Nature writing might seem among the furthest thing possible from questions of Marxist praxis. Rachel Greenwald Smith argues for their connection.

This article is a commentary on O’Donohue’s2019 37-point critique of the American Psychological Association Ethical Principles of Psychologists and Code of Conduct ([Ethics Code] 2017). In this brief paper, we respond to the article by addressing our most important disagreements with O’Donohue’s arguments as well as areas of agreement. While we disagree with many of O’Donohue’s points, we also view his critique as being important and timely given that the 2018 APA Ethics Task Force is currently exploring potential revisions to (...) the Code. (shrink)

The author posits that greed and insensitivity to the needs of others are corrosive values that have engendered the global economic crisis. Examples are cited to support the thesis that it is primarily an ethics crisis that has resulted in the distortion of the US economy, such that the middle class is sliding into poverty while the wealthiest 1 per cent is ever more powerful and wealthy. The irony of the predatory capitalism (as distinct from stakeholderbased capitalism) being practised is (...) that it is ultimately self-destructive to the practitioners. The unsustainability of the present system is discussed along with solutions, including stakeholder management, corporate and personal altruism and spiritual awakening. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Bonaventure's Inception Address as Regent Master at Paris:Omnium ArtifexRandall B. SmithInception as Master and the Principium in AulaAfter nineteen years of study at the University of Paris—six in the study of Arts (1235–1241), two lecturing in the Arts (1241–1243), five as auditor theologiae (1243–1248), two as a baccalarius biblicus and as a lector biblicus for the Franciscans (1248–1251), two as a baccalarius sententiarius (1251–1253), and one as a baccalarius (...) formatus (1253–1254)—Bonaventure of Bagnoregio was incepted as magister regens (regent master) around Easter (12 April) in 1254 to replace William of Middleton in the Franciscan chair at the University of Paris.1At that time, the inception ceremonies for an incoming regent master consisted of several parts. On the appointed day, the candidate would be officially received by the chancellor of the university in the ceremonial hall, the aula, of the bishop before the assembled faculty and students of the university. The previous evening would have been spent responding to bachelors and masters in a complex series of "disputed questions."2 But on the morning of the next day, the presiding master would have stood and placed on Bonaventure's head a biretta and said aloud: "I place on you the magisterial biretta in the name of the Father, and of the Son, and of the Holy Spirit. Amen." After birettas had been distributed to the other masters to place on their own heads, the gathered company sat down to hear the new master deliver his inaugural lecture, the principium in aula.According to University regulations, the principium address was to be a praise of sacred Scripture, and although it was one of the high [End Page 211] points in the inception ceremony, the inception address was supposed to be delivered "briefly" (breve) and "quickly terminated" (celeriter terminato).3 When Friar Thomas Aquinas incepted in 1256, two years after Bonaventure, his principium address was completed in about ten minutes. Brother Bonaventure's principium, a translation of which follows this introduction, would require about forty minutes or more to read out loud. But then, as Aquinas himself might have said, "briefly" can be said in several ways.4 A study of earlier principium addresses by other masters shows, moreover, that the length of these addresses varied from master to master.5The Principium in Aula and the Sermo Modernus StyleThe earliest records we have of masters who incepted at Paris reveal that their inception principia addresses were always delivered in the contemporary style of preaching, the so-called "sermo modernus" or "modern sermon" style. There is no need for our present purposes to trace the development of the sermo modernus style, other than to say that its origins lie in the late twelfth and early thirteenth century, and that it had become highly developed, with numerous preaching manuals and reference materials to help preachers master its forms, by the time Thomas and Bonaventure were incepted as masters at Paris, in 1256 and 1254 respectively.6 [End Page 212]In brief, three things were especially characteristic of these thirteenth century sermo modernus style sermons: (1) the thema, a biblical verse, usually from the day's readings that the preacher would use to lend structure and order to the entire sermon; (2) the divisio of the thema, and (3) the dilatatio of each of the parts created by this opening divisio.7The thema verse served as a structuring device which provided an outline of the topics to be covered in the sermon. When the sermon was preached, the thema verse also served as a mnemonic device to help the listeners identify their place within the progress of the whole and then recall the contents of the sermon after it was finished. To recall the contents of the sermon, one merely had to bring to mind the opening thema verse, and each word would suggest the topics the preacher had associated with it.8So, for example, in the principium address Bonaventure delivered at his inception as master, Bonaventure took as his opening thema a verse from Wisdom 7:1, Omnium artifex docuit me sapientia ("The maker of all things... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Bonaventure's Reductio of the Nine Choirs of Angels:How Bonaventure Compressed Two Monumental Traditions into Nine Words and Nine Short PhrasesRandall B. Smith"There is probably no better illustration in medieval thought of how the genius of the symbolic imagination also involves deep speculative insight." So wrote Bernard McGinn of Bonaventure's Itinerarium mentis in deum in The Flowering of Mysticism: Men and Woman in the New Mysticism, 1200–1350.1 There is no (...) question that the Itinerarium is a book suffused with symbolic imagery; so much so, in fact, that it can sometimes seem to lapse into a confusing jumble.Certainly there are many sections of the Itinerarium that have baffled readers over the years, often because Bonaventure's use of imagery is so unique and creative and the truths he is attempting to enunciate are so far beyond our normal ways of thinking about God. But there is a short passage in chapter 4 of the Itinerarium that seems to defy interpretation precisely because of what one might describe as an almost austere terseness and brevity. The point Bonaventure wishes to make is one he communicates in little more than a list of nine words and nine short, parallel phrases.The passage I have in mind is this one in Itinerarium 4.4.When these things have been accomplished, and our spirit has been brought into conformity with the heavenly Jerusalem, it is ordered [End Page 583] hierarchically so that it can ascend upward. For no one enters into that city unless that city has first descended into the person's heart by means of grace, as John sees in his Apocalypse. It descends into the heart when our spirit has been made hierarchical by the reformation of the image, by means of the theological virtues, the enjoyment of the spiritual senses, and the ecstasy of rapture; for it has been purged, illumined and brought to perfection.In this way our spirit is adorned with nine orderly levels when within it the following are found in an appropriate order: announcing, dictating, leading, ordering, strengthening, commanding, receiving, revealing, and anointing. These correspond to the nine choirs of angels. The first three of the foregoing levels in the human mind relate to nature; the next three relate to work; and the final three relate to grace. When it has attained these, the soul, by entering into itself, enters into the heavenly Jerusalem where, as it considers the choirs of angels, it sees in them the God who dwells in them and who works in all their operations.Therefore, Bernard says to Pope Eugene that "God loves in the Seraphim as charity; knows in the Cherubim as truth; sits in the Thrones as justice; reigns in the Dominations as majesty; rules in the Principalities as a guiding principle; protects in the Powers as salvation; is at work in the Virtues as strength; reveals in the Archangels as light; assists in the Angels as kindness." From all this, God is seen as all in all when we contemplate God in our minds where God dwells through the gifts of the most generous charity.2Notice in the passage I have quoted above that Bonaventure says our spirit must be "brought into conformity with the heavenly Jerusalem," and that this requires it be "ordered hierarchically so that it can ascend upward." This serves as a transition into a rather odd pair of lists—one with nine words and the other with nine short, parallel phrases—that Bonaventure associates with the nine angelic choirs. These two lists of the nine choirs of angels do not, however, correspond exactly with one [End Page 584] another, for reasons I will explain below. And although these two lists of the nine ranks of angels in the angelic hierarchy take up just a few lines in Bonaventure's text, there is a lot of background information we will need to fill in to provide the necessary context to appreciate them. Indeed, as we will see, in this short passage, Bonaventure was able using the methods of the thirteenth-century sermo modernus style to reduce two monumental commentary traditions regarding the nine choirs of angels—one that... (shrink)

The article focuses on the ‘meaningfulness in work’ concept and addresses three theoretical gaps by investigating ‘meaningfulness in work’ from the perspective of Heidegger’s ‘authenticity’ and ‘Dasein’ constructs as well as virtue ethics. First, it adapts Heideggerian phenomenology and argues that meaningfulness in work may be revealed to an ‘authentic’ employee, while they performs everyday activities by ‘existing’ in their world and discovers their Dasein. Second, it emphasizes the normative, as opposed to instrumental implications of meaningfulness and invokes virtue ethics (...) towards this end. Third, it integrates the Heideggerian approach with virtue ethics to describe how an ‘authentic’ and ‘virtuous’ employee may achieve meaningfulness in work (conceptualized as ‘eudaimonia’). An ‘authentic virtuous employee’ ‘exists in their world’ and discovers what is truly meaningful in work to them. They also displays temperance and courage in terms of closing the gaps between current and desired levels of meaningfulness in work, and continually contemplates it. We describe a ‘professional’ as an example of an ‘authentic virtuous employee’. (shrink)

Should arts education have a more significant place in our schools? An emphatic "Yes" comes from the editors and other contributors to this provocative volume. They build their case by drawing upon recent developments in cognitive theory and, in particular, upon contemporary thought regarding aesthetic knowing. They contend that aesthetic knowing constitutes a "special mode of cognition" and they see aesthetic learning as vital to intellectual growth and development. They argue that the arts should "constitute a foundational school subject." An (...) opening chapter reviews past practices in education in the arts, thus providing a needed historical context within which current thinking about aesthetic learning can be viewed. The following chapters elaborate on the idea and value of aesthetic knowing from various perspectives to buttress the case for its importance in education. Developmental issues are explored to deepen understanding of the nature of aesthetic growth. Studies reveal that children's art products have not changed over the years. But how has a cognitive perspective changed the way in which child art is interpreted? Can phases in general aesthetic development be identified? Or are such phases specific to each art form? What pedagogical issues arise in education in the arts? How are conceptual learnings important to the development of aesthetic understanding? Does the study of fine arts enrich the quality of life and shape human personality in positive ways. Given the long history of arts education as a peripheral matter in schools, is it now possible to envision a greater recognition of what study of the arts can accomplish by a proper focus on aesthetic knowing? These are some of the questions addressed in a volume that provides stimulating reading not only for arts educators but for all who are genuinely concerned about education. (shrink)

The most common corporate reaction to public concern over the ethics of their business practices and the sensitivity of their organization to social expectations is to promote policies and rules designed to bring about a set of socially responsive behaviours and actions. The result of this corporate deontological approach is to create a teleopathic culture that relieves decision makers from the personal responsibil ity for the consequences of their actions and widens the gap between how society expects business to behave (...) and their actual behaviour. The corporate use of a deontological approach effectively allows the substitution of corporate conscience for the moral values of individual decision makers and thus weakens the linkage between individual personal values and behaviour. The creation of teleopathological behaviour in an organization is explored through a juxtaposition of the parables of the Sadhu and the Good Samaritan. The consequences of teleopathic behaviour are then illustrated through an examination of Dow Corning's silicon gel product liability case. (shrink)

In this volume, Randall B. Smith provides a revisionist account of the scholastic culture that flourished in Paris during the High Middle Ages. Exploring the educational culture that informed the intellectual and mental habits of Thomas Aquinas and Bonaventure, he offers an in-depth study of the prologues and preaching skills of these two masters. Smith reveal the intricate interrelationships between the three duties of the master: lectio (reading), disputatio (debate), and praedicatio (preaching). He also analyzes each of Aquinas and Bonaventure's (...) prologues from their student days to their final works, revealing both their artistry and their instructional character. Written in an engaging style, this book serves as an invaluable resource that will enable scholars and students to read thirteenth-century sermons, prologues, and biblical commentaries with greater understanding and ease. (shrink)

The author offers a modification and extension of existing organizational transformation approaches by drawing on values-oriented and stakeholder management paradigms currently popular in literature. Many of the current values-based change paradigms offer vague guidance as to how to actually create, implement and sustain a strategically and operationally excellent organization as an extension of a stakeholder-based cultural mindset. Sharing the belief that organizations should be operationally and strategically sound in addition to being stakeholder centred, the suggestions presented represent an attempt to (...) combine the altruism of stakeholder-based management with practical organizational transformation theory to suggest steps for transformation. The approach suggested here, which places a primary emphasis on the organization's moral standing from the individual employee's perspective, is also supported by existing literature on the need for values congruence between organizations and individuals. Thus, the paper's central premise is that organizational transformation, commonly called OT, should begin with a cultural transformation, aimed at raising the level of moral reasoning of the firm as a necessary precursor to a subsequent operational and strategic transformation. (shrink)

Proceeding from the observation by Ryle that I cannot prepare myself for the next thought that I am going to think, I argue that conscious acts cannot control my bodily motions or thoughts. This position is not compatible with indeterminism. I also argue that consciousness represents the irreducible and multi-modal output of the behavioral control system sensors necessary for the control of human behavior demonstrated by Marken . My analysis supports one experimental result obtained by Libet, Gleason, Wright, and Pearl (...) , namely, that the initiation of a "voluntary act" is an unconscious cerebral process. I conclude that the following are not realizable: "mental intentions" acting on the supplementary motor area as postulated by Eccles and Robinson , and "veto," a conscious abort of a motor act after subjects reported "wanting to act" . These two items would seem to be amenable to test by studies similar to or refinements of Libet's. (shrink)

Saint Bonaventure's Journey of the Soul into God is one of the most important works in the Christian mystical tradition. In this volume, Randall Smith provides the first comprehensive commentary in English of Bonaventure's classic text. He situates the work within its historical, intellectual, and cultural contexts.

This article reflects on the relationship between historical writing and enquiry and philosophy, and more particularly the manner in which the pursuit of a particular natural philosophy can influence historical narratives. The article begins with a comparison of Roman and Greek approaches to history, employing a distinction between narrative and logic. It goes on to consider the impact of Christianity, the relationship between enlightenment narratives and philosophical developments regarding the nature of causation, and the Hegel/marx critique of the kinds of (...) empiricism associated with Hume. The article ends by considering the counterfactual historical analysis and the proper relationship between history and philosophy for modern historians. ☆ This is the second article that we are publishing from the papers of Professor Ralph B. Smith (1939–2000), the celebrated historian of South East Asia. Ralph Smith was Professor of the International History of South East Asia at the School of Oriental and African Studies at the University of London. At his death he left a draft manuscript concerned with the writing of history, and this is one of the draft chapters. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 39.2 (2005) 97-103 [Access article in PDF] MoMA as Educator: The Legacy of Alfred H. Barr, Jr. Ralph A. Smith Professor Emeritus University of Illinois at Urbana-Champaign Alfred H. Barr, Jr. and the Intellectual Origins of the Museum of Modern Art by Sybil Gordon Kantor. Cambridge: The MIT Press, 2002, xxv, 472 pp., $39.95. ISBN 0-262-11258-2 Sybil Kantor's history of the intellectual origins of (...) the Museum of Modern Art (MoMA) is an engaging account of Alfred Barr, Jr.'s, pivotal role in acquainting an American audience with the modernist movement in art that had developed in Europe and the Soviet Union in the first part of the twentieth century. Scrupulously documented, Kantor's narrative relies heavily on interviews with Barr's contemporaries, his publications, and his extensive correspondence. She also limns portraits of major figures who either influenced his ideas or were instrumental in establishing MoMA. Although the book is very informative about modern art, according to its author it is not intended to be strictly a history of that art. Rather, it is devoted to Barr's early development, his personal characteristics, his attitude toward the cultural and political climate of the times, his definitions of modernism and formalism, and finally, his legacy.Kantor traces Barr's career through the decade of the 1920s, which culminated in his being named the first director of MoMA in 1929; the expansive years of the 1930s and 1940s when, as Kantor puts it, Barr and the museum were at full throttle; and the later years when Barr was relieved of his director's responsibilities to allow him to spend more time on writing and the mounting of exhibitions. He retired from the museum in 1967, began to show signs of ill health in the mid-1970s, and died at the age of 79 in 1981. The Early Years Barr began his studies in the history of art at Princeton where he took courses with Frank Jewett Mather, who taught about modern art, and with Charles Rufus Morey, a distinguished medievalist whose teaching ranged beyond the architecture and sculpture of the Middle Ages to the other arts of that era. Morey's example of comprehensiveness would later stimulate Barr to think along similar lines about modern art and the organization of MoMA. At Harvard's graduate school Barr learned the skills of connoisseurship and museum management from Paul Sachs whose students went on to become directors of major museums across America. Sachs also encouraged Barr's interest in modern art and provided him with numerous letters of [End Page 97] introduction to scholars and museum directors — and occasionally withfunds for his travels.1 Lincoln Kirstein was a close friend, art critic, and earlyally, while Henry-Russell Hitchcock, Walter Gropius, and Philip Johnson significantly affected Barr's understanding of architecture. A large cast of artists, patrons, collectors, writers, trustees, and editors of "little magazines"(so-called because of their relatively small numbers of readers) also enter the scene and play various roles. A few words are in order about Barr himself who, Kantor says, exhibited more rebelliousness, a larger vision, and greater discipline than most of those around him. Barr the Man Kantor portrays a mind and sensibility possessed of exceptional discernment for the new, the difficult, and the worthwhile in the art of the early twentieth century. Barr's feeling for order, organization, and clarity of relations; his commitment to perfection, freedom, and truth; and his faith in the capacity of modern art to overcome prejudices and improve the taste of Americans are not merely reflections of the disciplinary habits inculcated by Barr's Presbyterian upbringing. They also reveal the classical tastes acquired through his art-historical studies and echo the temper of the age.The time — the 1920s through the 1940s — valued both the rationalism of science with its methods of problem solving and the insights of psychoanalysis with its probing of the irrational. Belief in the inevitable progress promised by advances in technology was, however... (shrink)

On Compromise is an argument against contemporary liberal society's tendency to view compromise as an unalloyed good--politically, ethically, and artistically. In a series of clear, convincing essays, Rachel Greenwald Smith discusses the dangers of thinking about compromise as an end, rather than as a means. To illustrate her points, she recounts her stint in a band as a bass player, fighting with her bandmates about 'what the song wants,' and then moves outward to Bikini Kill and the Riot Grrrl movement, (...) the Iowa Writers' Workshop, Poetry magazine, the resurgence of fascism, and other wide-ranging topics. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:On Reviewing: A Response to Mary Ann StankiewiczRalph A. Smith, Professor EmeritusI very much appreciate the positive comments made by Mary Ann Stankiewicz in her review published in Studies in Art Education of my Readings in Discipline-Based Art Education: A Literature of Educational Reform.1 I was gratified to read that she believes the volume is a comprehensive and valuable guide that all art educators should own as a reference (...) source for the intellectual history of American art education in the late-twentieth century. Stankiewicz further notes my steadfastness in holding to a vision ofaesthetic education that is firmly rooted in the humanities and my forthrightness in acknowledging that a different choice of selections might well convey a somewhat different picture of Discipline-Based Art Education (DBAE). Between encomia, however, Stankiewicz raises questions about my editorial politics (that is, opportunities editors have to make selections they think are important) and my views about art education.The format of Stankiewicz's review was patterned after an essay in the volume by Frances Schoonmaker who discusses the professional preparation of teachers in terms of autobiography, school contexts, and scholarship. Accordingly, Stankiewicz recalls in some detail her own extensive participation in the Getty's educational venture in art education. And instead of referring to the Introduction's discussion of historical antecedents of DBAE she provides her own account of events that were contemporaneous with Getty's period of operation and refers to some currents of contemporary thinking. In other words, she does not give the kind of space to the book's contents that reviewers usually do.2 This prompted me to recall some material from the book's Introduction, which is followed by a sketch of the DBAE literature project that furnished the impetus for the volume and rejoinders to some of Stankiewicz's concerns.DBAE RememberedThe Getty Center for Education in the Arts (later renamed the Getty Education Institute for the Arts and eventually discontinued) flourished mainly in the 1980s and 1990s and proceeded under the banner of DBAE. The Getty's notion of DBAE supported a major trend that had been growing in the field since the mid-1950s. In this respect the Getty initiative was neither novel nor revolutionary. Yet by correcting an error of certain reform movements, namely those whose tendency was to bypass professionals in the field, it did constitute a significant venture. Getty officers perceived the field to be [End Page 93] moving in the direction of strengthening the content of art education with additional content that was believed requisite for an intelligent and sensitive engagement with works of art. In effect the Getty position argued that a well-developed sense of art is composed not just of the rudiments of artistic creation art but also those of a number of other relevant disciplines, for example the interrelated disciplines of art making, art history, art criticism, and aesthetics (usually understood as the philosophy of art). It was acknowledged that these were not the only disciplines relevant to art education, but they were considered to be basic. Nor was it believed that these disciplines should be taught as separate subjects; rather, they were meant to suggest content and useful modes of inquiry. As Stankiewicz notes, DBAE endorsed both the substantive and procedural dimensions of the cognitive revolution that was occurring in thinking about mind and learning. Indeed, mind building emerged as one of the major themes in the theory underlying the Getty approach.3Not surprisingly, the Getty approach had its critics. As pointed out in my "Afterthoughts,"the Getty initiative was contemporaneous with the increasing politicization of cultural and educational life.4 The critical literature produced in this climate — subscribing variously to postmodernism, multiculturalism, feminism, cultural studies, social reconstructionism, and deconstruction — was often by turns extreme, dense, and intimidating. It further tended to be skeptical of Western cultural values and traditions. I think it is fair to say that many in the field of art education were ill prepared to digest these writings or to be alert to some of their potential negative consequences. I mention just a few of these.For example, although developing an appreciation for hitherto unfamiliar cultures is... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Rembrandt and LearningRalph A. Smith (bio)IntroductionIt appears to be a defining characteristic of Rembrandt’s works—as important as the brushstrokes, the underdrawing, the types of ground and the paints used—that they move people exceedingly. [T]hey help us feel something of what the artist may have felt about youth, old age, friendship, isolation, and love.—Anthony Bailey[For] Rembrandt, imperfections are the norm of humanity, which is why he will always speak across (...) centuries to those for whom art might be something other than the quest for ideal form.—Simon SchamaArt can arouse the senses, touch the feelings, and stir the passions. In exercising these formidable powers, the artist should respect certain limits of good taste and moral propriety. Rembrandt possessed unequal skill in depicting the passions in original ways without breaking the code. Well, hardly ever.—Gary SchwartzThe National Endowment for the Humanities (NEH) Rembrandt Project was designed to apply state-of-the-art digital technology to the development of the multiple competencies needed for understanding and appreciating [End Page 101] Rembrandt and his time. As educational consultant to the project, I was given the assignment of conceptualizing a framework that would accommodate and illuminate the project’s purposes. This meant that I not only had to refamiliarize myself with seventeenth-century Dutch art and culture and with the national and state standards for the visual arts but also acquaint myself with the standards for socials studies; both sets of standards occupy a prominent place in the project and are the subject of the third section of this article. The overarching viewpoint from which I approached my assignment, however, was that of the humanities, a topic to which I turn first. Furthermore, since the project’s foremost concern is with masterpieces of the visual arts, I thought it apposite to address briefly some issues in aesthetics, especially those that relate to experiencing artworks appropriately. Having surveyed the project from the perspectives mentioned, I then ask to what extent it was successful in avoiding the pitfalls that often frustrate the implementation of novel ideas and methods.1The HumanitiesThe following interpretation of the humanities is condensed from the writings of two distinguished philosophers, Albert William Levi and Walter Kaufmann, and the historian Paul Gagnon. Levi, an early member of the National Council for the Humanities and for most of his career a distinguished professor of the humanities at Washington University, was once asked to define the essence of the humanities. He replied that the purposes of the humanities are to encourage persons to “to think critically, to communicate successfully, and to walk proudly with [their] tradition.”2 Noteworthy in this terse statement is its emphasis on the procedural aspects of the humanities, that is, their effects on human actions and attitudes. Such emphasis accorded well with the tradition of the Middle Ages, which construed the humanities as skills of organizing and understanding human experience. Levi, however, also acknowledged the Renaissance conception of the humanities as subject matters, thereby paying tribute to the endeavors of Renaissance scholars who devoted themselves to recovering and transmitting the literary texts of antiquity. A strong believer in historical continuity, Levi synthesized the Medieval and Renaissance traditions by proposing that the humanities be understood as skills of communication, continuity, and criticism. These skills have their substantive grounding in languages and literatures, history, and philosophy, the latter conceived as critical reflection.3 After pondering Levi’s interpretation, I added another “c,” the arts of creation, to his troika. Thus, the humanities can be understood as indispensable to human experience because they are the arts of creation, communication, continuity, and criticism.Another view of the purposes of the humanities and their relevance to the project can be found in the writings of the historian Paul Gagnon. He [End Page 102] stressed the importance of preparing the young for citizenship, personal cultivation, and vocation within a curriculum committed to the values of equity and competence.4 Gagnon interpreted the study of history as providing critical checks on reality, imparting insights into the various ways in which persons have used historical knowledge to find their place in the flow of events, and... (shrink)

This thought-provoking book examines the science behind human attractiveness—the ratios, proportions, and other factors that to a large extent dictate what we find "beautiful." It's said that "beauty is in the eye of the beholder," but recent scientific research suggests that human attractiveness is much more objective than we once thought, deeply rooted in our biology and evolutionary history. For instance, facial symmetry is considered extremely attractive because it indicates good health and nutrition during the formative developmental years. This book (...) explores these insights. Part I of The Biology of Beauty: The Science behind Human Attractiveness takes a closer look at what traits we find the most alluring and why. It discusses why attractiveness is important from an evolutionary standpoint and the advantages (and disadvantages) of being attractive. In addition to exploring these beauty "universals," it examines how beauty ideals can be shaped by factors such as culture, religion, and the media. Part II provides an in-depth analysis of individual features that contribute to attractiveness, offering scientific explanations for our preferences. The book also includes a collection of insightful sidebars that highlight beauty ideals in different parts of the world and at other times in history. (shrink)

The paper anticipates increasing unethicalness of business in a hyper-competitive climate. An attempt is made to rediscover a core set of values and virtues reflective of traditional ethics to combat the crisis of business morality. The proposal for the 'common morals' view of ethics steers clear of the theoretical opposites of Kantian and Utilitarian ethics which seem to have little practical bearing on actual decision-making. The author quotes the findings of a research study in which 86 per cent of the (...) corporate executives were found to use traditional methods like prayer, meditation and scripture reading to enhance their moral imagination, to sharpen their judgment and to strengthen their sense of duty. Further, he advocates a culture of reward and punishment which reinforces moral excellence. According to him, 'leading by example' is the most important requisite for ethicality in organizations. (shrink)

The author posits that the value of individual freedom is best realized within the context of the Moral Imagination concept of philosopher Rudolph Steiner and that when freedom is seen more as a licence for deception and exploitation not only does the greater community suffer but also the party itself suffers character destruction. Thus, laissez-faire capitalism, as exemplified by the mortgage banking meltdown of 2008 and subsequent debt-based unemployment crisis, has not only impoverished millions, destroyed savings and bankrupted long-established investment (...) firms, but also has further bonded the perpetrators to the morally undeveloped self-centredness of Lawrence Kohlberg’s least advanced moral stage (Kohlberg, 1981). Following a discussion of the folly and futility of the consumerist culture, the author argues that the solution lies in practicing the time tested values of caring and social responsibility on the part of government and mortgage bankers coupled with self-restraint and moderation on the part of investors and borrowers. (shrink)