SummaryThe importation of Spencerism and Social Darwinism into Japan in the early Meiji era (from 1868 to the early 1880s) occurred against a background of rapid economic and industrial change which provoked widespread political unrest. This accelerated modernization was forced by Western demands for trade liberalization and the threat of Western imperialism. In this context, selected elements of Western scientific naturalism and liberalism could provide a prestigious ratification of élite agendas for the management of change, provided they could be made (...) culturally recognizable. It is suggested that traditional and Western knowledge claims were combined by key Meiji intellectuals in such a way that the product, Meiji Social Darwinism, supplied both the prestige of Western scientific positivism and the familiarity conferred by traditional resources. The clear differentiation between the constituents which made up Meiji Social Darwinism enables us to identify the distinct cultural functions performed by each of these sets of resources. In this study, these cultural functions emerge as elements in an élite class strategy. (shrink)

Despite the amount of theorization on the forms and effects of participation, relatively little research directly examines what the concept of workplace participation entails in the minds of employees, and whether employees across cultures think positively when the concept of participation is activated in their mental representation. Three studies investigated the perceptions and preferences of full-time employees from the United States and China, cultures that might be expected to differ in their societal participation norm. Using a free association test and (...) text analyses, Study 1 demonstrated that Chinese and American employees differed in their construal of workplace participation, yet both culture groups associated positive valence to the concept of participation. Study 2 showed that employees’ preference for workplace participation is positively related to their perceptions of its outcomes on productivity, job satisfaction, and workplace conflict. Study 3 had employees interact with either a prototypically high or low participation work environment and tested whether clear cultural contrasts might occur. American employees expressed unambiguous endorsement and predicted positive outcomes of a high participation workplace, whereas Chinese employees expressed slightly higher endorsement to a low participation work environment and associated it with higher productivity. This research provides insights on how workplace participation is construed by employees from different cultures, especially from cultures where democratic participation is not the normative default. Different perspectives on workplace participation across cultures may inform practitioners of the goals and approaches when shaping a more participatory workplace and a more democratic society. (shrink)

In 2012, choreographer and dancer Jill Sigman of jill sigman/thinkdance and visual artist Janine Antoni collaborated to produce Wedge, a live performance at the Albright-Knox Gallery. In this essay, I describe the collaboration and the resulting work and examine the benefits and challenges of the collaboration. The discussion touches on broader issues pertaining to collaboration, co-authorship, artists' intentions, and interpretation.

The numbering in the new edition of Wittgenstein's Remarks does not in general correspond to the part and section numbers of the 1956 edition. The following concordance is useful for making cross references between the two editions.

In lieu of an abstract, here is a brief excerpt of the content:Feminist Studies 42, no. 3. © 2016 by Feminist Studies, Inc. 575 Geneviève Pagé Gender at the Crossing: Ideological Travelings of US and French Thought in Montreal Feminism This article recounts a story about Montreal feminism using the narrative thread of its conceptual language. It is a story of language as a political choice that guides our actions, but also language as a political issue, a barrier, a tool (...) that structures our thinking and that reflects and reproduces relations of power in knowledge production and dissemination. Gender is the central character in this story—its role representing the way US, French, and Quebec theoretical traditions are deeply in dialogue with each other; yet this dialogue is arbitrary and filled with long silences. In reviewing the dialogue, this article identifies a few elements that play a significant role in favoring or impeding the traveling of ideas and concepts, focusing, in the case of Quebec, on how part of the feminist movement, comprised of radical or “revolutionary” feminists, engages with and constructs theory. The article begins by briefly tracing the evolving meanings of gender in the United States from the 1920s to the twenty-first century. Then, turning to France, a second section identifies elements limiting the traveling of US understandings of gender in French feminist theory, especially the predominance of specific traditions of thought, namely existentialism and Marxism, leading to different ways of thinking about oppression, patriarchy, sexism, and the idea of womanhood. In a third section, I shift the focus to Quebec, particularly Francophone Montreal, to survey its feminist thought, political traditions, and 576 Geneviève Pagé translation. Its history, its people, and its geographic location put it at the convergence of US and French influences, but with a distinct added local imperative: the struggle for national liberation. The specific ways in which Quebec nationalism has foregrounded power and politics around language has had a major impact on how Quebec feminists have negotiated relations with their southern feminist neighbors. In this sense, Quebec feminism presents an excellent case study of language operating as an axis of power. Furthermore, in the context of globalization and resistances to globalizing processes, Montreal provides a perfect example by which to highlight both transnational influences and local specificities. Montreal, as a classic example of Mary Louise Pratt’s cultural and linguistic “contact zone”—the space where communities of practices interact—is a city in which one can clearly identify “the intellectual and linguistic points of contact between cultures, and make visible the political pressure that activates them.”1 I treat translations that occur in this context as the process of connecting and communicating between communities. As queer theorist Juana María Rodríguez has noted in another context, “the process of translation involves more than merely translating languages; it involves translating cultures, values, and institutions of power.”2 Similarly, translation here involves an exchange between symbolic and semiotic structures of both the original and the new communities. Zooming out of Montreal, I then address the politics of translation on a more global scale, pointing out the particular ways the production and dissemination of knowledge is especially beholden to market relations. All these reflections help us understand the traveling of ideas, concepts, and ideologies across linguistic barriers. I conclude that it is in the interest of feminists to pay particular attention to what knowledge is produced from different standpoints and in different languages and what it can teach us. 1. Mary Louise Pratt, “Arts of the Contact Zone,” Profession (1991): 34; Sherry Simon, Gender in Translation: Cultural Identity and the Politics of Transmission (New York: Routledge, 1996), 36. 2. Juana María Rodríguez, Queer Latinidad: Identity Practices, Discursive Spaces (New York: NYU Press, 2003), 19. Geneviève Pagé  577 Gender in the United States It is among US feminists that the conceptualization of the gender/sex dichotomy first developed. However, gender—the word—ironically comes to English from the French genre and shares with that word its derivation from the Latin genus, meaning “kind,” “sort,” or “type.” The derivation is most visible in the borrowing in English of the French genre, for example, in literary forms such as fiction or poetry. Similarly, both the English... (shrink)

This thoughtful, learned, well-written, extensively illustrated, and heavily documented study deserves to be regarded as a landmark in art history. Traditional art history has dealt for the most part with the “fine arts” (chiefly painting, drawing, sculpture, and architecture), whereas other human creations that take physical form (such as furniture, ceramics, textiles, and metal and glass items), whether utilitarian or decorative (or both at once), are considered “craft” or “applied art” and are studied by folklorists, anthropologists, and archaeologists and often (...) displayed in different museums. Cooke wishes to break down this “hierarchical taxonomy,” this “fragmented, hierarchical field,” that emerged from Western Europe's “misunderstanding of art,” which valued “the cerebral over the manual.” His goal, in other words, is to outline “a more inclusive human history of art”— “a connected art history.” This phrase from his subtitle refers not simply to connecting “fine art” with “applied art” but also to crossing temporal and regional boundaries. Still another act of connecting is to examine all parts of an object's life history, and thus the three main divisions of the book deal with the making of objects, their circulation from one person and place to another (and “their ability to transmit ideas” in the process), and their meaning for the persons who possessed or encountered them.Over the years I have repeatedly said that all objects made by human beings are worthy of preservation and study because they bring us into direct contact with the past and, as part of our surroundings, affect our thoughts in the present. Every object, I have argued, including copies of a single printed edition of a book (so-called duplicates), is an independent witness to the past. I am particularly pleased, therefore, to welcome a major book that explores in detail, with a wealth of examples from many centuries and cultures, the place of objects in human history. Cooke's pursuit is “object-driven,” beginning with the nature of the materials and finally coming to “the inherent power of the object itself to influence human thought and action.” (Compare the subtitle of Sherry Turkle's 2007 anthology Evocative Objects: Things We Think With.) Cooke's refusal to separate “materials” from “people,” or “technologies” from “values,” reminds me of John Szarkowski's approach to photographs. In Photography until Now (1989), Szarkowski points out that histories of photography generally treat technical matters separately from artistic ones—a split between the “empirical” and the “intuitive” that he finds indefensible, for “these two ways of knowing meet in the process of making things.” He adds, “The meeting can be cordially symbiotic or aggressively competitive, but its resolution defines the character and meaning of the thing that is made.” This statement has been a favorite of mine as an elegant characterization of the nature of art, and it is one that Cooke would clearly agree with.Cooke does not discuss photography, but he makes clear that he is not attempting a “comprehensive history that charts the complete ebb and flow of objects over time.” Rather, his book is meant to be a “suggestive guide” to the “principles of material literacy,” a “kit of tools for future complex constructions of history.” Even so, I find some of the omissions puzzling. Why, for example, are glass objects not taken up, when he so thoroughly deals with other common materials? More serious, in my opinion, is the exclusion of the fine arts. (Of the 215 illustrations, five are of oil paintings and one is of a Japanese print, but they are present only as the sources for information drawn from their pictorial content; one Hogarth engraving is shown because its image was often reproduced on punch bowls; and there is a very brief passage on the “uneasy relationship” between sculpture and material culture, but no sculptures are illustrated or used as examples for discussion.) Presumably Cooke felt it was unnecessary for his book to encompass the fine arts after demonstrating that functional objects are just as sophisticated artistically and culturally as products of the fine arts are. Yet those products also belong to the universe of “entangled objects” (How could they not?), and it would have been illuminating to see them adduced among the examples Cooke cites. One could argue that by excluding them—and by referring to the makers of the objects he does discuss as “artisans” and “craftspeople”—he comes close to reinforcing the division he wishes to eliminate.Less easy to explain is Cooke's omission of books, for they have been one of the largest and most widely circulated classes of utilitarian objects. Most people never think about books as objects, treating them only as disposable receptacles for transmitting verbal texts in tangible form (which is why so many books are destroyed when their texts supposedly become available in another form). Such people do not realize that texts have connections with their physical embodiments. (For example, books, whether manuscript or printed, often contain clues revealing how their texts were affected by the production process; and readers’ attitudes toward texts can be influenced by their presentation.) Cooke, however, with his deep understanding of the way objects function and his impressive knowledge of the scholarship, cannot be one of these uninformed people. He would obviously be aware of the vast literature devoted to leather and cloth bookbindings and their decoration, as well as to the myriad styles of letters and the varieties of paper and parchment; he would also know how letterforms and binding designs reflect a complex interplay of social, political, and artistic forces. Bibliographers have long studied books as Cooke advocates studying other objects: “working from the inside out,” beginning with the evidence in books themselves for reconstructing the routines that were followed in their creation. And book historians are recognizing the necessity for an international approach like Cooke's, since many of the books circulating in one country originated in other countries. Books would have been a prolific additional source for illustrating Cooke's analyses.My admiration for Cooke's book is not altered by these few disappointments. Even without discussions of paintings, sculptures, and books, it is still exhilarating in its scope and depth. One hopes that art and material-culture historians will pay attention to it. But it ought to have a wider audience, for the daily lives of all of us would be enriched by a greater appreciation of the objects that make up a significant part of our environment. (shrink)

A symposium on Bence Nanay, Aesthetics as Philosophy of Art (Oxford University Press, 2016) and Murray Smith, Film, Art, and the Third Culture (Oxford University Press, 2017). Commentaries on the two books by two critics, followed by responses by the two book authors.

We demonstrate the existence of altruism via kin selection in artificial life and explore its nuances. We do so in the Avida system through a setup that is based on the behavior of colicinogenic bacteria: Organisms can kill unrelated organisms in a given radius but must kill themselves to do so. Initially, we confirm!results found in the bacterial world: Digital organisms do sacrifice themselves for their kin—an extreme example of altruism— and do so more often in structured environments, where kin (...) are always nearby, than in well-mixed environments, where the location of kin is stochastically determined. Having shown that helping one’s kin is advantageous, we turn our attention to investigating the efficacy and implications of the strategies of kincheaters, those who receive help from kin but do not return it. Contrary to the expectations of current theory, we find that kin-cheaters outcompete kin-altruists. Our results cause us to question the stability of strategies that involve altruism between kin. Knowing that kin-altruism persists in biological systems, however, we search for, and find, conditions that allow!kin-based altruism to persist in evolving!systems despite the!presence of kin-cheaters. (shrink)

The body is a rich object for aesthetic inquiry. We aesthetically assess both our own bodies and those of others, and our felt bodily experiences have aesthetic qualities. The body features centrally in aesthetic experiences of visual art, theatre, dance and sports. It is also deeply intertwined with one's identity and sense of self. Artistic and media representations shape how we see and engage with bodies, with consequences both personal and political. This volume contains sixteen original essays by contributors in (...) philosophy, sociology, dance, disability theory, critical race studies, feminist theory, medicine, and law. They explore bodily beauty, sexual attractiveness, the role of images in power relations, the distinct aesthetics of disabled bodies, the construction of national identity, the creation of compassion through bodily presence, the role of bodily style in moral comportment, and the somatic aesthetics of racialized police violence. -/- Contents: Maria del Guadalupe Davidson, "Black Silhouettes on White Walls: Kara Walker’s Magic Lantern"; A. W. Eaton, "Taste in Bodies and Fat Oppression"; C. Winter Han, "From 'Little Brown Brothers' to 'Queer Asian Wives': Constructing the Asian Male Body"; Deborah L. Rhode, "Appearance as a Feminist Issue"; Shirley Anne Tate, "A Tale of Two Olympians—Beauty, 'Race,' Nation"; Glenn Parsons, "The Merrickites"; Stephen Davies, "And Everything Nice"; Tobin Siebers, "In/Visible: Disability on the Stage"; Jill Sigman, "Live, Body-Based Performance: An Account from the Field"; Barbara Gail Montero, "Aesthetic Effortlessness"; Peg Brand Weiser and Edward B. Weiser, "Misleading Aesthetic Norms of Beauty: Perceptual Sexism in Elite Women's Sports"; Yuriko Saito, "Body Aesthetics and the Cultivation of Moral Virtues"; George Yancy, "White Embodied Gazing, the Black Body as Disgust, and the Aesthetics of Un-Suturing"; Richard Shusterman, "Somaesthetics and the Fine Art of Eating"; Ann J. Cahill, "Sexual Desire, Inequality, and the Possibility of Transformation"; Sheila Lintott and Sherri Irvin, "Sex Objects and Sexy Subjects: A Feminist Reclamation of Sexiness" -/- . (shrink)

According to a common sense theory, facial expressions signal specific emotions to people of all ages and therefore provide children easy access to the emotions of those around them. The evidence, however, does not support that account. Instead, children’s understanding of facial expressions is poor and changes qualitatively and slowly over the course of development. Initially, children divide facial expressions into two simple categories (feels good, feels bad). These broad categories are then gradually differentiated until an adult system of discrete (...) categories is achieved, likely in the teen years. Children’s understanding of most specific emotions begins not with facial expressions, but with their understanding of the emotion’s antecedents and behavioral consequences. (shrink)

This book explores our corporeal connections to the past by considering what three theoretical approaches-somaesthetics, posthumanism, and the uncanny-may reveal about both premodern and postmodern terms of embodiment. It takes as its point of departure a selection of fifteenth-century northern European Books of Hours-evocative objects designed at once to to inscribe social status, to strengthen religious commitment, to entertain, to stimulate emotions, and to encourage discomfiting self-scrutiny. Studying their kaleidoscopically strange, moving, humorous, disturbing, imaginative pages not only enables a window (...) into relationships among bodies, images, and things in the past, but also in our own internet era, where surprisingly popular memes drawn from such manuscripts constitute a part of our own visual culture. In negotiating theoretical, post-theoretical, and historical concerns, this book aims to contribute to an emerging and much-needed intersectional social history of art. It will be of interest to scholars working in art history, medieval studies, Renaissance/early modern studies, gender studies, the history of the book, posthumanism, aesthetics, and the body. (shrink)

Open Access: This article argues for an aesthetic approach to resisting oppression based on judgments of bodily unattractiveness. Philosophical theories have often suggested that appropriate aesthetic judgments should converge on sets of objects consensually found to be beautiful or ugly. The convergence of judgments about human bodies, however, is a significant source of injustice, because people judged to be unattractive pay substantial social and economic penalties in domains such as education, employment and criminal justice. The injustice is compounded by the (...) interaction between standards of attractiveness and gender, race, disability, and gender identity. -/- I argue that we should actively work to reduce our participation in standard aesthetic practices that involve attractiveness judgments. This does not mean refusing engagement with the embodiment of others; ignoring someone’s embodiment is often a way of dehumanizing them. Instead, I advocate a form of practice, aesthetic exploration, that involves seeking out positive experiences of the unique aesthetic affordances of all bodies, regardless of whether they are attractive in the standard sense. I argue that there are good ethical reasons to cultivate aesthetic exploration, and that it is psychologically plausible that doing so would help to alleviate the social injustice attending judgments of attractiveness. -/- This essay was the winner of the 30th Anniversary of the American Society for Aesthetics Feminist Caucus Committee Feminist Research Essay prize in 2020. (shrink)

I argue that the experiences of everyday life are replete with aesthetic character, though this fact has been largely neglected within contemporary aesthetics. As against Dewey's account of aesthetic experience, I suggest that the fact that many everyday experiences are simple, lacking in unity or closure, and characterized by limited or fragmented awareness does not disqualify them from aesthetic consideration. Aesthetic attention to the domain of everyday experience may provide for lives of greater satisfaction and contribute to our ability to (...) pursue moral aims. (shrink)

Contemporary art can seem chaotic: it may be made of toilet paper, candies you can eat, or meat that is thrown out after each exhibition. Some works fill a room with obsessively fabricated objects, while others purport to include only concepts, thoughts, or language. Immaterial argues that, despite these unruly appearances, making rules is a key part of what many contemporary artists do when they make their works, and these rules can explain disparate developments in installation art, conceptual art, time-based (...) media art, and participatory art. -/- Sherri Irvin shows how rules are now an artistic medium: they are part of the work's structure and shape what it expresses. Rules are meaningful in themselves and help to activate the meanings of non-art materials and found objects, so audiences need to know about the rules to get the most out of their art experiences. Loss of information about the rules, like loss of a chunk of marble, can seriously damage the work, and preserving rules as well as objects is reshaping how museums maintain their collections. Where rules collide with real-world circumstances, they may be broken maliciously, mistakenly, or for good reasons, threatening the work's meanings and sometimes its very existence. -/- Should we celebrate the prominence of rules in contemporary art? Irvin argues that, while rules aren't always used well, they can be used to create distinctive meanings and provide powerful immersive experiences not achievable through any other means. (shrink)

The first generation of children to grow up with electronic toys and games saw computers as our “nearest neighbors.” They spoke of computers as rational machines and of people as emotional machines, a fragile formulation destined to be challenged. By the mid-1990s, computational creatures, including robots, were presenting themselves as “relational artifacts,” beings with feelings and needs. One consequence of this development is a crisis in authenticity in many quarters. In an increasing number of situations, people behave as though they (...) no longer place value on living things and authentic emotion. This paper examines watershed moments in the history of human–machine interaction, focusing on the pertinence of relational artifacts to our collective perception of aliveness, life’s purposes, and the implications of relational artifacts for relationships. For now, the exploration of human–robot encounters leads us to questions about the morality of creating believable digital companions that are evocative but not authentic. (shrink)

Many prescriptions offered in the literature for enhancing creativity and innovation in organizations raise ethical concerns, yet creativity researchers rarely discuss ethics. We identify four categories of behavior proffered as a means for fostering creativity that raise serious ethical issues: breaking rules and standard operating procedures; challenging authority and avoiding tradition; creating conflict, competition and stress; and taking risks. We discuss each category, briefly identifying research supporting these prescriptions for fostering creativity and then we delve into ethical issues associated with (...) engaging in the prescribed behavior. These four rubrics illustrate ethical issues that need to be incorporated into the creativity and innovation literature. Recommendations for how organizations can respond to the ethical issues are offered based on practices of exemplary organizations and theories of organizational ethics. A research agenda for empirically investigating the ethical impact these four categories of behavior have on organizations concludes the article. (shrink)

Whereas professional persuasion is a means to an immediate and instrumental end, ethical persuasion must rest on or serve a deeper, morally based final end. Among the moral final ends of journalism, for example, are truth and freedom. There is a very real danger that advertisers and public relations practitioners will play an increasingly dysfunctional role in the communications process if means continue to be confused with ends in professional persuasive communications. Means and ends will continue to be confused unless (...) advertisers and public relations practitioners reach some level of agreement as to the moral end toward which their efforts should be directed. In this article we advance a five-part test that defines this moral end, establishes ethical boundaries that should guide persuasive practices, and serves as a set of action-guiding principles directed toward a moral consequence in professional persuasion. The TARES Test consists of five principles: Truthfulness, Authenticity, Respect, Equity and Social Responsibility. We provide checklists to guide the practitioner in moral reflection and application of TARES Test principles. (shrink)

This article discusses the relationship (or lack thereof) between authors’ intentions and the meaning of literary works. It considers the advantages and disadvantages of Extreme and Modest Actual Intentionalism, Conventionalism, and two versions of Hypothetical Intentionalism, and discusses the role that one’s theoretical commitments about the robustness of linguistic conventions and the publicity of literary works should play in determining which view one accepts.

With increasing inoculations and emerging coronavirus variants, governments worldwide are challenged to adopt proper liberty-restricting measures to reduce the spread of COVID-19 and minimise grave consequences for liberty and well-being caused by over a year-long pandemic. Cameron et al ’s proposal of a selective strategy addresses this pressing issue.1 Following Savulescu and Cameron, they argue for limiting the liberty of the elderly. But, instead of claiming not doing so is an instance of wrongful levelling down equality, they argue this discriminative (...) strategy is morally acceptable.2 I argue against the selective liberty-restrictive measures after proposing a revision of the five-limb proportionality test that plays a pivotal role in supporting their argument. The following is a reconstruction of Cameron et al ’s central argument: It is ethically acceptable to promote the best outcome. One way to promote the best outcome is to maximise utility at the population level without imposing unreasonable costs on the most vulnerable individuals. All else being equal, adopting selective liberty-restricting measures in the COVID-19 pandemic is the best way to maximise utility at the population level without imposing unreasonable costs on the most vulnerable individuals. If it is ethically acceptable to …. (shrink)

Izard (2010) did not seek a descriptive definition of emotion—one that describes the concept as it is used by ordinary folk. Instead, he surveyed scientists’ prescriptive definitions—ones that prescribe how the concept should be used in theories of emotion. That survey showed a lack of agreement today and thus raised doubts about emotion as a useful scientific concept.

As aesthetic beings, we are receptive to and engaged with the sensuous phenomena of life while also knowing that we are targets of others’ awareness: we are both aesthetic agents and aesthetic objects. Our psychological health, our standing within our communities, and our overall wellbeing can be profoundly affected by our aesthetic surroundings and by whether and how we receive aesthetic recognition from others. When our embodied selves and our cultural products are valued, and when we have rich opportunities for (...) aesthetic experience and for the exercise of aesthetic agency, the aesthetic can foster and sustain wellbeing and help to make our lives worthwhile. But when we are subjected to aesthetic blight, restriction of our aesthetic agency, and aesthetic devaluing of our embodied selves and our communities’ cultural products, the aesthetic can do great harm: such aesthetic maneuvers play a significant role in oppression and social hierarchy related to race, gender, fatness, and disability. This essay explores the notions of aesthetic objects and aesthetic agents, their relations with each other, and the unique affordances of persons’ status as simultaneously aesthetic objects and aesthetic agents. It examines the prospects for bodily aesthetic experience to promote wellbeing and, at the end, considers how the aesthetic might play a role in establishing forms of mutual vulnerability and recognition to combat oppressive social hierarchies. (shrink)

I argue that there can be appropriate aesthetic experiences even of basic somatic experiences like itches and scratches. I show, in relation to accounts of aesthetic experience offered by Carroll and Stecker, that experiences of itches and scratches can be aesthetic; I show that itches can be objects of attention in the way that normative accounts of the aesthetic often require; and I show, in relation to accounts of the aesthetic appreciation of nature offered by Carlson and Carroll, that aesthetic (...) experience of itches and scratches can be appropriate. I argue that attention to the domain of somatic experience is worthwhile, in that it offers the prospects of significant aesthetic satisfaction, and I suggest that even attention to unpleasant experiences like itches and pains may be aesthetically rewarding. (shrink)

I argue that contemporary artists fix the features of their works not only through their actions of making and presenting objects, but also through auxiliary activities such as corresponding with curators and institutions. I refer to such fixing of features as the artist’s sanction: artists sanction features of their work through publicly accessible actions and communications, such as making a physical object with particular features, corresponding with curators and producing artist statements. I show, through an extended example, that in order (...) to grasp the nature of contemporary artworks, and thus be in a position to interpret them, we must attend to the features the artist has sanctioned. However, this does not amount to saying that the artist’s intention fixes the features of the work. While related to intentions, sanctions are not identical to them; and, indeed, the features the artist has sanctioned may conflict, in some cases, with those she intended. I distinguish my view from actual and hypothetical intentionalism and show that considering the artist’s sanction does not force us to accept any particular interpretation of the work. I also show that, while it has special relevance to our understanding of contemporary artworks, the notion of the sanction is in fact relevant to traditional Western art as well. (shrink)

Developing Instinctive Analytical Skills in Students Becoming a Critical Thinker: A User Friendly Manual trains students to distinguish high-quality, well-supported arguments from those with little or no evidence to support them. It develops the skills required to effectively evaluate the many claims facing them as citizens, learners, consumers, and human beings, and also to be effective advocates for their beliefs. Teaching and Learning Experience Personalize Learning - MyThinkingLabdelivers proven results in helping students succeed, provides engaging experiences that personalize learning, and (...) comes from a trusted partner with educational expertise and a deep commitment to helping students and instructors achieve their goals. Improve Critical Thinking - Coverage of persuasive speaking, decision-making, the Toulmin model of argumentation, and chapter-end writing and speaking exercisesall teach students to construct and present arguments so that they can gain skill and confidence. Engage Students - Becoming a Critical Thinker: A User Friendly Manual exposes students to a variety of contemporary and multicultural issues, engaging their understanding of analytical skills through the use of articles and varied examples. Support Instructors - Teaching your course just got easier! You can create a Customized Text or use our Instructor's Manual, Electronic “MyTest” Test Bank or PowerPoint Presentation Slides. PLUS, our new Instructor's Manual has been updated and expanded with revised tests and answer keys, a discussion of chapter exercises, and suggestions for teaching critical thinking concepts. Note: MyThinkingLab does no come automatically packaged with this text. To purchase MyThinkingLab, please visit www.MyThinkingLab.com or you can purchase a valuepack of the text + MyThinkingLab (VP ISBN-10: 0205176038, VO ISBN-13: 9780205176038). (shrink)

Evolution: The Basics is an engaging introduction to the history, development and science of the theory of evolution. Beginning pre-Darwin and concluding with the latest research and controversies, readers are introduced to the origins of the idea of evolution, the ways in which it has developed and been adapted over time and the science underpinning it all. Topics addressed include: • early theories of evolution • the impact of Darwin’s On the Origin of Species • the discovery of genetics and (...) Mendel’s experiments • molecular evolution and the discovery of DNA • the expansion of life and the persistence of disease • revisiting evolutionary ethics and the development of empathy. Evolution: The Basics examines the role of evolution in current debates and discusses the possible future developments in the field. This book is invaluable reading for all students and individuals seeking to understand the wide ranging sphere of evolutionary theory.  . (shrink)

Drawing upon contemporary virtue ethics theory, The Model of The Principled Advocate and The Pathological Partisan is introduced. Profiles are developed of diametrically opposed archetypes of public relations and advertising practitioners. The Principled Advocate represents the advocacy virtues of humility, truth, transparency, respect, care, authenticity, equity, and social responsibility. The Pathological Partisan represents the opposing vices of arrogance, deceit, secrecy, manipulation, disregard, artifice, injustice, and raw self-interest. One becomes either a Principled Advocate or a Pathological Partisan by habitually enacting or (...) embodying the virtues or vices in the context of professional practices. (shrink)