This book looks at business ethics from the perspective of the business practitioner, but with the rigour of the moral philosopher. Intended for introductory students of business, commerce and management studies, Business Ethics at Work begins by setting business clearly in the context of creating value for its owners, and develops a practical ethical decision model which can be simply and relevantly applied to the hard moral choices with which business people are faced day to day. Against this background, some (...) of the major ethical issues which arise in business are explored, for example, in human resource management, finance, marketing and advertising, the management of the environment and corporate governance. In conclusion the book looks at the nature of ethical audit and argues that for the business of the future, the identification of its ethical values and their integration into its policies and practices will be a crucial ingredient of success. (shrink)

Although women are severely under-represented in national politics in Europe, in the European Parliament they are better represented than they are in the national parliaments of the EEC member states. This book examines why this is so. Based largely on their detailed interviews with women MEPs, the authors describe the latter's backgrounds, attitudes and political experience. They also explain the history, structure and organisation of the European Parliament and outline the complexities of the European legal system. A particular concern of (...) the book is the contribution that women MEPs have made to legislation and policy, expecially in the context of recent Community legislation on sex equality, and what impact their presence has had on issues relating to women's interests. (shrink)

The new business opportunities and prospects emerging in Europe within the Common Market and other Western and European countries also raise important ethical challenges. This work comprises a collection of ethical insights to enhance the conduct of business in an evolving Europe.

“The NHS may not, on a tight definition, be a business, but it has an obligation to its financial stakeholders , and this implies an ethical obligation to be business‐like. This means it must be as well‐managed as it is well‐meaning.” The author is Chairman of St George's Healthcare NHS Trust. Until 1988 she was Head of the Department of Politics at Queen Mary and Westfield College, University of London, where she is now Visiting Professor. She is a non‐executive director (...) of Norwich Union and of the HMV Group and her most recent book is Business Ethics at Work, Cambridge University Press, 1995. (shrink)

Businesses need to shape and monitor their structures and processes if they are at least to make sex‐discrimination more difficult. The author is Visiting Professor in Politics at Queen Mary and Westfield College, University of London.

In lieu of an abstract, here is a brief excerpt of the content:Main Street as Art Museum:Metaphor and Teaching StrategiesElizabeth (Beau) Vallance (bio)In truth, walking down Main Street in many American small towns today is rather like walking through an art museum whose walls have mysterious gaps where paintings have been removed for cleaning. Maybe more accurately, walking down Main Street can be rather like walking through the Isabella Stewart Gardner Museum in Boston after a Vermeer, two Rembrandts, and eleven (...) other artworks were stolen in 1990: since the Gardner's charter does not allow it to rearrange its holdings, the resulting gaps remained with only explanatory notes in their too-large spaces on my last visit there. A town I know well has a disturbing number of empty storefronts, identified with only the faint outlines of their former names, their windows holding explanatory notes in the form of signs proclaiming that they are for sale or rent. Thanks to Wal-Mart and other big-box stores thriving in a distinctly nonpedestrian strip north of town, the commerce that once thrived on Main Street has died or been removed to new locations, and the once-lively street-level shop windows that testified to downtown liveliness for foot traffic are now empty, awaiting new life as, very likely, antique shops or restaurants.But in principle, a walk down Main Street can be very much like a stroll through a museum gallery—visually rich, inviting unexpected choices, aesthetically rewarding. This article explores the concept of shop windows as visually ordered compositions much like paintings and other art objects and suggests some approaches to applying this concept in teaching a range of subjects and styles of art in both classrooms and actual museums. For the purposes of argument, we will assume that our mythical Main Street is alive [End Page 25] with businesses of many kinds, with the old-fashioned windows open to the street that allow us to "window shop" for many blocks. Some of my examples are drawn from the very enjoyable experience they still offer, of wandering from image to image, commenting as we go.Museum Visitors as Window-ShoppersConsider the behavior of the average museum visitor, a composite characterization drawn from my years as a museum educator and augmented by a few statistics on how people comport themselves in museums and other public places. The behavior of visitors in art museums is an especially clear case of how people observe deliberate compositions, for in art museums objects are typically arranged fairly sparely, with minimal crowding of the objects themselves, small labels that may or may not explain much about the painting or sculpture or silver tureen, good lighting, and a fairly hushed atmosphere, unless a crowd has gathered for a family festival or a major exhibition.Generally, people come to museums in pairs or small groups and not necessarily with a clear plan beyond perhaps seeing a particular favorite work of art or generally catching the highlights of the collection. Their purpose may be social as much as specifically educational, and those who come with companions tend to chat a bit as they walk through the collection. Generally, other things being equal, they turn to the right on entering the building.1 After that, however, visitors become unpredictable, and they meander among the objects in ways the museum cannot control unless visitors are following a live tour guide or a printed self-guiding tour that recommends stopping at selected objects in a predetermined order. Visitors may move to a large object located in the center of the gallery (such as a medieval suit of armor, an Egyptian mummy case, or an enormous painting on a freestanding wall partition), or to a case filled with many small precious-looking objects (such as pre-Columbian gold jewelry from Peru, or the tiny bass sculptures that are gold weights from the Ashanti culture in Ghana). They may be drawn to something in a familiar style, such as a large Impressionist painting or a Rembrandt-looking portrait. They may gravitate to a favorite object in the collection, or they may be attracted by a new acquisition or a work recently installed after many years in storage. At all these stops, they... (shrink)