This study examined the link between employees’ adult attachment orientations and perceptions of line managers’ interpersonal justice behaviors, and the moderating effect of national culture. Participants from countries categorized as low collectivistic and high collectivistic completed an online survey. Attachment anxiety and avoidance were negatively related to interpersonal justice perceptions. Cultural differences did not moderate the effects of avoidance. However, the relationship between attachment anxiety and interpersonal justice was non-significant in the Southern Asia cultural cluster. Our findings indicate the importance (...) of ‘fit’ between cultural relational values and individual attachment orientations in shaping interpersonal justice perceptions, and highlight the need for more non-western organizational justice research. (shrink)

This article reflects on context effects in the study of behavioral ethics and organizational justice. After a general overview, we review three key challenges confronting research in these two domains. First, we consider social scientific versus normative approaches to inquiry. The former aims for a scientific description, while the latter aims to provide prescriptive advice for moral conduct. We argue that the social scientific view can be enriched by considering normative paradigms. The next challenge we consider, involves the duality of (...) morally upright versus morally inappropriate behavior. We observe that there is a long tradition of categorizing behavior dichotomously rather than continuously. We conclude by observing that more research is needed to compare the dichotomous versus continuous perspectives. Third, we examine the role of “cold” cognitions and “hot” affect in making judgments of ethicality. Historically speaking, research has empathized cognition, though recent work has begun to add greater balance to affective reactions. We argue that both cognition and affect are important, but more research is needed to determine how they work together. After considering these three challenges, we then turn to our special issue, providing short reviews of each contribution and how they help in better addressing the three challenges we have identified. (shrink)

Comparative risk assessment is playing an ever-increasing role in environmental policy priority setting, as manifested in national and numerous subnational comparative risk projects. It is widely accepted that public values, interests, and concerns should play an important role in CRA. However, the philosophical basis for public involvement in CRA has not been adequately explored, nor have comparative risk projects always made explicit their rationales for public involvement. The author examines the political, normative, and epistemic rationales for public involvement and explores (...) the case for public involvement in the making of ethical, valuation, and evidentiary judgments. The author considers key issues each rationale raises, problems eachfaces, and some of the implications of each for specific aspects of CRA. (shrink)

This historical compendium investigates scientific methods conceived between the Renaissance and the nineteenth century. Beginning with attacks on Scholasticism and the rist of the New Science, the authors explain the roles of both major andminor figures in describing scientific methods. Although the chapters are interrelated and contain explicit comparisons, each chapter is a complete study in itself. The authors' emphasis on writing for the non-specialist and their liberal use of primary sources make this an outstanding textbook.

Philosophy is the pursuit of wisdom. It concerns (or should concern) the big questions of life. To answer such questions, it helps to understand what the great thinkers of history have had to say. You’ll gain such an understanding from this helpful guide by one of America’s leading philosophers, Ralph M. McInerny of Notre Dame. Writing with humor and verve, McInerny in just seventy-five pages takes you on an enlightening tour of two and a half millennia of philosophy. From (...) Aristotle and Aquinas to Descartes, Kant, and Nietzsche, you’ll learn about the most important thinkers and schools of thought. (shrink)

We attribute three major insights to Hegel: first, an understanding of the real numbers as the paradigmatic kind of number ; second, a recognition that a quantitative relation has three elements, which is embedded in his conception of measure; and third, a recognition of the phenomenon of divergence of measures such as in second-order or continuous phase transitions in which correlation length diverges. For ease of exposition, we will refer to these three insights as the R First Theory, Tripartite Relations, (...) and Divergence of Measures. Given the constraints of space, we emphasize the first and the third in this paper. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:In Which Henry James Strikes BedrockRalph M. BerryIn Stanley Cavell’s account of Wittgenstein’s later philosophy, everything we know depends upon what Wittgenstein calls grammatical criteria. These criteria are what we go on when judging that something counts as an instance of our concept of a “chair,” “ardent love,” “headache,” etc. For the arts, Wittgenstein’s focus on criteria leads in two, apparently opposite, directions. First, by making the activity of (...) judging constitutive for language and culture, Wittgenstein makes aesthetics (or what is traditionally called aesthetics) a model for all philosophical activity. Determining the basis on which a phenomenon will count as an instance of any concept turns out to involve capacities that formerly seemed relevant only in cases of aesthetic judgment.But Wittgenstein’s focus on criteria also works against this centrality of aesthetics, for it makes an exceptional or limiting case of the art contemporary with Wittgenstein. According to Cavell, what modernist art reveals is that judging what counts as a novel, painting, sculpture, etc., is no longer determined by grammatical criteria, or none to which we have access as we do our criteria for “chair,” “ardent love,” “headache,” etc. This does not mean, or not quite, that nobody knows any longer what a novel is. It comes closer to meaning that the experience of modern art is of finding out what we know, what our criteria for sculptures, paintings, novels are. And it makes modernism the disclosure of a new artistic necessity: not merely to create a new work, but to create a new basis for work, a new medium for fiction. 1In what follows my aim is to see how this necessity arises. My focus is on a particular period of Henry James’s career, roughly from his review of Eliot’s Middlemarch in 1873 to his essay on Maupassant in 1888, a [End Page 61] period that surrounds his now famous response to Walter Besant in “The Art of Fiction.” I do not insist that this moment in James’s career is a founding moment for modernist fiction. My only insistence is that, whatever conditions do give rise to modernism—either for a whole culture or for an individual—they look like this moment.INear the end of “The Art of Fiction,” Henry James takes issue with Walter Besant (and the critic Andrew Lang) over the use of the word “story.” 2 His stated provocations are, first, that Besant (in his lecture) has distinguished between “a part of a novel which is the story and part of it which... is not” (“AF,” p. 178) and, second, that Besant and Lang (in his review of Besant’s lecture) have made “adventure” a defining feature of any story (p. 179). James’s procedure in the first case is to give examples of “the only [sense of ‘story’] that I see” in which it can be spoken of as different from the novel as a whole. His procedure in the second case is to give examples of what constitutes an adventure “for me” (or what “I should say” is an adventure) and to confess that he is “utterly at a loss to see why” the plot of his own novella “An International Episode” does not count as an adventure if the other examples cited by Lang and Besant do. James gives no reasons why anyone ought to use the words “story” and “adventure” as he does. If we see senses of “story” other than the ones that James sees, if the fact that he is “utterly at a loss” makes no impression on us, or if we just do not care what Henry James considers adventurous, nothing he says seems designed to change our minds. His whole case rests on nothing stronger than the likelihood that, in the circumstances he describes, we too will call or judge or find what he calls/judges/finds “a story,” “an adventure,” “exciting,” etc. If we don’t, of course, we just don’t, but the surprise is how often we do. 3Contrary to what James maintains, the problem with Besant and Lang’s definition of “story” is not that it is “altogether arbitrary” (p. 179... (shrink)

Euboulos' 'αγκελων is represented by only four fragments , all culled from Athenaeus, which tell us nothing about the plot of the play or about the identity of its titular character. R. L. Hunter, in his recent commentary on Euboulos, discusses at length the name 'αγκελων and concludes that it could belong to either a humble and poor man; ‘a character from folklore notorious for sexual relations with his mother’ ; or ’ a wily slave such as those foreshadowed in (...) Aristophanes and familiar from New Comedy'. In view of our ignorance of the play's plot, each of these possibilities has an equal claim to our consideration. I believe, however, that the context in which the fragments are embedded in Athenaeus allows us to refine our understanding of the name even further. (shrink)