Finnis, is the same logically as " Knowledge is a good to be pursued " 3 which, in turn, is equivalent to "Knowledge ought to be pursued ",4 which is a prescriptive ("normative") rather than descriptive (factual) utterance.5 1Natural Law and Natural Rights (Oxford: Clarendon Press, 1980; hereafter NLNR), p. 34. Cf. Fundamentals of Ethics (Washington, D.C.: Georgetown University Press, 1983; hereafter FE), pp. 20-22. 2NLNR p. 34. s Ibid., p. 63. 4lbid., p. 42, note 56; "The Basic Principles of Natural Law: A Reply to Ralph Mclnerny," John Finnis and Germain Grisez, American Journal of Jurisprudence 26 (1981), pp. 21-31 (hereafter Reply to Mcinerny), pp. 23-24. See also Germain Grisez's well-known article "The First Principle of Practical Reason: A Commentary on the Summa theologiae, 1-2, Question 94, Article 2," Natural Law Forum 10 (1965), pp. 168-201 (hereafter FPPR), p. 194. 5 See, e.g., NLNR, pp. 44-45; Reply to Mcinerny, p. 23. Grisez and Finnis attempt to distinguish imperatives and prescriptions, which I argue against in 40 THOMISTIC METAETHICS AND A PRESENT CONTROVERSY 41 Finnis and Grisez, then, argue that practical principles, which encompass value-judgments about human goods, are arrived at through the practical reason and thus are prescriptive ("normative ") utterances, as opposed to descriptive or theoretical truths "of metaphysical anthropology ".6 Hence these principles cannot be derived from metaphysical claims.7 To argue for such,a derivation would he to hold that prescriptivity or normativity can emerge from pure descriptivity. Such a derivation, of course, would not account for the appearance of the prescriptive or action-guiding element. An alternative position, to be returned to below, is that value-judgments about human goods are descriptive in themselves. At the same time, owing to the natural inclination to do what we understand to be morally or humanly good, human beings could prescribe to themselves the pursuit of such human goods, once they are understood to be human goods. It should be noted that for Grisez and Finnis the basic practical principles are not moral but pre-moraL8 Still, Grisez and Finnis consider that they direct to ends completive of human nature. Hence, although these authors reserve the characterization of "' moraily right choices " to those that are not simply harmonious with one or another basic human good but rather to those that also do not run counter to any other human good,9 my paper "Is-Ought: Prescribing and a P1·esent Controversy," The Thomist 49, l (January, 1985), pp. 1-23 (hereafter Schultz), esp. pp. 10-Hl. s Reply to Mcinerny, pp. 23-24. 7 Ibid.; see note 13 below. In the paper mentioned in note 5 above I point out that Finnis seems to allow for the possibility of arriving at value-judgments through theoretical reasoning, since he says "I assert that judgments [about man's natural goods, about what man should be] are primarily (though perhaps not exclitsively) judgments of practical reason...." ("Natural Law and 'Is'-'Ought' Question: An Invitation to Professor Veatch," Catholic Lawyer 26, 4, 1981, p. 272, my emphasis. This article is subsequently referred to as Response to Veatch.) But he doesn't explain this, and in Reply to... (shrink)

In different ways, Watsuji, Nishida, and Merleau-Ponty describe a self that extends beyond the skin through a sort of dialectic of internal/external space of perception and action, which has implications for understanding the relationship between art and nature in artistic creation. Through an exposition of Watsuji’s conception of human being in relation to a climatic milieu, Nishida’s theory of the expressive body as the site of the world’s own self-transformations, and certain claims made by Merleau-Ponty in his essays on painting, (...) this article provides a way of understanding how material media may become expressive when they are taken up by artists. (shrink)

First published in 1992, this book represents the first major attempt to compile a bibliography of Derrida’s work and scholarship about his work. It attempts to be comprehensive rather than selective, listing primary and secondary works from the year of Derrida’s Master’s thesis in 1954 up until 1991, and is extensively annotated. It arranges under article type a huge number of works from scholars across numerous fields — reflecting the interdisciplinary and controversial nature of Deconstruction. The substantial introduction and annotations (...) also make this bibliography, in part, a critical guide and as such will make a highly useful reference tool for those studying his philosophy. (shrink)

While it is generally agreed that companies need to manage their relationships with their stakeholders, the way in which they choose to do so varies considerably. In this paper, it is argued that when companies want to communicate with stakeholders about their CSR initiatives, they need to involve those stakeholders in a two-way communication process, defined as an ongoing iterative sense-giving and sense-making process. The paper also argues that companies need to communicate through carefully crafted and increasingly sophisticated processes. Three (...) CSR communication strategies are developed. Based on empirical illustrations and prior research, the authors argue that managers need to move from ‘informing’ and ‘responding’ to ‘involving’ stakeholders in CSR communication itself. They conclude that managers need to expand the role of stakeholders in corporate CSR communication processes if they want to improve their efforts to build legitimacy, a positive reputation and lasting stakeholder relationships. (shrink)

This paper provides a brief overview and critique of the dominant objectivist understanding and use of illness narrative in Enlightenment (scientific) medicine and ethics, as well as several revisionist accounts, which reflect the evolution of this approach. In light of certain limitations and difficulties endemic in the objectivist understanding of illness narrative, an alternative phronesis approach to medical ethics influenced by Charles Taylor’s account of the interpretive nature of human agency and language is examined. To this end, the account of (...) interpretive medical responsibility previously described by Schultz and Carnevale as "clinical phronesis" (based upon Taylor’s notion of "strong" or "radical evaluation") is reviewed and expanded. The thesis of this paper is that illness narrative has the ability to benefit patients as well as the potential to cause harm or iatrogenic effects. This benefit or harm is contingent upon how the story is told and understood. Consequently, these tales are not simply "nice stories," cathartic gestures, or mere supplements to scientific procedures and decision making, as suggested by the objectivist approach. Rather, they open the agent to meanings that provide a context for explanation and evaluation of illness episodes and therapeutic activities. This understanding provides indicators (guides) for right action. Hence, medical responsibility as clinical phronesis involves, first, the patient and provider’s coformulation and cointerpretation of what is going on in the patient’s illness narrative, and second, the patient and provider’s response to interpretation of the facts of illness and what they signify–not simply a response to the brute facts of illness, alone. The appeal to medical responsibility as clinical phronesis thus underscores the importance of getting the patient’s story of illness right. It is anticipated that further elaboration concerning the idea of clinical phronesis as interpretive illness narrative will provide a new foundation for medical ethics and decision making. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Philosophy 41.4 (2003) 567-568 [Access article in PDF] Georgios Varouxakis. Mill on Nationality. New York: Routledge, 2002. Pp. ix + 169. Cloth $80.00. Georgios Varouxakis is a leader in the new generation of Mill scholars, and his work is exciting and provocative. Well-versed in recent debates over nationalism, colonialism, orientalism, and racism, he aims to address rather than avoid questions about Mill's supposed imperialistic (...) and racist leanings.Although slim and rather costly, Mill on Nationality marks an important statement of Varouxakis's extensive research on Mill. It "offers a study of Mill's attitudes and pronouncements on nationality, patriotism, national character, national self-determination, and related issues, based on a great range of writings, from his major works through his innumerable journalistic articles to his voluminous correspondence. Writings that prove particularly useful and illuminating are those related to France and his constant Franco-British or Franco-English comparisons, as well as his writings on Ireland and the Irish question, the Celtic peoples more generally, India, and, last but far from least, his pronouncements on Englishness, the "English national character," and his recipes and subtle strategies aimed at its education and "improvement" (5).The book delivers. If the prose at times suggests a lightly reworked dissertation, Varouxakis does nonetheless cheerfully maul scores of commentators on Mill whose works betray a less-than-intimate familiarity with the Mill corpus—e.g., everyone from Will Kymlicka to Bhiku Parekh. Varouxakis's criticisms reflect his methodology; he aims to trounce "misinterpretation due to lack of adequate contextualization and to insufficient conversance with Mill's overall thought" (8). But as with so many champions of this approach, he plainly adores the subject of his hermeneutical efforts, who emerges as a very bright light amid the dimness of later commentary on him. Referring to a passage from Mill's Inaugural Address to the University of St. Andrews, he writes that this "is impressive indeed: the thinker who is associated (wrongly) with so-called elitism, asserts that as complex an area of policy as foreign and international policy should be under the close scrutiny of the citizens and that it is a gross dereliction of duty if citizens fail to scrutinize their country's foreign policy and international comportment using as an excuse that international law is too complicated to understand. This is a very demanding conception of citizenship and a very lofty and high-minded perception of what constitutes a good citizen and a good patriot" (125-6). That it remains a relevant one is clear—indeed, "Mill's conception of the relationship between obligations to country and obligations to mankind was close to that of [Martha] Nussbaum" (118). For both, patriotism is commendable only when it conduces "to the interests of the whole of humanity" (116).As for racism, one of the most explosive issues in Mill studies, Varouxakis helpfully urges that discussions "about national and... cultural characteristics were, in Victorian Britain, inextricably associated with discussions about 'race,' and the term, 'race,' was often substituted for nation, nationhood, or national character" (39). Mill often used the term "race" in a loose way, discussing national characteristics "without reference as to whether they were biologically inherited or simply cultural traits occurring in these groups" (41). Moreover, "while accepting vaguely that racial origin is one of the factors influencing the formation of national character, Mill went further to establish that racial predisposition in itself could prove nothing and was liable to be modified out of any recognition through the agency of circumstances such as institutions, historical accidents and human effort" (43). In fact, for all his criticisms of the historical naiveté of the Enlightenment, Mill, in such mature works as The Subjection of Women, offered "not only a theoretical rejection of biological determinism, but also... an unequivocal belief in the malleability of human nature and therefore in the improvability of the character of various nations" (47).To be sure, disturbing questions remain. Although Mill "made strenuous efforts during the last three decades of his life to depreciate the importance of physical factors in the formation... (shrink)

This volume contains essays on an array of topics originally presented orally by a master teacher and scholar. With characteristic rhetorical elegance, Msgr. Synan, late professor at the Pontifical Institute in Toronto, delivered these papers in a variety of settings on issues relating to his specialty of mediaeval Christian philosophy and to his interest in Jewish-Christian dialogue, on the theology of sanctity and of death, and on morally significant historical events. Medieval figures represented here include Aquinas, Augustine, Abelard, and Godfrey (...) of St. Victor; some topics treated are war and peace, philosophical innovations, ecclesiology, evil, goliardic verse, law and abortion, Church councils and Jews in the Middle Ages, and convictions uniting Jews and Christians. This book also contains representative sermons–including a Month’s Mind for Etienne Gilson, an introduction detailing Synan’s background and professional contributions, an updated bibliography of his published works, and an extensive index. Especially appealing to those who knew Synan are three posthumous tributes and thirteen photographs from throughout his life. The selections in this volume are scholarly but non-technical, intended for anyone moved to seek elucidation of the topics discussed. (shrink)

Normal 0 21 false false false PT-BR X-NONE X-NONE /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Tabela normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-priority:99; mso-style-qformat:yes; mso-style-parent:""; mso-padding-alt:0cm 5.4pt 0cm 5.4pt; mso-para-margin-top:0cm; mso-para-margin-right:0cm; mso-para-margin-bottom:10.0pt; mso-para-margin-left:0cm; line-height:115%; mso-pagination:widow-orphan; font-size:11.0pt; font-family:"Calibri","sans-serif"; mso-ascii-font-family:Calibri; mso-ascii-theme-font:minor-latin; mso-fareast-font-family:"Times New Roman"; mso-fareast-theme-font:minor-fareast; mso-hansi-font-family:Calibri; mso-hansi-theme-font:minor-latin; mso-bidi-font-family:"Times New Roman"; mso-bidi-theme-font:minor-bidi;} No presente artigo expomos alguns aspectos das concepções gödelianas acerca da percepção. Procuramos mostrar aqui que a comparação realizada por Gödel entre percepção sensível e racional, bem como suas concepções sobre esta última, correspondem a (...) uma análise do conceito de percepção. Em uma primeira seção, expomos a analogia gödeliana entre percepção sensível e racional, salientando que ambas são comparadas tendo em vista seu status de relação de acesso a entes. A partir disto, argumentamos, na segunda seção, que subjazendo à analogia há uma análise do conceito de percepção como o conceito geral ou formal de uma relação de acesso, do qual a percepção sensível e a racional são casos particulares. Tal análise, como defendemos, acaba por ser mais adequada ao uso comum que fazemos deste conceito do que pareceria à primeira vista. (shrink)

A review of the strategic management, policy, information management, and the marketing literature reveals that many large and medium sized companies now collect and use business intelligence. The number of firms engaging in these activities is increasing rapidly.While the whys and hows of this practice have been discussed in the academic and professional literature, the ethics of intelligence gathering have not been adequately discussed in a public forum. This paper is intended to generate discussion by advancing criteria which could be (...) used as the basis for judging actions of those involved in business intelligence and for creating reasonable policies in this sensitive area of practice. (shrink)

No presente trabalho discutiremos a tese segundo a qual provas com diagramas são heterogêneas, i. e., envolvem casos de raciocínio visual. Em uma primeira seção, examinaremos o uso informal de diagramas de Venn em provas conjuntistas, procurando determinar em que sentido provas com diagramas seriam heterogêneas. Tais provas su-postamente envolveriam raciocínio visual no sentido em que a validade das inferências dependeria de características visualizáveis dos diagramas e não de regras de derivação. Em uma segunda seção, investigaremos quais seriam os aspectos (...) relevantes para a validade das inferências diagramáticas. A seguir, na terceira seção, argumentaremos que a concepção de provas diagramáticas como envolvendo essencialmente um elemento visual apresenta sérios problemas. (shrink)

The phosphorelay of Bacillus subtilis, a kinase cascade that activates master regulator Spo0A ∼ P in response to starvation signals, is the core of a large network controlling the cell's decision to differentiate into sporulation and other phenotypes. This article reviews recent advances in understanding the origins and purposes of the complex dynamical behavior of the phosphorelay, which pulses with peaks of activity coordinated with the cell cycle. The transient imbalance in the expression of two critical genes caused by their (...) strategic placement at opposing ends of the chromosome proved to be the key for this pulsed behavior. Feedback control loops in the phosphorelay use these pulses to implement a timer mechanism, which creates several windows of opportunity for phenotypic transitions over multiple generations. This strategy allows the cell to coordinate multiple differentiation programs in a decision process that fosters phenotypic diversity and adapts to current conditions. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:160 BOOK REVIEWS ary. The latter dispose toward {mediate) and help in the expression of (pertain to the use of) the grace of the Spirit. In professing the priority of the Spirit, The Reshaping of Catholicism could hardly be in greater agreement with the Summa theologiae. This theme in Dulles suggests how Aquinas can be linked to ecclesial renewal: Aquinas's thought on the New Law can assist the Church (...) in continually re-acquiring its own divinely given internal order. FR. THOMAS HUGHSON, S.J. Pontificial Biblical Institute,!erusalem; Marquette University, Milwaukee, Wisconsin Choice: The Essential Element in Human Action. By ALAN DoNAGAN. Studies in Philosophical Psychology, R. F. Holland, ed. London and New York: Routledge and Kegan Paul, 1987. Pp. x + 197. $29.95 (cloth). Readers of Donagan expecting a book in the style of The Theory of Morality will be surprised; Choice: The Essential Element in Human Action is far more compact and demanding. In setting out to support his thesis that the "propositional attitudes" (the term is taken from Russell) of beliefs and wishes explain choices which, in turn, explain human actions, the author considers a plethora of views and objections of both contemporary and traditional philosophers: Gilbert Ryle-whose Concept of Mind Donagan considers a classic of analytic Aristotelianism -Roderick Chisholm, Donald Davidson, Anthony Kenny, John Searle, Alvin Goldman, Elizabeth Anscombe, Bertrand Russell, Plato, Aristotle, Aquinas, Wittgenstein, Quine, and Frege. At times the reader may wish that fewer theorists were appealed to, or perhaps that his or her familiarity with the views referred to were more extensive, or at least that (although not in the case of Frege) they were explicated in more detail. Further explication, however, could obscure hopelessly the line of reasoning of the author. While he appears to wish to give credit every place it is due, he also wishes to clarify the genesis of significant objections to be met by a defensible action theory. Happily, Donagan himself provides an overview of his project, which he calls a " Plan for an Investigation of Human Action on Socratic Lines." This is proffered in chapter one after the author has discussed the " Socratic tradition in the theory of human action " and the question "Should the Socratic tmdition be jettisoned as folk psychology?" BOOK REVIEWS 161 As these sections provide the foundation for Donagan's thesis, they are briefly summarized here. Considering both Aristotle and the " mediaeval Aristotelian " Aquinas to be in the Socratic tradition, Donagan emphasizes Aristotle's role in distinguishing human from animal action. Possibilities for acting are represented in the human intellect in propositions, toward which one can take various attitudes. Those philosophers who hold that such propositional attitudes cannot explain human action are challenged. Donagan then takes on those cognitive scientists who reject as " stagnant " and rooted in folk beliefs the Socratic theory of action. He rather impressively presents the problems involved in admitting, as do the " scientific psychologists," the practicality of employing the notion of propositional attitudes in history and natural sciences (which seem to exist in a context of history), while at the same time actually :rejecting the existence of such attitudes and hence their theoretical validity. Indeed, Donagan brings home the point that it is simply incon· sistent to hold both that there are no beliefs and that the belief that there are beliefs underlies a stagnant research program. Having thus sustained his position :regarding propositional attitudes in general, Donagan summarizes, chapter by chapter, his "contem· po:rary Socratic " plan for examining the actions of rational animals. It will be helpful to sketch this program, filling in crucial portions. In chapter two the author contends that bodily or mental actions are events that are individuals insofar as they are " changes or persistences in states of continuing individual objects" (p. 38). Propositional attitudes are states, but their arising and persistence in being as energeiai are events that explain,actions. Building on Aristotle's teaching and that of his mediaeval successors, in chapter three Donagan argues that beliefs and wishes, or the cognitive and appetitive propositional at· titudes, explain choices which in turn explain actions. In chapter four Donagan elucidates Durnmett's :revision of the Fregeau semantical theory, which he opts... (shrink)

I consider a common objection to assimilating arts and languages and show that it depends on the view that meaning in language is exhausted by reference (frege's "bedeutung"). if meaning in art is viewed as involving sense (frege's "sinn") as well as reference, the common objection fails. the notion of sense also seems valuable in formulating problems about meaning in art, despite its obscurity. i also suggest that problems about meaning in art, treated in this way, may prove to illuminate (...) problems about meaning in language. (shrink)

Stakeholder theory is widely recognized as a management theory, yet very little research has considered its implications for individual managerial decision-making. In the two studies reported here, we used stakeholder theory to examine managerial decisions about balancing stakeholder interests. Results of Study 1 suggest that indivisible resources and unequal levels of stakeholder saliency constrain managers’ efforts to balance stakeholder interests. Resource divisibility also influenced whether managers used a within-decision or an across-decision approach to balance stakeholder interests. In Study 2 we (...) examined instrumental and normative implications of these two approaches. We conclude by considering the contributions of this research. (shrink)

At the time I wrote my original review (Schultz 2010) of the books by Sokal (2008), Boghossian (2006), and Smith (2006), I did not know that I would have the opportunity to reply to their responses to my review. Nevertheless, I value the occasion this offers to correct errors and respond to their commentary. Let me say, first of all, that Alan Sokal is quite correct in pointing out that the citation from Donna Haraway which I attribute to him (...) is incorrect. I realize now that I copied that version of the citation from an earlier working notes file for the review. I should have verified that the copied version was identical to the citation in the Beyond the Hoax text (Sokal 2008) before I sent off the review. That I did not do so is an error that I deeply regret, and for which I apologize. In line with this, I also apologize for, and retract, my observations in the review about the omitted passages in the citation, for which Sokal obviously was not responsible. So, does consideration of the full quotation by Donna Haraway in any way affect the rest of my critique? Not at all, as it happens, because the focus of the rest of my remarks is on the way Sokal treats this passage by Haraway. That is, he presents the excerpt to readers in isolation, and makes no effort to.. (shrink)

While it is generally agreed that companies need to manage their relationships with their stakeholders, the way in which they choose to do so varies considerably. In this paper, it is argued that when companies want to communicate with stakeholders about their CSR initiatives, they need to involve those stakeholders in a two-way communication process, defined as an ongoing iterative sense-giving and sense-making process. The paper also argues that companies need to communicate through carefully crafted and increasingly sophisticated processes. Three (...) CSR communication strategies are developed. Based on empirical illustrations and prior research, the authors argue that managers need to move from ‘informing’ and ‘responding’ to ‘involving’ stakeholders in CSR communication itself. They conclude that managers need to expand the role of stakeholders in corporate CSR communication processes if they want to improve their efforts to build legitimacy, a positive reputation and lasting stakeholder relationships. (shrink)

A decade after the ‘‘Sokal Hoax,’’ Alan Sokal and Paul Boghossian still claim that postmodern arguments are incoherent attacks on reason and truth. However, both also continue to mischaracterize ‘‘constructivist’’ epistemology, to engage in highly problematic logical gymnastics to defend their own views, and to ignore changes in philosophy of science and science studies since 1996. I offer a brief description of my own, rather different understanding of postmodern science criticism in order to contextualize my dissatisfaction with Sokal and Boghossian’s (...) arguments, and to highlight the value of cross-subfield anthropological collaboration based on the constructivist perspective articulated by Barbara Herrnstein Smith. Downloaded by [New York University] at 03:33 19 July 2011.. (shrink)

Zygotic gene activation (ZGA) is the critical event that governs the transition from maternal to embryonic control of development. In the mouse, ZGA occurs during the 2‐cell stage and appears to be regulated by the time following fertilization, i.e. a zygotic clock, rather than by progression through the first cell cycle. The onset of ZGA must depend on maternally inherited proteins, and post‐translational modification of these maternally derived proteins is likely to play a role in ZGA. Consistent with this prediction (...) is that protein phosphorylation catalyzed by the cAMP‐dependent protein kinase is involved in ZGA and that protein synthesis is not required for ZGA. Recent results suggest that ZGA may occur earlier than previously thought, i.e. not during the 2‐cell stage, but rather in G2 of the 1‐cell embryo. Thus ZGA may comprise a period of minor gene activation in the 1‐cell embryo that is followed by a period of major gene activation in the 2‐cell embryo. Following ZGA, the expression of constitutively activated genes may require an enhancer. (shrink)

Stakeholder theory is widely recognized as a management theory, yet very little research has considered its implications for individual managerial decision-making. In the two studies reported here, we used stakeholder theory to examine managerial decisions about balancing stakeholder interests. Results of Study 1 suggest that indivisible resources and unequal levels of stakeholder saliency constrain managers’ efforts to balance stakeholder interests. Resource divisibility also influenced whether managers used a within-decision or an across-decision approach to balance stakeholder interests. In Study 2 we (...) examined instrumental and normative implications of these two approaches. We conclude by considering the contributions of this research. (shrink)

This book offers the first comprehensive collection of essays on the key concepts of Kitaro Nishida (1870-1945), the father of modern Japanese philosophy and founder of the Kyoto School. The essays analyze several of the major philosophical concepts in Nishida, including pure experience, absolute will, place, and acting intuition. They examine the meaning and positioning of Nishida’s philosophy in the history of philosophy, as well as in the contemporary world, and discuss the relevance of his philosophy in the present context. (...) The book next looks at the significance of Nishida’s philosophy in the wider contexts of science, arts, and religion. The book includes a glossary of key terms that have been translated in a unified manner throughout the volume. (shrink)