Moral identity has been touted as a foundation for understanding moral agency in organizations. The purpose of this article is to review the current state of knowledge regarding moral identity and highlight several promising avenues for advancing current understandings of moral actions in organizational contexts. The article begins with a brief overview of two distinct conceptual perspectives on moral identity—the character perspective and the social-cognitive perspective—that dominate extant literature. It then discusses varying approaches that have been taken in attempting to (...) measure moral identity. The final two sections of the article review empirical findings regarding the antecedents and consequences of moral identity, respectively. Mechanisms and situational factors that are pertinent to moral agency in organizations are emphasized in both sections. (shrink)

Moral identity has been touted as a foundation for understanding moral agency in organizations. The purpose of this article is to review the current state of knowledge regarding moral identity and highlight several promising avenues for advancing current understandings of moral actions in organizational contexts. The article begins with a brief overview of two distinct conceptual perspectives on moral identity—the character perspective and the social-cognitive perspective—that dominate extant literature. It then discusses varying approaches that have been taken in attempting to (...) measure moral identity. The final two sections of the article review empirical findings regarding the antecedents and consequences of moral identity, respectively. Mechanisms and situational factors that are pertinent to moral agency in organizations are emphasized in both sections. (shrink)

In this essay the authors provide arguments that teaching is an art and that teachers can learn much about their trade from a careful study of the performances of other artists. Artists and teachers have the same basic challenge: in order to be successful, both groups have to obtain and retain peoples’ attention. This also holds for popular music artists. Ten female student teachers specializing in the Pre-school and Foundation phases of schooling (four-to-six-year olds), and six lecturers from the Faculty (...) of Education at the University of the Free State, Bloemfontein, South Africa, participated in a workshop at a local game lodge. During the workshop, videos of ABBA songs and Mamma Mia! The Movie were analyzed and discussed. The theme of the workshop was “Being an Excellent Teacher: Appreciating ABBA.” The 4D-cycle of Appreciative Inquiry– Discover, Dream, Design and Destiny–was used as a methodological framework to identify numerous positive themes with possible classroom applications from the songs and the film. These themes were then connected to educational theory and embedded in the insights of Benny Andersson, Björn Ulvaeus, Judy Cramer and other people involved with ABBA. A reflective report by one student teacher about the impact the workshop had on her views of teaching and an excellent class that she presented is also included. (shrink)

Many have pointed out that the utility of mathematical objects is somewhat disconnected from their ontological status. For example, one might argue that arithmetic is useful whether or not numbers exist. We explore this phenomenon in the context of Divine Conceptualism, which claims that mathematical objects exist as thoughts in the divine mind. While not arguing against DC claims, we argue that DC claims can lead to epistemological uncertainty regarding the ontological status of mathematical objects. This weakens DC attempts to (...) explain the utility of mathematical objects on the basis of their existence. To address this weakness, we propose an appeal to Liggins’ theory of Belief Expressionism. Indeed, we point out that BE is amenable to the ontological claims of DC while also explaining the utility of mathematical objects apart from reliance upon their existence. We illustrate these themes via a case study of Peano Arithmetic. (shrink)

Despite the very obvious differences between looking at Manet’s _Woman with a Parrot_ and listening to Elgar’s Cello Concerto, both experiences provoke similar questions in the thoughtful aesthete: why does the painting seem to express reverie and the music, nostalgia? How do we experience the reverie and nostalgia in such works of art? Why do we find these experiences rewarding in similar ways? As our awareness of emotion in art, and our engagement with art’s emotions, can make such a special (...) contribution to our life, it is timely for a philosopher to seek to account for the nature and significance of the experience of art’s emotions. Damien Freeman develops a new theory of emotion that is suitable for resolving key questions in aesthetics. He then reviews and evaluates three existing approaches to artistic expression, and proposes a new approach to the emotional experience of art that draws on the strengths of the existing approaches. Finally, he seeks to establish the ethical significance of this emotional experience of art for human flourishing. Freeman challenges the reader not only to consider how art engages with emotion, but how we should connect up our answers to questions concerning the nature and value of the experiences offered by works of art. (shrink)

How is that artistic works have the power to move the human heart? Why does Manet's Woman with a Parrot evoke reverie, and an Edward Elgar cello concerto, nostalgia? What is the value of such experiences? Art's Emotions is a reflective, thought-provoking exploration of the significance that experiencing emotion through art has upon our lives. Damien Freeman reviews and evaluates three traditional approaches to understanding artistic expression and moves on to develop a new theory of emotion that resolves key questions (...) in aesthetics. In a novel philosophical project, Freeman also establishes the ethical importance of art in nurturing humans and helping them flourish. Art's Emotions challenges readers to consider not only how art engages with emotion, but also the ways in which art can answer fundamental questions about the value and nature of experience. (shrink)

Disability and long term incurable illness still attract a variety of demonisation and prejudice. This includes many of the same kinds of hostility that have faced women. Disabled people are blamed for their condition, regarded as bestial, grotesque and unclean. They are excluded from ritual spaces by Levitical law, modern prejudice and practical indifference. Feminist Theology has sometimes contributed to prevailing hostility, or at least, failed to counter it, in its insistence on the sacredness of the body. On the other (...) hand, Feminist Theology can provide a method of deconstructing the religious texts and imagery that make devalued people effectively invisible. Feminist critique of patriarchal structures, campaigns for full human rights, and consciously inclusive communities may offer a route for wider inclusivity and celebration of diversity. Eco-feminism is built on a framework within which scientific and medical advances may be properly and critically examined. (shrink)

In 1797 Friedrich Schlegel wrote philosophy of art usually lacks one of two things: either the philosophy, or the art. This collection of essays contains both the philosophy and the art. It brings together an international team of leading philosophers to address diverse philosophical issues raised by recent works of art. Each essay engages with a specific artwork and explores the connection between the image and the philosophical content and how philosophy can aid interpretation of the artwork. The discussion ranges (...) over political, ethical and religious concepts, such as apathy and irony, to standard problems in the philosophy of art, such as expression, style and depiction, as well as major movements in art history, such as Dadaism. Many of the contributors are distinguished in areas of philosophy other than aesthetics and are writing about art for the first time. All show how productive the engagement can be between philosophy, more generally, and art. (shrink)

"The premise of the Jewish attitude toward illness is that living is sacred, that good health enables us to live a fully religious life, and that disease is an evil. Any effective therapy is permitted, even if it conflicts with Jewish law. To bring about healing is a responsibility not only of the person who is ill and of the professional caregivers, but also of the loved ones, and of the larger circle of family, friends, and community." "Illness and Health (...) in the Jewish Tradition is an anthology of traditional and modern Jewish writings that highlights these basic principles."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved. (shrink)

That red boxer shorts and socks do just as well as fig leaves for concealing modesty in Tom de Freston's recent paintings demonstrates that modesty can also be a source of comedy. Monumental figures and poses that might otherwise inspire awe instead elicit a grimace. Perhaps this humor is not strictly an aesthetic virtue of de Freston's work. Even so, there are many genuinely aesthetically relevant features that we might attend to: representational properties, expressive properties, formal properties, and art-historical properties. (...) In this article, however, I wish to draw attention not to the aesthetic value of de Freston's work but to its educational value. Although these works might be experienced as part of a .. (shrink)

The nineteenth-century poet, critic and philosopher, Samuel Taylor Coleridge, once characterized the mind of William Shakespeare as "oceanic". Oceans, of course, teem with myriad forms of life: is philosophy one such form in the oceanic vastness of Shakespeare 's creative genius? If so, how do we identify philosophic elements in his plays and assess the place they occupy? What sense does it make to speak of "philosophical criticism" of individual plays? How does Shakespeare incorporate epistemologies of his own time and (...) how dramatically appropriate are they? To what extent is Shakespeare of use to contemporary philosophers and how does he anticipate them; and, vice-versa, can such philosophies refine our understanding of certain issues to which literary critics may fail to do justice? That is, can philosophy take us beyond the purely literary examination of plot structure, character, poetic imagery, speech rhythms, dialogues, settings, etc. to grant us new insight into the problematical issues the plays raise? In the time at my disposal, I am going to attempt some answers to at least some of these questions, by dwelling briefly on The Merchant of Venice, Romeo and Juliet, and Hamlet. (shrink)