The conflict between pregnant women freely using cocaine and the well-being of fetuses presents a difficult social problem. Since 1985, at least 200 women, in thirty states, have been criminally prosecuted for using illicit drugs or alcohol during pregnancy. Such policies enjoy considerable public and political support. Nonetheless, treatment programs that include referral to law enforcement officials raise serious ethical and legal issues for hospitals and health care providers. In this paper, we assess the development of one medical university's controversial (...) treatment program for pregnant women addicted to cocaine.In October 1989, the Medical University of South Carolina instituted a new program, called the Interagency Policy on Management of Substance Abuse During Pregnancy, designed “to ensure appropriate management of patients abusing illegal drugs during pregnancy.” This program required some pregnant women to seek drug counseling and prenatal care under the threat of criminal sanctions. (shrink)

While there is considerable interest in the topic of business ethics, much of the research moves towards measuring components with a view to predicting ethical behaviour. To date there has not been a satisfactory definition of business ethics, nor has there been any real attempt to understand the components of a situation that may influence an individual's assessment of that situation as ethical or otherwise. Using Jones's (1991) construct of moral intensity as a basis for investigation, this paper presents some (...) exploratory analysis on the context within which ethical decisions are assessed. The findings reveal that individuals differ in their assessments of the same situation and often use a number of complex reasons to explain whether a situation poses an ethical problem for them. These findings are discussed within a framework of measurement issues and future directions for research. (shrink)

Introduction : music and abstraction -- Music and fantasy -- German romanticism and music -- Negative poetics : on skepticism and the lyric voice -- Rethinking the scale of literary history -- Mozart, Bach, and musical abjection -- Moods at mid-century : Handel and English literature, 1740-1760 -- Passion and love : anacreontic song and the roots of romantic lyric -- Haydn's whimsy : poetry, sexuality, repetition -- Non Giovanni : Mozart with Hegel.

The treatment of pregnant women addicted to drugs provides an especially important and illustrative example of how political and popular demands can successfully challenge professional ethical norms associated with clinical medicine — norms such as confidentiality, patient autonomy, and the right to consent to and to refuse treatment. One increasingly popular policy approach is to limit patient autonomy by coercing women in an attempt to change their behavior, either by involuntary civil commitment or by imprisoning them for drug abuse or (...) child neglect. Thirty-five states have criminally prosecuted women for substance abuse or alcohol use during pregnancy. Other states aggressively use involuntary civil commitment as a means to protect the yet-to-be-born from harm during pregnancy. Medical professionals have been forced to participate in these programs by mandatory reporting requirements. (shrink)

Drawing from the development of individualism in western philosophy and American history, this book constructs a normative theory called authentic individualism. Using the precepts of that theory, it urges organizational leaders to change the way they think about their organizations and their organizations' social function. Students and scholars of political science, social science, public administration, moral theory and organizational theory will find this a useful work. Contents: Introduction to Individualism; PART ONE: A Model of the Individual from Western Philosophy; The (...) Individual of the Ancients; The Individual of the Dark Ages; The Individual of Modernity; PART TWO: A Model of the Individual in the United States; Rugged Individualism of the Revolutionary U.S.; Rational Individualism After Romanticism and Reform; Radical Individualism from Disillusionment and Loss of Faith; PART THREE: Synthesis of Philosophies Toward a More Socially Responsible Individualist in the Third Millennium; Need for a New World View; Changing the Paradigm; Soul of the Third Administrative State; Notes; Bibliography; Index. (shrink)

There can be no question, of course, of any "influence" of Kant's or Rousseau's ideas on Mozart's musical structures. While I have used various loosely synonymous nonmusical terms—reverie, dream, unconscious, ethereal, and so on—the analysis could proceed on a nonmetaphorical, strictly technical basis. Indeed, much of it has. I should therefore clarify why I have superimposed this philosophical and literary layer on the musical analysis, even at the risk of giving the false impression that I wished to make the history (...) of music dependent upon the history of ideas.My answer lies, first of all, in the contention—in which I follow chiefly Michel Foucault, though with qualifications—that at every period in history a subterranean network of constraints governs the organization of human thought. Different fields develop and change in parallel not because they affect one another but because the infrastructures of mental activity affect them all. In this respect, the relationship of music and philosophy is no different from the relationship of literature and philosophy. The infrastructure is the precondition of thought and is by definition unconscious and unarticulated. Because it lies outside the limits of the individual disciplines, it cannot really be formulated within any of them. Hence arises the necessity of comparative study. The infrastructure comes to light at the juncture of independent fields. In the present case, it is accurate to say that music and philosophy mutually illuminate one another precisely because they are such different media; where they coincide lie the true invariants of eighteenth-century thought.Marshall Brown, an associate professor of English at the University of Colorado, Boulder, is the author of The Shape of German Romanticism, and Pre-Romanticism: Studies in Stylistic Transformation. (shrink)

In the chapter on multiplicity and unity, the affective or anthropological motifs are both more complex and more interesting. Wölfflin’s initial distinction is between “the articulated system of forms of classic art and the flow of the baroque” . Imagery of fluidity pervades the chapter, for water, according to Wölfflin, “was the period’s favourite element” . “Now, and now only,” he says, “the greatness of the sea could find its representation”, and as if to inculcate this affinity he places the (...) reproduction of a baroque seascape by Jan van Goyen at the head of the introduction to the book and a riverscape by Peter Brueghel at the head of this chapter, even though neither painting is discussed where it is reproduced. In fact it is worth observing that Wölfflin does not discuss any water paintings in this chapter, though of course he does so elsewhere. Where fluidity becomes the meaning of his category, it is absent from the contents of the paintings. Wölfflin’s procedure, as I have argued, is both objectively analytical and subjectively interpretive, and in this chapter he seems careful to preserve the distance between the forms he describes and the significances he reveals. Were he to treat water paintings here, he would obscure the fact that his analyses are always the prelude to translations.Though he conceals the fact, Wölfflin has here effected a translation of the baroque into itself, of water painting into fluidity. Baroque art has declared its true meaning, which is to be an art of flux—of time and, throughout this chapter, of momentariness. Suddenly here the baroque comes into its own, with a surprising reversal in Wölfflin’s categories. Until now he has associated the baroque with lawlessness and confusion, and classicism with the unifying force of symmetrical organization around a center. Unity is repose—the equation had been made explicitly in the discussion in Classic Art of Michelangelo’s Medici Madonna —and clearly in Principles of Art History Wölfflin seems to say that the unification achieved in Leonardo’s Last Supper was later lost Tiepolo’s version.21 As Wölfflin says in the first sentence of chapter 4, “The principle of closed form of itself presumes the conception of the picture as a unity.” But as the baroque now comes into its own, it appears that the unity of classicism is an illusory, “multiple unity,” whereas the true or “unified unity” actually pertains to the baroque. It is the usurping baroque, rather than the deposed classic, that now has “a dominating central motive.” And So Wölfflin returns in this chapter to the two Last Suppers in order to rescind his earlier position. He still claims that Leonardo’s painting is unified, but he offers Tiepolo’s version to illustrate the “possibility of surpassing this unity” . In becoming itself, baroque art has overthrown classicism.21. “Tiepolo composed a Last Supper which, while it cannot be compared with Leonardo as a work of art, stylistically presents the absolute opposite. The figures do not unite in the plane, and that decides”. (shrink)

In everyday speech we seem to refer to such things as abstract objects, moral properties, or propositional attitudes that have been the target of metaphysical and/or epistemological objections. Many philosophers, while endorsing scepticism about some of these entities, have not wished to charge ordinary speakers with fundamental error, or recommend that the discourse be revised or eliminated. To this end a number of non-revisionary antirealist strategies have been employed, including expressivism, reductionism and hermeneutic fictionalism. But each of these theories faces (...) forceful objections. In particular, we argue, proponents of these strategies face a dilemma: either concedes that their theory is revisionary, or adopt an implausible account of speaker-meaning whereby the content of certain types of utterance is opaque to their speakers. In this paper we introduce a new type of antirealist strategy, which is thoroughly non-revisionary, and leaves speaker-meaning transparent to speakers. We draw on work on pragmatics in the philosophy of language to develop a theory we call ‘pragmatic antirealism’. The pragmatic antirealist holds that while the sentences of the discourses in question have metaphysically contentious truth conditions, ordinary utterances of them are pragmatically modified in context in such a way that speakers do not incur commitment to those truth conditions. After setting out the theory, we show how it might be developed for both mathematical and ethical discourse, before responding to some likely objections. (shrink)

When I was asked to propose a topic for my presidential address, the subject I chose, moral imperatives and conundrums of conscience, seemed to me particularly appropriate and timely. This was in part because of the problems of conscience caused for many members of the Academy by the decision to hold the annual meeting in Arizona, whose restrictive laws on immigration seemed to many to violate basic principles of right and justice and hence to warrant a boycott. Long, thoughtful, and (...) impassioned discussion of the issues revealed their complexity. Although the final decision disappointed many members, all recognized its virtue in supporting the Arizonans who were struggling to accomplish revocation of legislation they believed wrong. There was more. The crises in the leadership of the Academy during two of my years as a presidential officer raised issues of conscience and morality for all who worked to achieve equitable, just, and rational solutions to our problems and conflicts. On both issues, the site of the meeting and the governance of the Academy, colleagues adopted and defended positions that demonstrated the variety and strength of their convictions and the diversity of their reasons for holding them. (shrink)