Background Machine learning (ML) is utilized increasingly in health care, and can pose harms to patients, clinicians, health systems, and the public. In response, regulators have proposed an approach that would shift more responsibility to ML developers for mitigating potential harms. To be effective, this approach requires ML developers to recognize, accept, and act on responsibility for mitigating harms. However, little is known regarding the perspectives of developers themselves regarding their obligations to mitigate harms.Methods We conducted 40 semi-structured interviews with (...) developers of ML predictive analytics applications for health care in the United States.Results Participants varied widely in their perspectives on personal responsibility and included examples of both moral engagement and disengagement, albeit in a variety of forms. While most (70%) of participants made a statement indicative of moral engagement, most of these statements reflected an awareness of moral issues, while only a subset of these included additional elements of engagement such as recognizing responsibility, alignment with personal values, addressing conflicts of interests, and opportunities for action. Further, we identified eight distinct categories of moral disengagement reflecting efforts to minimize potential harms or deflect personal responsibility for preventing or mitigating harms.Conclusions These findings suggest possible facilitators and barriers to the development of ethical ML that could act by encouraging moral engagement or discouraging moral disengagement. Regulatory approaches that depend on the ability of ML developers to recognize, accept, and act on responsibility for mitigating harms might have limited success without education and guidance for ML developers about the extent of their responsibilities and how to implement them. (shrink)

Volume 20, Issue 7, July 2020, Page W2-W3.

Novelties introduced into traditional myths are an essential characteristic of Greek tragedy. Each and every play demonstrates, in different ways, how tragedians were versatile and innovative in handling mythic material. Modern prefaces to individual tragedies often discuss the possible innovations in the dramatization of a myth compared to previous or subsequent versions. Innovations advanced in a play sometimes became so familiar that they came to be regarded as ‘standard’. Such examples include the condemnation and death of the protagonist in Sophocles’ (...) Antigone and, in all likelihood, Medea's filicide in Euripides’ Medea. (shrink)

Considerando que a fundação do Middle Group é uma dissidência teórica do pensamento psicanalítico clássico, destaco as idéias centrais dos teóricos britânicos das relações de objeto, mostrando os pontos de divergência entre eles e Klein, autora que, apesar de pioneira no desenvolvimento do conceito de relações objetais, apresentava-se como principal representante do pensamento tradicional. Em seguida, analiso a noção winnicottiana de constituição de um si-mesmo e de conquista do concernimento como os fundamentos teóricos que marcam a originalidade de Winnicott no (...) que diz respeito ao desenvolvimento da teoria psicanalítica e ao Middle Group. Isso é feito com base na idéia de que, para Winnicott, a constituição de um si-mesmo pessoal é a condição primordial para a conquista da capacidade de relacionar-se com e a conquista do concernimento, a condição para que capacidades como ter confiança em, ter liberdade pessoal e interpessoal, ser responsável por sejam alcançadas.Based on the concept that the foundation of the Middle Group of British is a theoretical dissidence of the classic psychoanalytic propositions, I emphasizes the central ideas of the British theorists of the object relations theory, showing their disagreements with Klein, author who, although was a pioneer in the development of the object relations concept, was the main defender of the traditional thinking. After that, I analyze the winnicottian notions of self constitution and achievement of concern as well as the theoretical pillars which distinguish Winnicott originality with regard to the development of the psychoanalytic theory and in respect to the Middle Group. I do that based on the idea that, for Winnicott, the constitution of a sense of self is the main condition to the achievement of the ability to enter in relationship with and the achievement of concern, a condition necessary for the acquisition of abilities such as to trust in, to have personal and interpersonal freedom, to be responsible for. (shrink)

This article addresses the topic of excerpts by focusing on modern excerpting practices used in the analysis of Greek myth. It examines the mythological exemplum about Melanion and Timon from Aristophanes’ Lysistrata within the context of Greek myth’s flexibility and potential for innovation. After discussing the innovative details of the exempla, I turn to the use of the Melanion excerpt by two prominent classicists, P. Vidal-Naquet and M. Detienne. This leads to some general remarks on the transmission of knowledge regarding (...) mythological lore, as well as on our modern scholarly practices of excerpting passages out of their original context. (shrink)

The general objective of this research was to understand the manifestations of managerial leadership in the employees of a public institution in Cajamarca. The research is qualitative in nature, based on the analysis of scientific research obtained from the review of various studies and academic documents. The main results revealed the coexistence of different leadership approaches within the institution, highlighting transformational leadership and systemic leadership, characterized by fostering skills development, promoting a shared vision, and stimulating innovation; however, the presence of (...) autocratic leadership was also identified, suggesting the persistence of more traditional and centralized approaches in some aspects of management. The research concluded that the perception of employees regarding these leadership styles is crucial to understand their impact on motivation, satisfaction, and performance; therefore, more participatory and adaptable leadership styles should be prioritized in order to avoid feelings of dissatisfaction among workers, phenomena that manifest in autocratic or less participatory styles. (shrink)

Establishing effective pharmaceutical governance is a challenge for government agencies, private enterprises, and professionals working on the ground, demanding complex ethical decisions from the actors involved, especially in a lower-middle-income country like Ghana. This letter aims to share the author’s perspectives and additional considerations on the analyses of the reports in the paper “It is very difficult in this business if you want to have a good conscience”: pharmaceutical governance and on-the-ground ethical labor in Ghana by Hampshire et al. The (...) letter's authors discuss the need to advance universal health coverage in Ghana, the everyday ethics, and the disparities between the collective and individual moral consciousness of the participants, as well as other aspects of governance in the pharmaceutical sector. (shrink)

The purpose of this article was to analyze the impact of work performance on companies in Latin America and the Caribbean. The methodology used was a qualitative approach, a literature review was carried out through the documentary analysis of scientific articles, triangulation was also used as a technique for the analysis of information. Among the main results are: Job performance has a significant impact on productivity, effectiveness of public management and work performance in the region, human resource management is fundamental (...) in the performance and productivity of workers; and motivation, satisfaction and commitment influence organizational performance. It was concluded that work performance impacts sustainable development and organizational growth in the region, likewise, selection, training, well-being, motivation and communication in human resources management optimize work performance. (shrink)

The article presents a series of lessons on the Ariadne myth in Ovid. Attached are a graphic illustration and worksheets with the edited text, pictures, a map and a list of the required additional vocabulary.

The story of Ariadne has, as is the way with myths, its slightly asymmetrical echoes along both the narrative lines which converge in her marriage to Dionysus. Daedalus it was who told Ariadne how to save Theseus with the thread. Imprisoned by Minos in his own labyrinth, he escapes by flight, survives the fall of Icarus, and reaches Sicily safely. Daedalus is then discovered by Minos when he solves the puzzle posed publicly by Minos, with the offer of (...) a reward to the solver: How to run a thread through all the chambers and intricate windings of a complex seashell? Daedalus pierces the center of the shell, ties a thread to an ant, puts the ant in the pierced hole, and wins the prize when the ant emerges at the mouth of the shell. Thread and labyrinth, thread intricately crinkled to and fro as the retracing of the labyrinth which defeats the labyrinth but makes another intricate web at the same time—pattern is here superimposed on pattern, like the two homologous stories themselves. J. Hillis Miller is Gray Professor of Rhetoric and chairman of the department of English at Yale. He is the author of Charles Dickens: The World of His Novels, The Disappearance of God, Thomas Hardy: Distance and Desire, Fiction and Repetition, and a study of narrative terminology, called Ariadne's Thread, of which his essay in this issue of Critical Inquiry is a part. His contributions to Critical Inquiry are "The Critic as Host" and "Theory and Practice: Response to Vincent Leitch". (shrink)

Among the clothes Ariadne is wearing in this scene is a finely woven headdress which Catullus terms a ‘mitra’ . Commentators have defined this mitra variously as a ‘scarf’ , a ‘cap or bonnet’ and a ‘kind of hairnet’ . In Greek literature, a ‘mitra’ is any piece of cloth worn by women in various ways to tie up their hair. While the word came to be used by Latin writers, it seems to have retained its specifically Greek associations. (...) Varro refers to ‘mitra’ as a Greek word: mitra et reliqua ferre in capite postea addita cum vocabulis Graecisd. (shrink)

ABSTRACT -/- My article, "Ariadne at the Movies," provided a detailed, double film counter-example to the claim that films are types. Here I defend my views against various criticisms provided by Aaron Smuts. The defense includes some necessary clarification of the Ariadne article's broader theoretical structure and background, as well as some additional anti-type arguments to further withstand his criticisms.

The book is divided into two parts: an interpretive section that concerns symbols in general and a "dictionary" that lists hundreds of symbols and explains their origins, their resemblances to other symbols, and the belief systems behind ...

In Ovid, Heroides 10.79ff. Ariadne starts to consider various dangers which to her mind threaten her life as that of any deserted woman . She lists some of these dangers in the following catalogue.

In what follows I raise the question of Ariadne and Dionysus for Nietzsche, including the relative size of Ariadne’s ears, as Dionysus observes at the close of “Ariadne’s Lament” [Klage der Ariadne]. Nietzsche’s references to ears invoke not only Nietzsche’s “selective” concern with having the right ears but also the question of myth and genealogical context. Reading through myth is key not only in terms of the textual, lyric tradition but also painting and sculpture, including sarcophagi (...) in antiquity. It makes all the difference to ask, as Karl Kerényi cites Nietzsche as asking: Wer weiß …was Ariadne ist? And not less: who was she to Dionysus? To this extent, Nietzsche’s concern with ears, small and long, is less incidental or furry fetish than hermeneutic attunement. (shrink)

Type-scenes have been studied and analysed for over seventy years. This paper presents a more detailed analysis of one type-scene, the ‘recognition scene’, than has previously been attempted, with the aim of moving towards a better-structured understanding of the ‘syntax’ of type-scenes generally. The structure of the recognition scene is dissected into motifs and ‘moves’, all of which are tabulated; this is the core of the analysis. The ensuing points of clarification elaborate on the definitions and assumptions built into the (...) analysis. Following this is an assessment of the ‘syntax’ and quantifiable elements of the recognition scene. The discussion closes with a general assessment of the more literary face of recognition scenes, discussing them in the context of the plan of the second half of theOdyssey. (shrink)

Proefschrift Katholieke Universiteit Nijmegen. Onderzoek naar de metaforische functie van de vrouw en het vrouwelijke in het werk van Nietzsche, gerelateerd aan Nietzsche's concept van het dionysische. Dit concept van het dionysische wordt uitgewerkt als thematisering van het verlangen.

William Oughtred's Clavis mathematicae, first published in 1631, was regarded for the remainder of the seventeenth century as a classic text in algebra, reprinted, translated, and explained for over 70 years. Yet its content was limited, its style obscure and its notation old-fashioned even when it was first written, and it now seems extraordinary that it should have had such a long life. The early success of the book, and the great esteem in which Oughtred was held by contemporary and (...) later mathematicians, can only be understood in the light of the general state of algebra teaching in England during the first half of the seventeenth century. In later years the book was kept alive by the efforts of one of its greatest admirers, John Wallis. The aim of this paper is to set the story of the Clavis into the wider context of English algebra, and the political background of the time. (shrink)

The Principle of Ariadne, formulated in 1988 ago by Walter Carnielli and Carlos Di Prisco and later published in 1993, is an infinitary principle that is independent of the Axiom of Choice in ZF, although it can be consistently added to the remaining ZF axioms. The present paper surveys, and motivates, the foundational importance of the Principle of Ariadne and proposes the Ariadne Game, showing that the Principle of Ariadne, corresponds precisely to a winning strategy for (...) the Ariadne Game. Some relations to other alternative. set-theoretical principles are also briefly discussed. (shrink)

ABSTRACT -/- Films are usually assumed to be types, with their templates or performances being tokens of those types. However, I give a counter-example in which two different films are simultaneously made by different directors, with the outcome of this process being a single template length of film which, I claim, embodies both of those films. But no two types could thus have a token in common, and hence type views of films must be incorrect. I further explain and defend (...) the legitimacy of the example, and conclude by offering an alternative, representational view of the nature of films that can also more adequately explain the interpretive nature of experience of a film. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Plutarch's Ariadne in Chariton's Chaereas and CallirhoeEdmund P. CuevaChaereas and Callirhoe is the earliest extant Greek novel, and the only one of its genre to make extensive use of historiographical features.1 Later novelists include such features, but do not rely on them for background and structure as much as Chariton does. Accordingly, the reader of Chaereas and Callirhoe finds verifiable historical detail in the correctly assigned dates, accurately (...) related events, and realistically depicted places and figures of the novel.2The story, for example, takes place in the past, famous historical figures are included, and history has a tremendous effect on the behavior of the characters. In this way Chariton imitates the classical historians in technique, not for the purpose of masquerading as a professional historian, but rather, as Hägg suggests, to create the "effect of openly mixing fictitious characters and events with historical ones."3 This effect is partially created by the use of a historical source which deals with myth.4 [End Page 473]The introduction of the two youths in the beginning of the novel exemplifies the primary function of myth in Chariton: throughout the text the novelist assigns his leading characters analogues in the form of mythical or legendary beings.5 For example, Chaereas at different times becomes Achilles, Nireus, Hippolytus, and Alcibiades. Chariton assimilates Callirhoe to Aphrodite and Ariadne, and to a much lesser extent to Artemis, Helen, Medea, and the nymphs. Most often Chariton compares Callirhoe's loveliness to that of Aphrodite, as at the beginning of the novel: (1.1.2).Most importantly, Chariton likens Callirhoe to a sleeping Ariadne: (1.6.2). Homer (Od. 11.321–25) writes that Theseus took Ariadne from Crete to Athens but that he abandoned her on the Isle of Dia (Naxos), where she was killed by Artemis at the bidding of Dionysus. Hesiod (Theog. 947–49) relates that Dionysus took Ariadne as his wife and that Kronos made her immortal. Chariton's version in 1.6.2, therefore, loosely follows the narratives of Homer and Hesiod. The novelist introduces this myth after the heroine has been kicked into a coma by her husband, a fitting moment for the myth of Ariadne: she, like Callirhoe, suffered an injustice at the hands of someone she loved.6In the third book of the novel Chaereas attributes the disappearance of his wife to some divinity, and likens this to Dionysus' theft of Ariadne from Theseus (3.3.5). Unlike the version of the Ariadne myth found in 1.6.2, this one is slightly different. It becomes obvious that there is a specific source Chariton is using to draw upon for these various versions.I shall show that Chariton must have used Plutarch, or perhaps, though unlikely, Paeon, one of the imperial historian's sources. A narratological and verbal comparison of Plutarch's account of the adventures of Theseus and Ariadne, as found in his Theseus, and the Ariadne–like adventures of Callirhoe makes it clear that the novelist drew upon him. [End Page 474] This use of Plutarch, moreover, elucidates Chariton's attempt at historical veracity in dates, events, places, and figures.7Plutarch in Theseus associates Aphrodite with Ariadne (just as Chariton does), and supplies various accounts of the adventures of Ariadne and Theseus. These accounts are found in the works of other authors whom Plutarch names,8 and it is mainly on these stories that Chariton models his version of the Ariadne myth, especially at 3.3.5.The historian writes that Ariadne fell in love with Theseus when he arrived on the island of Crete. She gave him the clue which enabled Theseus, after killing the Minotaur, to exit the Labyrinth. The historian uses the accounts of Pherecydes ( fl. c. 550 B.C.), Demon (fl. c. 300 B.C.), Philochorus (b. 340 B.C.), and Cleidemus ( fl. c. 350 B.C.), all of whom give differing versions of the escape of Theseus, the death of the Minotaur, and of the love of Ariadne for Theseus. Cleidemus' account is of particular interest because he describes the escape of Daedalus from Crete and draws attention to the ship sent by Minos... (shrink)

Wallace-Hadrill's reading of spatial hierarchy does not address the representation of gender in mythological paintings. However, a rough survey indicates that the majority are erotic and/or violent. Erotic depictions common on household items suggest that the Romans were sensitive to this content; the likely use of pattern books in selecting programs for domestic decoration suggests a synoptic awareness of it. This points to the applicability of contemporary theories of representation and power, and Mulvey's model of visual pleasure in narrative film (...) is adapted for this paper. According to Mulvey, film offers two pleasures: scopophilia, which presents the woman as aesthetic-erotic fragments, suggesting but concealing her difference ; sadistic voyeurism, which assumes difference and then investigates, punishes, or forgives it. Both are illustrated in paintings of Ariadne abandoned and rediscovered, and in other paintings which portray either the gaze or erotic violence . While these paintings seem to confirm in relation to gender what the rest of the house says about class and status, some paintings confuse the issue. The male body is often fetishized , and attacked ; gender and role are sometimes deliberately ambiguous . Such transgressions of the boundaries of the male body are not a part of Mulvey's theory, and they suggest the use of gender to complicate as well as confirm the class/status message of the house; two different negotiations of this use are found in the House of the Vettii and the House of the Ara Maxima. One can compare reversals and reassertions of gender, class and status in other evidence, in literature, pantomime and the games. (shrink)

This text links from the biographical and intimate of Nietzsche to the deepest of his thought of the eternal return, because it is the only way to understand this thought of eternal return. And for this, certain of Nietzsche’s biographical milestones are discussed in the light of the work Thus Spoke Zarathustra and its link to Lou Salomé. We look at how Lou Salomé lies behind the mythical figure of Ariadne as the bearer of the ring of return; that (...) is, through the feminine, Nietzsche shows us how the eternal return operates to free us from the chains of modernity. (shrink)