Organizations have long struggled to find ways to reduce the occurrence of unethical behaviors by employees. Unfortunately, time theft, a common and costly form of ethical misconduct at work, has been understudied by ethics researchers. In order to remedy this gap in the literature, we used the theory of planned behavior (TPB) to investigate the antecedents of time theft, which includes behaviors such as arriving later to or leaving earlier from work than scheduled, taking additional or longer breaks than is (...) acceptable, and on-the-job daydreaming. We surveyed 135 employed undergraduate business students regarding the TPB variables at Time 1. Two months later, participants reported the frequency they engaged in time theft since Time 1. Results indicate that behavioral, normative, and control beliefs significantly predicted attitudes, subjective norms, and perceived behavioral control, respectively. Attitudes, subjective norms, and perceived behavioral control, in turn, were significantly related to time theft intentions, which predicted later enactment of time theft. Thus, employers can decrease time theft by primarily focusing on altering employees’ attitudes toward time theft, followed by reducing social pressures to engage in it, and lastly, by implementing organizational practices that make it difficult to commit time theft. (shrink)

On n’en aura peut-être jamais fini avec la Grande Guerre, cette immense boucherie industrielle planétaire où s’engloutirent durant quatre infernales années les jeunesses des deux pays se prétendant les plus civilisés d’Europe. À l’échelle humaine, elle reste un des traitements les plus épouvantables de l’homme par l’homme et sans doute l’assomption d’une guerre historique à la pure logique de l’abstraction conceptuelle : La Guerre. 70 millions de soldats, 10 millions de morts. 3 à 4 fois plus...

Cet article propose une approche de la société traditionnelle corse à travers la représentation qu’en délivre un de ses membres féminins. Nous privilégions, pour se faire, la correspondance échangée, autour de 1900, entre une soeur, restée au village (Sarrola-Carcopino, Corse du Sud) et son frère, soldat colonial en campagne à Madagascar. Nous y voyons apparaître les aspects de son rôle d’informatrice privilégiée et l’existence d’une division sexuelle des tâches d’information (regroupant les distinctions privé/public, affect/social, maison/patrimoine...). Cet échange ouvre tant du (...) côté d’une histoire du quotidien que de celui d’une ethnologie des relations groupales et des distinctions sexuelles, faisant de l’analyse des pratiques épistolaires un guide efficace des mouvements et des rythmes de la vie villageoise corse autour de 1900 et de la lente intégration de l’île à l’ensemble national. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Implicit Soul of Charlie Kaufman's AdaptationDavid L. SmithI don't know what else there is to write about other than being human, or, more specifically, being this human. I have no alternative. Everything is about that, right? Unless it's about flowers.—Charlie Kaufman 1There are some things that cannot be observed directly, even in principle: a single quark, the present moment, ones own eye. What Richard Rodriquez calls (...) the "one subject" of literature—"What it feels like to be alive" 2 —is perhaps another one of those things. A writer struggles to be true to something central about life—to catch it on the fly, to get it right. Some have reified this "something" as "the soul" or "the human spirit." Today, though, we mainly rely on placeholders: "it," for example, as in "do you get it?" or "what's it all about?"—a usage that flirts with the vanishing "it" of "it is raining," implying a source or substance behind phenomena in which we do not really believe but without which we cannot do justice to experience. In any case, the writer's attempt to represent this elusive heart of things is typically frustrated, done in by the slipperiness of words, the cludginess of the conventions of communication, and the waywardness of the imagination. Writing inevitably falls short of its deepest aims.Nevertheless, there is something deviously affirmative in this state of affairs. For if life is a thing that refuses to be observed, then isn't the very failure of literature, if consciously acknowledged, a way of staying true to it? Isn't the writer's disappointment an especially telling feature of "what it feels like to be alive?" Emerson, more clearly than most, understood how this trick is turned: "We grant that human life is [End Page 424] mean; but how did we find out that it was mean? What is the ground of this uneasiness of ours; of this old discontent? What is the universal sense of want and ignorance, but the fine innuendo by which the soul makes its enormous claim?" 3 As noted above, "the soul" is a disposable term here. If you prefer, say simply "the human," "life," or "it." The point, in any case, is that the elusive subject which cannot be stated or represented directly may nevertheless be implied. If the human cannot be caught in a formula, it may be embodied or enacted in the ongoing work of creation.Charlie Kaufman's Adaptation is both an argument for and an example of this implicit realization of the human in art. Many viewers and even reviewers might see it as a poor candidate for humanistic interpretation along these lines. Most, in fact, have seen the film as little more than a clever postmodern puzzle-box, albeit one with great acting, deft direction, and a generous sense of humor. Its theme, after all, is the representation of representation. A book is being rewritten or adapted to become the film we are watching. The subject of that film is its own author's struggle to create it. The film further calls attention to its own artificiality by changing the rules of representation on us midway through. Its tone, style, and basic genre conventions shift when the author/protagonist begins to rethink his original purposes, undermining the credibility of all representational schemes in the process. Adaptation, in short, seems to be what the graduate-educated a decade ago might have felt comfortable calling "an endless play of simulacra," a text absorbed in its own textuality, a snake that eats its own tail. 4All of this is true enough, but it is not the whole story. The point of Adaptation, I will argue, is not simply the pleasure it takes in playing with issues of representation, but its clear sense of the human issues at stake in that play. Adaptation, that is, is not only about the way words tend to float free of the world. Rather, it is also a demonstration of the way a writer's basic goal can survive the wreck of her intentions, or the way that failed attempts to be true to life... (shrink)

This chapter investigates the content of the concept of adaptation, as it is seen on analogy to linguistic translation and as it is seen as itself a representation of the process of human self-definition and self-composition. Word-to-word translation is uncovered as a misleading analogy, but larger frames of translation are shown to be illuminating. Quine’s work on the indeterminacy of translation is intertwined with Charlie Kaufman’s script for his film Adaptation, and the simple notion of the matching of the (...) adaptation to the original is called into question—as is the very idea of a static original against which the verisimilitude of an adaptation would be measured. The chapter concludes with an inventory of the elements that fill the creative space that is opened between an originating text and its adaptation. (shrink)

In this thesis, I use a close reading of the silent films of Charlie Chaplin to examine a question of listening posed by Jean-Luc Nancy, “Is listening something of which philosophy is capable” (Nancy 2007:1)? Drawing on the work of Nancy, Jacques Derrida and Gayatri Spivak, I consider a claim that philosophy has failed to address the topic of listening because a logocentric tradition claims speech as primary. In response to Derrida’s deconstruction of logocentrism, Nancy complicates the problem of (...) listening by distinguishing between l’écoute and l’entente. L’écoute is an attending to and answering the demand of the other and l’entente is an understanding directed inward toward a subject. Nancy could deconstruct an undervalued position of l’écoute, making listening essential to speech. I argue, Nancy rather asks what kind of listening philosophy is capable of. To examine this question, I focus on the peculiarly dialogical figure derived from Chaplin that communicates meaning without using speech. This discussion illustrates how Chaplin, in the role of a silent figure, listens to himself (il s’écoute) as other. Chaplin’s listening is Nancean resonance, a movement in which a subject refers back to itself as another subject, in constant motion of spatial and temporal non-presence. For Nancy, listening is a self’s relationship to itself, but without immediate self-presence. Moving in resonance, Chaplin makes the subject as other as he refers back to himself as other. I argue that Chaplin, through silent dialogue with himself by way of the other, makes his listening listened to. Chaplin refused to make his character speak because he believed speech would change the way in which his work would be listened to. In this way, Chaplin makes people laugh by making himself understood (se fait entendre) as he makes himself listened to (se fait écouter). In answer to Nancy’s question, I conclude philosophy is capable of meeting the demand of listening as both l’entente and l’écoute when it listens as Chaplin listens. (shrink)

Comment définir l'essai au cinéma? Reprenant l'héritage des avant-gardes des années 1920, à travers notamment les œuvres de Dziga Vertov, Jean Epstein ou Jean Vigo, l'essai filmique s'inscrit dans le cinéma moderne qui se définit au moment de la deuxième guerre mondiale avec Le Dictateur (1940) de Charlie Chaplin. Cette évolution se caractérise par un retour au documentaire et de nouvelles relations entre l'image et le son. On assiste alors dans le cinéma hollywoodien, avec Citizen Kane (1941) d'Orson Welles (...) et, dans le cinéma européen, avec Rome, ville ouverte (1945) de Roberto Rossellini, au développement de deux modernités cinématographiques qui annoncent les deux catégories de l'essai au cinéma : l'essai documentaire et l'essai de fiction. Ces deux tendances se traduisent dès les années 1960 avec Le Joli Mai (1963) de Chris Marker (coréalisé avec Pierre Lhomme) et 2 ou 3 choses que je sais d'elle (1967) de Jean-Luc Godard. En suivant les films qui ont marqué l'histoire de la modernité cinématographique et celle de l'essai au cinéma comme Voyage en Italie (1953), Nuit et Brouillard (1956), La Jetée (1963), Le Mépris (1963), Pierrot le fou (1965)... mais aussi avec les œuvres d'Agnès Varda, Jean Rouch, Pier Paolo Pasolini, Federico Fellini, Jean-Daniel Pollet, Harun Farocki ou Manoel de Oliveira, ce livre montre comment s'est développée une nouvelle approche du cinéma comme 'pensée qui forme' et 'forme qui pense'."--Page 4 of cover. (shrink)

Résumé Le rapprochement de Whitehead avec le courant émergentiste, notamment Samuel Alexander, Conwy Lloyd Morgan et Charlie Dunbar Broad, met en lumière l’articulation entre la dimension processuelle de sa philosophie et son effort pour rendre compte du caractère signifiant de l’univers. Pour tous, la philosophie se doit de montrer que ce qui relève de l’esprit appartient pleinement à la nature, et n’a pas à être rejeté dans un non-lieu métaphysique. Mais, chez Whitehead, cet effort prend une tournure différente, impartiale, (...) en décentrant la notion d’« esprit » de la référence exclusive à la mentalité humaine. (shrink)

In “Trompe L'Oeil”, the seventh episode of Westworld, Bernard Lowe discovers the plans for his own body. Bernard's are ready‐made by someone else and uploaded into his brain, apparently unrelated to any real events. Bernard has memories of his son Charlie, which he thought referred to a real boy with whom he had a real relationship, and whose real death is the cause of his inescapable grief. Bernard might respond that lifelong grief is an excessive response to the death (...) of a fictional character. He realizes that the memories of that trauma have been fabricated by Robert Ford. Whether Charlie is a lie, a fiction, or a stranger, by grieving for him Bernard is sharing in a very human kind of experience. As malicious as Ford's motives were, maybe he was right about the need for a “cornerstone” of suffering to make Bernard human. (shrink)

Face à la violence, que peut la philosophie? Cette question se pose avec une terrible acuité après les attentats de janvier contre Charlie Hebdo et l'hyper-cacher. Le présent ouvrage prétend y apporter une réponse en prenant du recul et à travers la philo française contemporaine de Sartre à Levinas en passant par Camus, Maurice Merleau-Ponty, Simone Weil, Canguilhem, Cavaillès, Lévi-Strauss, Deleuze, Foucault, Jankélévitch et Derrida. Sartre, c'est à la fois l'être et le néant et toutes les questions politiques de (...) l'après-guerre ; Camus, l'absurde et la révolte avec le refus de la violence ; Merleau-Ponty, la justification du communisme et donc d'une certaine forme de totalitarisme ; Simone Weil, Canguilhem et Cavaillès mettent le pacifisme à l'épreuve et en avant l'expérience de la nécessité ; Lévi-Strauss pose le problème de la violence face à la diversité humaine repensée ; Deleuze confronte la métaphysique à la politique. Foucault souligne l'enfermement intolérable ; Jankélévitch Derrida et Levinas pose le problème de l'éthique et de la métaphysique et de l'impossible pardon face au génocide juif. Ici c'est toute la philosophie c'est-à-dire, l'action et la pensée les oeuvres et les relations, l'histoire et l'actualité qui tentent de répondre à une certaine folie du monde. (shrink)

Qu'y a-t-il de plus paradoxal et de plus profondément décevant que de ne plus pouvoir parler ouvertement aujourd'hui de la beauté sans être soupçonné de naïveté, tant elle a été elle-même frappée de mutisme voire d'interdiction par toutes les "déconstructions" de la métaphysique, toutes les "ruptures" des "avant-gardes artistiques", toutes les industries du divertissement de masse et toutes les formes de nihilisme qui en résultent? La beauté ne continue-t-elle pas, pourtant, de faire l'objet d'une irréductible expérience qui, modestement mais résolument, (...) féconde toujours l'existence humaine, dans sa dimension proprement esthétique, certes, mais aussi dans les domaines éthique (comme en amour et en amitié) et socio-politique (dans le partage du sensible nécessaire à tout sens commun)? C'est à redonner la parole et droit de cité à cette expérience de la beauté que nous espérons ici contribuer, en dialogue avec les Anciens et les Modernes, en nous instruisant à la fois des principes de la philosophie et des révélations de la littérature et des autres arts, comme de la vie la plus quotidienne. (shrink)

Biography of Habermas -- Critical theory -- Habermas and his works -- An assessment of the impact of Habermas -- Conclusion.

Let A₁,..., An, An+1 be a finite sequence of algebras of sets given on a set X, $\cup _{k=1}^{n}{\cal A}_{k}\neq \germ{P}(X)$, with more than $\frac{4}{3}n$ pairwise disjoint sets not belonging to An+1. It was shown in [4] and [5] that in this case $\cup _{k=1}^{n+1}{\cal A}_{k}\neq \germ{P}(X)$. Let us consider, instead An+1, a finite sequence of algebras An+1,..., An+l. It turns out that if for each natural i ≤ l there exist no less than $\frac{4}{3}(n+l)-\frac{l}{24}$ pairwise disjoint sets not belonging (...) to An+i, then $\cup _{k=1}^{n+1}{\cal A}_{k}\neq \germ{P}(X)$. But if l ≥ 195 and if for each natural i ≤ l there exist no less than $\frac{4}{3}(n+l)-\frac{l}{15}$ pairwise disjoint sets not belonging to An+i, then $\cup _{k=1}^{n+1}{\cal A}_{k}\neq \germ{P}(X)$. After consideration of finite sequences of algebras, it is natural to consider countable sequences of algebras. We obtained two essentially important theorems on a countable sequence of almost σ-algebras (the concept of almost σ-algebra was introduced in [4]). (shrink)

Here are the answers to questions Man has sought through the ages; here are practical answers you hoped could be found somewhere; here are answers that work. ...

In these five chapters we introduce, with significant details, the core fundamental notions of (1) deformability, (2) sound and hearing, (3) permeability and porosity, (4) viscosity, (5) immiscibility, (6) wettability, (7) gravity and geodesy, and (8) heat and thermodynamics. We then illustrate, with applications across disciplines, the importance of these notions in our lives and in understanding the world around us. These applications include the description of skyquakes and limnic eruptions, the origin of hydrocarbon accumulations underground, the description of the (...) interiors of our Moon and of Jupiter's core, the differences between near- and far-side of our Moon, vortices in oceans, gravity anomalies of Antarctica and Mars, lateral and vertical plate motions, the absence of induced earthquakes in the Bakken shale play, self-cleaning surfaces including oil spills, human thermoregulation, thermal diagnostics and therapies, bone and muscles losses during space travels, and nuclear fusion by gravitational confinement. (shrink)

Professor Oswald Szemerényi's Einführung in die vergleichende Sprachwissenschaft, first published in 1970, remains the standard introduction to comparative Indo-European linguistics. It is available here in English for the first time, in a revised, enlarged, and updated fifth edition. The introductory section presents a general survey of the principles of diachronic-comparative linguistics, and the remainder of the book is a thorough and detailed analysis, according to those principles, of the phonological and morphological structure of the Indo-European group of languages. Each section (...) of the book has a detailed bibliography, so that the student can progress from the general overview to a more detailed examination of particular topics. (shrink)

The present study is the result of two questions which arose in dealing with the Critique of Pure Reason. What is the relationship of the “Doctrine of Method” to the “Doctrine of Elements?” Does the “Doctrine of Method” tell us anything important about Kant and his philosophy? It will be the contention of this paper that the second half of the Critique relies heavily on the “Doctrine of Elements,” and is a natural expansion of the first half of the Critique. (...) In effect, this is a tentative denial of Norman Kemp Smith’s patchwork thesis. With respect to the second question mentioned above, we shall see that Kant does have a very special place for methodology in his philosophy. This methodology of philosophy has implications for a theory of the division of the sciences and the method proper to each of them. (shrink)

At the present stage of the development of theological thought of a new sound acquires the marijolic conception of Catholicism. The theologically developed image of Virgin Mary, laid the foundation of marly, formed into a universal concept.

One of the central places in the cult of the Catholic Church is the virgin Mary, the Virgin. She is revered as a woman who gave life to the son of God Jesus Christ and brought him up.

L. D. Harris; IV*—Solving the “Naval Battle”, Proceedings of the Aristotelian Society, Volume 78, Issue 1, 1 June 1978, Pages 45–62, https://doi.org/10.1093/ari.