Our paper contributes to emerging management research on the effects of societal inequality. It aims to study the relationship between societal-level inequality and perceived unequal HR practices within organizations based on relationships which we term “relation-based inequality” (RBI). We further examine the moderating effect of country corruption on the RBI-employee commitment link. Thus, whereas previous research has looked at single countries, there is still much to know about societal effects of inequality and corruption on employee perceptions and attitudes at work (...) across countries. By surveying 691employees from five countries and using country-level indicators we take a first step in this direction, and establish that inequality (income, health and education) is linked to higher levels of relation-based HR practices. We also show that the effect of RBI is different for continuance, affective and normative commitment, and contingent on country corruption levels. (shrink)

Much ink has been spilled in philosophy over the question of whether morality is an objective or subjective matter. In the world of The Good Place, the answer to the moral question seems fairly firmly determined: right and wrong are objective matters, and there is a fact about whether our actions are good or bad. The ancient Greek philosopher Pythagoras believed that beauty was a quantifiable principle of nature, and that we could find the source of beauty in the harmony, (...) order, and regularity of beautiful things. In some ways, The Good Place appears to treat aesthetic goodness and badness as if they were objective matters. The Good Place is a sort of extended version of Jean‐Paul Sartre's (1905–1980) existentialist play No Exit. In The Good Place, hell is other people's tastes. (shrink)

Research on the effects of particularistic human resource practices (i.e., favoritism and nepotism) on organizational outcomes has concentrated on direct negative attitudinal and behavioral responses. By integrating legitimacy and social exchange theories, this paper proposes and tests the idea that legitimacy of particularistic practices might moderate their negative effects on employee attitudes at work. Through a survey of 415 employees across multiple organizational types, we show that the legitimacy of particularism mitigates its negative effects on affective commitment and perceived distributive (...) and procedural justice in non-family-owned businesses only. We discuss implications for theory and practice. (shrink)

Sarah Angelina Acland is one of the most important photographers of the late Victorian and early Edwardian periods. Daughter of the Regius Professor of Medicine at Oxford, she was photographed by Lewis Carroll as a child, along with her close friend Ina Liddell, sister of Alice of Wonderland fame. The critic John Ruskin taught her art and she also knew many of the Pre-Raphaelites, holding Rossetti's palette for him as he painted the Oxford Union murals. At the age of (...) nineteen she met the photographer Julia Margaret Cameron, whose influence is evident in her early work.Following in the footsteps of Cameron and Carroll Miss Acland first came to attention as a portraitist, photographing the illustrious visitors to her Oxford home. In 1899 she then turned to the challenge of colour photography, becoming, through work with the 'Sanger Shepherd process', the leading colour photographer of the day. Her colour photographs were regarded as the finest that had ever been seen by her contemporaries, several years before the release of the Lumière Autochrome system, which she also practised.This volume provides an introduction to Miss Acland's photography, illustrating more than 200 examples of her work, from portraits to picturesque views of the landscape and gardens of Madeira. Some fifty specimens of the photographic art and science of her peers from Bodleian collections are also reproduced for the first time, including four unrecorded child portraits by Carroll. Detailed descriptions accompany the images, explaining their interest and significance. The photographs not only shed important light on the history of photography in the period, but also offer a fascinating insight into the lives of a pre-eminent English family and their circle of friends. (shrink)

When people retell stories, what guides their retelling? Most previous research on story retelling and story comprehension has focused on information accuracy as the key measure of stability in transmission. This paper suggests that there is a second, affective, dimension that provides stability for retellings, namely the audience affect of surprise. In a large-sample study with multiple iterations of retellings, we found evidence that people are quite accurate in preserving all degrees of surprisingness in serial reproduction – even when the (...) event that produced the surprisingness in the original story is dropped or changed. Thus, we propose that the preservation of affect is an implicit goal of retelling: not merely do retellers recall highly surprising events better, but rather they register all levels of surprisingness precisely and aim to surprise their implied audience to same degree. This study used 2,389 participants. (shrink)

Miscellaneous Sarah Adams, Think, FirstView Article.

Jebb in outlining the differences between ancient and modem oratory maintains that while modern orators try to give the impression that their speeches are extempore, the Greeks polished their speeches with fastidious care and were not ashamed to admit laboured preparation. This view, which is widely held, needs considerable qualification. The purpose of this article is.

Star Trek is a successful popular cultural endeavor because it allows for exactly different kind of imaginative escapism, the possibility of joining in on an alternative narrative. In “The City on the Edge of Forever”, the Enterprise orbits a mysterious planet, where on its surface someone or something is causing temporal and spatial displacement. This chapter uses Romanticism as a philosophical gateway to the sublime experience that is the Guardian of Forever. The Guardian of Forever is the cause of the (...) spatial displacement and ripples in time that shake the Enterprise at the episode's beginning. Friedrich Nietzsche in his writings on Greek history, adopted the Romantic attitude toward the past by suggesting there are certain meaningful archetypes in the Greek past: in the context of “City on the Edge”, James T. Kirk represents the Tragic Hero, Spock the Apollonian figure, and McCoy the Dionysian figure. (shrink)

This book provides an interdisciplinary study of how design and botanical science came together in the 19th century, examining the work of leading botanists, designers and illustrators such as Sarah Drake, John Lindley, Owen Jones and Christopher Dresser. It reveals how design reformers looked to 'art botany', the practice of basing decorative form and ornament on the hidden, natural laws that govern plant growth and structure, as a model for how to create and identify what is new and incorporate (...) it into what was already familiar and meaningful, in order to develop a national design aesthetic and a professional field of practice. (shrink)

Twelve detailed essays were assembled by editor Sarah Armstrong, to help students obtain a balanced understanding of corporate corruption. Students will read whether global efforts against corruption are working, whether corporate profiteering is a source of environmental violence, and whether corporate rights work against the individual's rights.

Face-to-face meetings are often preferred over other forms of communication because meeting in person provides the “richest” way to communicate. Face-to-face meetings are so rich because many ways of communicating are available to support mutual understanding. With the progress of digitization and driven by the need to reduce personal contact during the global pandemic, many face-to-face work meetings have been shifted to videoconferences. With webcams turned on, video calls come closest to the richness of face-to-face meetings. However, webcam use often (...) remains voluntary, and some participants choose not to turn their cameras on. In order to find ways to support webcam use—when desired—we analyzed how social norms in groups affect the decision to activate a webcam in a specific meeting. Based on an online survey with N = 333 participants, we found that social norms are related to an individual’s decision to turn on the webcam, even when controlling for group size. If the number of participants with activated webcams in a university meeting increased by 25%, it was 5.92 times more likely that an individual decided to turn their webcam on, too. Furthermore, 81.84% of respondents indicated they would turn on their webcam if participants in a meeting were explicitly asked to do so. The results demonstrate a strong relation between social norms and the decision to activate a webcam in online meetings. They build a basis for enhancing webcam use and enable a greater richness of communication in online meetings. (shrink)

"Everything is a pretext for a good dinner.".

The subject of this article is Neil Jordan's film The Crying Game. Released in 1992, it was widely received as a film that challenged stereotypes in relation to both the IRA and questions of race, sexuality and desire. This article calls into question such a radical reading by analysing the way in which Jude the IRA woman is represented. Through a feminist deconstruction, the article proposes that the character of Jude can be seen to represent both national and international anxieties (...) concerning contemporary masculine and feminine subject positions. The article plots this by investigating how the film deals with the specifics of gender and Irish nationalism. It then moves on to consider how these specifics can be seen to articulate international postmodern concerns about contemporary gender identities. (shrink)

Everyone knows what it is to feel a conflict between a ‘non-rational’ desire and reason, as e.g., when we want a second dish of ice cream but think it would be unwise to take it. In such cases we commonly think of our desires as unreasonable: they prompt us to perform some action contrary to our deliberations. Nevertheless, most of us assume that reason can move us: that simply recognizing an act as the most reasonable thing to do gives us (...) a motive to do it — even if in fact we do not perform that action. If we do not eat the second dish of ice cream we are disposed to think that we did not because we judged it unwise. If, on the other hand, we do eat the second dish, we are disposed to think we did because we were more strongly inclined toward eating than not eating, even though we were inclined toward refraining because we judged eating unwise. This is the position of the man on the street. It is the commonsensical notion of reason, motivation, and their relationship. (shrink)

In her 1996 book, Error and the Growth of Experimental Knowledge, Deborah Mayo argues that use- (or heuristic) novelty is not a criterion we need to consider in assessing the evidential value of observations. Using the notion of a “severe” test, Mayo claims that such novelty is valuable only when it leads to severity, and never otherwise. To illustrate her view, she examines the historical case involving the famous 1919 British eclipse expeditions that generated observations supporting Einstein's theory of gravitation (...) over Newton's. My plan here is to defend use-novelty as a valuable methodological principle. I begin by exposing a weakness in Mayo's criticism of use-novelty. Remedying this weakness re-establishes the worth of use-novelty under specific conditions; in particular, heuristically novel data are to be preferred, as I will say, “prima facie”. Armed with this revised version of use-novelty, I re-examine the history of the eclipse experiments and offer an interpretation of this episode that to an extent—and contrary to Mayo—restores the mildly heretical, Earman/Glymour evaluation of this episode offered in their (1980). I conclude by responding to criticism of my assessment of Mayo's work. (shrink)

'Place in garden, lawn, to beautify landscape.'When Don Featherstone's plastic pink flamingos were first advertised in the 1957 Sears catalogue, these were the instructions. The flamingos are placed on the cover of this book for another reason: to start us asking questions. That's where philosophy always begins.Introducing Aesthetics and the Philosophy of Art is written to introduce students to a broad array of questions that have occupied philosophers since antiquity, and which continue to bother us today--questions like: - Is there (...) something special about something's being art? Can a mass-produced plastic bird have that special something? - If someone likes plastic pink flamingos, does that mean they have bad taste? Is bad taste a bad thing? - Do Featherstone's pink flamingos mean anything? If so, does that depend on what Featherstone meant in designing them?Each chapter opens using a real world example -- such as Marcel Duchamp's signed urinal, The Exorcist, and the ugliest animal in the world -- to introduce and illustrate the issues under discussion. These case studies serve as touchstones throughout the chapter, keeping the concepts grounded and relatable.With its trademark conversational style, clear explanations, and wealth of supporting features, Introducing Aesthetics and the Philosophy of Art is the ideal introduction to the major problems, issues, and debates in the field. Now expanded and revised for its second edition, Introducing Aesthetics and the Philosophy of Art is designed to give readers the background and the tools necessary to begin asking and answering the most intriguing questions about art and beauty, even when those questions are about pink plastic flamingos. (shrink)

Judith Butler argues that every category of personal identity, such as gender, the body, nationality, sexuality, or ethnicity, is predicated in part on a crisis between what that identity affirms and what it excludes. How this crisis manifests itself in everyday life is key to understanding how identities are reinforced, negotiated, subverted, or rejected on both social and individual levels. In this paper I consider three films directed by Kurosawa Kiyoshi between 2001 and 2006, arguing that they are especially competent (...) in not only representing ontological tensions of this kind within their narratives, but also in manifesting these tensions so that they are made viscerally available to the viewer as affect. To understand how this is achieved, I draw on the work of Susan Sontag, Judith Butler, and Gilles Deleuze and Félix Guattari, among others, to articulate how a stylistic system, or aesthetic, is developed across these films, and what techniques contribute to its production. I find that key components... (shrink)

Buddhist teaching about illusion is, I think, generally considered difficult to understand. What I wish to do is to try to indicate some of its more general and prevalent features with the further aim of using them to throw some light on typical Buddhist method and procedure. I shall be concerned mainly with some of the teachings to be found in the Mahayana and will try to be as untechnical as possible. This latter is sure to be displeasing to some, (...) but I have no wish to induce intellectual paralysis either in the reader or myself by a parade of technicalities most of which are not properly translatable into English. A great deal of scholarly and technical work has already been done and now it seems to me important to try as much as possible to express the general sense or pattern or at least some of its features in terms of our own more natural modes of thought and speech. This is what I have tried to do. I should point out that when dealing with the teaching about illusion we are concerned with only the more austere intellectual side of Buddhism. Nevertheless the religious philosophising which we encounter is as much a part of religious practice as meditation and expressing reverence and respect for the Buddha. I have confined myself throughout to exposition and have not attempted discussion and evaluation. References given are to books which are for the most part easily available in English. I will begin with three quotations. (shrink)

What connexion is there between factual statements concerning God or man and moral judgments? That is the question which occasions this paper. Not long ago moral philosophers were wont to say that there is a logical gap between the two sorts of utterance to which I have just referred: that nothing follows in terms of moral value from a statement of fact, no ‘ought’ from any ‘is’. They recognised only one restriction on what may be said in terms of ‘ought’ (...) by what has been said in terms of ‘is’, namely that ‘ought’ implies ‘can’. It is manifest nonsense to say that anyone ought to do what he cannot do. But, this apart, they thought it possible without contradiction or anomaly to hold any conceivable factual belief and at the same time subscribe to any conceivable moral judgment. They would have held that it makes perfectly good sense to say, for example, ‘This is God’s will but it ought not to be done’ or ‘Men are not pigs but a good man will live like a pig’. Bizarre such judgments may be, they would have said, but nonsensical they are not. They conceived it to be their main business, as moral philosophers, to erect warning notices along the edge of the is-ought gap so that contemporary moralists would not fall headlong into it as so many of their predecessors, in less enlightened ages, had done. (shrink)

In this paper, I raise some questions about Pritchard ’s internalist argument for scepticism. I argue that his internalism begs the question in support of scepticism. Correlatively I advance what I take to be a better internalist argument for scepticism, one that leaves open the possibility of empirically adjudicating sceptical hypotheses. I close by discussing what it means to be an internalist.

In its most recent report, the President's Commission on Bioethics discusses the U.S. regulatory framework for reproductive technologies. We offer three perspectives, from the U.S. and from abroad.