This study assesses the extent to which job application forms violate the New Zealand Human Rights Act. The sample for the study includes 229 job application forms, collected from a variety of large and small, public- and private-sector organizations that together employ approximately 200,000 workers. Two hundred and four or 88% of the job application forms contain at least one violation of the Act. One hundred and sixty five or 72% contain two or more and 140 or 61% contain three (...) or more violations. The most common violations concern age, gender, nationality, and disability. The least common concern political opinion, ethical belief, religious belief, and sexual orientation. Despite widespread violations, many forms do have non-discriminatory questions that yield the same kind of useful information as discriminatory questions. Employers could incorporate these into their job application forms to bring themselves into compliance with the law. The same lessons also generally apply to North American employers, given the high degree of comparability between American, Canadian, and New Zealand anti-discrimination laws. (shrink)

In this article, I explore the relationship between witness-bearing arts as a form of creative activism designed to respond to social injustices. In the first section, I present some common features of bearing witness, as conceptualized within media studies and journalism. Then I explain how artworks placed in the streets can bear witness in a similar way. I argue that witness-bearing art transmits knowledge about certain unjust and harmful events, which then places a moral burden or responsibility on the viewer. (...) To defend this view, I offer some examples of activist art that bears witness to certain events. I suggest that witness-bearing art is placed in the streets in order to make certain truths publicly available, by offering evidence of them embedded in the artwork. The final section considers why the bearing witness is especially effective for activist art. Witness-bearing art plays a crucial knowledge-transmitting function, one which enables art to engage in creative activism. I conclude by considering how witness-bearing art offers a powerful and persuasive voice for the oppressed. (shrink)

Street art has exploded: it pervades our back alleys, surrounds us at bus-stops, covers billboards, competes with advertising and generally serves as urban wallpaper in most cities. But what is street art? A far cry from mere graffiti, street art has gained some social acceptance, but it remains neither officially sanctioned like public art, nor institutionally condoned, like its more traditional artistic cousins in museums. Somewhere in between these two extremes, street art has emerged, occupying a metaphysically suspect grey area (...) between illegal activity and bona fide art. This paper explores the nature of this emerging art form and draws out some of the differences between street art, public art and ‘mere’ graffiti. (shrink)

I argue that activists have co-opted street art as a tool for addressing epistemic injustices, injustices that result from negative identity prejudices that silence certain groups of people unfairly. To defend this claim, I explore the special nature of street art that makes it an especially appropriate tool for activists to enlist in the fight against epistemic injustices. From there, I will examine in detail two case studies which illustrate how street art is used to respond to and correct for (...) these injustices: first, the street art series, “Stop Telling Women to Smile” by Tatyana Fazlalizadeh, and then Chris Metzger’s Inside Out Project in Baltimore. Drawing on these examples, I highlight the features in virtue of which street art constitutes a particularly effective tool for correcting epistemic injustices. (shrink)

Kaveny recommends models drawn from the Gospel of John and the practices of the early church for modern Christians in their response to older women and their health needs. She draws upon a historical reconstruction of the early Christian Order of Widows to propose a normative standard of care for elderly women, one that attends seriously to their bodily needs but also to their needs for inclusion and engagement in the social and vocational world both as givers and recipients of (...) care. This is also to serve as an overarching model for a bioethics that prizes the embodied existence of all women and rejects judgments of appropriate treatment based on their social utility. The following response raises questions about the exegetical and historical foundations of Kaveny?s analysis. However, these caveats may not detract substantially from the normative usefulness of her work. (shrink)

This two volume Handbook contains chapters on the main areas to which Post-Keynesians have made sustained and important contributions. These include theories of accumulation, distribution, pricing, money and finance, international trade and capital flows, the environment, methodological issues, criticism of mainstream economics and Post-Keynesian policies. The Introduction outlines what is in the two volumes, in the process placing Post-Keynesian procedures and contributions in appropriate contexts.

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:A History of American Music EducationSondra Wieland HoweA History of American Music Education, 3rd edition, by Michael L. Mark and Charles L. Gary. Lanham, MD: Rowman and Littlefield Education, 2007, 500 pp., $95.00 cloth, $44.95 paper.Mark and Gary's editions of A History of American Music Education are indispensable reading for every music education student, practicing professional music educator, and the general reader who is interested in the development (...) of music teaching in American public schools. Based on excellent secondary sources, this history presents an overview of music education from Colonial America, through the development of textbooks in the nineteenth century and the growth of professional organizations in the early twentieth century, to the expansion of the curriculum and the role of government in education since 1950.This third edition is written by Michael L. Mark, professor emeritus at Towson University in Maryland, and dedicated to the memory of his friend and coauthor, Charles L. Gary.1 Mark has written two other books that complement the history editions. Contemporary Music Education surveys various reform projects since the 1950s, trends in the philosophy of music education, government policies, and the development of new methods.2Music Education: Source Readings includes writings about music education from both the European and American perspectives.3 There are many recent articles and dissertations on the history of music education, but the only recent book is Terese Volk's Music, Education, and Multiculturalism, which describes school programs and materials emphasizing multiculturalism in the twentieth century from a historical perspective.4 Publications in musicology add to our knowledge of the history of music in American society, but musicologists rarely write about music in public schools. Publications on the history of education are helpful in understanding trends in music education, but these publications do not discuss music.The third edition of A History of American Music Education is expanded to 500 pages from the approximately 400 pages of the earlier editions, largely because of new formatting and [End Page 115] spacing that make the third edition easier to read. Each chapter has a reference list in APA style in contrast to the Chicago Manual style of the earlier editions, with endnotes plus a bibliography at the end of each chapter. The material in Mark's third edition is basically the same as the earlier editions, with some expansion of the history of music education after 1950.This book, based on secondary sources, is an overview of the history of music in American public schools, showing the response of education to societal needs during various historical periods. There is an emphasis on the role of national music organizations, especially MENC: The National Association for Music Education (MENC), in advocating for the importance of music for every child. The historical account includes the various justifications for teaching music and discussions of the meaning of music. There were times when music educators were interested in aesthetics, but there were also many times when they were mainly interested in a practical understanding of music and extrinsic motives for including music in the school curriculum.5The first section on "The Western Heritage" (chapters 1-3) briefly covers music in Jewish traditions through the Greek and Roman cultures because the insights of these ancient thinkers influenced all Western societies. The chapter on the Middle Ages through the Reformation shows the role of music as a practical subject, part of the quadrivium with arithmetic, geometry, and astronomy. As music became an integral part of the church, musicians developed methods of teaching note reading. Martin Luther promoted the singing of "good music" in schools and education in the vernacular for the middle classes. With the development of Italian conservatories and the patronage of music by the elite classes of the Renaissance, music training became specialized for musicians working in the church and courts. These various conflicting European opinions of the role of music in society influenced American education.The second section on "The New World" (chapters 4-5) emphasizes the use of music as a means of praising God. Spanish musicians established successful music education programs in Peru and Mexico to promote Christianity. The French brought Christianity to... (shrink)

Women music educators in the USA have been active in public and private schools, churches, and community organizations. In the nineteenth century, Julia E. Crane founded the Crane Institute of Music, the first institution to train music supervisors; and women developed kindergarten programs throughout the US. In the "private sphere," women taught in home studios and Sunday schools, and published children's songs and hymns. In 1907, the Music Supervisors National Conference (which became the Music Educators National Conference) was founded under (...) the leadership of Frances E. Clark, although only thirteen women have been president of MENC between 1907 and 2010. In the twentieth century, women have edited music textbook series and served on editorial boards of music education journals. This survey of nationally prominent music educators shows the importance of quality education, guiding personal philosophies, positive supportive mentors, and leadership opportunities within the profession for developing successful lifetime careers. (shrink)

Playing with LEGO is naturally educational—it supports free play, imagination, and creativity. LEGO is forward‐thinking—it was one of the first toys to promote gender equality. LEGO advertises itself as a lifestyle choice whose values include being part of a team that educates people, that does the right thing, and that prides itself on its wholesomeness. This image is rather different from the reality of LEGO as a for‐profit company. The Greenpeace video undermines the entire ideology behind the LEGO brand and (...) everything it stands for. This chapter examines the relation between one's ideology and politics, on the one hand, and one's status as a consumer of LEGO toys, on the other. It also considers LEGO's long‐standing and problematic partnership with Shell. Shell, of course, is one of the world's largest and most profitable oil companies. The Greenpeace video hints at many possible criticisms of LEGO's relationship with Shell. (shrink)

Many works are attributed to artists after their death, even when someone else has contributed substantively to the content of the work or when the work left by the artist is deemed incomplete by any standard of completion. Call these works posthumous works.1 Consider, for instance, Garden of Eden, Mysterious Stranger, Silmarillion, Symphony No. 10, Symphony No. 7, Sagrada Familia, the film A.I., Woyzeck, to name just a few. These are examples where..

This two volume Handbook contains chapters on the main areas to which Post-Keynesians have made sustained and important contributions. These include theories of accumulation, distribution, pricing, money and finance, international trade and capital flows, the environment, methodological issues, criticism of mainstream economics and Post-Keynesian policies. The Introduction outlines what is in the two volumes, in the process placing Post-Keynesian procedures and contributions in appropriate contexts.

Debates about the role of the university in a democratic society have been constant throughout history; but current discussions seem to be of a different order for several reasons. First, universit...

[Michael Smith] The requirements of instrumental rationality are often thought to be normative conditions on choice or intention, but this is a mistake. Instrumental rationality is best understood as a requirement of coherence on an agent's non-instrumental desires and means-end beliefs. Since only a subset of an agent's means-end beliefs concern possible actions, the connection with intention is thus more oblique. This requirement of coherence can be satisfied either locally or more globally, it may be only one among a number (...) of such requirements on an agent's total set of desires and beliefs, and it has no special connection with reasoning. An appreciation of these facts leads to a better understanding of both the nature and the significance of instrumental rationality. /// [Edward Harcourt] I argue that the incoherence Smith claims to identify in agents who desire that q, believe that p is a necessary means to q, but fail to desire that p is illusory, since it rests on the false assumption that every property I know to be possessed by an object of my desire is an object of my desire. Though the failure of Smith's account of the irrationality of this pattern of attitudes leaves it open that the pattern is indeed irrational, I argue that there are instances of it that are not irrational where the desires are desires for what the agent knows to be impossible for him. This conclusion casts doubt on the overall strategy-that of making a Humean theory of action explanation do duty as a theory of instrumental rationality-which implies that the norms of instrumental rationality apply to desires simply as such. I then try to criticise the strategy in such a way as to leave the Humean theory of action explanation unaffected. (shrink)

The paper develops an attack on quasi-realism in ethics, according to which expressivism about ethical discourse—understood as the thesis that the states that discourse expresses are non-representational—is consistent with some of the discourse's familiar surface features, thus ‘saving the ethical appearances’. A dilemma is posed for the quasi-realist. Either ethical discourse appears, thanks to those surface features, to express representational states, or else there is no such thing as its appearing to express such states. If the former then, by expressivism, (...) the appearance presented by ethical discourse is false, so the ethical appearances are not saved. If the latter, it is unintelligible why an appeal to projection should be needed to explain how the surface features come to express non-representational states if no explanation is needed—as evidently none is—to explain how they come to express representational states. The conclusion of this argument is then argued to converge with some other considerations which show that there is no gap between ethical discourse's possessing the surface features in question and its expressing representational states. (shrink)

Providing a broad base of essential knowledge critical to undergraduate students, Situating Feminism will also inspire new directions in critical thought and theoretical advancement for academics and professionals in the areas of women's and culture studies, political science, social work, communication, sociology, and psychology.

In Back to the Dance Itself, Sondra Fraleigh edits essays that illuminate how scholars apply a range of phenomenologies to explore questions of dance and the world; performing life and language; body and place; and self-knowing in performance. Some authors delve into theoretical perspectives, while others relate personal experiences and reflections that reveal fascinating insights arising from practice. Collectively, authors give particular consideration to the interactive lifeworld of making and doing that motivates performance. Their texts and photographs study body (...) and the environing world through points of convergence, as correlates in elemental and constant interchange modeled vividly in dance. Selected essays on eco-phenomenology and feminism extend this view to the importance of connections with, and caring for, all life. Contributors: Karen Barbour, Christine Bellerose, Robert Bingham, Kara Bond, Hillel Braude, Sondra Fraleigh, Kimerer LaMothe, Joanna McNamara, Vida Midgelow, Ami Shulman, and Amanda Williamson. (shrink)

Psychoanalytic writing rarely features on university ethics curricula, so the idea that psychoanalysis has a place in the history of ethics may be a surprise. The aim of the paper is to show that it should not be. The strategy is to sketch in outline an enduring line of inquiry in the history of ethics, namely the Platonic-Aristotelian investigation of the relationship between human nature, human excellence and the human good, and to suggest that psychoanalysis exemplifies it too. But since (...) the suggestion, once made, seems not only true but obviously true, the paper spends some time exploring why the place of psychoanalysis in the history of ethics has so often been overlooked, before developing the outline more fully and offering detailed reasons as to why psychoanalysis fits it. One consequence is that Freudian and ‘relational’ variants of psychoanalysis continue the Platonic-Aristotelian line of inquiry in interestingly different ways. (shrink)

Occupy Wall Street is best understood, I would suggest, as a new form of political as opposed to civil disobedience that fundamentally rejects the political and ideological landscape that has dominated our collective imagination in this country since before the cold war. Civil disobedience accepts the legitimacy of the political structure and of our political institutions but resists the moral authority of the resulting laws. It is “civil” in its disobedience—civil in the etymological sense of taking place within a shared (...) political community, within the classical Latin framework of civilitas, within an art of civil government. Civil disobedience accepts the verdict and condemnation that the civilly disobedient bring upon themselves. It respects the legal norm at the very moment of resistance and places itself under the sanction of that norm. If it resists the legal sanction that it itself entails, it is, in effect, no longer truly civil disobedience. As Martin Luther King, Jr. wrote in “Letter from Birmingham City Jail,” “an individual who breaks a law that conscience tells him is unjust, and willingly accepts the penalty by staying in jail to arouse the conscience of the community over its injustice, is in reality expressing the very highest respect for law.” Civil disobedience does not aim to displace the law-making institutions or the structure of legal governance but rather to challenge the governing laws by demonstrating their injustice.Political disobedience, by contrast, resists the very way in which we are governed. It rejects the idea of honoring or expressing the “highest respect for law.” It refuses to willingly accept the sanctions meted out by the legal and political system. It challenges the conventional way that political governance takes place, that laws are enforced. It turns its back on the political institutions and actors who govern us all. It resists the structure of partisan politics, the traditional demand for policy reforms, the call for party identification, and, beyond that, the very ideologies that have dominated the postwar period. (shrink)

Arthur Danto's style matrix brings together many facets of his thinking about philosophy and about art, particularly his intentionalism, art criticism, and historicism. This chapter presents the mechanics of the style matrix and offers modifications of the view in the light of certain criticisms. The style matrix has an interesting consequence for the range of artistic properties that can apply to artworks. In describing the style matrix, Danto relies on causal relations among artworks as a way of identifying stylistic properties. (...) The chapter considers some of the most influential Danto scholars and their interpretations of Danto's style matrix in relation to the debate about epistemic and metaphysical nature of the properties of artworks. Adopting a metaphysical interpretation of the style matrix also allows us to understand another, more general claim that Danto defends about the evolution of art. The correct interpretation of the style matrix hangs on adequate defenses of epistemic and metaphysical historicism. (shrink)

Collaboration in the arts is no longer a conscious choice to make a deliberate artistic statement, but instead a necessity of artistic survival. In today’s hybrid world of virtual mobility, collaboration decentralizes creative strategies, enabling artists to carve new territories and maintain practice-based autonomy in an increasingly commercial and saturated art world. Collaboration now transforms not only artistic practices but also the development of cultural institutions, communities and personal lifestyles. This book explores why collaboration has become so integrated into a (...) greater understanding of creative artistic practice. It draws on an emerging generation of contributors—from the arts, art history, sociology, political science, and philosophy—to engage directly with the diverse and interdisciplinary nature of collaborative practice of the future. (shrink)

The Cambridge Capital Controversy was one of the most significant debates in Twentieth Century economics. First published in 1972, this book provides an accessible reconstruction of the controversy with detailed discussion of the major points raised by its primary protagonists: Piero Sraffa and Joan Robinson on the post-Keynesian side and Robert Solow and Paul Samuelson on the neo-classical side. The book is now considered to be a classic. This fiftieth anniversary edition comes with a new preface by the author and (...) two new afterwords that reflect on the author's contribution to the field and the significance of the book in the history of economics. Topics covered include the measurement of capital, the revival of interest in Irving Fisher's rate of return on investment, the double-switching debate, Sraffa's prelude to a critique of neoclassical theory, and the 'new' theories of the rate of profits in capitalist society. (shrink)