This paper responds to the popular argument that business is like a game and is thus insulated from the demands of morality. In the first half of the paper, I offer objections to this argument as it is put forward by John Ladd in his well-known article, Morality and the Ideal of Rationality in Formal Organizations. I argue that Ladd''s analysis is flawed both because it deprives us of the ability to assert that a business is acting badly or that (...) its goals are irrational, and because it is internally inconsistent. In the second half of the paper, I give reasons for thinking that business is not like a game. (shrink)

It is often asserted that Nietzsche's proposal that "there is no truth" is indebted to his views on aesthetics. That is, it is argued both that Nietzsche perceived art as exclusive of truth, and that he viewed the whole of existence as artistic in this sense. In this paper I attempt to supplement this argument by excavating the sense of truth that is available in Nietzsche's thought concerning art. "Dionysian truth" is not a property of objects which represent the world. (...) Rather, it arises in acts of artistic creation. I hope, here, to present a view of truth which is compatible with Nietzsche's attempt to understand the world as a process of conflicting forces rather than a collection of subjects and objects. ;The first chapter is concerned with Nietzsche's The Birth of Tragedy, in which music is offered as an example of Dionysian truth. Music, in this work, enables us to overcome our sense of ourselves as isolated self-consciousnesses, an experience which engenders artistic creativity. The notion of Dionysian truth, however, is not fully disassociated, in The Birth of Tragedy, from the view that music pictures or represents the "world will." ;In the second chapter I argue that Nietzsche's commitment to the Dionysian is apparent in his unique understanding of physiology. The authority of the ego is undermined by exhibiting it as an epiphenomenon of the more fundamental physiological drives. I argue that such an understanding subverts the claim that Nietzsche values art as a means of sublimating the passions, as well as the claim that Nietzsche ultimately identifies truth with that which serves our own self-preservation. ;The third chapter demonstrates how a specific artistic practice,Expressionist Painting, understands itself in Dionysian terms, and suggests reasons why a Dionysian view of art may not offer itself as a means for the evaluation of artworks. Finally, I attempt to show how the understanding of power which is structured by a Dionysian perspective may help us to overcome some of Nietzsche's negative and reactionary suggestions that the powerful are, or should be, cruel and manipulative towards others. (shrink)

In this essay I show how Nietzsche's use of metaphor in "Truth and Falsity in an Ultra-Moral Sense" helps make the general point of the essay itself. I argue that the essay both distinguishes between the human and the natural order and yet works to erase that distinction, just as it both posits and denies a difference between truth and lie, dream and reality. Given that Nietzsche's text is directed against the possibility of literal truth, I argue that by proposing (...) metaphors which subvert his message, Nietzsche provides us with a text that enacts precisely what it describes. (shrink)