There is the world of ideas and the world of practice; the French are often for sup pressing the one and the English the other; but neither is to be suppressed. -Matthew Arnold The Function of Criticism at the Present Time From its inception, bioethics has confronted the need to reconcile theory and practice. At first the confrontation was purely intellectual, as writers on ethical theory (within phi losophy, theology, or other humanistic disciplines) turned their attention to topics (...) from the world of medical practice. Recently the confrontation has grown more intense. The ap pointment of clinical ethicists in hospitals and other health care settings is an accelerating trend in North America. Concomitantly, those institutions involved in training peo ple in clinical ethics have added organized exposure to the world of practice, in the form of placement requirements, to the normal academic course load. In common with other dis ciplines, bioethics has begun to see clinical training as a con dition of didactic theory and apprenticeship. (shrink)

The Oxford University Studies in the Enlightenment series, previously known as SVEC (Studies on Voltaire and the Eighteenth Century), has published over 500 peer-reviewed scholarly volumes since 1955 as part of the Voltaire Foundation at the University of Oxford. International in focus, Oxford University Studies in the Enlightenment volumes cover wide-ranging aspects of the eighteenth century and the Enlightenment, from gender studies to political theory, and from economics to visual arts and music, and are published in English or French.

Philologus, founded in 1846, is one of the oldest and most respected periodicals in the field of Classics. It publishes articles on Greek and Latin literature, historiography, philosophy, history of religion, linguistics, reception, and the history of scholarship. The journal aims to contribute to our understanding of Greco-Roman culture and its lasting influence on European civilization. The journal Philologus, conceived as a forum for discussion among different methodological approaches to the study of ancient texts and their reception, publishes original scholarly (...) contributions with a strong international focus. Publications languages are: German, English, Italian, French. As of 2014 the publication of supplementary volumes will be resumed. The series Philologus. Supplemente / Philologus. Supplementary Volumes will publish monographs and edited volumes pertaining to all aspects of the study of ancient literature and its reception, with a special focus on topics concerning literary theory, philosophy and the history of scholarship from an interdisciplinary perspective. (shrink)

In recent years, several remarkable results have shown that certain theorems of finite combinatorics are unprovable in certain logical systems. These developments have been instrumental in stimulating research in both areas, with the interface between logic and combinatorics being especially important because of its relation to crucial issues in the foundations of mathematics which were raised by the work of Kurt Godel. Because of the diversity of the lines of research that have begun to shed light on these issues, there (...) was a need for a comprehensive overview which would tie the lines together. This volume fills that need by presenting a balanced mixture of high quality expository and research articles that were presented at the August 1985 AMS-IMS-SIAM Joint Summer Research Conference, held at Humboldt State University in Arcata, California.With an introductory survey to put the works into an appropriate context, the collection consists of papers dealing with various aspects of 'unprovable theorems and fast-growing functions'. Among the topics addressed are: ordinal notations, the dynamical systems approach to Ramsey theory, Hindman's finite sums theorem and related ultrafilters, well quasiordering theory, uncountable combinatorics, nonstandard models of set theory, and a length-of-proof analysis of Godel's incompleteness theorem. Many of the articles bring the reader to the frontiers of research in this area, and most assume familiarity with combinatorics and/or mathematical logic only at the senior undergraduate or first-year graduate level. (shrink)

"Proceedings of an International Symposium on Measuring Economic Freedom, held July 28-30, 1988, in Vancouver, British Columbia"--T.p. verso. Includes bibliographical references (p. [174]-175).

This book presents a collection of essays on institutional theory written by the German sociologist and Weber-expert M. Rainer Lepsius. Based on Weber's work, the author develops concepts of institutional theory, which he subsequently applies to topics such as National Socialism, democratization processes, German unification, and the institutionalization of the European Union. By showing how charismatic leadership can under certain circumstances threaten democratic structures and curtail individual freedoms, and by analyzing the structural and cultural conditions under which people (...) develop trust in political and social structures and ultimately come to support and comply with them, the author provides a sound analytical understanding of the development of democratic institutions and a democratic political culture. This collection of essays was edited, translated and commented on by Claus Wendt. (shrink)

he first institutional theory of art is outlined in a 1964 essay by Arthur Danto, “The Artworld,” which ruminates on the paradox that Andy Warhol’s Brillo Boxes is art though any of its perceptually indistinguishable twins—any stack of Brillo boxes in a grocery store—is not. Danto’s offers this solution to the paradox: “To see something as art requires something the eye cannot descry—an atmosphere of artistic theory, a knowledge of the history of art: an artworld.” Ultimately, though, it (...) is “art theory” that makes Warhol’s stack of silk screened plywood boxes into art. (shrink)

It is widely acknowledged that categories play significant roles in the appreciation of artworks. This paper argues that the correct categories of artworks are institutionally established through social processes. Section 1 examines the candidates for determining correct categories and proposes that this question should shift the focus from category membership to appreciative behaviour associated with categories. Section 2 draws on Francesco Guala’s theory of institutions to show that categories of artworks are established as rules-in-equilibrium. Section 3 reviews the explanatory (...) benefits of this institutional theory of the correct category. [Winner of the 2022 Debates in Aesthetics Essay Prize]. (shrink)

Institution Theory Institution theory is a very general mathematical study of formal logical systems—with emphasis on semantics—that is not committed to any particular concrete logical system. This is based upon a mathematical definition for the informal notion of logical system, called institution, which includes both syntax and semantics as well as the relationship between … Continue reading Institution Theory →.

In 1987 Jerrold Levinson wrote, in a review of George Dickie's _The Art Circle_, that in reading it he felt 'caught in a kind of aesthetic time warp'. I had the same feeling, and indeed have the same feeling when I read papers published since on Dickie's theory. A recent criticism in this journal by Oswald Hanfling is a case in point. To be fair, Hanfling explicit states that he is discussing the 1974 version of the theory rather (...) than Dickie's current views. However, this weakens the paper as a contribution to the current debate. Dickie no longer advocates the 1974 theory, as opposed to the 1984 version. Hanfling also directs most of his argument against the second disjunct of that definition, largely ignoring the first. furthermore, following recent work on the theory by others, Dickie's theory has become a more protean creature than Hanfling suppose. Criticism are rarely decisive; what works against one version of the theory is ineffective against another. In this paper I will argue that the theory as standardly conceived can be broken down into two logically independent parts. Once this is done, the objections current in the literature are not decisive. I will then attempt to evaluate what I take to be the improved version. (shrink)

Over the last decade, scandals within the UK Financial Service sector have impacted their legitimacy and raised questions whether a compliance culture exists or not. Several institutional changes at the regulatory and normative levels have targeted stakeholders’ concerns regarding compliance culture and led to changes in the legitimation process. This paper attempts to address a gap in the literature by asking the following question: How is the UK financial institutions’ compliance culture shaped by the institutional environment and changing legitimacy claims? (...) Towards achieving this objective, the paper draws on the institutional theory and pays attention to the various configurations of the legitimacy notion :451–478; 2017). The paper utilises a longitudinal interpretive design and undertakes a qualitative content analysis of fines issued by the UK regulator and the communicated response of violating firms as well as non-sanctioned firms. Our findings indicate that there is a cyclical ‘evolutionary compliance’ rather than the more widely recognised state of ‘compliance culture’. This culture is fuelled by interchangeable isomorphic forces where the majority of violating firms are seen to issue similar responses to the regulators sanction to maintain their reputation and legitimacy in the market. Notably, legitimacy is now defined within an interactive process between the regulator and firms rather than being static and achieved by ticking the box. (shrink)

One cannot ignore the institutions that surround art if one wants to deliver a theory of art acknowledging that art lives through a community of social relationships and assumes meaning as such. I make the claim that the evolution of sports from mere play, survival, and diversion toward the global phenomenon of modern sports can likewise be understood as a function of social connectivity. In this article, I first outline the theory of art, then link that to sport (...) as an institution to then develop the thesis that art and sport institutionalize the body in a particular way and deduce that this creates culture. I conclude that both art and sport, a notion somewhat derived from Wittgenstein, are kinds of... (shrink)

Peter Morton provides in these pages a fundamental critique of the assumptions of positivist jurisprudence and also puts forth an attack on the foundationalism of contemporary legal philosophy. His prime concern is to distinguish between the different fields of law--penal, civil, and public--taking as his starting point a careful analysis of those institutions in a democracy wherein legal language and norms are in fact generated. Offering an original, coherent, and systematic exposition of law in today's society, Morton sheds new light (...) on legal practices and relations by way of a comparison with an ideal type of legal system. (shrink)

Organizational ethics and institutional theories are extended by recovering Weberian and Pre-Weberian theorizing that emphasized the joining of ethics and institutional theories. Understanding how ethics and institutional systems influence each other can advance our understanding of the nature and causes of structural organizational ethics issues and help guide potential reforms. We consider the interplay of these elements during the recession of 2008–2009, highlighting how structural ethics problems may have to be addressed at the institutional levels and not solely the individual (...) or organizational levels. (shrink)

A recent trend in international development circles is ‘New Institutionalism’. In a slogan, the idea is just that good institutions matter. The slogan itself is so innocuous as to be hardly worth comment. But the push to improve institutional quality has the potential to have a much less innocuous impact on aid efforts and other aspects of international development. This paper provides a critical introduction to some of the literature on institutional quality. It looks, in particular, at an argument for (...) the conclusion that making aid conditional on good institutional quality will promote development by reducing poverty. This paper suggests that there is little theoretical or empirical evidence that this kind of conditionality is good for the poor. (shrink)

A recent trend in international development circles is ‘New Institutionalism’. In a slogan, the idea is just that good institutions matter. The slogan itself is so innocuous as to be hardly worth comment. But the push to improve institutional quality has the potential to have a much less innocuous impact on aid efforts and other aspects of international development. This paper provides a critical introduction to some of the literature on institutional quality. It looks, in particular, at an argument for (...) the conclusion that making aid conditional on good institutional quality will promote development by reducing poverty. This paper suggests that there is little theoretical or empirical evidence that this kind of conditionality is good for the poor. (shrink)

A recent trend in international development circles is ‘New Institutionalism’. In a slogan, the idea is just that good institutions matter. The slogan itself is so innocuous as to be hardly worth comment. But the push to improve institutional quality has the potential to have a much less innocuous impact on aid efforts and other aspects of international development. This paper provides a critical introduction to some of the literature on institutional quality. It looks, in particular, at an argument for (...) the conclusion that making aid conditional on good institutional quality will promote development by reducing poverty. This paper suggests that there is little theoretical or empirical evidence that this kind of conditionality is good for the poor. (shrink)

Once affirmed that a formal and finalistic theory of action is one of the four pillars of neo‐institutionalism, the author introduces the concept of Freedom of action, which is based on two points: the empirical existence of a scope for action and an information process which determine the choice between alternative actions. He then analyzes different versions of determinism and the distinction between descriptive and practical sentences, and concludes that a theory of action based on the information process (...) has to deal with the structures of teleological thought. In this sense he stresses the practical relevance of the plurality of ends, often conflicting with each other. Finally, he explains how formal teleology is used in his theory of action and how this theory provides methodological achievements for jurisprudence.*. (shrink)

"Question: What do all works of art have in common? Answer: They are all products of a major cultural institution called "The Artworld." Question: Is this what makes them art? Answer: Yes. The New Institutional Theory of Art is a different kind of theory about art. The theory is capable of explaining how it is that a urinal offered up by Marcel Duchamp, and a statue of Moses offered up by Michelangelo, are both works of art, (...) and under precisely the same terms. Together with this, the theory can also explain why it is that Michelangelo's work is magnificent, whereas Duchamp's is "interesting," at best. By focusing not on the works of art themselves, but rather upon the complex social-cultural context of their creation and presentation, the New Institutional Theory provides fresh, clear and powerful explanations of the very inner workings of Art, writ large. The artists, the public, the issues, the techniques, the bothers and the worries are all illuminated for the reader to gain true insight into the actual logic of Art. This book is intended for all readers, professionals and non-professionals alike.". (shrink)

In this paper, I will look at the relationship between Weitz’s claim that art is an “open” concept and Dickie’s institutional theory of art, in its most recent form. Dickie’s theory has been extensively discussed, and often criticized, in the literature on aesthetics, yet it has rarely been observed – to my knowledge at least – that the fact that his theory actually incorporates, at least to some extent, Weitz’s claim about the “openness” of the concept of (...) art, precisely accounts for what I take to be the main flaws in the theory. In what follows I present arguments for that claim, looking briefly at the position of both authors with respect to the concept of art, then showing how they relate to each other, and what implications this has for Dickie’s institutional theory, and more generally for the traditional project of characterising art. (shrink)

It is somewhat ironic that this book comes out in the centenary of Political Theology, first published in 1922. In the end, one of the main claims we shall make here is that Carl Schmitt's celebrated essay has been unduly overemphasised and that it formulated a theory of law and a conception of normality that he himself dismantled a few years after its publication. A related claim will be that interpretations that identify a connection between Political Theology and successive (...) works such as The Concept of the Political (1928) and Constitutional Theory (1928) are wrong in at least one important respect: through those works, Schmitt tried to pull himself out of the quagmire in which he was bogged down in 1922, viz., the problematic conception that we shall dub "exceptionalist decisionism." But we shall have to go further. Works that are coeval with Political Theology, such as Dictatorship (1921) and Roman Catholicism and Political Form (1923), offer much leeway for criticising exceptionalist decisionism, either because the notions of exception and decision are thinner and more tenable (as is the case with Dictatorship), or because there is no room at all for any of them (as is the case with Roman Catholicism and Political Form). In sum, as a celebration of Political Theology, this book cuts a poor figure. (shrink)

In "Convention and Dickie's Institutional Theory" (British Journal of Aesthetics 1980), Catherine Lord maintains the following thesis: (L) If a work of art is defined as institutional and conventional, then the definition precludes the freedom and creativity associated with art. Lord also maintains that the antecedent of this conditional is false. In this note, I argue that (i) certain confusions and assumptions prevent Lord from showing the antecedent is false, and (ii) even if the antecedent is assumed to be (...) true, there are counterexamples to the entire conditional. With regard to (ii), I will suggest that conventionality is necessary for creativity. [This was my first published paper, written as a graduate student, taken from my University of Illinois at Chicago dissertation written with Professor George Dickie on the topic of conventions, utilitizing David Lewis' definition of "convention."]. (shrink)