Given the urgency of global crises, interest abounds in alternative organizational forms (e.g., multistakeholder social enterprises, MSEs), promising structural solutions to engage diverse stakeholders in the creation of joint social, economic, and democratic values. Yet, studies of the who, how, and why of stakeholder engagement are predominantly rooted in for-profit contexts, assuming objective boundaries between insider/outsider stakeholders and engagement as a means to an end. The context of MSEs challenges both of these assumptions. Based on interviews with leaders of 28 (...) French MSEs, I show how the latter made sense of their expectations versus the reality of stakeholder engagement. Leader sensemaking strategies informed the enactment of (revised) stakeholder engagement strategies to maintain coherence, or address misalignment, between expectations and reality. The article contributes to the literature by challenging assumptions of stakeholder engagement in for-profit firms. It also cautions against an overreliance on designated organizational forms to enable substantive stakeholder engagement. (shrink)

The ability to communicate intentionally begins when infants start referring to external objects. Although social gaze has specific communicative functions, it remains unclear what they are. Beyond dyadic—infant-parent—emotional sharing, infant social gaze within the infant-parent-object triad becomes an increasingly complex communicative modality. We argue that the communicative function of infant social gaze is driven by the knowledge shared between the infant and the parent on the referent of the social gaze, namely the object. Although objects have affordances, they are used (...) in conventional ways shared between users (i.e. common ground). Parents transmit to infants the conventional use of objects, which infants progressively learn and master. Accordingly, we hypothesize that within triadic interactions, the communicative function of infant’s gaze toward the parent is shaped by the degree of common ground shared between the two communicative partners on the conventional use of the object. Based on three prototypical vignettes of mother-infant joint toy play sessions of one 8 month-old child and of two 16 month-old children, we provide a qualitative analysis of the function of infant gaze based on 1) infant’s mastery of the conventional use of the toy, and 2) the parental response to the infant’s gaze. Analyses of gaze patterns reveal that when infants do not master object’s conventional use, parents do not interpret infant’s gaze as meaningful. Conversely, when the infant masters object’s conventional use and thus shares with the parent common ground about the object, parents more likely interpret infant’s gaze as meaningful. Our findings highlight the key role that socio-materiality plays in early communicative development. Namely, when referring to objects for which the infant and the parent share common ground, the function of infant’s social gaze becomes communicatively meaningful for the parent. The knowledge on the communicative referent (i.e. the object) shared between the infant and the parent shapes the course of communicative behavior, constitutes and reflects the interactive function of gaze, and cues parents into tailoring their communicative response according to infant’s developmental needs, which in turns feeds back into infant’s learning and development. (shrink)

The aim of this paper is to map the reconfiguration and displacement of the emerging trauma of the Holocaust in the cinematic narratives of SFR Yugoslavia. The analysis of three nearly forgotten Yugoslav films of the 1960s - Killer on Leave, Witness Out of Hell and Smoke - follows Kansteiner?s thesis about the changes of Holocaust memorial narratives in the films shown on German television in the 1970s. Accordingly, I claim that the analyzed films position the trauma of the Holocaust (...) as a crime committed by others, over there, and then in the past. Further, they broaden the trauma to accommodate the diversified roles of victims, perpetrators, witnesses and bystanders, and help the Germans come to terms with the Nazi criminal legacy and their own role. The co-productional terms allow the films to balance the memory of the Holocaust as both anti-fascist and cosmopolitan, multidirectional within the real Yugoslav/German symbolic narrative space and its intrinsic poetics. (shrink)

This article argues that eighteenth-century theatrical reviews and biographical descriptions equate the physical decline of the aging actress with the loss of her identity. It analyses disappearing selfhood through an investigation of the intersection of gender and age in William Hazlitt’s essays on retiring players: namely, “Miss O’Neill’s Retirement,” “Mr. Kemble’s Retirement,” and “Mrs. Siddons’ Lady Macbeth.” In these essays, Hazlitt suggests that the actress only maintains her public identity through an early departure from the stage. This is enforced by (...) societal understandings of normative and desirable femininity as youthful. To emphasize the feminine loss that accompanied aging, Hazlitt and his contemporaries would often juxtapose a player’s physical body with those of younger players, as well as with the memory—or ghost—of its own younger form. (shrink)

This article argues that eighteenth-century theatrical reviews and biographical descriptions equate the physical decline of the aging actress with the loss of her identity. It analyses disappearing selfhood through an investigation of the intersection of gender and age in William Hazlitt’s essays on retiring players: namely, “Miss O’Neill’s Retirement,” “Mr. Kemble’s Retirement,” and “Mrs. Siddons’ Lady Macbeth.” In these essays, Hazlitt suggests that the actress only maintains her public identity through an early departure from the stage. This is enforced by (...) societal understandings of normative and desirable femininity as youthful. To emphasize the feminine loss that accompanied aging, Hazlitt and his contemporaries would often juxtapose a player’s physical body with those of younger players, as well as with the memory—or ghost—of its own younger form. (shrink)

Based on the notion of the world as a whole, as formulated by Kant and Hegel, it is possible to articulate a dynamic vision of the world in which the interrelationships between various factors are adequately represented. In this way, each side of the “calculus” would be problematised in the face of the problems of mainstream bioethics in a complex context of mutual conditionality. The dialectical idea of the world as a whole would help bioethics gain insight into the way (...) its principles are mediated with the principles of other orders of human action, an attempt to theoretically support bioethicists’ awareness of the need for a global approach to their subject. By formulating its principles in the light of a much-needed global approach, for example, concerning a global environmental catastrophe, it is more likely that it will be able to become one mechanism for radically changing our daily lives. (shrink)

Art creates a specific relation to time and especially to the present moment. It opens the experience of the present towards its indeterminacy and emergence. On the contrary, AI does not know the present. It recognizes only the past and future. We could even say that artificial neural networks do not “know” time at all. Instead, they know only logical functions which process patterns of information. Yet, what makes time “time” is genuine transformation, which happens outside of the abstract realm (...) of logic. I support these observations by analysing two works of art: Bill Viola’s The Raft (2004) and Hito Steyerl’s This Is the Future (2019). While artistic creation opens up the intervals “in-between seconds” for an unpredictable and transformative event to occur (The Raft), AI closes these intervals and fastens the future into predictability calculated on the basis of past data (This Is the Future). Although this machinic operation makes the present even more unpredictable and prone to catastrophes, its potential for transformation seems to be withdrawn. (shrink)

So well established was the cliché which connected TB and creativity that at the end of the century one critic suggested that it was the progressive disappearance of TB which accounted for the current decline of literature and the arts'. Some biochemical evidence does indeed invite a hypothesis that M. tuberculosis originally joined the human holobiont as a brain evolution-enhancing endosymbiont, thus possibly contributing towards the development of human consciousness and creative potential. Exploring the complexity of mycobacteria's entanglements within human (...) corporeality leads us to questions that challenge anthropocentric conceptions of creativity in a twofold manner. As noted above, the tubercle bacillus forms machinic assemblages and operates as an endosymbiont with human bio-systems. It is possible that these endosymbiotic assemblages contribute towards human creativity and destabilize simple notions of its origin. In a double reflection, the concept of creativity itself could be revisited along alternative lines: it can no longer be considered only as the production of human cultural artefacts and experiences, but rather it can be understood as ubiquitous activity performed by heterogeneous highly dynamic machinic assemblages (comprising of human, animal, computational, social, molecular, bacterial, viral and other processes), which lead to the production of novel modes of existence. (shrink)

Deep-rooted political turbulence, along with the present hybrid regime, have resulted in an undesirable social, economic and political milieu in Serbia. Such an atmosphere is a fertile ground for a grey economy, corruption, nepotism and restrictions to media freedoms. These?unconventional? means of social functioning, have caused a decline in trust towards state institutions and proportionally, increase of citizen participation in non-institutional models of engagement. The aim of this paper is to analyse one such model of non-institutional engagement: the local activist (...) group Za nas Kej, operating in the area Savski blokovi in New Belgrade. The authors analysed local residents? perception of the activist group Za nas Kej in comparison to the group?s narratives and actions. By using a grounded theory approach authors explained the role of groups such as Za Nas Kej in the development of participatory and deliberative democracy within the local community. Our data indicates that Za nas kej, despite its local character, does not have a strong foothold in the community, and thus receives only passive support. Citizens perceive Za nas kej as mediator between local institutions and residents of the Sava apartment blocks. Despite the failure to mobilise a wider group of citizens for their cause, this activist group continues to be a relevant actor within the local community. (shrink)

Trafficking in human body parts is one of the most severe form of crime in modern times. The topicality of this phenomenon reinforces the fact that it is intertwined with organised crime and human despair. The resulting repercussions are dangerous for the “donor”, prosperous for the “intermediaries”, and vital for the “recipient”. The paper analyses the phenomenon of trafficking in human body parts, which is directly related to the development of transplant medicine and surgery. Human organ transplantation is moving toward (...) indicative ethics, as ethics of responsibility, and is gradually moving beyond imperative ethics, emphasising duty. Human organ donation is an act of self-sacrifice. Therefore, from an ethical and moral perspective, the commercialization or trafficking of human organs is unacceptable because it violates human dignity. In addition to the ethical implications, the paper analyses international documents on this topic and the Croatian normative regulations on this issue. Finally, bioethical and criminal law answers to this question are given. (shrink)