Discussions of whistleblowing whether in academic literature or in more popular media have tended to very one-sided assessments of the moral worth of the act. Indeed, much of the current literature concentrates on psychological or managerial aspects of whistleblowing while taking for granted this or that moral position or eschewing any normative commitment on the question. The purpose of this article is firstly to reemphasise the importance and complexity of the normative foundations of whistleblowing acts; and secondly, through a moral (...) philosophical analysis of the component decisions that make up any act of whistleblowing, to contribute to a more balanced and less polarised treatment of the topic. It is argued that the polarisation of views on the topic is in part due to a failure to decompose the act of whistleblowing into a number of inevitable component moral decisions leading up to the act. It is furthermore argued on the basis of the analysis that it is impossible to state a priori as a matter of general principle that whistleblowing is always morally right or morally wrong . The article will close with a reflection on the degree to which the weighing up of good and bad in the act of whistleblowing differs sharply among cultures; and with a conjecture as to a possible relation to a people's history which may serve as a pointer to interesting future empirical research on the topic. (shrink)

Aeschylus' famous simile comparing Iphigeneia to a painting just before her sacrifice ( Ag. 239–42) rests not just on the girl's silence and unbroken gaze at her killers but also on the strikingly pitiable nature of her expression. The Euripidean Hecuba's plea to Agamemnon to pity her by gazing on her "like a painter" ( Hec. 807–8) develops this idea and comprises a parallel to aspects of ancient literary criticism that prescribe an emotive identity between poets and their works. The (...) incorporation of painting into these highly charged moments focuses on its ability to arouse pity, a preeminent emotion of tragedy overall. (shrink)

Acknowledgements -- Introduction -- Organisational strategy -- Finance and economics -- Organisational behaviour -- Marketing and innovation -- HRM and employee relations -- Epilogue.

A Sense of Beauty -- Hearing -- Seeing -- Touching -- Tasting -- Smelling -- Epilogue.

The enduring fame of Aeschylus as the earliest of the ‘three great tragedians’ has made him in effect the first dramatist of the Western tradition, in chronological terms at least. At the same time it is worth noting that among the ancients he also enjoyed a reputation as a master of the satyr play, as Pausanias and Diogenes Laertius tell us. It is to this kind of drama, which comprised one-quarter of his output as tragedian, that I would like to (...) turn, with particular focus on his Theoroi or Isthmiastai, and its treatment of another visual medium, the plastic arts. Our fragments of this play begin with a figure presenting a chorus of satyrs with artfully wrought images made in their likenesses which bring them a startled delight. In the second discernible scene of the fragment the chorus receivesνεοχμᾰ… θρματα , usually understood as athletic equipment, which the satyrs find rather more unsettling. The following piece is primarily concerned with the first scene in which the coryphaeus urges his companions to dedicate the depictions as votives on Poseidon's temple, relishing the prospect of the comical, terrifying effect these images would have on his own mother and travellers, the latter probably on their way to the Isthmian games. At least this much is clear from the papyrus . This part of the fragment has attracted a good deal of attention for the evident ‘realism’ of the images that excites the satyrs so much in the first place. (shrink)