In this paper, drawing on evidence internal to the Platonic dialogues (supplemented with some ancient testimonia), I answer the question, “How did Plato teach in the Academy?” My reconstruction of Plato’s pedagogy in the Academy is that there was a single person who read the dialogue aloud like a rhapsode (this is in contrast to the dramatic theatrical hypothesis, in which several speakers function as actors in the performance of a dialogue). After the rhapsodic reading, students were allowed to (...) ask that portions of the text to be re-read, to ask a question about the text, and were encouraged to enter into a broader conversation about the topic and themes brought out by the text. This later pedagogical method of interrogating and investigating a dialogue is of more importance than the mere reading of a dialogue. I contend that Plato’s experiences teaching were woven into some of the dialogues, and that Plato’s pedagogy reflects some of the ways that he taught in the Academy. I propose that excellent points made by students may have been written into revised forms of the dialogue. And not only good points, but also mistakes in reasoning may have been added into the dialogues. I suggest that the way certain dialogues are organized with “guest lecturers” and “tag-team” philosophical debates reflect Plato’s pedagogy in the Academy. Plato’s broadmindedness, his openness to various and opposing viewpoints, is also evident from both outside and inside of the dialogue. Lastly, drawing on the idea of Socratic mimēsis, I give a plausible curriculum for how Plato may have used the dialogues to teach them: he had his students “play” with them. Plato may have asked his students to enter into the roles of the characters in the dialogues to better understand them and the type of person they represent. Plato may have also asked students to take over from the position of the character in the dialogue and to suggest a better, truer account of things than what the characters said or did. (shrink)

What stands out when we blend in? Performing Ground is the first book to explore camouflage as a performance practice, arguing that the act of blending into one's environment is central to the ways we negotiate our identities in and through space. Laura Levin tracks contemporary performances of camouflage through a variety of forms - performative photography; environmental, immersive, and site-specific performance; activist infiltration; and solo artworks - and rejects the conventional dismissal of blending in as an abdication (...) of self. Instead, she contemplates the empowering political possibilities of 'performing ground,' of human bodies intermingling with the material world, while directly engaging with the reality that women and other marginalized persons are often relegated to the background and associated with the properties of space. Performing Ground engages these questions through the works of some of today's most exciting performance artists such as Rebecca Belmore, Liu Bolin, Janieta Eyre, and Violeta Luna, and groups like Gob Squad, Punchdrunk, The Yes Men, and Urban Mimics. (shrink)

Since Austin and Searle, performatives are taken to be crucial for the construction of social reality. More recently, performatives have been proposed to be essential for the construction of personal identities, too. I intend to analyze the postmodern assumption according to which this identity construction is in the power of individuals, an assumption which presupposes a view of performatives as endowed with unconstrained power – that is, with a power that is not subject to objective constraints. I will consider some (...) reasons to reject this view. The first is rooted in Judith Butler’s idea that – since normative approaches to political correctness undesirably reduce freedom of speech in the name of equality – we should seriously consider how offensive performatives may fail, due to objective constraints on their felicity. A second reason to reject the postmodern view of performatives lies in the consideration of narcissism as an individual and political issue. Narcissism in the political sphere can be described as a transformation of the “passion for equality” in an individualistic appetite, deaf to everything else, and especially to social constraints and responsibilities. A different – less narcissistic and more social – model of the self is provided. (shrink)

Utterances of explicit performatives, such as “I order you to close the door,” have the forces named by the appearing verbs; here, the utterance has the force of ordering. These utterances utilize declarative sentences, which usually indicate the force of statements, rather than of any verbs contained in them. This leads many to theorize that explicit performatives are statements that cause their hearers to infer the forces they name. This article argues against this account on the grounds that it is (...) based on the false premise that hearers can unconsciously recognize illocutionary forces. Instead, I put forward the account that explicit performatives are nothing but the acts with the forces that they name. (shrink)

"This book explores the relationship between performance and activism in Chile as a form of political expression and citizen participation during the period 2010-2020. Since the student mobilizations of 2006, the social movements that have taken place in Chile are characterized, in many cases, by the appropriation of public space and the political use of the body. This became particularly evident during the social outbreak of October 2019. The social upheaval was accompanied by a cultural explosion, where the arts (...) in all their dimensions played a crucial role as new strategies of collective action. The research proposes two hypotheses about this cultural revolution. Firstly, that this explosion of artistic activism had been fermenting for at least a decade (2010-2020) within the social movements, using performance and art as expressions of collective action. These artistic drivers, catalysts of this cultural revolution, have been mobilized around three fundamental axes of social demands: human rights, education, and feminism. The second hypothesis is that artistic activism in Chile between 2010-2020 emerged to exercise citizenship and strengthen the diversity of cultural identities. Chilean artistic activism today, unlike other historical moments, is a direct expression of citizen participation. It is no longer just artists who contribute to social and protest movements with their work: now, it is the citizens who use artistic expression as a practice of political participation. From an intersectional and feminist perspective, this book is an invitation to study and reflect on the aesthetic and political dimension of performance and its potential to establish justice and symbolic reparation when the State is absent. Furthermore, it incentivises a conversation about the ritual, pedagogical, and visionary dimension of art and its infinite possibilities of expressive and discursive resources. Performance art reimagines possible futures embodying the political demand, always loaded with memory, reclaiming the public space. Performance as the 'art of action' conquers the realm of non-formal education, permeating public space and shaping a Pedagogy of memory and hope." -/- . (shrink)

Proposing a relationship between Levinasian ethics and film style, and bringing it into a productive dialogue with theories of performativity, this book explores this influence through three directorial bodies of work: those of Barbet Schroeder, Paul Schrader and the Dardenne Brothers.

This paper provides a background to, detailed exploration, and then critique of, the influential notion of economic performativity. It begins with a broad sweep of the theoretical developments in economic sociology in the years before the advance of the performativity program. In doing so it outlines the theoretical quandary that performativity sought to move beyond. Having set the scene, it then looks at the performativity thesis in detail, explaining how it seeks to do away with modern ontological binaries like the (...) object/subject dichotomy. Once the performativity thesis has been unpacked, it is critiqued. Leading to the conclusion, that while there have been some benefits to the performative approach, especially in research looking at finance, the performativity thesis ultimately fails in its attempt to move beyond the ontology of “the moderns”, and does little to shift the debates in economic sociology that predated its popularity. (shrink)

The study aims to identify the efficiency of the university education performance from the perspective of postgraduate and undergraduate students in international and Palestinian universities. The analytical descriptive approach was used for this purpose and the questionnaire was used as a main tool for data collection. The study community consists of: post graduate students, (23850) graduate students and (146355) undergraduate students. The sample of the study was 378 graduate students and 383 undergraduate students. The random stratified sample was used. (...) The Statistical Package of Social Sciences (SPSS) was also used for data analysis. The study reached a number of results, the most important of which are: The level of efficiency of educational performance in Palestinian and international universities from the point of view of postgraduate and undergraduate students was high. And that there are significant differences between the average views of the sample of the study on the efficiency of educational performance in Palestinian and international universities attributed to the University and to the benefit of international universities. The study concluded many recommendations, the most important of which is the necessity of continuing to develop e-learning strategies that affect the efficiency of educational performance and research commensurate with the university's position in the local and international community, which puts it on the best classification between local and international universities through e-learning. (shrink)

Performing Difference is a compilation of seventeen essays from some of the leading scholars in history, criticism, film, and theater studies. Each author examines the portrayal of groups and individuals that have been traditionally marginalized or excluded from dominant historical narratives. As a meeting point of several fields of study, this book is organized around three meta-themes: race, gender, and genocide. Included are analyses of films and theatrical productions from the United States, as well as essays on cinema from Southern (...) and Central America, Europe, and the Middle East. Topically, the contributing authors write about the depiction of race, ethnicities, gender and sexual orientation, and genocides. This volume assesses how the performing arts have aided in the social construction of the "other" in differing contexts. Its fundamental premise is that performance is powerful, and its unifying thesis is that the arts remain a major forum for advancing a more nuanced and humane vision of social outcasts, not only in the realm of national imaginations, but in social relations as well."--Jacket. (shrink)

Controversies surrounding social media platforms have provided opportunities for institutional reflexivity amongst users and regulators on how to understand and govern platforms. Amidst contestation, platform companies have continued to enact projects that draw upon existing modes of privatized governance. We investigate how social media companies have attempted to achieve closure by continuing to set the terms around platform governance. We investigate two projects implemented by Facebook (Meta)—authenticity regulation and privacy controls—in response to the Russian Interference and Cambridge Analytica controversies surrounding (...) the 2016 U.S. Presidential Election. Drawing on Goffman’s metaphor of stage management, we analyze the techniques deployed by Facebook to reinforce a division between what is visible and invisible to the user experience. These platform governance projects propose to act upon _front-stage data relations:_ information that users can see from other users—whether that is content that users can see from “bad actors”, or information that other users can see about oneself. At the same time, these projects relegate _back-stage data relations_—information flows between users constituted by recommendation and targeted advertising systems—to invisibility and inaction. As such, Facebook renders the user experience actionable for governance, while foreclosing governance of back-stage data relations central to the economic value of the platform. As social media companies continue to perform platform governance projects following controversies, our paper invites reflection on the politics of these projects. By destabilizing the boundaries drawn by platform companies, we open space for continuous reflexivity on how platforms should be understood and governed. (shrink)

Music reflects subjectivity and identity: that idea is now deeply ingrained in both musicology and popular media commentary. The study of music across cultures and practices often addresses the enactment of subjectivity "in" music - how music expresses or represents "an' individual or "a" group. However, a sense of selfhood is also formed and continually reformed through musical practices, not least performance. How does this take place? How might the work of practitioners reveal aspects of this process? In what (...) sense is subjectivity performed in and through musical practices? This book explores these questions in relation to a range of artistic research involving contemporary musical practices, drawing on perspectives from performance studies, phenomenology, embodied cognition, and theories of gendered and cultural identity. (shrink)

_An exploration of the uncomfortable connections among performances in life, art, and politics_ “All the world’s a stage,” declares the melancholy Jacques in Shakespeare’s_ As You Like It._ Today that’s an unhappy thought. A cluster of demagogues has recently dominated the public realm through their powers as actors; they are brilliant performers. More unsettling, the demagogue, the dancer, and the musician all share the same nonverbal realm of bodily gestures, lighting and blocking, costuming, and stage architecture. So, too, the roles (...) and rituals of everyday life and everyday acting can be malign or sublime, repressive or liberating. Performing constitutes one art—an ambiguous art. In this book, the acclaimed sociologist Richard Sennett explores uncomfortable connections among performances in life, art, and politics. He draws on his own early career as a professional cellist as well as histories both Western and non-Western. He is not a pessimist; at the end of his study, he shows how this ambiguous art might become more ethical. (shrink)

Does the human mind resemble the machines that can behave like it? Biologically inspired machine-learning systems approach “human-level” accuracy in an astounding variety of domains, and even predict human brain activity—raising the exciting possibility that such systems represent the world like we do. However, even seemingly intelligent machines fail in strange and “unhumanlike” ways, threatening their status as models of our minds. How can we know when human–machine behavioral differences reflect deep disparities in their underlying capacities, vs. when such failures (...) are only superficial or peripheral? This article draws on a foundational insight from cognitive science—the distinction between performance and competence—to encourage “species-fair” comparisons between humans and machines. The performance/competence distinction urges us to consider whether the failure of a system to behave as ideally hypothesized, or the failure of one creature to behave like another, arises not because the system lacks the relevant knowledge or internal capacities (“competence”), but instead because of superficial constraints on demonstrating that knowledge (“performance”). I argue that this distinction has been neglected by research comparing human and machine behavior, and that it should be essential to any such comparison. Focusing on the domain of image classification, I identify three factors contributing to the species-fairness of human–machine comparisons, extracted from recent work that equates such constraints. Species-fair comparisons level the playing field between natural and artificial intelligence, so that we can separate more superficial differences from those that may be deep and enduring. (shrink)

The figure of the auteur continues to haunt the study of film, resisting both the poststructuralist charges that pointed to its absence and the histories of production demonstrating its pitfalls. In an era defined by the instability of identities and the recycling of works, Performing Authorship offers a refreshingly new take on the cinematic auteur, proposing that the challenges that once accelerated this figure's critical demise should instead pump new life into it. Performing Authorship is an illuminating analysis of films (...) by Jean-Luc Godard, Woody Allen, Agnes Varda, Orson Welles, Jean Rouch, Eduardo Coutinho and Sarah Turner that shows directors shifting between opposite movements towards authorial assertion and divestiture, palpability and disappearance, exposure and masking. In making this journey, Cecilia Sayad argues, the film author is not necessarily at the work's origin, nor does it constitute the end product. What the new concept of performing authorship describes is the making and unmaking of a subject"--Publisher website. (shrink)

This book examines the performance of Bauls 'folk' performers from Bengal, in the context of a rapidly globalizing Indian economy and against the backdrop of extreme nationalistic discourses. Recognizing their scope beyond the musical and cultural realm, Sukanya Chakrabarti engages in discussing the subversive and transformational potency of Bauls and their performances. In-Between Worlds argues that the Bauls through their musical, spiritual, and cultural performances offer 'joy' and 'spirituality', thus making space for what Dr. Ambedkar in his famous 1942 (...) speech had identified as 'reclamation of human personality'. Chakrabarti destabilizes the category of 'folk' as a fixed classification or an origin point, and fractures homogeneous historical representations of the Baul as a 'folk' performer and a wandering mendicant exposing the complex heterogeneity that characterizes this group. Establishing 'folk-ness' as a performance category, and 'folk festivals' as sites of performing 'folk-ness', contributing to a heritage industry that thrives on imagined and recreated nostalgia, Chakrabarti examines different sites that produce varied performative identities of Bauls, probing the limits of such categories while simultaneously advocating for polyvocality and multifocality. While this project has grounded itself firmly in performance studies, it has borrowed extensively from fields of postcolonial studies and subaltern histories, literature, ethnography and ethnomusicology, and cosmopolitan studies. (shrink)

I explore how gender can shape the pragmatics of speech. In some circumstances, when a woman deploys standard discursive conventions in order to produce a speech act with a specific performative force, her utterance can turn out, in virtue of its uptake, to have a quite different force—a less empowering force—than it would have if performed by a man. When members of a disadvantaged group face a systematic inability to produce a specific kind of speech act that they are entitled (...) to perform—and in particular when their attempts result in their actually producing a different kind of speech act that further compromises their social position and agency—then they are victims of what I call discursive injustice. I examine three examples of discursive injustice. I contrast my account with Langton and Hornsby's account of illocutionary silencing. I argue that lack of complete control over the performative force of our speech acts is universal, and not a special marker of social disadvantage. However, women and other relatively disempowered speakers are sometimes subject to a distinctive distortion of the path from speaking to uptake, which undercuts their social agency in ways that track and enhance existing social disadvantages. (shrink)

The use of certain performance-enhancing drugs (PED) is banned in sport. I discuss critically standard justifications of the ban based on arguments from two widely used criteria: fairness and harms to health. I argue that these arguments on their own are inadequate, and only make sense within a normative understanding of athletic performance and the value of sport. In the discourse over PED, the distinction between “natural” and “artificial” performance has exerted significant impact. I examine whether the (...) distinction makes sense from a moral point of view. I propose an understanding of “natural” athletic performance by combining biological knowledge of training with an interpretation of the normative structure of sport. I conclude that this understanding can serve as moral justification of the PED ban and enable critical and analytically based line drawing between acceptable and nonacceptable performance-enhancing means in sport. (shrink)

Recent years have witnessed an increasing growth in mutual funds that invest according to social criteria. As a consequence, the financial performance of these portfolios has attracted the interest of academics and practitioners. This paper investigates the performance of a sample of socially responsible mutual funds from seven European countries investing globally and/or in the European market. Using unconditional and conditional models, we assess the performance of these funds in comparison to conventional and socially responsible benchmark portfolios. (...) The results show that European socially responsible funds present in general neutral performance in relation to both conventional and socially responsible benchmarks. However, performance estimates seem to be slightly higher when funds are evaluated in relation to socially responsible indices. Our results also show that socially responsible funds are more exposed to conventional than to socially responsible indices. Furthermore, conventional benchmarks are better able to explain fund returns than socially responsible benchmarks. These findings are robust to both unconditional and conditional models of performance. We also observe that conditional models lead to a slight improvement of performance estimates and to the explanatory power of the models, both when conventional and socially responsible benchmarks are considered. This is consistent with most previous empirical findings on conditional performance evaluation. Our results show that investors who wish to hold European funds can add social screens to their investment choices without compromising financial performance. (shrink)

In this paper I aim to test a general interpretation of television series as narrative epics, in the sense defined by Aristotle’s Poetics and canonised by Renaissance literary theorists.

What kind of technology is the piano? It was once a distinctly everyday technology. In the bourgeois home of the nineteenth century it became an emblematic figure of gendered social life, its role shifting between visually pleasing piece of furniture, source of light entertainment, and expression of cultured upbringing. It performed this role unobtrusively, acting as a transparent mediator of social relations. To the composer of concert music it was, and sometimes still is, says Samuel Wilson, like the philosopher’s table: (...) “an assumed background on which one writes.” Like other instruments standard to Western art music, the piano was designed to facilitate the production of a consistent and refined timbre. More than most other such instruments, the piano also facilitated a kind of sonic neutrality. With its wide pitch range and smoothing of the percussive attack of its predecessor instruments, the piano presented composers with a technological means of approaching composition from a seemingly objective vantage point. It exemplified, in Heideggerian terms, the instrumentality of the instrument, serving as a mediator between idea and expression that apparently adds no character of its own. -/- This notion of the invisibility, or transparency, of the mediations that musical technologies such as the piano enact is one of my areas of concern here. So too is its inverse: when these mediations become visible or opaque. Transparency has been a topic of significant recent theoretical attention. Stefanos Geroulanos, for example, has detailed how the supposed transparency of intersubjective, epistemological, and social relations was a major point of critique in postwar French thought, where the supposition of transparency was taken to suppress how the world was “complex, layered, structured, filled with heterogeneity” – and, as I will stress here, contingency. The thinkers Geroulanos considers, from Jean-Paul Sartre through to Jean-François Lyotard, can be said to be united in their refusal to invisibilise mediatedness. From a starting point of conceiving of the piano as a technological artifact, and in particular from John Cage’s ‘prepared piano,’ I will explore how a similar concern has appeared in musical contexts, albeit not without the risk of reversion back into a logic of transparency. (shrink)

We ought to perform our best option—that is, the option that we have most reason, all things considered, to perform. This is perhaps the most fundamental and least controversial of all normative principles concerning action. Yet, it is not, I believe, well understood. For even setting aside questions about what our options are and what our reasons are, there are prior questions concerning how best to formulate the principle. In this paper, I address these questions. One of the more interesting (...) upshots of this inquiry is that the deontic statuses (e.g., obligatory, optional, and impermissible) of individual actions are determined by the deontic statuses of the larger sets of actions of which they are a part. And, as I show, this has a number of interesting implications both for normative theory and for our understanding of practical reasons. (shrink)

Whoosh, crunch, buzz, inhale, exhale... Listening for Learning: Performing a Pedagogy of Sound and Listening presents sound, listening, and pedagogical interactions as performances that create relationships, ways of being and knowing, and that provide an opportunity for transformations of existing and taken-for-granted practices in the classroom. By using performative listening and performative writing this book presents fragments of sound and listening as sites of learning and knowledge production. The written fragments throughout this book are offered as performances that listen for (...) and hear sound as a central feature to educational practices in terms of bodies, classrooms, and pedagogy. The goal in sharing this performance of listening is to create opportunities for recognition, to invite further listening in educational contexts, and to employ listening as an opportunity for transforming and re-imagining educational spaces and interactions. (shrink)

At the end of the first hypothesis, Parmenides gets Aristotle to agree that being [οὐσίας] must be in time; that is, that being must partake in at least one of the temporal modes: either to have been in the past, to be in the present, or it will be in the future (140e-142a). If this is true, then “the one does not partake in being” (141e7-8), meaning temporal being—to which Aristotle agrees, saying “Apparently not” (141e9). Parmenides then gets Aristotle to (...) agree that “Therefore, ‘the one’ in no way is” (141e9-10). This, however, contradicts the very first premise that begins Parmenides’ entire gymnastic exercise, “if one is” (137c4). The problem with the previous conclusion—that to be is to be in time—is that in professing his assent to it, Aristotle, in fact, gainsays it. He performatively contradicts the very thing he wants to assert. Aristotle answers Parmenides question, “Therefore could something partake of being in any way other than in one of those ways?” (141e7-8) with a two-word answer in Greek: “οὐκ ἔστιν [It’s not possible].” We can, therefore, ask of the very claim Aristotle is making—that it is impossible for something to be and not be in time—when in time does it hold true? At what time is it “not possible [οὐκ ἔστιν]” for something to not partake of temporal being? Is it not possible only in the present moment, in the past, or in the future? If Aristotle’s assertion is to have any force it must hold always. It has the same tenselessness as mathematical propositions, like ‘1+1=2.’ Forms, like mathematical entities, must necessarily have atemporal existence. Accordingly, in atemporally maintaining that anything that is must be in time, Aristotle undermines his own assertion. He performatively contradicts the very thing that he wants to affirm. (shrink)

The Islamic Republic of Pakistan has been a mere victim of climate change in recent years. The country needs emergency measures at every level to mitigate environmental dilapidation. The role of enterprises in the country’s environmental efforts is critical. In this regard, the hotel sector is known for its outsized carbon footprint. Knowing this, the current study aims to improve a hotel enterprise’s environmental performance as an outcome of corporate social responsibility. The study also considers the mediating role of (...) pro-environmental behavior of employees and the moderating role of altruistic values. A hypothesized model was developed, which was validated by employing the structural equation modeling technique. The empirical results confirmed that CSR, directly and indirectly, positively induces the ENP of a hotel enterprise. Whereas the conditional indirect role of ALT was also found significant. The study offers different implications for theory and practice, among which one important takeaway for the hotel sector is to realize the importance of employees to spur ENP of a hotel enterprise through their eco-friendly behavior. At the same time, the current work also advances the theory by highlighting the moderating role of ALT between the indirect relationship of CSR and ENP. (shrink)

Philosophers of history in the past few decades have been predominantly interested in issues of explanation and narrative discourse. Consequently, they have focused consistently and almost exclusively on the historian’s output, thereby ignoring that historical scholarship is a practice of reading, thinking, discussing, and writing, in which successful performance requires active cultivation of certain skills, attitudes, and virtues. This paper, then, suggests a new agenda for philosophy of history. Inspired by a “performative turn” in the history and philosophy of (...) science, it focuses on the historian’s “doings” and proposes to analyze these performances in terms of epistemic virtue. It argues that historical scholarship is embedded in “practices” or “epistemic cultures,” in which knowledge is created and warranted by means of such virtues as honesty, carefulness, accuracy, and balance. These epistemic virtues, however, are not etched in stone: historians may highlight some of them, exchange one for another, or reinterpret their meaning. On the one hand, this suggests a rich area of research for historians of historiography. To what extent can consensus, conflict, continuity, and change in historical scholarship be explained in terms of epistemic virtue? On the other hand, the proposal outlined in this article raises a couple of philosophical questions. For example, on what grounds can historians choose among epistemic virtues? And what concept of the self comes with the notion of virtue? In addressing these questions, philosophy of history may expand its current scope so as to encompass not only “writings” but also “doings,” that is, the virtuous performances historians recognize as professional conduct. (shrink)

Performative methods have been part of history of science research and education for at least three decades. Understood broadly, they cover every methodology in which a historian or philosopher of science engages in embodied interaction with sources, tools and materials that do not traditionally belong to historical research, with the aim of answering a historical research question. The question no longer appears to be whether performative methods have a place within history and philosophy of science research, but what their place (...) is, could, or should be; when and how they can and cannot be used. Because although performative methods are seen as an enrichment of the field by many, their growing popularity also raises questions: what new insights and challenges has the increased use of performative methods in the history of science brought us? How has it changed the field? Should performative research methods become a mandatory part of the training of new generations of historians of science? In this special issue, historians and philosophers of science for whom performative methods play an important role in their work reflect on these questions from their own research and teaching practices. (shrink)

Because ports are considered to be the heart of the maritime transportation system, thereby assessing port performance is necessary for a nation’s development and economic success. This study proposes a novel metric, namely, “_port performance index (PPI)_”, to determine the overall performance and utilization of inland waterway ports based on six criteria,_ port facility, port availability, port economics, port service, port connectivity, and port environment_. Unlike existing literature, which mainly ranks ports based on quantitative factors, this study (...) utilizes a Bayesian Network (BN) model that focuses on both quantitative and qualitative factors to rank a port. The assessment of inland waterway port performance is further analyzed based on different advanced techniques such as sensitivity analysis and belief propagation. Insights drawn from the study show that all the six criteria are necessary to predict PPI. The study also showed that port service has the highest impact while port economics has the lowest impact among the six criteria on PPI for inland waterway ports. (shrink)

High-performance work systems -performance research has dominated innovative human resource management studies for two decades. However, mainstream HPWS research has paid little attention to employees’ perceptions of HPWS, or to the relationship between HPWS and corporate social performance. The influence of CSP on employee outcomes such as organizational commitment and organizational citizenship behaviour has thus been similarly neglected. This paper seeks to investigate these missing links in literature using data collected from a sample of 700 employees in (...) China. The findings demonstrate that HPWS is positively related to HPWS satisfaction and employees’ perceptions of CSP. HPWS satisfaction fully mediates the relationship between HPWS and employees’ affective commitment. There are multiple mediators between HPWS and OCB, indicating more complicated mechanisms through which HPWS leads to desired HR outcomes. Employees’ perceived CSP has a significant influence on HPWS satisfaction, AC and OCB, suggesting firms should place a premium on achieving a reputation as being socially responsible. (shrink)

A critique of Elizabeth Anscombe's distinction between mistake in performance and mistake of judgement, as it appears in her monograph Intention.

This collection of original essays by both artists and academics explores the significance of Wittgenstein's writings across a diverse field of performance practices, including poetics and choreography, theatre, and psychotherapy, as well as reflections on political thought and ChatGPT.