Computer-mediated webchat is fast replacing voice support in customer service. Whilst previous studies have explored how communication breaks down in customer service voice exchange in off-shored/outsourced multinational companies; studies into webchat exchange in the same industries are scarce. Given the high stakes of customer service interactions – for example customer satisfaction, return intention and loyalty to the company – there is an urgent need to understand how conversations unfold, in a linguistic sense, in successful and unsuccessful service. This study, using (...) interactional linguistics, has used a close interpretative process to analyse instances of problematic exchange showing two key causes of communicative disruption. This first relates to disrupted turn adjacency where the sequence and flow of the exchange becomes confusing. The second relates to conceptual misunderstandings of terms in the exchange that may have multiple meanings. As workplaces invest millions of dollar in recruiting, training and appraising global webchat agents to serve their customers, the findings of this study can fruitfully inform webchat training and coaching that impact performance at work and provide high satisfaction to customers. (shrink)

Ways of communicating effectively in spoken English, using technology, in a virtual globalized context have received little attention from applied linguists. The role of language in synchronous computer-mediated discourse used in virtual teamwork is now emerging as a key area of research concern in business management and information technology disciplines. This article uses linguistic frameworks, most particularly critical discourse analysis and systemic functional linguistics, in particular appraisal analysis, to demonstrate how interpersonal meanings may create dominance, power and solidarity within a (...) sample of a virtual team management meetings. Focusing on one manager case study, we investigate how language is used, consciously or unconsciously, to dominate and close down discussion with his colleagues. We first present the key findings from a turn-taking analysis and then present, through the application of appraisal analysis, how this manager opens or contracts the space available for others to participate. By revealing how power and control unfold through this analysis, the findings may lead to an enhanced self-awareness among all members in virtual teams and reveal how language plays a crucial role in engaging members during a meeting, or in this case, disengaging them. (shrink)

Notes on Contributors • Preface • Christopher Peacocke, Introduction: The Issues and their Further Development I OBJECTIVE THOUGHT • John Campbell, Objects and Objectivity Commentaries • Bill Brewer, Thoughts about Objects, Places and Times • John O'Keefe, Cognitive Maps, Time and Causality II OBJECTIVITY AND THE UNITY OF CONSCIOUSNESS • Susan Hurley, Unity and Objectivity Commentaries • Anthony Marcel, What is Relevant to the Unity of Consciousness? • Michael Lockwood, Issues of Unity and Objectivity III UNDERSTANDING THE MENTAL:THEORY OR (...) SIMULATION • MARTIN DAVIES, The Mental Simulation Debate Commentaries • Jane Heal, Simulation vs. Theory Theory: What is at Issue? • Josef Perner, The Necessity and Impossibility of Simulation. (shrink)

This book charts new territory by mapping the range of international actors who affect the governance of ethnic diversity and exploring their often contradictory roles and impacts.

Clinical ethics consultants (CECs) often face some of the most difficult communication and interpersonal challenges that occur in hospitals, involving stressed stakeholders who express, with strong emotions, their preferences and concerns in situations of personal crisis and loss. In this article we will give examples of how much of the important work that ethics consultants perform in addressing clinical ethics conflicts is incompletely conceived and explained in the American Society of Bioethics and Humanities Core Competencies for Healthcare Ethics Consultation and (...) the clinical ethics literature. The work to which we refer is best conceptualized as a specialized type of interviewing, in which the emotional barriers of patients and their families or surrogates can be identified and addressed in light of relevant ethical obligations and values within the context of ethics facilitation. (shrink)

Diagrams make it possible to present scientific facts in more abstract and generalized form. While some detail is lost, simplified and accessible knowledge is gained. E. B. Wilson's work in cytology provides a case study of changing uses of diagrams and accompanying abstraction. In his early work, Wilson presented his data in photographs, which he saw as coming closest to “fact.” As he gained confidence in his interpretations, and as he sought to provide a generalized textbook account of cell development, (...) he relied on increasingly abstract diagrams. In addition, he came to see that highly abstract and even schematic drawings could provide more than pictures directly from life. (shrink)

In this paper Jane Mansbridge reflects upon the role of resistance in democracy. Resistance “can cause inaction by focusing on stopping, rather than using, coercion.”’ Instead we should increase the legitimacy of democratic action and in that manner further the possibility of sanction through coercion. An improvement of democratic institutions and of the procedures of deliberation, which makes room for citizen input, would also make for a more efficacious and organized resistance, when necessary.

What kind of things are damaged art-objects? Are they junk, trash, mere stuff? Or do they remain art by virtue of their distinguished provenance or still discernible design? What kind of powers do such things have as material bodies and forces? Instead of attempting to locate proper concepts for salvaged art-things, this essay, from a perspective centered on the power of bodies-in-encounter – where “power” in Spinoza’s sense is the capacity to affect and be affected – attempts to home in (...) on the presence of a material vibrancy in the hope of better understanding the postures, reactions, and comportments that damaged art pieces inspire as we engage with them. This article proposes that even so-called “inanimate” things convey specific degrees of animacy even if not all of them qualify under the biological definition of life. (shrink)

Abstract“Development” suggests that there is something that is developing, or changing over time. We can ask about temporal boundaries of that developmental process, asking when development begins or ends and whether it has defined stages along the way, for example. We can ask about spatial boundaries as well: where does the developing object start and end? For this article, I ask about the boundary definition of the developing organism in particular. What is an individual organism, and what defines it as (...) the same organism as it changes over time? In particular, how has this been answered historically: how have researchers described and explained what an individual developing organism is? This article explores ideas and approaches especially starting in the late 19th century, and in particular looks at the role of “organization.”. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 38.2 (2004) 88-94 [Access article in PDF] A Postmodern Tonantzín Jane Duran Visitors to the Puebla area in Mexico are frequently taken to the church of Santa María Tonantzínla, where they are told that they will see three or more styles of architecture simultaneously. Guidebooks to the area prominently feature this church and others like it, both as examples — or so the (...) reader is told — of the "Baroque," and as exemplars of the handiwork and craftsmanship of the indigenous.1 Because of the importance of various notions of style insofar as teaching in the arts is concerned, it might seem important to try to articulate what is meant by simultaneity of styles. In addition, today's students are often baffled by uses of the term "postmodern." In this essay I will argue that Santa María Tonantzínla may have somesurprising lessons for us all.There is no question that the visual effect of the building's interior is, in fact, stunning and that the visitor is simultaneously awed and bemused. Arrivals at this church in the Puebla suburb of Cholula see a riotous profusion of cherubs, angels, and other figures covering the walls, ceiling, nave, and almost every square inch of available space. Although some of the figures do indeed appear to bear a resemblance to those found in European structures created during the sixteenth and seventeenth centuries, other figures are more or less unrecognizable to most visitors, and clearly seem to be, as the books indicate, of non-European origin. To add to the effect of the stylistic mixing, the façade of the building is somewhat Romanesque, which only makes the interior more surprising and, in its own way, unexpected.I shall argue that work such as that at Tonantzín presents us with a variety of conceptual difficulties from the standpoint of aesthetics, and opens the door for some novel lines of argument. It is first of all quite unclear where the notion of "style" begins at Tonantzín; the boundaries are blurred and here, perhaps more than in most architectural treasures, one does not know how to announce or delineate the various styles. But much more important, [End Page 88] perhaps, is that this very amalgamation lends itself to the notion that one trope, the "postmodern," continually used in a discussion of contemporary architecture, is perhaps more relevant to Tonantzín than one might at first expect. In this essay I shall weave these two lines of argument together to support the contention that Tonantzín is, after all, postmodern. But before we can move to that assertion, it is important to try to think about what a meshing of such styles as "Spanish baroque" and "indigenous" could possibly mean, and why it has seemed urgent for writing on Tonantzín to employ these labels. Architectural Diversity In an intriguing article on the use of terms such as "modern" and "postmodern" in contemporary architecture, David Goldblatt has argued that Venturi's claim that modernity lacks what he terms diversity is more or less vacuous. As Goldblatt claims, the concept of diversity within a given work does not make much sense. More important for our purposes, Goldblatt goes on to provide a gloss on the notion of electicism, and its relation to a variety of architectural styles. He writes: When Venturi claims that modern architecture lacks diversity, he primarily means that it fails to achieve what he calls a pluralism. What he calls for is "Scarlatti and the Beatles, if diversity is to be achieved"....What Venturi is advocating is eclecticism.2As Goldblatt claims, eclecticism is the hallmark of the postmodern in architecture, and the eclectic pastiche that is Las Vegas — especially in terms of borrowed styles, ornamentation, and visible fripperies within the context of one building — becomes exemplary of that term and what it evokes. But to say simply that there may well be instances of the postmodern in architecture before the twentieth century, and before the decline of modernity itself, is to say very little. As Goldblatt... (shrink)

Much recent work has been done on Plato’s notion of the female Guardian, but examples are limited. Jane Duran argues that aristocratic women of the sixteenth and seventeenth centuries are indeed exemplary and embody the concept of Guardianship.

In recent decades conservation biology has achieved a high position among the sciences. This is certainly true of South Africa, a small country, but the third most biodiverse in the world. This article traces some aspects of the transformation of South African wildlife management during the 1930s to the 1960s from game reserves based on custodianship and the "balance of nature" into scientifically managed national parks with a philosophy of "command and control" or "management by intervention." In 1910 the four (...) British colonies had formed the Union of South Africa, and by the 1920s there was wide acceptance of national parks, a development influenced by their success in the United States. It was not, however, until after the Second World War, that management of the expanding conservation estate altered from a rather unsystematic laissez faire variety, into more scientifically informed management practices with an efficient bureaucracy in charge. This was achieved by modifications in organizational structures and institutional cultures initiated by a change of government in 1948 which, this article argues, impacted in turn on wildlife management and shaped and professionalized many aspects of that field science. "Management by intervention" was the hallmark of South African wildlife and conservation biology from the 1960s until recently, when there have been shifts towards "adaptive resource management" in a period of further change in the country's politics. (shrink)

Susan Stebbing's Thinking to Some Purpose is analysed along the lines of contemporary efforts in critical thinking, and some of the problematized media material of her time. It is concluded that what Stebbing recommends is difficult to achieve, but worth the effort.Export citation.

In this paper, Tarskis notion of Logical Consequence is viewed as a special case of the more general notion of being a theorem of an axiomatic theory. As was recognized by Tarski, the material adequacy of his definition depends on having the distinction between logical and non logical constants right, but we find Tarskis analysis persuasive even if we dont agree on what constants are logical. This accords with the view put forward in this paper that Tarski indeed captures the (...) more inclusive notion of theoremhood in an axiomatic theory. The approach to logical consequence via axiomatic theories leads us to grant centrality to inference schemas rather than to full-fledged arguments and to view the logically valid schemas as a subclass of generally valid schemas. (shrink)

The legendary Greek figure Orpheus was said to have possessed magical powers capable of moving all living and inanimate things through the sound of his lyre and voice. Over time, the Orphic theme has come to indicate the power of music to unsettle, subvert, and ultimately bring down oppressive realities in order to liberate the soul and expand human life without limits. The liberating effect of music has been a particularly important theme in twentieth-century African American literature. The nine original (...) essays in Black Orpheus examines the Orphic theme in the fiction of such African American writers as Jean Toomer, Langston Hughes, Claude McKay, James Baldwin, Nathaniel Mackey, Sherley Anne Williams, Ann Petry, Ntozake Shange, Alice Walker, Gayl Jones, and Toni Morrison. The authors discussed in this volume depict music as a mystical, shamanistic, and spiritual power that can miraculously transform the realities of the soul and of the world. Here, the musician uses his or her music as a weapon to shield and protect his or her spirituality. Written by scholars of English, music, women's studies, American studies, cultural theory, and black and Africana studies, the essays in this interdisciplinary collection ultimately explore the thematic, linguistic structural presence of music in twentieth-century African American fiction. (shrink)

The purpose of this paper is to examine some contentions advanced by B. A. O. Williams in his books Descartes: The Project of Pure Enquiry and Ethics and the Limits of Philosophy . In particular I shall be concerned with the claims he makes about the nature of ethics—namely that it cannot be ‘objective’ or ‘realistic’ and that we may not hope for rational convergence in ethical judgments. My claims will be that Williams's case on these matters is importantly unclear (...) and incomplete and that we lack cogent reasons to accept the conclusions he offers us. But a good deal of scene-setting is necessary before we can pose the questions I wish to address. (shrink)

An examination of the growing literature on gender and science leads to the conclusion that Richardson (1984) has underestimated the significance for philosophy of science of ideological critique. After describing one segment of this literature, namely, gender-based analyses of particular branches of scientific research, this paper argues that the function of at least gender ideological critique goes beyond explanation and that its explanatory function itself is broader than Richardson suggests. The paper also questions the thesis that the isolation of an (...) ideological component in scientific research never in itself discredits that work. In so doing, it casts doubt on the adequacy of L. Laudan's taxonomy of scientific problems. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:AngloModern: Painting and Modernity in Britain and the United StatesJane DuranAngloModern: Painting and Modernity in Britain and the United States, by Janet Wolff. Ithaca: Cornell University Press, 2003, 172 pp.AngloModern, Janet Wolff's scintillating attempt to limn the construction of modernity in the visual arts, is more than worth reading for a number of reasons. In this work, she details how modernity positioned itself against a number of strands (...) of development, and then, by a process of exclusion, formulated its own stance. As poststructuralist theory has taught us, the procedures of building an excluded body against a center, when closely examined, frequently tell us more about a rubric or label than we could otherwise have imagined.Wolff is primarily concerned with three areas of exclusion/construction for the turn in the visual arts, painting in particular, that began at the opening of the twentieth century. Toward the beginning of the work, she notes that there was always a continuous realist and figurative genre at work even in modernist circles, but it seldom achieved anything like the recognition that the more typically abstract works we associate with the rise of modernism gained. She associates this area of nonrecognition with the work of women in particular, and these two areas alone — the realist/figurative and any work done by a woman artist — constitute two of her most important foci in AngloModern. In addition, and with some difficulty, since it adds a layer of complication, she is concerned about the exclusion and marginalization of Jewish artists during thisperiod — both in galleries and in thecommentary generated by the art world — although it is clear that many of the major "abstract" works associated with modernism were, in fact, produced by Jewish artists.Wolff is at her best in laying out in precise detail how it is that the culture of the art world throws up nearly insurmountable barriers against those deemed unworthy at a fairly early point in the construction of any new movement. The single strongest chapter in the work may well be the second, "Questions of Discovery: the Art of Kathleen McEnery," in which Wolff shows how various processes of categorization kept the work of this extremely talented woman from receiving anything like the recognition it deserved for a long period of time. Wolff sums up her overall project, and how it will relate to an artist such as McEnery, in her Introduction, when she writes:The story of modern art that is challenged [in her book] is the narrative tracing the development of Western painting from France to the United States, in a lineage more or less running from Manet and Post-Impressionism, by way of Cubism and Surrealism, to Abstract Expressionism. It is a story produced and reinforced by critics, academics, curators, and museum directors.(p. 3)Women artists, for example, were frequently excluded not only becausethey were women, but because they may have tended to engage in painting that was more realist, which itself [End Page 118] became coded as "feminine," and so forth. McEnery's intriguing portraits of the early two decades of the twentieth century were "discovered," as Wolff notes for the l987 inaugural exhibition of the National Museum of Women in the Arts, despite the fact that McEnery had at one point been fairly well-known (pp. 41-42). A woman at work in a figurative tradition, and working in suburban circles far away from the geographical centers of the art world, she was quickly at the mercy of the canonical forces of art historical construction.As we attempt to educate our students about rubrics, social movements, and the relationship of the arts to the political events of an era, we can do little better than to cite, for illustrative purposes, a number of interesting cases, and Wolff does just that. In sharp and incisive prose, she not only investigates McEnery's disappearance from the approved version of the early American modernist scene, but she also examines the construction of the early group displayed at the Whitney, the notion of the "feminine" in the work of Simmel and Benjamin, and, finally, the notion of the "Jewish artist." As her exemplar for the... (shrink)

The case of the reintroduction efforts made on behalf of the California condor is examined, with a view toward discussing both the environmental difficulties and the overall cost. The work of Singer, Snyder, and others is cited, and it is concluded that the work was worthy, but that a full articulation of the problems has seldom been made.

In lieu of an abstract, here is a brief excerpt of the content:Bilingual Aesthetics:A New Sentimental EducationJane DuranBilingual Aesthetics: A New Sentimental Education, by Doris Sommer. Durham and London: Duke University Press, 2004, 254 pp.Doris Sommer's new work Bilingual Aesthetics is the sort of book that takes one by surprise—and for good reason. Filled with punning twists, and itself a valorizer of word games and magic, this work has not a lot to do with bilingualism (in the standard sense), not (...) a lot to do with aesthetics (again, in the standard academic sense), but a great deal to do with both. Whether the title is read (and Sommer's point is to forward the notion of alternate readings) as the aesthetics of bilingualism or as an account of what a bilingual might make of aesthetics, there is a startling amount of content in the work.Briefly, Sommer essays to make the case that our multicultural society is distinctly better off for being multicultural and multilingual (or at least, in some threatening sense, emergently bilingual) because the literal bilingual has a distinct advantage over her or his monolingual counterpart. The bilingual can play language games, and those games shock, amuse, or jolt—whatever it is that they do, they rouse us out of any state of intellectual torpor into which we might have fallen and they serve to make us all individuals who, in Du Bois' memorable phrase, have "double consciousness."Thus Sommer does in fact mean for her title to be read in at least two ways: Her work attempts to valorize and vindicate a sort of unofficial bilingualism (one of the blurbs on the back of the paperback edition begins by saying "Knowing a second language entails some unease... "), while she also attempts to let us in on the notion that there is an aesthetic that develops from the use of more than one code. Sommer plays remarkably on all these concepts: She is familiar with the standard, overt scholarship on bilingualism—she can cite work by sociolinguists and others. At the same time, as an author known for previous work on literature, especially with regard to Latin America, she is also familiar with much of the standard historical work in aesthetics, including Kant. Citing thinkers such as Kenji Hakuta, William J. Bennett, Wittgenstein, and Elena Poniatowska, Sommer leaves the reader somewhat bedazzled and breathless but better off for having read her work.Her overall thesis, if one may attempt to employ such a phrase, is that bilingualism and code-switching create for us the same sort of uneasiness and inevitable access to the unconscious that works of art and literature produce—and that the edginess that is a concomitant of code-switching is beneficial. Her first chapter "Choose and Lose" reminds Americans that the United States has always been a multilingual place and focuses on how much can be gained from attempting to forward the notion. If there is any difficulty to Sommer's work, it is that she practices what she preaches. Every page demands much of the reader, since every page itself engages in the [End Page 121] sort of rapid-fire twisting and switching that Sommer is trying to support as the ground for a new aesthetic consciousness.Early on, Sommer gives us the following:Complaints about the danger to national coherence [of multi- or bilingualism] can be downright funny.... [One irate journalist wrote:] "How can immigrants identify with America if they can't read Lincoln's words in the language in which they were spoken?(out of many, one) to a multicultural boarding house,...?" No need to be upset at this harangue. It's obviously a joke, even if the author missed it (a common asymmetry in bilingual humor). Notice that the translation from Latin assumes that English-only citizens don't understand the very slogan they hold dear.(p. 26)But of course the joke is to some extent on Sommer and on all of us, as she no doubt intends. It is highly unlikely that the journalist did get the humor, and the only funny part of the entire tirade is that we—assuming we have enough formal education—may be able to make something out of it... (shrink)