The evolution of Tanbi literature in contemporary Chinese online culture reflects a complex interplay of aesthetic philosophy, ethical narratives, and spiritual inquiry. Influenced by consumer culture, digital media expansion, and intercultural exchanges, Tanbi literature has transcended its original thematic boundaries, evolving into a distinct literary and philosophical phenomenon. While its literary and commercial significance has been widely discussed, the deeper philosophical and religious dimensions of Tanbi remain underexplored. This study examines the origins of the Tanbi (...) concept through the lens of philosophical aesthetics, moral discourse, and spiritual longing, investigating its historical roots and its transformation within modern Chinese literature. By tracing the intellectual and metaphysical foundations of Tanbi, this research seeks to uncover its connections to transcendence, ethical dualism, and the search for beauty as a form of spiritual contemplation. The study argues that Tanbi literature functions not only as a cultural and aesthetic movement but also as a medium for existential reflection, moral imagination, and the redefinition of identity in an increasingly digital and secularized world. Future research should further explore the intersections of Tanbi literature with religious thought, metaphysical aesthetics, and the ethical implications of its narratives in contemporary society. (shrink)

This guide accompanies the following article: Matthew Kieran, ‘Art, Morality and Ethics: On the (Im)moral Character of Art Works and Inter‐Relations to Artistic Value’. Philosophy Compass 1/2 (2006): pp. 129–143, doi: 10.1111/j.1747‐9991.2006.00019.x Author’s Introduction Up until fairly recently it was philosophical orthodoxy – at least within analytic aesthetics broadly construed – to hold that the appreciation and evaluation of works as art and moral considerations pertaining to them are conceptually distinct. However, following on from the idea that artistic value is (...) broader than aesthetic value, the last 15 years has seen an explosion of interest in exploring possible inter‐relations between the appreciative and ethical character of works as art. Consideration of these issues has a distinguished philosophical history but as the Compass survey article suggests (‘Art, Morality and Ethics: On the (Im)Moral Character of Art Works and Inter‐Relations to Artistic Value.’Philosophy Compass 1.2 (2006): 129–43), it is only very recently that figures in the field have returned to it to develop more precisely what they take the relationships to be and why. Consensus is, unsurprisingly, lacking. The reinvigoration of the issues has led sophisticated formalists or autonomists to mount a more considered defence of the idea that aesthetic and literary values are indeed conceptually distinct from the justification or otherwise of the moral perspective or views endorsed in a work (Topic I). The challenges presented by such a defence are many but amongst them are appeals to critical practice (Lamarque and Olsen), scepticism about whether or not art really can give us bona fide knowledge (Stolnitz) and the recognition that truth often seems to be far removed from what it is we value in our appreciation of works (Lamarque). One way to motivate consideration of the relevance of a work’s moral character to its artistic value concerns the phenomena of imaginative resistance. At least sometimes it would seem that, as Hume originally suggested, we either cannot or will not enter imaginatively into the perspective solicited by a work due to its morally problematic character (Topic II). In some cases, it would seem that as a matter of psychological fact, we cannot do so since it is impossible for us to imagine how it could be that a certain attitude or action is morally permissible or good (Walton). The question then is whether or not this is a function of morality in particular or constraints on imaginative possibility more generally and what else is involved. At other times, the phenomena seem to be driven by a moral reluctance to allow ourselves to enter into the dramatic perspective involved (Moran) or evaluation of the attitude expressed (Stokes). Nonetheless, it is far from obvious that this is so of all the attitudes or responses we judge to be morally problematic. After all, it looks like we can and indeed often do suspend or background particular cognitive and moral commitments in engaging with all sorts of works (Nichols and Weinberg). If the moral character of a work interacts with how we appreciate and evaluate them, then the pressing question is this: is there any systematic account of the relationship available to us? One way is to consider the relationship between our emotional responses to works and their moral character (Topic III). After all, art works often solicit various emotional responses from us to follow the work and make use of moral concepts in so doing (Carroll). Indeed, whether or not a work merits the sought for emotional responses often seems to be internally related to ethical considerations (Gaut). Yet, it is not obvious that we should apply our moral concepts or respond emotionally in our imaginative engagement with works as art as we should in real life (Kieran, Jacobson). A different route is via the thought that art can convey knowledge (Topic IV). There might be particular kinds of moral knowledge art distinctively suited to conveying (Nussbaum) or it may just be that art does so particularly effectively (Carroll, Gaut, Kieran). Either way where this can be tied to the artistic means and appreciation of a work it would seem that to cultivate moral understanding contributes to the value of a work and to betray misunderstanding is a defect. Without denying the relevance of the moral character of a work some authors have wanted to claim that sometimes the immoral aspect of a work can contribute to rather than lessen its artistic value (Topic V). One route is to claim that there is no systematic theoretical account of the relationship available and what the right thing to say is depends on the particular case involved (Jacobson). Another involves the claim that this is so when the defect connects up in an appropriate way to one of the values of art. Thus, it has been claimed, only where a work reveals something which adds to intelligibility, knowledge or understanding in virtue of its morally problematic aspect can this be so (Kieran). The latter position looks like it could in principle be held whilst nonetheless maintaining that the typical or standard relationship is as the moralists would have it. Yet perhaps allowing valence change for such reasons is less a mark of principled explanation and more a function of downright inconsistency or incoherence (Harold). The topics themselves and suggested readings given below follow the structure articulated above as further amplified in the Compass survey article. The design and structure given below can be easily compressed or expanded further. Author Recommends 1 Carroll, Noël. ‘Art, Narrative and Moral Understanding.’Aesthetics and Ethics: Essay at the Intersection. Ed. Jerrold Levinson. Cambridge: Cambridge UP, 1998. 126–60. 2 This article develops the idea that engaging with narrative art calls on moral concepts and emotions and can thereby clarify our moral understanding. 2 Carroll, Noël. Beyond Aesthetics: Philosophical Essays. Cambridge: Cambridge UP, 2009. 4 Part IV consists of six distinct essays on questions concerning the inter‐relations between art and morality including the essay cited above and the author’s articulation and defence of moderate moralism. 3 Gaut, Berys. ‘The Ethical Criticism of Art.’Aesthetics and Ethics: Essay at the Intersection. Ed. Jerrold Levinson. Cambridge: Cambridge UP, 1998. 182–203. 4 Gaut, Berys. Art, Emotion and Ethics. Oxford: Oxford UP, 2007. 7 This monograph provides the most exhaustive treatment of the issues and defends the claim that, where relevant, whenever a work is morally flawed it is of lesser value as art and wherever it is morally virtuous the work’s value as art is enhanced. Chapters 7 and 8 defend concern ethical knowledge and chapter 10 is a development of the article cited above concerning emotional responses. Chapter 3 also gives a useful conceptual map of the issues and options in the debate. 5 Jacobson, Daniel. ‘In Praise of Immoral Art.’Philosophical Topics 25 (1997): 155–99. 9 A wide ranging and extended treatment of relevant issues which objects to generalising moral treatments of our responses to art works and defends the idea that particular works can be better because of rather than despite their moral defects. 6 Kieran, Matthew. ‘Forbidden Knowledge: The Challenge of Cognitive Immoralism.’Art and Morality. Ed. Sebastian Gardner and José Luis Bermúdez. London: Routledge, 2003. 56–73. 11 A general argument for immoralism is elaborated by outlining when, where and why a work’s morally problematic character can contribute to its artistic value for principled reasons (through enhancing moral understanding). 7 Kieran, Matthew. Revealing Art. London: Routledge, 2005. Chapter 4. 13 This chapter argues against both aestheticism and straightforward moralism about art, elaborating a defence of immoralism in relation to visual art whilst ranging over issues from pornographic art to the nature and demands of different genres in art. 8 Lamarque, Peter. ‘Cognitive Values in the Arts: Marking the Boundaries.’ Contemporary Debates in Aesthetics and the Philosophy of Art. Ed. Matthew Kieran. Oxford: Blackwell, 2006, 127–39. 15 This article concisely outlines and defends a sophisticated aestheticism that denies the importance of truth to artistic value. 9 Stolnitz, Jerome. ‘On the Cognitive Triviality of Art.’British Journal of Aesthetics 32.3 (1992): 191–200. 17 This article articulates and defends the claim that no knowledge of any interesting or significant kind can be afforded by works appreciated and evaluated as art. 10 Walton, Kendall. ‘Morals in Fiction and Fictional Morality, I.’Proceedings of the Aristotelian Society, Suppl. 68 (1994): 27–51. 19 This article builds on some comments from Hume to develop the idea that when engaging with fictions it seems impossible imaginatively to enter into radically deviant moral attitudes. Online Materials ‘Aesthetics and Ethics: The State of the Art.’American Society of Aesthetics online (Jeffrey Dean):. ‘Art, Censorship and Morality’ downloadable podcast of Nigel Warburton interviewing Matthew Kieran at Tate Britain (BBC/ou Open2.net as part of the Ethics Bites series):. ‘Art, Morality and Ethics: On the (Im)Moral Character of Art Works and Inter‐Relations to Artistic Value.’Philosophy Compass 1.2 (2006): 129–43 (Matthew Kieran):. ‘Ethical Criticism of Art.’Internet Encyclopedia of Philosophy (Ella Peek):. ‘Fascinating Fascism.’New York Review of Books Piece Discussing Leni Riefenstahl (Susan Sontag):. ‘The Beheading of St. John the Baptist (1450s), Giovanni de Paolo’ (Tom Lubbock):. Vladimir Nabokov and Lionel Trilling discuss Lolita (CBS):. Sample Syllabus Topic I Autonomism/aestheticism • Anderson, James C. and Jeffrey T. Dean. ‘Moderate Autonomism.’British Journal of Aesthetics 38.2 (1998): 150–66. • Beardsley, Monroe. Aesthetics: Problems in the Philosophy of Criticism. New York: Harcourt, Brace and World, 1958. Chapter 12. • Kant, Immanuel. The Critique of Judgement.Trans. James Creed Meredith. Oxford: Oxford UP, 1952 [1790]. • Lamarque, Peter. ‘Cognitive Values in the Arts: Marking the Boundaries.’Contemporary Debates in Aesthetics and the Philosophy of Art. Ed. Matthew Kieran. Oxford: Blackwell, 2006, 127–39. • ——. ‘Tragedy and Moral Value.’Australasian Journal of Philosophy 73.2 (1995): 239–49. • Lamarque, Peter and Stein Olsen. Truth, Fiction and Literature. Oxford: Clarendon Press, 1994. Chapter 10. • Stolnitz, Jerome. ‘On the Cognitive Triviality of Art.’British Journal of Aesthetics 32.3 (1992): 191–200. Topic II Imaginative Capacities, Intelligibility and Resistance • Moran, Richard. ‘The Expression of Feeling in Imagination.’Philosophical Review 103.1 (1994): 75–106. • Nichols, Shaun. ‘Just the Imagination: Why Imagining Doesn’t Behave Like Believing’. Mind & Language 21.4 (2006): 459–74. • Stokes, Dustin. ‘The Evaluative Character of Imaginative Resistance’. British Journal of Aesthetics 46.4 (2006): 387–405. • Tanner, Michael. ‘Morals in Fiction and Fictional Morality, II’. Proceedings of the Aristotelian Society, Suppl. Vol. 68 (1994): 51–66. • Walton, Kendall (1994). ‘Morals in Fiction and Fictional Morality, I’. Proceedings of the Aristotelian Society, Suppl. Vol. 68 (1994): 27–51. • Weinberg, Jonathan. ‘Configuring the Cognitive Imagination.’New Waves in Aesthetics. Eds. K. Stock and K. Thomson‐Jones. London: Palgrave Macmillan, 2008. 203–23. Topic III Moralism and Emotions • Carroll, Noël. ‘Moderate Moralism.’British Journal of Aesthetics 36.3 (1996): 223–37. • Carroll, Noël. ‘Art, Narrative and Moral Understanding.’Aesthetics and Ethics: Essay at the Intersection. Ed. Jerrold Levinson. Cambridge: Cambridge UP, 1998.126–60. • Gaut, Berys. Art, Emotion and Ethics. Oxford: Oxford UP, 2007. Chapter 10. • ——. ‘The Ethical Criticism of Art.’Aesthetics and Ethics: Essay at the Intersection. Ed. Jerrold Levinson. Cambridge: Cambridge UP, 1998. 182–203. • Hume, David. ‘Of the Standard of Taste.’Selected Essays. Oxford: Oxford UP, 1993 [1757]. 133–53. • Kieran, Matthew. ‘Emotions, Art and Immorality.’Oxford Handbook to the Philosophy of Emotions. Ed. Peter Goldie. Oxford: Oxford UP, 2009. 681–703. • Tolstoy, Leo. What is Art?. London: Penguin, 2004. Chapters 5 and 15. Topic IV Moralism and Knowledge • Aristotle. Poetics. Trans. M. Heath. London: Penguin, 1996 [367–322 BC]. • Carroll, Noël. ‘The Wheel of Virtue: Art, Literature and Moral Knowledge.’Journal of Aesthetics and Art Criticism 60.1 (2002): 3–26. • Gaut, Berys. Art, Emotion and Ethics. Oxford: Oxford UP, 2007. Chapters 7 and 8. • Gaut, Berys. ‘Art and Cognition.’Contemporary Debates in Aesthetics and the Philosophy of Art. Ed. Matthew Kieran. Oxford: Blackwell, 2006. 115–26. • Kieran, Matthew. ‘Art, Imagination and the Cultivation of Morals.’Journal of Aesthetics and Art Criticism 54.4 (1996): 337–51. • Nussbaum, Martha. ‘Finely Aware and Richly Responsible: Literature and the Moral Imagination.’Love’s Knowledge. New York: Oxford UP, 1990. 148–68. • Plato. The Republic. Trans. D. Lee. Harmondsworth: Penguin, 1974. Book 10. Topic V Immoralist Contextualism • Harold, James. ‘Immoralism and the Valence Constraint.’British Journal of Aesthetics 48.1 (2008): 45–64. • Jacobson, Daniel. ‘In Praise of Immoral Art.’Philosophical Topics 25 (1997): 155–99. • ——. ‘Ethical Criticism and the Vices of Moderation.’Contemporary Debates in Aesthetics and the Philosophy of Art. Ed. Matthew Kieran. Oxford: Blackwell, 2006. 342–55. • John, Eileen. ‘Artistic Value and Moral Opportunism.’Contemporary Debates in Aesthetics and the Philosophy of Art. Ed. Matthew Kieran. Oxford: Blackwell, 2006. 331–41. • Kieran, Matthew. ‘Forbidden Knowledge:The Challenge of Cognitive Immoralism.’Art and Morality. Ed. Sebastian Gardner and José Luis Bermúdez. London: Routledge, 2003. 56–73. • Kieran, Matthew. Revealing Art. London: Routledge, 2005. Chapter 4. • Patridge, Stephanie. ‘Moral Vices as Artistic Virtues: Eugene Onegin and Alice.’Philosophia 36.2 (2008): 181–93. Focus Questions 1 What is the strongest argument for the claim that the moral character of a work is not relevant to its artistic value? Does artistic or literary criticism tend to concern itself with the truth or morality of works? If so, in what ways? If not, why do you think this is? 2 What different explanations might there be for difficulty with or resistance to imaginatively entering into attitudes you take to be immoral? How might this relate to the way our imaginings work as contrasted with belief? How might different literary or artistic treatments of the same subject matter make a difference? 3 How do narrative works draw on our moral concepts and responses? Can we suspend our normal moral commitments or application of moral concepts in responding emotionally to art works? Should we respond emotionally to art works as we ought to respond to real world events we witness? Why? Why not? 4 How, if at all, do art works convey moral understanding? How, if at all, is this related to the kinds of moral knowledge art works can teach or reveal to us? When, where and why might this be tied to the artistic value of a work? How can we tell where a work enhances our moral understanding as opposed to misleading or distorting it? 5 What art works do you value overall as art which commend or endorse moral values and attitudes that you do not? Is appreciation of them always marred or lessened by the morally dubious aspect? If not, what explains the differences in evaluation? What, if anything, might you learn by engaging with works which endorse moral attitudes or apply moral concepts different from those you take to be justified? How, if at all, might this connect up with what makes them valuable as art? (shrink)

If indeed aestheticization and enchantment are perennial traits of state discourses and practices in China, it is perhaps unsurprising that a countertradition in modern literature should emphasize disenchantment. Cultural productions that originate from outside the sphere of the state have often questioned its authority. Where the state seeks to enchant, literature has sometimes sought to kindle doubt, to arouse debate. Although such debates have often been curtailed or suppressed, it is worth reexamining the connections between literary production and political debates (...) in different historical contexts throughout twentieth-century China. Drawing on theories that stress the intentionality of literature and the speech act value of the literary text, the present essay attempts to characterize the communicational dynamics both within the text and in the context of its reception. In this perspective, it revisits some of the literary debates that took place in China in the May Fourth and Republican periods (represented by Lu Xun), the early postwar years and the ROC—PRC transition (Lao She), in certain works written during the Cultural Revolution (Jin Fan/Liu Qingfeng), as well as post-1979 literature on the mainland (Yan Lianke). It does so by selecting texts that seem to have been produced with the intention of challenging the aesthetics of enchantment, using literary devices to interrupt readers’ enjoyment and thus open a space for public discussion of both aesthetics and politics. (shrink)

Environmental scientists and engineers have been exploring research and monitoring applications of robotics, as well as exploring ways of integrating robotics into ecosystems to aid in responses to accelerating environmental, climatic, and biodiversity changes. These emerging applications of robots and other autonomous technologies present novel ethical and practical challenges. Yet, the critical applications of robots for environmental research, engineering, protection and remediation have received next to no attention in the ethics of robotics literature to date. This paper seeks to fill (...) that void, and promote the study of environmental robotics. It provides key resources for further critical examination of the issues environmental robots present by explaining and differentiating the sorts of environmental robotics that exist to date and identifying unique conceptual, ethical, and practical issues they present. (shrink)

Resumen: El artículo propone abordar la novela Throguel Online (2020) del escritor chileno Nicolás Meneses desde una perspectiva intermedial. Analizaremos el lugar del libro entre literatura, videojuego e internet, considerando varios elementos de su mezcla entre capas reales y virtuales que realiza, y que lo convierten en una obra sintomática y modélica de la era digital y cibercapitalista. Por un lado, la novela despliega, a nivel estético, material y temático, varias textualidades y configuraciones del videojuego que invaden y transforman (...) las materialidades y lenguajes del texto; por otro lado, señala tanto las problemáticas de una vida precaria en América Latina (Chile) como las posibilidades de formar nuevas comunidades virtuales mediante las redes digitales. Abstract: This article proposes an approach to the novel Throguel Online (2020), by Chilean writer Nicolás Meneses, from an intermedial perspective. We will analyze the book´s place between literature, videogame, and internet, considering various elements in the mixture of real and virtual layers it is performing, and which is turning it into a symptomatic and exemplary work for the digital and cybercapitalist era. On the one hand, the novel displays, on an aesthetic, material y thematic level, different textualities and configurations of videogames that invade and transform the materialities and languages of the text. On the other hand, it shows both the difficulties of precarious life in Latin America (Chile), and the possibilities of creating new virtual communities through digital networks. (shrink)

This essay presents the Aestheticism of the 19th century as the foundational movement of modernist-formalist aesthetics of the 20th century. The main principle of this movement is what I denominate “productive opacity”. Aestheticism has not been recognized as a philosophical aesthetic theory. However, its definition of artwork as an exclusive kind of form—a deep, opaque form—is among the most precise ever given in the discipline. This essay offers an interpretation of aestheticism as a formalist theory, referred to here as “deep (...) formalism”, focusing on the thinking of leading aestheticists, Walter Pater, Oscar Wilde, and James Whistler. These three thinkers defined artwork as a form saturated with an inextricable content, viz. opaque form. (shrink)

Many urgent problems that societies currently face—from climate change to a global pandemic—require citizens to engage with scientific information as members of democratic societies as well as to solve problems in their personal lives. Most often, to solve their epistemic aims (aims directed at achieving knowledge and understanding) regarding such socio-scientific issues, individuals search for information online, where there exists a multitude of possibly relevant and highly interconnected sources of different perspectives, sometimes providing conflicting information. The paper provides a (...) review of the literature aimed at identifying (a) constraints and affordances that scientific knowledge and the online information environment entail and (b) individuals' cognitive and motivational processes that have been found to hinder, or conversely, support practices of engagement (such as critical information evaluation or two-sided dialogue). Doing this, a conceptual framework for understanding and fostering what we callonline engagement with scientific informationis introduced, which is conceived as consisting of individual engagement (engaging on one's own in the search, selection, evaluation, and integration of information) and dialogic engagement (engaging in discourse with others to interpret, articulate and critically examine scientific information). In turn, this paper identifies individual and contextual conditions for individuals' goal-directed and effortful online engagement with scientific information. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Aestheticism, Homoeroticism, and Christian Guilt in The Picture of Dorian GrayJoseph CarrollSince the advent of the poststructuralist revolution some thirty years ago, interpretive literary criticism has suppressed two concepts that had informed virtually all previous literary thinking: (1) the idea of the author as an individual person and an originating source for literary meaning, and (2) the idea of "human nature" as the represented subject and common frame of (...) reference for literary depictions. Under the tutelage of Barthes, Derrida, and Foucault, literary critics learned to speak of authors, characters, settings, and plots not as individuals situated in a natural world but as discursive formations constituted by the circulation of linguistic, cultural, and ideological energies. In the three decades during which poststructuralism has dominated academic literary study, a different kind of revolution—evolutionary, Darwinian, and naturalistic—has been transforming the social sciences. Sociobiology, evolutionary psychology, Darwinian anthropology, behavioral ecology, cognitive archaeology, and behavioral genetics do not all agree with one another in every respect, but they are all nonetheless aspects or phases of a common research program. The central working hypothesis in this program is that the human species, like all other species, has evolved in an adaptive relation to its environment and that as a consequence it has a distinct, genetically transmitted, species-typical set of characteristics—anatomical, physiological, hormonal, neurological, and behavioral. That set of characteristics is what in common language is meant by "human nature." Literature has always given us subjectively evocative depictions of human nature, and Darwinian social science is now giving us a more comprehensive and scientifically precise account of it. The sense of [End Page 286] individual agency is one crucial aspect of human nature, and that aspect is now being explored in complementary ways by personality psychology and by cognitive neuroscience.1Over the past decade or so, a scattered handful of literary scholars has broken away from the dominant poststructuralist paradigm and has sought to make use of the new scientific information on human nature.2 The simplest and most obvious way to use this information is to examine the behavior depicted in literary texts and to correlate that behavior with "human universals," that is, with forms of behavior that appear in every known culture and that thus appear to be embedded in the nature of the species. Seeking depictions of universals has produced valuable results for literary study, but this first move in Darwinian criticism does not exhaust the range of possibility in the analysis of literary meaning. Human nature is complex and sometimes divided against itself; individuals vary, and some variations depart from species-typical patterns, even in the most adaptively crucial aspects of survival and reproduction. Moreover, literary meaning involves more than the represented subject matter. Authors imbue texts with meanings and affects peculiar to themselves; authors engage in communicative transactions with audiences; and texts have formal and aesthetic properties that are not reducible to represented subject matter. All of these aspects of the total literary situation are part of literary meaning, and all of them can and should fall within the range of analysis available to Darwinian literary study.3Oscar Wilde's The Picture of Dorian Gray offers two special challenges to Darwinian criticism. First, the novel is saturated with homoerotic sexual feeling, and it thus defies any simple reading in terms of behavior oriented to reproductive success. Second, the central conflicts in the novel involve two competing visions of human nature, and in their conceptual structure neither of those visions corresponds very closely to the quasi-Darwinian conceptual structure implicit in most realist and naturalist fiction. One vision derives from the aestheticist doctrines of Walter Pater, and the other from a traditional Christian conception of the soul. Pater's ideas about human motives and the human moral character are at variance both with Christianity and with Darwinism. Christianity and Darwinism share certain concepts of the human moral and social character, but they couch those concepts in different idioms, and they would invoke wholly different causal explanations for how human nature came to be the way it is. Wilde does not develop his themes in Darwinian terms, but the novel can still be read [End Page... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Aestheticism and SpiritualismA Narrative Study of the Exploration of Self through the Practice of Chinese CalligraphyMing-Tak Hue (bio)IntroductionCalligraphy has been used to preserve significant writings and texts in a beautiful form and to make the different styles of writing enjoyable. It is not only the art of beautiful handwriting but also a cultural heritage and tradition that reflects the culture and history of a society, a race, a nation, (...) and a country. Hence, it has very great educational value. In China calligraphy is done with a brush, which was a common writing implement in ancient times. In addition to its utilitarian function, calligraphy is the most fundamental element in other types of art, such as painting and seal-carving, and is closely connected to many subject disciplines, such as literature, history, and philosophy. Brush calligraphy is still popular in Chinese society and is frequently used in different forms of publication, such as banners and newspapers; however, it is becoming more popular for these publications to be created mechanically or in electronic form with computers rather than by hand. In the context of schooling, a similar phenomenon can be seen. Many teachers in Hong Kong, as elsewhere, are concerned that fewer and fewer students have the chance to write with a pen and enjoy the beauty of writing, as the use of computers and different types of electronic devices for writing become more popular with the general public.The aim of this article is to examine the meaning of the practice of Chinese calligraphy from a cultural perspective and to draw school practitioners' attention to the importance of calligraphy education in the promotion of the whole-person growth of students and of multicultural education. Relevant literature on Western and Chinese calligraphy will be reviewed. Then an explanation will be given on how a narrative approach to the personal experience method and textual analysis were adopted for the data analysis. The article argues that calligraphy serves more than a utilitarian function. It [End Page 18] has also been used as an aesthetic practice and spiritual discipline. Hence, it is suggested that the calligraphy of brushwork is not only delightful to the eye but also an inspiration to the spirit. It is a practice of mindfulness for promoting self-reflection and self-cultivation, which leads calligraphy practitioners to reflect in their mind and heart, and so brings them into a harmonious relationship with others and the natural world.Literature ReviewIn Western societies for the last one hundred years, calligraphy has been rediscovered and relearned.1 Knight pointed out that the heritage and traditions of calligraphy have not been properly addressed and inherited in Western societies. Uyehara further suggested that calligraphy had been basically restudied and relearned in Europe and the United States up until the end of World War II. Edward Johnston (1872-1944) could be the most influential scholar who attempted to rediscover the art of Western calligraphy, lettering, and illuminating. In his study of ancient inscriptions and old manuscripts, three essential qualities of calligraphy were identified: "legibility," "beauty," and "character."2 When creating a piece of artwork, calligraphers have to ensure the legibility of the letter forms, the mastery of the skills of creating beautiful writing, and the readability of their works. As he explained,To make good letters and to arrange them well. To make good letters is not necessarily to "design" them—they have been designed long ago—but it is to take the best letters we can find, and to acquire them and make them our own. To arrange letters well requires no great art, but it requires a working knowledge of letter-forms and of the reasonable methods of grouping these forms to suit every circumstance.3Similarly, Knight highlighted the essential qualities of "legibility" and "beauty." Further, he stressed that the "creativity" of calligraphy should be imposed upon the tradition and cultural heritage of ancient manuscripts. As he said,[M]any of the conventions we use today in letter design and typography were established during the manuscript age. To know the classic work of this period is to know more about the ground we stand upon. If we grasp the... (shrink)

We aimed to identify the critical insights from empirical peer-reviewed studies on online romance fraud published between 2000 and 2021 through a systematic literature review using the Preferred Reporting Items for Systematic Reviews and Meta-Analyses (PRISMA) protocol. The corpus of studies that met our inclusion criteria comprised twenty-six studies employing qualitative (n = 13), quantitative (n = 11), and mixed (n = 2) methods. Most studies focused on victims, with eight focusing on offenders and fewer investigating public perspectives. All (...) the victim-focused studies relied on data from the Global North, except for Malaysia. Five offender-focused studies used online data available in the public domain, and three derived their data from West Africa. Our review highlights offenders' techniques to deceive and manipulate victims, as revealed in these studies, and highlights some limitations of offender- and victim-focused studies. The dominant framework used across the studies was found to be the “Scammers Persuasive Techniques Model.” While this framework provides a helpful way of considering the stages of victim involvement, it also faces some limitations, which we highlight. Our study reviews the current state of empirical knowledge on romance fraud and identifies certain gaps and biases in the literature. We argue there is a need for further research into online romance fraud to enhance our understanding of it both from the perspective of the offender as well as the experience of the victim. We also highlight the need for a more inclusive and greater range of regional and global diverse range of data sources and perspectives. Given the scale and impact of online romance fraud, we conclude that its study would benefit from a richer empirical engagement that recognizes it as both a regional and global phenomenon. (shrink)

Book description:* The only accessible and authoritative guide to the continental traditions in philosophy * 20 brand-new contributions by an outstanding international team * Valuable for anyone working on continental philosophy, European literature, the history of ideas, and cultural studies The Oxford Handbooks series is a major new initiative in academic publishing. Each volume offers an authoritative and up-to-date survey of original research in a particular subject area. Specially commissioned essays from leading figures in the discipline give critical examinations of (...) the progress and direction of debates. Oxford Handbooks provide scholars and graduate students with compelling new perspectives upon a wide range of subjects in the humanities and social sciences. The Oxford Handbook of Continental Philosophy is the definitive guide to the major themes of the continental Euopean tradition in philosophy in the nineteenth and twentieth centuries. Brian Leiter and Michael Rosen have assembled a stellar group of contributors who provide a thematic treatment of continental philosophy, treating its subject matter philosophically and not simply as a series of museum pieces from the history of ideas. The scope of the volume is broad, with discussions covering a wide range of philosophical movements including German Idealism, existentialism, phenomenology, Marxism, postmodernism, and critical theory, as well as thinkers like Hegel, Marx, Nietzsche, Freud, Heidegger, and Foucault. This Handbook will be an essential reference point for graduate students and professional academics working on continental philosophy, as well as those with an interest in European literature, the history of ideas, and cultural studies. (shrink)

Book description:* The only accessible and authoritative guide to the continental traditions in philosophy * 20 brand-new contributions by an outstanding international team * Valuable for anyone working on continental philosophy, European literature, the history of ideas, and cultural studies The Oxford Handbooks series is a major new initiative in academic publishing. Each volume offers an authoritative and up-to-date survey of original research in a particular subject area. Specially commissioned essays from leading figures in the discipline give critical examinations of (...) the progress and direction of debates. Oxford Handbooks provide scholars and graduate students with compelling new perspectives upon a wide range of subjects in the humanities and social sciences. The Oxford Handbook of Continental Philosophy is the definitive guide to the major themes of the continental Euopean tradition in philosophy in the nineteenth and twentieth centuries. Brian Leiter and Michael Rosen have assembled a stellar group of contributors who provide a thematic treatment of continental philosophy, treating its subject matter philosophically and not simply as a series of museum pieces from the history of ideas. The scope of the volume is broad, with discussions covering a wide range of philosophical movements including German Idealism, existentialism, phenomenology, Marxism, postmodernism, and critical theory, as well as thinkers like Hegel, Marx, Nietzsche, Freud, Heidegger, and Foucault. This Handbook will be an essential reference point for graduate students and professional academics working on continental philosophy, as well as those with an interest in European literature, the history of ideas, and cultural studies. (shrink)

"In our critical vocabulary of literary forms, kinds and stylistic features, there are some terms for which compact definition are bound to be inadequate. The purpose of this series of introductory studies is to accustom the student to these terms by means of a straightforward discussion with illustrative quotation and, where appropriate, references to the literature of more than one language. In each case the author has compiled a short, annotated guide to further reading."-Publisher.

The rise of literary theory spawned the rise of anti-aestheticism, so that even for cultural theorists, discussions concerning aesthetics were often carried out in a critical shorthand that failed to engage with the particularity of the work of art, much less the specificities of aesthetic experience. This book introduces the notion of a new aestheticism--"new" insofar as it identifies a turn taken by a number of important contemporary thinkers towards the idea that focussing on the specifically aesthetic impact of a (...) work of art or literature has the potential to open radically different ways of thinking about identity, politics and culture. (shrink)

Purpose– The purpose of this paper is twofold: to provide an overview of related studies and to highlight research gaps and questions that need to be addressed. Research conducted in three-dimensional (3D) online environments constitutes a different research context, not least because it involves the recruitment of avatars in the research process. Researchers need to appreciate better the ethical concerns that arise in this novel, fast-evolving context and how these concern different stakeholders.Design/methodology/approach– The paper employs an interdisciplinary desk-research approach. (...) It critically reviews related literature, highlights the involved stakeholders, discusses ethical issues from a marketing research perspective and concludes with a discussion of related studies and research gaps, providing direct future research avenues.Findings– The characteristics of the 3D online environments and the behaviour and experiences of their users set the boundaries and guide the way regarding the ethical research in this context.Research limitations/implications– The paper does not present primary empirical results, instead it reviews and critiques related literature in 3D online environments and sets the agenda for future research.Practical implications– The paper provides ethical guidelines and identifies blurred areas in conducting or participating in research in 3D online environments.Originality/value– Based on earlier studies and examples of ethical concerns when studying 3D online environments, this paper emphasises the parameters that should be taken into consideration in current and future research studies. (shrink)

Online shaming is a subject of import for social philosophy in the Internet age, and not simply because shaming seems generally bad. I argue that social philosophers are well-placed to address the imaginal relationships we entertain when we engage in social media; activity in cyberspace results in more relationships than one previously had, entailing new and more responsibilities, and our relational behaviors admit of ethical assessment. I consider the stresses of social media, including the indefinite expansion of our relationships (...) and responsibilities, and the gap between the experiences of those shamed and the shamers’ appreciation of the magnitude of what they do when they shame; I connect these to the literature suggesting that some intuitions fail to guide our ethics. I conclude that we each have more power than we believe we do or than we think carefully about exerting in our online imaginal relations. Whether we are the shamers or the shamed, we are unable to control the extent to which intangible words in cyberspace take the form of imaginal relationships that burden or brighten our self-perceptions. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Levinas on Art and AestheticismGetting “Reality and Its Shadow” RightRichard A. Cohen (bio)1. The Standard Misreading of Levinas on Arta. IntroductionMuch has been written in the secondary literature about Levinas and art and about Levinas and literature more specifically. In addition to Maurice Blanchot’s observations in The Writing of the Disaster, which is more a primary text than a secondary source, two exceptional studies — well-written, insightful, nuanced, erudite (...) — in English on Levinas and literature are Robert Eaglestone’s book of 1997 entitled Ethical Criticism: Reading after Levinas and Jill Robbins’s 1999 book entitled Altered Reading: Levinas and Literature.1 No doubt there are other fine studies, but these two will be sufficient for our purposes. They are scholarly in the best sense, effecting to understand Levinas first of all, hence hermeneutically sympathetic, and at the same time taking critical distances, articulating reservations, basically unconvinced by Levinas’s claims. Unfortunately, given all their considerable virtues, these books are also hampered by a serious flaw, one that unhappily appears in all too much of the secondary literature on Levinas and art. [End Page 149] Despite their good will and intelligence, both books fundamentally misunderstand the relation of Levinas’s thought on and to art, and thus also his relation to literature more specifically, because they misconstrue the nature and the status of Levinas’s account of art within his philosophy. Surely this is serious and unfortunate. One aim of the present essay is to expose this flaw, despite its pervasiveness and entrenchment. Another aim, more positive and ultimately the means by which to accomplish the first, is to present a faithful account of what Levinas really has to say about art.Counter to the misgivings leveled against Levinas in the above two books, not to mention the many commentaries that repeat more or less the same things, the present article proposes two theses in his defense. To the charge that Levinas has misrepresented art, my first claim is that Levinas does not misrepresent art and, indeed, that he has a fine sense of it. To the charge that Levinas is hostile to art, my second claim is that Levinas is not at all hostile to art, one sign of which — noticed by both critics — is the literary and aesthetic references that abound in his own writings. That is to say, contrary to his critics, Levinas grasps quite well the nature and the value of art. His own literary practices, found throughout his own writings, some of them quite obvious, such as exegeses of Shakespeare and repeated citations taken from Dostoevsky and Grossman, not to mention a wealth of other references and allusions to artists and writers, and, of course, including explicit comments and discussions about art, all these are consistent with and help underwrite my larger claim that Levinas understands and values art and, indeed, that he understands it very well and values it highly.To be sure, and no one can mistake this, Levinas’s philosophy is ultimately an ethics and not an aesthetics. The ultimum verbum belongs not to aesthetics but to moral responsibility and the quest for justice. It is here, for those who would make aesthetics ultimate, that the rub lies, here that we find the spur and speculum for their distortion and darkening of Levinas on art. All the more necessary, then, are the two sides of the present essay: to understand properly what Levinas is saying by means of a careful reading of his one article devoted entirely to [End Page 150] art, “Reality and Its Shadow,” to discern in as unprejudiced a fashion as possible what Levinas actually has to say about art and its value, and by so proceeding to unmask the inadequacies of Levinas’s aesthetic critics. Getting Levinas right certainly does not foreclose criticism, by any means. It is, nevertheless, the first step to serious criticism or to acceptance. Getting him wrong, however, goes nowhere at all, because it has not even begun.Inasmuch as their mishandling of Levinas is in an important sense basically the same, in the following I treat Robbins’s Altered Reading and Eaglestone’s... (shrink)

Dewey's "Art as Experience" defends the view that art and life are a y. But his version of this view exhibits an ambiguity, arising from his ency to move back and forth in the text between two usages of "art". These usages allow for two different interpretations of the theme of the unity and life: an "aesthetic" interpretation emphasizing the uniqueness of the arts as instrumentally valuable sources of aesthetic and ummatoryexperience, and an "aestheticist" interpretation emphasizing the ence of such (...) experience not only in the fine arts but throughout the trum of intelligent practice. Are these interpretations necessarily in ion, or can we read them as part of a single consistent argument about the re of art in Dewey's text? I arguethat we can, but to do so we need to dialectically, and with a glance toward a figure whose influence on Dewey nderappreciated in the recent literature: Hegel. (shrink)

As traditional organizations using their websites for eCommerce transactions are increasing at an exponential rate, privacy concerns of users are also on the rise. To gain an insight into these concerns, existing policies and legislation, we conducted the research reported in this paper, in 2003. To augment the literature synthesis, a multiple case study analysis was conducted, based on six large organisations in Australia. Our research findings suggested that in the Australian context, an online privacy policy (OPP) on the (...) website which complies with the Privacy Act, supported by few best practices are reasonably able to address online privacy concerns. However, these findings are restricted in time frame, indicative and relevant in the Australian context. Nevertheless, we hope to stimulate academic research enquiry and discussion forums through this research. (shrink)

The problem of academic dishonesty is as old as it is widespread – dating back millennia and perpetrated by the majority of students. Attempts to promote academic integrity, by comparison, are relatively new and rare – stretching back only a few hundred years and implemented by a small fraction of schools and universities. However, the past decade has seen an increase in efforts among universities to promote academic integrity among students, particularly through the use of online courses or tutorials. (...) Previous research has found this type of instruction to be effective in increasing students’ knowledge of academic integrity and reducing their engagement in academic dishonesty. The present study contributes to this literature with a natural experiment on the effects of the Academic Integrity Course (AIC) at The University of Auckland, which became mandatory for all students in 2015. In 2012, a convenience sample of students (n= 780) had been asked to complete a survey on their perceptions of the University’s academic integrity polices and their engagement in several forms of academic dishonesty over the past year. In 2017, the same procedures and survey were used to collect data from second sample of students (n= 608). After establishing measurement invariance across the two samples on all latent factors, analysis of variance revealed mixed support for the studies hypotheses. Unexpectedly, students who completed the AIC (i.e., the 2017 sample) reported: (1) significantly lower (not higher) levels of understanding, support, and effectiveness with respect to the University’s academic integrity policies; (2) statistically equivalent (not higher) levels of peer disapproval of academic misconduct, and; (3) significantly higher (not lower) levels of peer engagement in academic misconduct. However, results related to participants’ personal engagement in academic misconduct offered partial support for hypotheses – those who completed the AIC reported significantly lower rates of engagement on three of the eight behaviors included in the study. The implications and limitations of these findings are discussed as well as possible future directions for research. (shrink)

PurposeThe purpose of this paper was to develop a framework of working-together relations and investigate ways to enhance working-together relations among people, organisations, communities and neighbourhoods using working-together applications. Today, people in communities, neighbourhoods and constituencies often work together in a coalition of public, private and non-profit institutions. The technology used today has enabled new forms of communications and collaboration. The rapid growth of mobile technologies and interactive, collaborative applications based on Web technologies has enabled the development of new approaches (...) to derive and share organisational and local knowledge. Not all of these applications have succeeded; after a certain time, users tend to stop using online applications that do not assist them in developing collaborative practices with their team members.Design/methodology/approachTo better understand the essential characteristics of a successful online application that effectively supports people to work together, the authors undertook an inductive analysis of related literature and existing social media application.FindingsBy combining and categorising the findings, it was possible to articulate the characteristics associated with four identified categories of working-together relations: networking, coordination, cooperation and collaboration. The study also identified essential activities that are performed in each working-together category and the factors that enable successful working-together relations: trust, risk and rewards.Research limitations/implicationsFuture studies will look into how applications could be further enhanced, so that, for example, an application that is currently classified as “coordination” could be improved and the required characteristics of “collaboration” could be met.Practical implicationsIt is expected that the framework derived will assist in the design of successful online applications to support different categories of working-together relations.Originality/valueThe main contribution of this study is a new framework that can now be used to identify how effective an existing application can be in assisting the working-together relations. (shrink)

Inappropriate social interactions of entrepreneurs can generate negative effects in the peer-to-peer lending market. To address this problem and assist peer-to-peer entrepreneurs in customizing their online interaction strategies, we used the cutting-edge cognitive-experiential self-system conceptual model and studied the relationship between peer-to-peer entrepreneurs’ interactions and financing levels. Online interactive information was categorized as emotional or cognitive, adding the moderator of entrepreneur popularity, and the effect of these interactions on individual investors was analyzed. We found that the entrepreneurs’ (...) class='Hi'>online interactive information affected psychological perception of entrepreneurs and their corresponding brand image. The interaction between popularity and interactive information types was significant. The findings imply that less popular entrepreneurs should engage in emotional interactions, while more popular entrepreneurs should choose cognitive interactions. Online interaction created comparative advantages in the financing activities of peer-to-peer companies. These results expand understanding of the psychological facets of the consumer–brand relationship in the digital world, and extend the current literature. This study also highlights key areas of learning and application for both practitioners and scholars of organizational psychology. (shrink)

Information technology and the Internet have added a new stakeholder concern to the corporate social responsibility (CSR) agenda: online privacy. While theory suggests that online privacy is a CSR, only very few studies in the business ethics literature have connected these two. Based on a study of CSR disclosures, this article contributes to the existing literature by exploring whether and how the largest IT companies embrace online privacy as a CSR. The findings indicate that only a small (...) proportion of the companies have comprehensive privacy programs, although more than half of them voice moral or relational motives for addressing online privacy. The privacy measures they have taken are primarily compliance measures, while measures that stimulate a stakeholder dialogue are rare. Overall, a wide variety of approaches to addressing privacy was found, which suggests that no institutionalization of privacy practices has taken place as yet. The study therefore indicates that online privacy is rather new on the CSR agenda, currently playing only a minor role. (shrink)

Digital technologies have become an integrated part of everyday life, and this development has not left relationships untouched. A need exists for theological reflection on the interaction between the dynamic contexts of the digital age and Christian marital relationships. The relational implications of the digital age are quite vast; therefore the focus of the article will be limited to online identity formation as a particular challenge of the digital age. Employing the method of a literature study within the scientific (...) field of practical theology, this article explores the interplay between online identity formation and Christian marriage. It suggests that online identity formation exists around a reciprocal interaction with two prominent qualities of Christian marriages: The expansion of the self and one-ness. When considering the interplay between online identity formation and Christian marriage, awareness can be created regarding the marital implications of spouses' online engagements, which may enhance contextual pastoral care with a relational focus within the digital age. CONTRIBUTION: The article contributes to practical theological reflection on challenges posed to Christian marriages by the digital age. It is aimed at stimulating pastoral thinking regarding online identity formation and its adverse effects on so-called one-ness in Christian marriages that can enhance pastoral care with a view on the flourishing of couples in the digital age. (shrink)

Domain analysis is useful for examination of individual spheres of intellectual activity, both academic and otherwise, and has been used in the knowledge organization (KO) literature to explore specific communities and uses, including web pornography (Beaudoin and Ménard 2015), virtual online worlds (Sköld, Olle 2015), gourmet cooking (Hartel 2010), healthy eating (McTavish 2015), art studies (Ørom 2003), the Knowledge Organization journal (Guimarães et al. 2013), and domain analysis itself (Smiraglia 2015). The results of domain analyses are useful for the (...) development of controlled vocabularies, taxonomies, ontologies, metadata schemas, and other systems for the documentation, description, and discovery of resources, as well as for knowledge discovery in general (Smiraglia 2015; Hjørland 2017). This research describes a methodology for the elucidation of knowledge organization systems (KOS) currently in use on image websites that document graffiti, graffiti art, and street art around the world. (shrink)

As a new form of online reviews, Q&A reviews have been recently used by many e-commerce platforms to compensate for the weaknesses and problems related to trust and helpfulness found in traditional online reviews. This research documents what motivates people to share products or purchasing knowledge with others through Q&A reviews and why e-commerce platforms should place an emphasis on Q&A reviews. Importantly, our results provide evidence that, when receiving feedback, people are more likely willing to share knowledge (...) with others and will have a higher level of loyalty. We believe that this study contributes to knowledge sharing and the e-commerce literature, and also has practical implications. (shrink)

In recent years, increasing attention has been paid to the all-around development and mental health of students in education. Positive education, a rapidly developing ramification of positive psychology, has proved beneficial to students’ learning and wellbeing. Meanwhile, online learning has quickly gained popularity due to the impact of COVID-19. However, there have been few reports discussing the relationship between positive education and online learning by combining theories and practices. To explore the connection between positive education and online (...) learning, we provide a literature review for studies, mostly between 2010 and 2022, of theories and practices for both positive education and online learning. Next, we establish one-to-one links between the relevant theories and practices of online learning to each domain in the PERMA model of positive education, a theoretical framework including Positive emotion(P), Engagement(E), Relationship(R), Meaning(M), and Accomplishment(A). We aim to explore how to promote the development of positive education by applying the theoretical and practical advantages of online learning to the PERMA framework of positive education. This study aims to enrich the research perspectives of positive education and provide a reference for future research. (shrink)

Online learning is becoming a commonplace in different settings starting from elementary, secondary and higher levels of education. Different educational institutions use different communication tools to promote learning because the expansive nature of the Internet and the accessibility of technology have generated a surge in the demand for web-based teaching and learning across the nations (Chaney, 2010). The online teaching and learning have become a necessity for education around the globe during COVID 19-pandemic. There are several challenges which (...) are faced during online classes because the students must have strong self-motivation skills and be very disciplined to achieve the desired learning results. This paper presents and analyzes the data on the benefits and challenges of online teaching at South East European University (SEEU) during COVID 19 pandemic. The participants of the study are students of the BA level majoring in English Language and Literature and German Language and Literature at SEEU in Tetovo, North Macedonia. To answer the research questions, we have used a student questionnaire, interviews, and student reflection papers written during the online courses. Overall, the research indicates that benefits of online coursework outweigh the challenges that students face during the online classes. From a safety perspective, this study emphasizes the need to consider the impact of online teaching on student motivation and the paper raises important questions about how to best support students enrolled in online courses. Further research is needed in order to better evaluate the benefits, challenges, and useful strategies of successful students enrolled in online courses. (shrink)

This book investigates the emerging phenomenon of the self as it exists in the online world. It argues for an externalist conception of self and identity, one that does not depend on the continuity of consciousness of the subject. It also offers an analysis of related phenomenon such as online friendship and games based on this analysis. An outstanding feature of social networking sites such as Facebook and MySpace is that it allows for the user to put forward (...) their “selves” or their identity onto the Internet and use the online self as an anchor to connect with any number of “friends” each of whom also has their own online selves. A number of questions then arise which are deeply conceptual and philosophical in nature: What is the metaphysical nature of this emerging online self? Is it the same or fundamentally different from the “offline” self with which we are already familiar? Since increasing numbers of people are connected to the online world, this world itself seems to be taking on a reality of its own. This much has been appreciated by a number of scholars in the field. However, there seems to be lacking a systematic study of the philosophical and metaphysical nature of the self that has become a key element in cyberspace, a key topic which this volume addresses. Apart from the problem of constitution of the online self, this volume addresses related questions concerning personal identity in the online world and scrutinizes computer games and the characteristics that they share with social networking sites. Unlike the majority of the existing literature, which discusses the topic from a more social scientific perspective, this volume fills the lacuna of a philosophical and theoretical study of the online world.​. (shrink)

This dissertation is an effort to describe the effects of Postmodern thought in a variety of narrative forms, including novels, film, and computer games. Using Brian McHale's description of the focal point of Modernist narratives as being epistemological and Postmodernist narratives as being concerned primarily with ontological issues, I trace the possible meaning of the changing understanding of these concepts in the twentieth century. In addition, I interrogate the ramifications of the Postmodern resolution to the crisis of epistemology presented through (...) the work of Modernist writers to test whether or not the Postmodern idea of "claiming worlds" is, indeed, a reasonable or viable resolution to this crisis. ;It is my contention that a changing sense of the relationship between the definitions of epistemology and ontology in traditional literary narrative has been affected by and has affected the narratives of less traditionally "literary" media. In order to show that this change has occurred, I use a number of texts to serve as examples, first, of the conception of epistemology as presented in Modernist works like James Joyce's "The Dead" and Edith Wharton's A Son At the Front and then of the conception of ontology as presented in Postmodernist work like Salman Rushdie's Midnight's Children. I then examine more popular narrative forms to examine how Postmodernism's focus on what I term an "epistemologically derived ontology" has crept into the general culture. My specific examples in these cases are Norman Spinrad's cyberpunk novel Little Heroes , the film The Matrix, and a number of video games, particularly online games. ;My final conclusions are exemplified by the film Memento, which contains many of the Postmodern tenets I propose are typical of mainstream Postmodern works and which also serves as a basis for revealing some of my ethical concerns about the ramifications of this shift in understanding of the aforementioned philosophical categories. (shrink)

The current study aimed to explore effective strategies for preventing cheating in online examinations by surveying students to determine their cheating strategies. A total of 406 Iranian students at BA, MA, and PhD levels in four programs, including English language teaching, English literature, Linguistics, and English language translation, participated in this study using a convenient sampling technique. The sample was drawn from 83 universities across all 31 provinces of Iran. The researchers developed a 30-item questionnaire and a 4-item interview (...) to collect data. The results revealed that searching in PDFs and using social media groups were the most commonly used cheating strategies. To prevent this form of academic dishonesty, teachers used various strategies, the most effective being the use of conceptual questions and one-by-one oral exams with turned-on webcams. The main reason for students to cheat was their desire to perform better. The implications of this study are relevant for educational stakeholders, particularly teachers, and students, in promoting academic integrity. (shrink)

Aestheticism is broader in scope than the philosophy of art. It is also broader than the philosophy of beauty, in that it applies to any of the responses we might expect works of art or entertainment to elicit, whether positive or negative. That is why the articles in this collective volume aim to highlight the various reverberations of aestheticism on literature and education over the centuries.

Online controlled experiments, also known as A/B tests, have become ubiquitous. While many practical challenges in running experiments at scale have been thoroughly discussed, the ethical dimension of A/B testing has been neglected. This article fills this gap in the literature by introducing a new, soft ethics and governance framework that explicitly recognizes how the rise of an experimentation culture in industry settings brings not only unprecedented opportunities to businesses but also significant responsibilities. More precisely, the article (a) introduces (...) a set of principles to encourage ethical and responsible experimentation to protect users, customers, and society; (b) argues that ensuring compliance with the proposed principles is a complex challenge unlikely to be addressed by resorting to a one-solution response; (c) discusses the relevance and effectiveness of several mechanisms and policies in educating, governing, and incentivizing companies conducting online controlled experiments; and (d) offers a list of prompting questions specifically designed to help and empower practitioners by stimulating specific ethical deliberations and facilitating coordination among different groups of stakeholders. (shrink)

How do hip-hop songs produced from 2017 to 2023 depict and rationalize online fraud? This study examines the depiction of online fraudsters in thirty-three Nigerian hip-hop songs on nine popular streaming platforms such as Spotify, Deezer, iTunes, SoundCloud, Apple Music, and YouTube. Using a directed approach to qualitative content analysis, we coded lyrics based on the moral disengagement mechanism and core themes derived from existing literature. Our findings shed light on how songs (a) justify the fraudulent actions of (...) online fraudsters, (b) blame and dehumanize victims of online romance fraud, (c) glamorize online fraud, and (d) provide insights into prevailing attitudes, indigenous linguistics, and worldviews regarding cybercrime victimization. Specifically, our analysis shows the presence of moral disengagement mechanisms, including "dehumanization," “minimizing own agency,” and "displacement of responsibility." Moreover, we identify core contextual themes pertinent to online fraud in the Nigerian context: (a) "cyber spiritualism" and (b) "the North-South divide." This research underscores the global influence of musicians whose songs are easily accessible on diverse music platforms in trivializing the plight of online fraud victims. We argue that these artists' persuasive messages not only downplay but also satirize the victims' predicaments, thus contributing to the cultural worldviews and dimensions of online fraud. We conclude by underscoring these songs' capacity to actualize, reshape, and actively engage with the narratives of glamorization, justification, spiritualism, colonial legacies, gender dynamics, and societal implications. We recommend that future research endeavors explore non-conventional data sources adept at capturing the intricate fabric of cultural attitudes and dynamics. (shrink)

During the 2020 COVID-19 epidemic a variety of social activities migrated online, including religious ceremonies and rituals. One such instance is the case of Santo Daime, a Brazilian rainforest religion that utilizes the hallucinogenic brew ayahuasca in its rituals. During the pandemic, multiple Santo Daime rituals involving the consumption of ayahuasca took place online, mediated through Zoom and other online platforms. The phenomenon is notable since the effects of hallucinogens are defined by context (set and setting) and (...) Santo Daime rituals are habitually governed by punctilious regulations aimed at directing the experience of participants. The abrupt move to online space thus augurs significant implications in the context of hallucinogenic rituals. This paper looks at this development and its repercussions for entheogenic rituals, as it asks how do psychedelic rituals change when they move online? Building on the author’s previous work on set and setting in the Santo Daime religion, the paper introduces accounts from 12 semi-structured interviews with daimistas participating in online daime rituals, approached through the prism of set and setting, and the study of online religiosity. The analysis points at several key dynamics emerging in the context of virtual rituals. The migration online allowed for the continuation of Santo Daime entheogenic rituals at a time of social distancing, fostered a sense of global brotherhood and opened new possibility for religious participation and learning. Concurrently, online ritual produced an impoverished ritual experience and novel types of challenges including a higher potential for distractions, technical difficulties, and low sensory fidelity. Other novel challenges included social anxiety and an in-built tension between the social and spiritual dimensions of ritual. Finally, some participants were concerned by the cultural context of online rituals: technological mediation, consumerism, commodification, and digital divide. The limitations of digital technology appear amplified by the highly immersive, body oriented, experientially intensified context of the psychedelic experience. This paper contributes to the literature on the extra-pharmacological factors shaping experiences with psychedelics, as well as to the literature on the consequences of the adoption of digital media technologies during the COVID-19 pandemic. (shrink)

Whereas in the past ‘free’ and ‘illegal’ were nearly synonymous in the music industry, consumers nowadays face a myriad of music platforms with widely different characteristics in terms of business model (advertising supported, fee based, etc.), delivery mode (streaming, downloading, etc.), and others. The current research examines music consumption preferences in this new context. In order to break with the outmoded free-illegal versus paid-legal dichotomy, the present research studies consumer preferences for a broader range of music platform attributes, including free (...) versus paying business models, (il)legality of use, artist revenues, downloading versus streaming, and audio quality. Based on a literature review and a qualitative study with in-depth interviews (N = 92), an online conjoint survey (N = 764) quantifies online music preferences. Results show that consumers of all ages clearly and consistently prefer legal and ethical options if available, but favor different ways of making this economically viable. Youngsters and young adults are more open to advertising, while middle-aged adults are more often willing to pay for advertising-free platforms. Thus, in real-life choices, youngsters may appear to be less ethical and law abiding, but the driving force behind this is mainly economical. Finally, a market segmentation provides deeper insights into online music consumer preferences and leads to recommendations on how to define viable legal and ethical music offerings. (shrink)

This paper argues, against the prevailing view, that consent to privacy policies that regular internet users usually give is largely unproblematic from the moral point of view. To substantiate this claim, we rely on the idea of the right not to know (RNTK), as developed by bioethicists. Defenders of the RNTK in bioethical literature on informed consent claim that patients generally have the right to refuse medically relevant information. In this article we extend the application of the RNTK to (...) class='Hi'>online privacy. We then argue that if internet users can be thought of as exercising their RNTK before consenting to privacy policies, their consent ought to be considered free of the standard charges leveled against it by critics. (shrink)

Online social networks captured the attention of the masses by offering attractive means of sharing personal information and developing social relationships. People expose personal information about their lives on OSNs. This may result in undesirable consequences of users’ personal information leakage to an unwanted audience and raises privacy concerns. The issue of privacy has received a significant attention in both the research literature and the mainstream media. In this paper, we present results of an empirical study that measure users’ (...) attitude towards interpersonal privacy concerns in OSNs. The results demonstrated a serious mismatch between privacy concerns of users and their information sharing behavior. In addition, it indicated that strangers are part of user social circles, this makes privacy protection more complicated, and introduce an insider threat, whereas all existing privacy tools allow users to manage the outsider threat. Information and friend segregation strategies are suggested on the basis of user information disclosure and interaction pattern. We conclude that sensitivity of information and frequency of interaction, both, play a vital role in information and friend segregation. (shrink)

ORCA.IT, a new online test of online research and comprehension was developed for the Italian population. A group of 183 students attending various types of upper secondary schools in Northern Italy were tested with the new tool and underwent further cognitive and neuropsychological assessment. The different school types involved in the study are representative of the school population in the Italian system, but can also be easily compared with the educational systems of other countries. The new test turned (...) out to have good psychometric properties after accurate item construction and final selection. In particular, Version 1 showed better characteristics than Version 2. Subsequently, comparison with one-way ANOVAs were performed to test whether differences exist between different school types, between groups with and without reading difficulties, and between males and females. Such differences are sometimes reported in the literature, but many remain controversial. Further, Pearson’s bivariate correlations were calculated to analyze associations between scores on the ORCA.IT and cognitive/neuropsychological variables. Finally, a stepwise regression analysis was performed on aggregated scores to identify the predictors of performance on each of the two versions, The test, especially in the most complete version (Version 1), appears to accurately and reliably capture students’ web searching abilities and online reading comprehension. The tool could highlight differences in online search and comprehension ability between students with and without reading difficulties, not penalizing overall performance but allowing very specific weaknesses to be pointed out. Further, it seems to be able to capture differences due to both educational pathways (different school types) and social attitudes (differences between males and females). Most interesting, it shows to be clearly resting on specific cognitive and neuropsychological abilities, including language, memory and attentional skills, which explain a large portion of the total variance. Offline text reading comprehension is a crucial predictor of online reading performance, while decoding ability is not. Prior knowledge also influences the results, as expected. The new tool turns out to be rather independent from previous internet experience and to measure more cognitively grounded processes related to information gathering, processing and communicating. (shrink)

According to a view widely held in the media and in public discourse more generally, online hating is a social problem on a global scale. However, thus far there has been little scientific literature on the subject, and, to our best knowledge, there is even no established scholarly definition of online hating and online haters in the first place. The purpose of this manuscript is to provide a new perspective on online hating by, first, distinguishing (...) class='Hi'>online hating from the phenomena it is often confused with, such as trolling, cyberstalking, and online hate speech, and, second, by proposing an operational definition of online hating and online haters based on ethnographic interviews and surveys of the existing scholarly literature. (shrink)

From social media to search engines to Wikipedia, the internet is thoroughly embedded in how we produce, locate, and share knowledge around the world. Who Should We Be Online? provides an account of online knowledge that takes seriously the role of sexist, racist, transphobic, colonial, and capitalist forms of oppression. Frost-Arnold argues against analyzing internet users as a collection of identical generic people with smartphones. The novel epistemology developed in this book recognizes that we are differently embodied beings (...) interacting within systems of dominance. Our social identities and global inequalities shape who we are, who we can be online, and what we know. Tackling problems of online content moderation, fake news, and hoaxes, Frost-Arnold shows that oppressive online structures and practices help fuel ignorance. But she also reveals how the internet provides opportunities for marginalized people and activists to share knowledge online. Drawing on feminist accounts of objectivity, veritistic social epistemology, epistemologies of ignorance, virtue epistemology, and the epistemic injustice literature, this book argues for a social epistemology that values truth and objectivity, while recognizing that inequalities shape our collective ability to attain these goals. Timely and interdisciplinary, Who Should We Be Online? weaves together internet studies scholarship from across the humanities, social sciences, and computer science. Presenting case studies of moderators, imposters, tricksters, fakers, and lurkers, this book both explains the problems with our current internet ecosystem and imagines liberatory online futures. (shrink)

The development of communication technologies, resulting in the arrival of the Internet and the World-Wide-Web has been rapid, influencing almost all aspects of modern society including education. Concepts of epistemology, how we know what we know, have been forced to rapidly adjust to these new and emerging technologies. Online communities of learners have developed in virtual spaces where community members share knowledge and resources as well as offer support and feedback. This is particularly prominent in the field of learning (...) to play the guitar. This paper presents findings of a systematic literature review to empirically examine the question: What does it mean epistemologically to use digital methods when learning the guitar? With a particular focus on self-directed learning through online communities, notions of epistemic inertia and resonance are discussed, and concepts of epistemic indulgence and discretion are presented. This paper also presents the conception of the evolving communication in online guitar communities, in the form of tablature developed in word processors and simple imaging software, to be a folksonomy, which is itself a product of epistemic resonance. (shrink)