Actor‐Network Theory is a research lens that has gained popularity in the nursing and health sciences domains. The perspective allows a researcher to describe the interaction of actors (both human and non‐human) within networked sociomaterial contexts, including complex practice environments where nurses and health technology operate. This study will describe Actor‐Network Theory and provide methodological considerations for researchers who are interested in using this sociotechnical lens within nursing and informatics‐related research. Considerations related to technology conceptualization, levels of analysis, and sampling (...) procedures in Actor‐Network Theory based research are addressed. Finally, implications for future nursing research within complex environments are highlighted. (shrink)

There is an impressive history associated with the evolution of the concept and definition of corporate social responsibility (CSR). In this article, the author traces the evolution of the CSR construct beginning in the 1950s, which marks the modern era of CSR. Definitions expanded during the 1960s and proliferated during the 1970s. In the 1980s, there were fewer new definitions, more empirical research, and alternative themes began to mature. These alternative themes included corporate social performance (CSP), stakeholder theory, and business (...) ethics theory. In the 1990s, CSR continues to serve as a core construct but yields to or is transformed into alternative thematic frameworks. (shrink)

Scholars and practitioners alike indicate a movement in corporate philanthropy toward “strategic” giving, for example, giving that improves the firm's strategic position (ultimately the “bottom line”) while it benefits the recipient of the philanthropic act. Although the existence of this trend is widely accepted, it is represented in the literature most often by anecdotal evidence. This article presents the findings of a survey of corporate giving managers of U.S. firms that have had an established giving program of at least 5 (...) years, with annual giving totaling at least $200,000 each year. The data show that corporate giving managers believe their firms are becoming increasingly strategic in their philanthropic activities. The findings also indicate that institutional-, firm-, and individual-level influences combine to precipitate strategic philanthropy. These findings lend support to the belief that the nature of corporate philanthropy is evolving to fit a more competitive marketplace. (shrink)

This study examines the relation between a firm’s business strategy and its corporate social responsibility performance. Using a comprehensive measure of business strategy based on the Miles and Snow theoretical framework, we find that firms following an innovation-oriented strategy are associated with better CSR performance than those following an efficiency-oriented strategy. Specifically, compared with defenders, prospectors engage in more socially responsible activities, fewer socially irresponsible activities, and perform better in both stakeholder- and third-party-related CSR areas. Taken together, our results suggest (...) that business strategy is an important determinant of CSR performance. Prospectors take advantage of CSR, as their innovation-oriented strategy allows them not only to benefit more from CSR, but also to have more tolerance for the uncertainty, risk, and long time-horizon associated with CSR engagement. (shrink)

It has become increasingly common for philosophers to make use of the concept of artistic value, and, further, to distinguish artistic value from aesthetic value. In a recent paper, ‘The Myth of (Non-Aesthetic) Artistic Value’, Dominic Lopes takes issue with this, presenting a kind of corrective to current philosophical practice regarding the use of the concept of artistic value. Here I am concerned to defend current practice against Lopes's attack. I argue that there is some unclarity as to what aspect (...) of this practice Lopes is objecting to, and I distinguish three kinds of objection that he could be read as making. I argue that none of these is adequately supported by Lopes's arguments, and that the corresponding three aspects of current philosophical practice are on firmer footing than Lopes's paper suggests. A new, plausible characterisation of artistic value will emerge from this discussion. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:JOSEPH MARGOLIS THE LOGIC AND STRUCTURES OF FICTIONAL NARRATIVE The fascination of fiction and narrative is plainly immense, sind current analyses are notably fresh and ingenious. But ifone were to venture a compendious account of die most strategic conceptual claims bearing on those notions, they might well be captured by the following three theses: (i) that fiction and narrative are logically quite distinct, without necessarily excluding one anodier; (ii) (...) that fictional worlds are no worlds at all; they are merely imagined to exist; and (iii) that events, whether actual or imagined, cannot be specified independently of the categories by which we identify them as the events they are, categories subject to change over time. What is intriguing about mese three claims is that they strike the ear as utterly commonplace and obvious. But that is dieir strength. For it would be a great convenience if the relevant puzzles generated by analytic philosophy, hermeneutics, the new narratology, semiotics and the like could be resolved, convincingly, by appeal to die implications of these diree homely trudis. In addition, diey affect one another in a rather complicated way, and, taken joindy, easily expose certain influential false starts. The import of (iii), for example, is notably ignored in die otherwise powerful analysis of narrative afforded by Gérard Genette. Its bearing on (i) utterly undermines the explicit dualism favored by Seymour Chatman, who is clearly influenced by Genette himself. The failure to mark die force of (i) and its analogue regarding poetry is most obvious in I. A. Richards's contrast between poetry and science, the work of the Prague circle, Northrop Frye's Anatomy of Criticism, and such recent speech-act theories of poetry and fiction as those proposed by Richard Ohmann, Monroe Beardsley, and Mary Louise Pratt. The corresponding failure widi respect to (ii) is clear in John Searle's theory of reference and in die ontological claims made by Nicholas Wolterstorff. The connection between (i) and (ii) is muddled most famously by G. E. Moore. These charges suggest die quarrelsome promise of the intended economy. But, as we shall see, they also lead in the direction of a more constructive theory of texts and their interpretation and of die constraints of narrative and style diat affect fiction. 162 Joseph Margolis163 Fiction, we say, differs from reality as well as from legend. But in speaking thus, we betray an understandable confidence that these three kinds of"world"— or, these three worlds — are conceptually well-behaved and open to straightforward demarcation. Once more, we slip altogether too easily between talking about certain worlds and about the narrative accounts by which we do so. What distinguishes fictional reference? we ask, and what is a fictional world? The best way to proceed here is to begin with strong intuitions and to trace dieir systematic consequences in order to test how far they are unassailable — or whether and where they must yield to others that are more accommodating. One particularly promising equivocation is the following. We speak of fictional worlds as possible (but not actual) worlds; but even if what is possible in a fictional world corresponds (in some sense) to what is possible in the actual world, it is not, as such, a possibility of or at the actual world. The "possible worlds" idiom is fundamentally and doubly equivocal. For, a "possible world" signifies either what is merely logically or conceptually compossible, or what (under suitably referential, predicative, causal, and similar constraints) is compossible specifically with respect to the actual world (or some part of it). Certainly, Balzac's La Cousine Bette "presents" an imaginary world that is internally coherent and compossible. One might even say, ignoring its fictive nature, diat such a world — or events very much like those of the story — is compossible with a certain portion of the actual world of nineteenth-century France. But Lewis Carroll's Alice in Wonderfond, though it scrupulously presents a coherent world of compossible events, does not present a world compossible with the actual world. And, on certain views at least, Thomas Mann's The Transposed Heads presents a possible world that is a conceptual impossibility. There is, however, no need to quarrel about particular cases... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Exploring "The Vital Depths of Experience":A Reader's Response to HenningJim Garrisonbethany henning's dewey and the aesthetic unconscious is a much-needed and marvelous book. It explores the pragmatic unconscious as it reveals itself in the qualitative unity of artistic expression integrated with aesthetic appreciation and response. By illuminating the role of often unconscious impulses, feelings, desires, memories, imaginaries, habits, meanings, and more, that goes into creating or appreciating a work (...) of art, she exposes the role of the unconscious in our daily lives. In this regard, she may wish to look at Hans Joas's theory of creative action. Relying largely on Dewey, Joas argues that we should regard "creativity as an analytical dimension of all human action" (Joas 116). We transform the world in even our most mundane actions and in doing so, we may draw on the depths of our unconscious.Henning writes with sincerity, clarity, and force. Recognizing that ultimately she is striving to articulate something that is often ineffable, she is not afraid of vagueness, the indeterminate, or the incomplete, and is content to live with mysteries. Henning shows unusual vulnerability in exposing some of her own aesthetic unconscious and the ways culture has inscribed itself upon her, when she responds to art works. She does so without assuming she has plumbed the vital depths of herself much less the artists and art works she explores.I found Henning's responses to be an invitation to explore my own aesthetic unconscious, and I believe others will as well. Her book is subtitled The Vital Depths of Experience. I will strive to demonstrate that depth by summoning the courage to share some of my own aesthetic responses to her textual creation. My goal is to express some of the power in a text that dares to explore the pragmatic unconscious.In writing book reviews, I often rely on Louise Rosenblatt's reader response theory. On this occasion, Rosenblatt is especially apropos since her [End Page 90] work exemplifies the kind of transactionalism that integrates the artistic artifact with those who do the work of art in experiencing it. This emphasis becomes especially obvious in Henning's chapter 5, where she defends Dewey's qualitative "unity thesis" against such critics as Richard Shusterman, John Lysaker, and Noël Carroll. My response concentrates on this remarkable chapter.Carroll argues that works like John Cage's 4'33" and the paintings of Mark Rothko lack qualitative unity that unfolds temporally because they fail to provide closure. Henning replies that "Carroll has forgotten that the art product does not need to have any particular duration for the art work to unfold temporally" (128). As Dewey states it, "[t]he work of art is complete only as it works in the experience of others than the one who created it" (LW 10:111). Those experiencing an artistic product collaborate with the initial creator to complete the meaning. Henning goes on to say that "the encounter between perceiver and product culminate in a transaction: a dynamic exchange between the organism and environment" (128). The idea is correct, but for Dewey and Bentley, however, "exchange between" suggests interaction not transaction; a mutual or reciprocal transaction or an integration would be better descriptions.Although specifically concerned with literary works of art and the experience of reading, Rosenblatt helps illuminate any aesthetic event. In her "The Poem as Event," Rosenblatt remarks:A poem, then, must be thought of as an event in time. It is not an object or an ideal entity. It is an occurrence, a coming-together, a compenetration, of a reader and a text. The reader brings to the text his past experience; the encounter gives rise to a new experience, a poem.(126)Compenetration is a nice synonym for transaction. Rosenblatt's book on transactional reading is titled The Reader, the Text, the Poem. There, she defines "poem" as "the whole category of aesthetic transactions between readers and texts without implying the greater or less 'poeticity' of any specific genre" (12). It is an event of conjoint meaning-making where meaning is felt and acted upon as well as cognized. Dewey himself states: "A new poem is... (shrink)

As a subject of inquiry, laws of nature exist in the overlap between metaphysics and the philosophy of science. Over the past three decades, this area of study has become increasingly central to the philosophy of science. It also has relevance to a variety of topics in metaphysics, philosophy of mind, philosophy of language, and epistemology. Readings on Laws of Nature is the first anthology to offer a contemporary history of the problem of laws. The book is organized around three (...) key issues: the matter of distinguishing laws from mere correlations, questions concerning inductive reasoning and laws, and the consideration of whether there are any true laws in science. Designed for class use, the anthology covers a remarkably broad range of views and concerns, and consists exclusively of articles that have proved highly influential in the field. Readings on Laws of Nature will also serve as a valuable research and reference tool for philosophers who do not specialize in the subject, but who have occasion to examine concepts relating to the laws of nature in their own work. (shrink)

This article presents a three-stage model of how isomorphic mechanisms have shaped corporate social responsibility reporting practices over time. In the first stage, defensive reporting, companies fail to meet stakeholder expectations due to a deficiency in firm performance. In this stage, the decision to report is driven by coercive isomorphism as firms sense pressure to close the expectational gap. In the second stage, proactive reporting, knowledge of CSR reporting spreads and the practice of CSR reporting becomes normatively sanctioned. In this (...) stage, normative isomorphism leads other organizations to look to CSR reporting as a potential new opportunity for achieving the firm’s goals. In the third stage, imitative diffusion, the defensive reporters together with the proactive reporters create a critical mass of CSR reporters that reaches a threshold at which the benefits of CSR reporting begin to outweigh any costs due to mimetic isomorphism. The study finds support for the model in an examination of Fortune 500 firms from 1997 to 2006. (shrink)

Plausibility has been implicated as playing a critical role in many cognitive phenomena from comprehension to problem solving. Yet, across cognitive science, plausibility is usually treated as an operationalized variable or metric rather than being explained or studied in itself. This article describes a new cognitive model of plausibility, the Plausibility Analysis Model (PAM), which is aimed at modeling human plausibility judgment. This model uses commonsense knowledge of concept‐coherence to determine the degree of plausibility of a target scenario. In essence, (...) a highly plausible scenario is one that fits prior knowledge well: with many different sources of corroboration, without complexity of explanation, and with minimal conjecture. A detailed simulation of empirical plausibility findings is reported, which shows a close correspondence between the model and human judgments. In addition, a sensitivity analysis demonstrates that PAM is robust in its operations. (shrink)

This article defends the content approach to aesthetic experience. It begins by sketching this approach to aesthetic experience. It then rehearses certain recent criticisms of the view by Alan Goldman and attempts to rebut them. One of those criticisms raises a long-standing concern about the author's account that has recently been called the “qua” problem. The article concludes by putting this issue to rest.

An argument for realism (i.E., The ontological thesis that there exist universals) has emerged in the writings of david armstrong, Fred dretske, And michael tooley. These authors have persuasively argued against traditional reductive accounts of laws and nature. The failure of traditional reductive accounts leads all three authors to opt for a non-Traditional reductive account of laws which requires the existence of universals. In other words, These authors have opted for accounts of laws which (together with the fact that there (...) are laws) entail that realism is true. This argument for realism which emerges from the work of armstrong, Dretske, And tooley is discussed and criticized. Conclusions from the discussion question the tenability of all reductive accounts of laws. (shrink)

Philosophers and theologians acknowledge that "fideism" is difficult to define but rarely agree on what the best characterization of the term is. In this article, I investigate the history of use of "fideism" to explore why its meaning has been so contested and thus why it has not always been helpful for resolving philosophical problems. I trace the use of the term from its origins in French theology to its current uses in philosophy and theology, concluding that "fideism" is helpful (...) in resolving philosophical problems only when philosophers scrupulously acknowledge the tradition of use that informs their understanding of the word. (shrink)

As foreign direct investment in the U.S. continues to become both more visible and controversial, the general public remains skeptical about the corporate citizenship of these foreign affiliates. Four dimensions of corporate citizenship — orientations, organizational stakeholders, issues, and decision-making autonomy — were used to compare the inclinations of foreign affiliates with the domestic firms operating in the U.S. chemical industry. The only significant differences between the U.S. sample and those firms headquartered in other countries-of-origin were found in the area (...) of corporate citizenship decision making autonomy. (shrink)

What is art? The philosophers and historians contributing to this volume address the assertion that the term "art" no longer holds meaning.

This article attempts to provide a basic characterization of stand-up comedy—that is, a minimal portrait of what comes to mind when one learns that one is about to see a stand-up comic. To that end, the focus will be primarily on the relation of stand-up comedy in terms of themes of temporality, including the structure of stand-up comedy, its rhythm, its delivery, and its contemporaneity.

Introduction: liberal-rationalism and the progress model i This study stands primarily as an essay in morals. It is governed by Nietzsche's contention that ...

This article explores the extent to which three models of management morality – Immoral Management, Moral Management, and Amoral Management – are extant in the European business environment. After a brief introduction and presentation of examples of each model, a further description of each model and European applications are outlined. Two possible hypotheses regarding the models’ presence in European business are presented and then concluding observations are made.

The purpose of this paper is to attempt to defend feminist film studies of the image of women in film approach, where that is understood as having no necessary commitment to psychoanalysis.

This article develops a model of informed consent for fresh oöcyte donation for stem cell research, during in vitro fertilisation (IVF), by building on the importance of patients’ embodied experience. Informed consent typically focuses on the disclosure of material information. Yet this approach does not incorporate the embodied knowledge that patients acquire through lived experience. Drawing on interview data from 35 patients and health professionals in an IVF clinic in Australia, our study demonstrates the uncertainty of IVF treatment, and the (...) tendency for patients to overestimate their chances of success prior to the experience of treatment. Once in active treatment, however, patients identify their oöcytes as both precious and precarious. We argue that it is necessary to formally include embodied experience as a source of knowledge in informed consent procedures, both for gratuitous donation and for egg-sharing regimes. We recommend that at least one full cycle of IVF be completed before approaching women to divert eggs away from their own fertility treatment. (shrink)

Both my deflationary approach to aesthetic experience and what I call moderate moralism have been challenged recently in the pages of the British Journal of Aesthetics by Paisley Livingston, Robert Stecker, and George Dickie. In this essay, I attempt to deal with their objections while also trying to move the debate to new ground.

Praise for the French edition: "A wonderful book. In 1944 Camus had already published "The Stranger" and "The Myth of Sisyphus.

In lieu of an abstract, here is a brief excerpt of the content:The Human Revolution and the Adaptive Function of LiteratureJoseph CarrollIBefore the advent of purely culturalist ways of thinking in the early decades of the twentieth century, the idea of "human nature" was deeply ingrained in the literature and the humanistic social theory of the West.1 In the past three decades, ethology, sociobiology, and evolutionary psychology have succeeded in making the idea of "human nature" once again a commonplace of (...) public discourse, but the actual shape and content of human nature, even among Darwinian social scientists, remains controversial. Human nature is the product of evolution, and for Darwinians, concepts about the structure of human nature are necessarily bound up with concepts about the course of human evolution. My purpose in this essay will be to examine two chief alternatives in the current Darwinian understanding of human evolution and human nature, to advocate one of these alternatives, and to assess its implications for Darwinian literary study. One alternative can be identified with evolutionary psychology, and the other, the one I shall advocate, with evolutionary anthropology and cognitive archaeology. For the sake of economy, I shall refer to the former as the EP model and to the latter as the EACA model.In the late 1980s and early 1990s, the main theoretical controversy in Darwinian social science was that between the sociobiologists and Darwinian anthropologists, on the one side, and the evolutionary psychologists on the other. The point at issue was whether "fitness maximization" or the desire to maximize reproductive success could serve as a direct motive in human behavior. The sociobiologists tended to assume it could; the [End Page 33] evolutionary psychologists instead insisted that fitness maximization was mediated through "proximal mechanisms" such as the male desire for sex and the female desire to acquire resources from male sexual partners. In the arena of received professional opinion, the evolutionary psychologists won this debate, and evolutionary psychology is now the mainstream, establishment creed in Darwinian social science.2 Its hegemony is evidenced by a flood of popular expositions and textbooks. The majority of these expositions give little evidence that the authors are themselves alert to the speculative character of the fundamental concepts of their creed, and the chief tenets of the creed have often been reiterated in a naively uncritical way.The chief tenets of orthodox evolutionary psychology are (a) that the structure of the human mind stabilized during the Pleistocene (beginning about 1.6 million years ago); (b) that the human mind is "modular" in character—consisting of discrete bits of dedicated neural circuitry automatically activated by environmental releasers; (c) that human cognitive aptitudes and motivational structures are firmly adapted to the hunter-gatherer life-style of the Pleistocene—the "environment of evolutionary adaptedness" or EEA; and (d) that the adaptation to Pleistocene conditions carries with it, as a necessary corollary, a "mismatch" between the adapted human mind and all cultural ecologies more complex than that of hunter-gatherers. The core concept, the idea on which all the others depend, is that of the EEA:What we think of as all of human history—from, say, the rise of the Shang, Minoan, Egyptian, Indian, and Sumerian civilizations—and everything we take for granted as normal parts of life—agriculture, pastoralism, governments, police, sanitation, medical care, education, armies, transportation, and so on—are all the novel products of the last few thousand years. In contrast to this, our ancestors spent the last two million years as Pleistocene hunter-gatherers, and, of course, several hundred million years before that as one kind of forager or another. These relative spans are important because they establish which set of environments and conditions defined the adaptive problems the mind was shaped to cope with: Pleistocene conditions, rather than modern conditions.3For evolutionary psychologists, the difference between our Paleolithic ancestors and ourselves is a difference not in anatomical and neurological character but only in external "circumstances." In the EP model, the structure of the human mind at the present time and the structure [End Page 34] of the mind of, say, half a million years ago, would be the same. They would be equally the mind of the Pleistocene.The EP model of... (shrink)

Social innovation is about solving important problems in new ways. In professional exchange fields, however, structuring and constraining forces make introducing new solutions exceedingly difficult, and known pathways that introduce new solutions are unlikely to be successful. In this article, I examine how social innovation can be encouraged in a professional exchange field. I identify three kinds of disrupting action (entwining problems, reconfiguring arrangements, and actively waiting) that can be used to encourage social innovation. These actions interrupt and expand essential (...) elements of professionals’ work and they condition parts of the field to be supportive of and susceptible to social innovation. This research contributes to literature in three ways. First, it examines social innovation in a setting that has not been explored, uncovering an amalgamation of pathways that encourage social innovation. Second, it describes three types of disrupting action that set pathways in motion. Third, it conceptually links disrupting action to social innovation. (shrink)

Must we always pursue economic growth? Kogelmann answers yes. Not only should poor countries pursue growth, but rich countries should as well. Kogelmann aims to provide awealth-insensitive argument– one demonstrating all countries should pursue growth regardless of their wealth. His central argument – the no halting growth (NHG) argument – says no country experiencing growth should stop it, because doing so requires undermining the conditions causing it and those conditions are independently morally desirable, so they should not be undermined. For (...) countries not growing, he may argue that they have an obligation to implement the conditions that cause growth because they are independently morally desirable. Call this the implementation argument. I contend that neither argument is wealth-insensitive as each fails to establish an obligation to pursue growth. I attempt to diagnose how this could be and propose that it is a product of attempting to answer three questions about growth simultaneously. (shrink)

Since 1996, with the premiere of his play, The Beauty Queen of Leenane, Martin McDonagh has emerged as one of the most powerful young voices in the English-speaking theater world. The Pillowman is his most philosophical work. It is a meta-theatrical exercise that obliquely addresses the question of whether theater (and, by extension, literature) can be justified in anything that it says. Or, instead, are some things out of bounds, perhaps sometimes warranting regulation?