Learning to adapt to the new set of conditions that confound behavioral standards was made possible by the pandemic-driven change in the school system. Due to these conditions and the COVID-19 pandemic, students may experience behaviors like social media addiction and social anxiety that may affect their well-being or happiness. Thus, this study aims to investigate the effects of social media addiction and social anxiety on the happiness of tertiary students amidst the COVID-19 pandemic. The study was conducted on 316 (...) first-year college students utilizing Google forms to disseminate questionnaires. After utilizing Bergen Social Media Addiction Scale, Social Anxiety Scale, and Oxford Happiness Questionnaire, it was found that social media addiction (β = -0.30, p<.00) and social anxiety (β = -0.003, p<.00) has a significant negative effect on happiness. Therefore, the study recommended and designed a student wellness program that provides a range of recreational, healthimproving, self-esteem-boosting, and relationship-strengthening activities for students in order to mitigate the negative effects of problematic social media usage and social anxiety that negatively effect their happiness. (shrink)

Recent scandals allegedly linked to CEO compensation have brought executive compensation and perquisites to the forefront of debate about constraining executive compensation and reforming the associated corporate governance structure. We briefly describe the structure of executive compensation, and the agency theory framework that has commonly been used to conceptualize executives acting on behalf of shareholders. We detail some criticisms of executive compensation and associated ethical issues, and then discuss what previous research suggests are likely intended and unintended consequences of some (...) widely proposed executive compensation reforms. We explicitly discuss the following recommendations for reform: require greater independence of compensation committees, require executives to hold equity in the corporation, require greater disclosure of executive compensation, increase institutional investor involvement in corporate governance (including executive compensation), and require firms to expense stock options on their income statements. We provide a brief summary discussion of ethical issues related to executive compensation, and describe possible future research. (shrink)

Police officers are vital to maintaining security and the continuity of national functions. Thus, Police officers are more exposed to different kinds of psychological concerns. However, a female in this kind of profession, based on various studies, experienced higher levels of stress because of other factors. Further, the primary goal of this study is to investigate the psychological well-being, lived experiences, challenges, and coping mechanisms of female police officers. Employing the Interpretative Phenomenological Analysis, the findings of this study were: (1) (...) Female police officers had conceptualized themselves as brave, flexible, and adaptive. And they cope with stress with positive thinking that results in healthy psychological well-being. (2) Female police officers showed dedication and engagement to serve the people. They even used their resources for the public and sacrificed most of their time in the office. (3) Female police officers' primary motivation to continue their careers is their families, and serving the public brings joy to them. (4) However, female police officers experience disrespect while working in the field, and they always have fear in their life as police officers. Moreover, they need more time to spend with their families. Furthermore, it is highly suggested to provide opportunities for enhancing quality time with their family, specifically with their children. (shrink)

Este artículo presenta una reflexión sobre aquellas mujeres que siendomadres “optaron” por vincularse a las Autodefensas Unidas de Colombia, convirtiéndose la gran mayoría en “obreras de la guerra” para cumplir la función materna de no dejar morir a sus hijos. Son madres combatientesque fueron a la guerra para luchar por sus hijos/as, sacrificando su vida por ese otro que una vez hizo parte de ella. Intento demostrar que dichas madres combatientes, no transgreden las normas de la maternidad hegemónica. Transgreden (...) sí, la visión estereotipada de género, según la cual se considera a la mujer esencialmente “pacífica”. Pero no son efectivamente transgresoras de los ideales asociados a la maternidad vista fundamentalmente como esencia, como un hecho biológico e individual. Finalmente se hace una apuesta por repensar la(s) maternidad(es) en una sociedad en (pos) conflicto como la colombiana. (shrink)

Art and Pornography presents a series of essays which investigate the artistic status and aesthetic dimension of pornographic pictures, films, and literature, and explores the distinction, if there is any, between pornography and erotic art. Is there any overlap between art and pornography, or are the two mutually exclusive? If they are, why is that? If they are not, how might we characterize pornographic art or artistic pornography, and how might pornographic art be distinguished, if at all, from erotic art? (...) Can there be aesthetic experience of pornography? What are some of the psychological, social, and political consequences of the creation and appreciation of erotic art or artistic pornography? This book will contribute to a more accurate and subtle understanding of the many representations that incorporate explicit sexual imagery and themes. It is sure to stir debate, and healthy controversy. (shrink)

What is the spirit that animates collective action? What is the ethos of democracy? _Worldly Ethics _offers a powerful and original response to these questions, arguing that associative democratic politics, in which citizens join together and struggle to shape shared conditions, requires a world-centered ethos. This distinctive ethos, Ella Myers shows, involves care for "worldly things," which are the common and contentious objects of concern around which democratic actors mobilize. In articulating the meaning of worldly ethics, she reveals the (...) limits of previous modes of ethics, including Michel Foucault's therapeutic model, based on a "care of the self," and Emmanuel Levinas's charitable model, based on care for the Other. Myers contends that these approaches occlude the worldly character of political life and are therefore unlikely to inspire and support collective democratic activity. The alternative ethics she proposes is informed by Hannah Arendt's notion of _amor mundi_, or love of the world, and it focuses on the ways democratic actors align around issues, goals, or things in the world, practicing collaborative care for them. Myers sees worldly ethics as a resource that can inspire and motivate ordinary citizens to participate in democratic politics, and the book highlights civic organizations that already embody its principles. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:American Journal of Philology 123.1 (2002) 1-34 [Access article in PDF] Ninagawa's Production of Euripides' Medea Mae Smethurst [Figures]The Japanese theater director Yukio Ninagawa, known for expressing his opposition to repressive politics in his productions during the 1960s, claimed that he staged the Medea because he wanted Japanese women to know that they could be as strong, as straightforward, as the character Medea. Japan, which has been the largest (...) consumer of his Medea, was and still is a male-dominated society. According to Ninagawa, it is a country in which for a woman to be demure and weak is considered a virtue. 1 And yet, if you look closely at Euripides' Medea you might conclude that Medea, although strong, is not an ideal role model for women. 2 (This was the view of Leda Geh of the Singapore Sunday Star, who reviewed Ninagawa's production in 1992.)Ninagawa's Medea was enormously successful. It ran for more than 250 performances in Japan, in other parts of Asia, and in the West, even though all the performances were in the Japanese language. Between the first productions of the Medea in 1978 and the latest in 1999, Ninagawa played to oversold, sold-out, or virtually sold-out houses in Tokyo, Osaka, and Nagoya, as well as in smaller cities throughout Japan. 3 The 1993 [End Page 1] production in Tokyo had a three-night run, in a theater with a capacity of eight hundred seats, which was on average 84 percent filled. 4 During a second tour to Athens in 1984, over a two-night run at the Herodes Atticus Theater (which has a capacity of six thousand people), fourteen thousand attended the performances. According to the producer Tadao Nakane (whom I interviewed in Tokyo on 15 March 1999), the audiences, including those sitting on the sides of the Acropolis, applauded so long and hard that tears came to his eyes. 5 In London, in 1978, Tokusaburo Arashi's performance of Medea brought him a nomination for an Olivier award 6 and, in the fall of 1999, Ninagawa served as the first non-English-speaking foreign director of the Royal Shakespeare Company's production of King Lear. Given these and other successes, it is clear that Ninagawa was able to bridge the gap between the West and East, on the one hand, by appealing to Western audiences with his Japanese productions and, on the other, by bringing a Western play to Japanese and other audiences.In this article I will consider how Ninagawa was able to take this ancient Greek tragedy and make it popular, not only with other Asian or non-Japanese audiences but also with those in Japan. He based his Medea on the poet Mutsuo Takahashi's 7 line-by-line adaptation of Euripides' [End Page 2] Medea. Not all of Takahashi's lines are used in each production; however, Ninagawa's productions of Medea, like his production of Oedipus the King, do adhere to the words of the text much more closely and fully than do Tadashi Suzuki's Bacchae or Trojan Women. Ninagawa infused his productions of the Medea with a very strong Japanese presence, consisting of elements drawn from Japan past and present. And it is these elements that I believe have helped ensure his success with Japanese audiences who (like us) bring their own cultural baggage to the theater.To demonstrate the Japanese content of the productions, I draw on a live performance of the Medea that I saw in Tokyo in 1993 and on my translations from the Japanese of both Takahashi's adaptation of Euripides' text and Tange Kazuhiko's translation from the ancient Greek. 8 I also draw on programs, playbills, the published notes of Ninagawa, and videotapes of productions. I hope to show how Ninagawa infused the Greek tragedy with a Japanese presence in the Tokyo production of 1993 and to note how that production differed from the version of his Medea performed in Athens in 1984. I place the Tokyo performance within its cultural context by pointing out the Japanese elements... (shrink)

What is art? What counts as an aesthetic experience? Does art have to beautiful? Can one reasonably dispute about taste? What is the relation between aesthetic and moral evaluations? How to interpret a work of art? Can we learn anything from literature, film or opera? What is sentimentality? What is irony? How to think philosophically about architecture, dance, or sculpture? What makes something a great portrait? Is music representational or abstract? Why do we feel terrified when we watch a horror (...) movie even though we know it to be fictional? -/- In Conversations on Art and Aesthetics, Hans Maes discusses these and other key questions in aesthetics with ten world-leading philosophers of art: Noël Carroll, Gregory Currie, Arthur Danto, Cynthia Freeland, Paul Guyer, Carolyn Korsmeyer, Jerrold Levinson, Jenefer Robinson, Roger Scruton, and Kendall Walton. -/- The exchanges are direct, open, and sharp, and give a clear account of these thinkers' core ideas and intellectual development. They also offer new insights into, and a deeper understanding of, contemporary issues in the philosophy of art. (shrink)

Written between 1985 and 2005, the twelve essays in this collection include some of Shohat's best known pieces as well as one new essay.

By looking at 15th/16th realistic noh and Greek tragedies through the lens of Aristotle and of each other, this comparison reveals a previously unnoticed relationship between the structure of the tragedies and their performance, that is, the involvement of the third actor at the climactic moments of the plot in both and the actor stepping out of character in noh. This observation helps to account for Aristotle’s view that tragedy be limited to three actors.

This paper addresses what is arguably ?? one of the most fundamental questions in the debate on depiction, What is a Picture? It offers a critical discussion of traditional theories of pictorial representation, such as the Resemblance Theory, Conventionalism, and the Illusion Theory; it introduces and analyses the crucial notions of ‘seeing as’ and ‘seeing in’, and concludes by presenting some of the most recent accounts of depiction defended by Kendall Walton, Dominic Lopes, Robert Hopkins, and John Hyman.

Judging works of art is one thing. Loving a work of art is something else. When you visit a museum like the Louvre you make hundreds of judgements in the space of just a couple of hours. But you may grow to love only one or a handful of works over the course of your entire life. Depending on the art form you are most aligned with, this can be a painting, a novel, a poem, a song, a work of (...) architecture, or some other art object or performance. As it happens, however, we have fallen in love with a series of films: Before Sunrise, Before Sunset, and Before Midnight. But what does it mean to love a film? What’s the difference between liking a film, loving a film, and being a film lover? How rational or irrational is it to fall in love with a film? What are the constitutive elements of such a love? These are the questions we seek to address in this paper. -/- . (shrink)

Rancière’s political thought is the object of growing fascination, particularly as a lens through which to interpret contemporary political protests, yet his conception of axiomatic equality remains unexamined. This article investigates Rancière’s account of equality as a ‘presupposition’, showing that an axiom of equality guides momentary acts of resistance, but also serves as a ‘necessary and sufficient condition’ of all societies, however hierarchical. Although this account holds some appeal, I argue that it restricts equality to two, not especially satisfying possibilities: (...) a temporary revelation or a hidden secret. This rendering of axiomatic equality is symptomatic of Rancière’s general hostility toward institutional politics. Because Rancière tends to depict ‘institutions’ per se as oppressive, equality is positioned ‘outside’ the socio-political order – as its fleeting interruption or disavowed condition of possibility. I argue, on the contrary, that a radically egalitarian politics today should affirm a practice-centered project of institution-building. (shrink)

Numerous philosophers have tried to define modesty, but none of them succeeds in articulating the necessary and sufficient conditions for this virtue. Moreover, all existing accounts ignore the striking self-other asymmetry that is at the heart of modesty. Drawing on the analogy with the practice of giving presents, I clarify and further investigate this self-other asymmetry. In the process, I show why Bernard Williams is right in pointing out the notorious truth that a modest person does not act under the (...) title of modesty and why Alan Bennett is wrong in supposing that all modesty is false modesty. (shrink)

The aim of what I propose to call “existential aesthetics” is to investigate the various ways in which art and certain kinds of aesthetic practice or aesthetic experience can be of existential importance to people. Section I provides a definition of existential aesthetics, while Section II delineates this emerging field from cognate areas of research. Sections III and IV explore various subcategories and examples of existential aesthetics. Section V seeks to identify important avenues for future research and Section VI presents (...) some concluding thoughts about the potential of existential aesthetics and why philosophers should be encouraged to fulfill this potential. (shrink)

The scope of this extraordinary selection of essays, distilled from nearly a thousand works that the author has written, is literally the entire universe and universe of knowledge. It charts the author's quest for the meaning of life faced with a dominant knowledge system she regards as incoherent, meaningless, and often acting against people and planet. She shows how contemporary scientific findings across all disciplines already provide an authentic knowledge system that's coherent with life and the universe. The aim is (...) to transform science thoroughly from inspiration to research to applications that work for people and planet. This book is simply unique in its scope and content. There is no equivalent. The author surveys and explains contemporary science in depth ranging over philosophy, anthropology, quantum physics and chemistry, neurobiology, psychology, genetics and epigenetics, cosmology, art, humanities, and mathematics. It presents a truly holistic view of nature, with profound implications for life in the social, political, and personal realm. (shrink)

A sustainable system has all the essential characteristics of an organism?an irreducible whole that develops, maintains and reproduces, or renews, itself by mobilizing material and energy captured from the environment. What is the nature of the material and energy mobilization that makes an organism? I begin with a brief description of a tentative theory of the organism?developed in detail elsewhere (Ho, 1993; 1994a; 1995a,b; 1996b,c)?as a dynamically and energetically closed domain of cyclic non?dissipative processes coupled to irreversible dissipative processes, which (...) effectively frees the organism from thermodynamic constraints so that it is poised for rapid, specific intercommunication, enabling it to function as a coherent whole. I shall then show how this novel theoretical framework may begin to provide normative criteria for sustainable economic systems, thereby also exposing some of the inadequacies of current models and assumptions. (shrink)

Since Darwin's theory of evolution by natural selection, the idea of descent with modification came to dominate systematics, and so the study of morphology became subgugated to the reconstruction of phylogenies. Reinstating the organism in the theory of evolution (Ho & Saunders, 1979; Webster & Goodwin, 1982) leads to a project inrational taxonomy (Ho, 1986, 1988a), which attempts to classify biological forms on the basis of transformations on a given dynamical structure.Does rational taxonomy correspond to thenatural system that Linnaeus and (...) his contemporaries as well as all pre-Darwinian morphologists had in mind? Here, we examine how rational taxonomy and the natural system can coincide in the dynamics of processes generating forms during development, which conferexclusivity, genericity androbustness to the forms that do exist. We use the example of segmentation, especially inDrosophila, as an illustration to explore the implications of rational taxonomy for evolution and systematics, and the relationship between ontogeny and phylogeny. (shrink)

According to Bergson , the traditional problem of free will is misconceived and arises from a mismatch between the quality of authentic, subjective experience and its description in language, in particular, the language of the mechanistic science of psychology. Contemporary western scientific concepts of the organism, on the other hand, are leading us beyond conventional thermodynamics as well as quantum theory and offering rigorous insights which reaffirm and extend our intuitive, poetic, and even romantic notions of spontaneity and free will. (...) I shall describe some new views of the organism arising from new findings in biology, in order to show how, in freeing itself from the ‘laws’ of physics, from mechanical determinism and mechanistic control, the organism becomes a sentient, coherent being that is free, from moment to moment, to explore and create its possible futures. (shrink)

Caffeine makes you sexy! This absurd slogan can be seen in the shop windows of a popular Brussels coffee chain – its bold pink lettering indicating how they are mainly targeting female customers. It is one of the silliest examples of something that is both very common and very worrisome nowadays, namely, the constant call on women to look ‘hot’ and conform to the standards of sexiness as they are projected in the media, entertainment industry, and advertising. But what exactly (...) is wrong with this state of affairs and what can be done about it? In a recent essay Sheila Lintott and Sherri Irvin take up this issue and make an elaborate case for what they call a ‘feminist reclamation’ of sexiness. This chapter investigates the merits and shortcomings of their proposal, presents an alternative account, and considers how pornography may be part of the problem but also part of the solution in this matter. (shrink)

One theme in complaints from those with marginalized social identities is that they are seen primarily in terms of that identity. Some Black artists, for instance, complain about being seen as Black first and artists second. These individuals can be understood as objecting to a particularly subtle form of morally problematic attention: “relative attentional surplus on the wrong property.” This attentional surplus can coexist with another type of common problematic attention affecting these groups, including attentional deficits; marginalized individuals and groups (...) themselves are routinely insufficiently attended to in virtue of the surplus attention given to their social identity properties. (shrink)

Seks is overal. In kranten en tijdschriften, in advertenties op bushokjes, op televisie en het internet, op Instagram en Snapchat. Seks beheerst en betovert onze beeldcultuur. Af en toe roept die onafgebroken stroom van seksuele beelden kritiek op. We lezen over de ‘pornoficatie’ van onze cultuur en hoe de modeindustrie zelfs kinderen verleidt om sexy strings te kopen. We horen dat we aan porno verslaafd zijn, dat alles van waarde vervliegt en dat we steeds intensere prikkels nodig hebben. Een zeldzame (...) keer merkt iemand op dat de constante seksuele objectivering van vrouwenlichamen de genderongelijkheid in stand houdt. Als seks overal is, is het niet verwonderlijk dat seks ook in kunst te vinden is. Kunst en pornografie lijken elkaar uit te sluiten: het ene maakt het mooiste en het beste in ons wakker, het andere onderwerpt ons aan hitsigheid en dierlijkheid. Het ene viert de schoonheid van de vrouw, het andere is een kwestie van geweld en onderwerping. Toch is de relatie tussen kunst en pornografie genuanceerder dan ze op het eerste gezicht lijkt. In deze filosofische verkenning nemen filosofen Petra Van Brabandt en Hans Maes zowel kunst als pornografie onder de loep en ontdekken ze dat de dingen soms helemaal niet zijn wat ze lijken. (shrink)

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain (...) in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant. (shrink)

Consider a terrible situation that too many women find themselves in: 85,000 women are raped in England and Wales alone every year. Many of these women do not bring their cases to trial. There are multiple reasons that they might not want to testify in the courts. The incredibly low conviction rate is one. Another reason, however, might be that these women do not want the fact that they were raped to become the most salient thing about them. More specifically, (...) they do not want it to be the thing that others attend to the most—that others find most noticeable and memorable. In this paper, I introduce the notion of ‘harmful salience perspectives’ to help to explain this and related phenomena. This refers either to attention on things that should not be salient, or not enough attention on things that deserve to be made salient. Following ideas within the feminist literature on objectification, I argue that we can be harmed when aspects of our identity that do not reflect our personhood—our agency, rationality, personality, and so on—are more prominent in the minds of others than aspects that do reflect our personhood. Crucially, these ways of attending do not need to implicate false beliefs and harmful ideologies to be harmful, but can be harmful in their own right. (shrink)

Jerrold Levinson conveniently summarizes the main argument of his essay "Erotic Art and Pornographic Pictures" in the following way:Erotic art consists of images centrally aimed at a certain sort of reception R1.Pornography consists of images centrally aimed at a certain sort of reception R2.R1 essentially involves attention to form/vehicle/medium/manner, and so entails treating images as in part opaque.R2 essentially excludes attention to form/vehicle/medium/manner, and so entails treating images as wholly transparent.R1 and R2 are incompatible.Hence, nothing can be both erotic art (...) and pornography; or at the least, nothing can be coherently projected as both erotic art and pornography.1I have argued elsewhere .. (shrink)

In his The Symbolism of Evil Ricœur explores the dynamics of human consciousness of evil in different cultures and times. Consciousness of evil is examined by looking at the different prevailing symbols wherein human beings confess their experience with evil. Although appeared in 1960, this study is still cited in recent publications in psychology, cultural anthropology and religion. In this article I describe the context of The Symbolism of Evil as the last part of Ricœur’s study of the will and (...) give a summary of its relevant content. (shrink)