The 2008 financial crisis has raised serious ethical questions about behaviors associated with the free market system and the effectiveness of undergraduate business ethics education. We offer opposing interpretations of the crisis, a “Markets Work” and a “Critical” perspective, in order to provide students with an opportunity to examine their ethical assumptions. We frame our discussion around legitimacy; therefore, we utilize an institutional theory lens to frame the processes by which financial organizations are rewarded with social legitimacy for using “proper” (...) structures and following “appropriate” procedures and punished when they do not. By presenting these two opposing narratives of the crisis, we provide a richer framework for discussing the crisis and relating it to the larger issue of corporate malfeasance. We draw upon a wealth of readily available, easily accessible material. We identify films, readings, and provide notes that may use to set the direction and tenor of classroom discussion. (shrink)

1 Evidence-based policy requires researchers to provide the answers to ecological questions that are of interest to policy makers. To find out what those questions are in the UK, representatives from 28 organizations involved in policy, together with scientists from 10 academic institutions, were asked to generate a list of questions from their organizations. 2 During a 2-day workshop the initial list of 1003 questions generated from consulting at least 654 policy makers and academics was used as a basis for (...) generating a short list of 100 questions of significant policy relevance. Short-listing was decided on the basis of the preferences of the representatives from the policy-led organizations. 3 The areas covered included most major issues of environmental concern in the UK, including agriculture, marine fisheries, climate change, ecosystem function and land management. 4 The most striking outcome was the preference for general questions rather than narrow ones. The reason is that policy is driven by broad issues rather than specific ones. In contrast, scientists are frequently best equipped to answer specific questions. This means that it may be necessary to extract the underpinning specific question before researchers can proceed. 5 Synthesis and applications. Greater communication between policy makers and scientists is required in order to ensure that applied ecologists are dealing with issues in a way that can feed into policy. It is particularly important that applied ecologists emphasize the generic value of their work wherever possible. (shrink)

In this important book, Susan Hurley sheds new light on consciousness by examining its relationships to action from various angles. She assesses the role of agency in the unity of a conscious perspective, and argues that perception and action are more deeply interdependent than we usually assume. A standard view conceives perception as input from world to mind and action as output from mind to world, with the serious business of thought in between. Hurley criticizes this picture, and considers (...) how the interdependence of perceptual experience and agency at the personal level (of mental contents and norms) may emerge from the subpersonal level (of underlying causal processes and complex dynamic feedback systems). Her two-level view has wide implications, for topics that include self-consciousness, the modularity of mind, and the relations of mind to world. The self no longer lurks hidden somewhere between perceptual input and behavioral output, but reappears out in the open, embodied and embedded in its environment. Hurley traces these themes from Kantian and Wittgensteinian arguments through to intriguing recent work in neuropsychology and in dynamic systems approaches to the mind, providing a bridge from mainstream philosophy to work in other disciplines. Consciousness in Action is unique in the range of philosophical and scientific work it draws on, and in the deep criticism it offers of centuries-old habits of thought. (shrink)

Hurley here revives a classical idea about rationality in a modern framework, by developing analogies between the structure of personality and the structure of society in the context of contemporary work in philosophy of mind, ethics, decision theory and social choice theory. The book examines the rationality of decisions and actions, and illustrates the continuity of philosophy of mind on the one hand, and ethics and jurisprudence on the other. A major thesis of the book is that arguments drawn from (...) the philosophy of mind may be used to undermine widely-held subjectivist positions in ethics and politico-economic theory. The work is inspired by the philosophies of Wittgenstein and Davidson, but goes on to connect their arguments about interpretation with formal work in decision theory and social choice theory, and with the theory of adjudication. (shrink)

S. L. Hurley's ambitious work brings these two areas of lively debate into overdue contact with each other.

I ARGUE THAT WE RECEIVE PLEASURE FROM TRAGEDIES BECAUSE WE ARE PLEASED TO FIND OURSELVES RESPONDING IN AN UNPLEASANT WAY TO HUMAN SUFFERING AND INJUSTICE. THE PLEASURE IS THUS A METARESPONSE, AND REFLECTS FEELINGS WHICH ARE AT THE BASIS OF MORALITY. THIS HELPS EXPLAIN WHY TRAGEDY IS SUPPOSED TO BE A HIGHER ART FORM THAN COMEDY, AND PROVIDES A NEW WAY OF SEEING THE RELATIONSHIP BETWEEN THE MORALITY OF AN ARTWORK AND ITS VALUE.

We all know about the vehicle/content distinction (see Dennett 1991a, Millikan 1991, 1993). We shouldn't confuse properties represented in content with properties of vehicles of content. In particular, we shouldn't confuse the personal and subpersonal levels. The contents of the mental states of subject/agents are at the personal level. Vehicles of content are causally explanatory subpersonal events or processes or states. We shouldn't suppose that the properties of vehicles must be projected into what they represent for subject/agents, or vice versa. (...) This would be to confuse the personal and subpersonal levels. (shrink)

This introductory chapter explains the coverage of this book, which is about animal rationality and mental processing in animals. This book discusses the theoretical issues and distinctions that bear on attributions of rationality to animals and draws some contrasts between rationality and certain other traits of animals to determine the relationships between them. It explores the relations between behaviour and the processes that explain behaviour, and the senses in which animal behaviour might be rational in virtue of features other than (...) classical reasoning processes on the human model. -/- . (shrink)

From my Consciousness in Action, ch. 2; see Consciousness in Action for bibligraphy. This chapter revises material from "Kant on Spontaneity and the Myth of the Giving", Proceedings of the Aristotelian Society, 1993-94, pp. 137-164, and "Myth Upon Myth", Proceedings of the Aristotelian Society, 1996, vol. 96, pp. 253-260.

Brewer’s Perception and Reason argues, from familiar scenarios of duplicate environments and switching, that a subject’s perceptual experiences must provide reasons for her empirical beliefs. Only perceptual experience can tie reference down to a thing as opposed to its duplicate, and this tying down must be a matter of giving the subject reasons that she can recognize as such. Moreover, such reasons require conceptual contents.

Part 1 reviews the general question of when elimination of an entity orproperty is warranted, as opposed to revision of our view of it. Theconnections of this issue with the distinction between context-drivenand theory-driven accounts of reference and essence are probed.Context-driven accounts tend to be less hospitable to eliminativism thantheory-driven accounts, but this tendency should not be overstated.However, since both types of account give essences explanatory depth,eliminativist claims associated with supposed impossible essences areproblematic on both types of account.Part 2 applies (...) these considerations to responsibility in particular. Theimpossibility of regressive choice or control is explained. It is arguedthat this impossibility does not support the claim that no one is everresponsible on either context-driven or theory-driven accounts of`responsibility''. (shrink)

The purpose of this article is to discuss an external whistleblowing event that occurred after all internal whistleblowing through the hierarchy of the organization had failed. It is argued that an organization that does not support those that whistle blow because of violation of professional standards is indicative of a failure of organizational ethics. Several ways to build an ethics infrastructure that could reduce the need to resort to external whistleblowing are discussed. A relational ethics approach is presented as a (...) way to eliminate the negative consequences of whistleblowing by fostering an interdependent moral community to address ethical concerns. (shrink)

Can we ever claim to understand a work of art or be objective about it? Why have cultures thought it important to separate out a group of objects and call them art? What does aesthetics contribute to our understanding of the natural landscape? Are the concepts of art and the aesthetic elitist? Addressing these and other issues in aesthetics, this important new Oxford Reader includes articles by authors ranging from Aristotle and Xie-He to Jun'ichiro Tanizaki, Michael Baxandall, and Susan (...) Sontag. It focuses on why art and a variety of aesthetics matter to us, and on how perceivers participate in and contribute to the experience of appreciating a work of art. With its multicultural and multidisciplinary scope, this volume shows how anthropology, art history, Chinese theories of painting, and other perspectives both enrich and provide alternatives to classic philosophical accounts of art and the aesthetic. (shrink)

This essay examines the risks of racialized science as revealed in the American mustard gas experiments of World War II. In a climate of contested beliefs over the existence and meanings of racial differences, medical researchers examined the bodies of Japanese American, African American, and Puerto Rican soldiers for evidence of how they differed from whites.

The capacity of a work of fictional literature to elicit emotional responses is part of what is valuable about it, and having emotional responses is part of appreciating it. These claims are not very controversial; perhaps they are even common sense. But philosophy rushes in where common sense fears to tread, raising questions and looking for explanations.Are the emotions we have in appreciating fictional works of art, what I call art emotions, of the same sort as those which occur in (...) ‘real life’? Which emotions are appropriate to the work, and why: what justifies having one emotion rather than another? And why should we think emotionally responding to fiction is desirable, something which should be respected and encouraged, rather than looked at as a little weird or a waste of time? (shrink)

Dandruff is a common scalp condition, which frequently causes psychological distress in those affected. Dandruff is considered to be caused by an interplay of several factors. However, the pathogenesis of dandruff remains under‐investigated, especially with respect to the contribution of the hair follicle. As the hair follicle exhibits unique immune‐modulatory properties, including the creation of an immunoinhibitory, immune‐privileged milieu, we propose a novel hypothesis taking into account the role of the hair follicle. We hypothesize that the changes and imbalance of (...) yeast and bacterial species, along with increasing proinflammatory sebum by‐products, leads to the activation of immune response and inflammation. Hair follicle keratinocytes may then detect these changes in scalp microbiota resulting in the recruitment of leukocytes to the inflammation site. These changes in the scalp skin immune‐microenvironment may impact hair follicle immune privilege status, which opens new avenues into exploring the role of the hair follicle in dandruff pathogenesis. Also see the video abstract here: https://youtu.be/mEZEznCYtNs. (shrink)

An ethnographic field study about the informed consent process in investigational drug trials for seriously ill persons with hepatitis C suggests that nurses and physicians referred to these trials as giving treatment, even though they involved placebos. Interview data and informed consent documents contained frequent references to the term `treatment trial' or `treatment'. Although these findings were unexpected and not the original focus of our study, we consider them in the light of an extensive literature on the `therapeutic misconception' that (...) has been described among physicians and patients with AIDS and other serious illnesses. We also suggest that certain organizational and professional characteristics of nursing and medicine reinforce this tendency to refer to the trials as treatment. Implications for further research are provided. (shrink)

Lingering skepticism about climate change might be due in part to the way climate projections are perceived by members of the public. Variability between scientists’ estimates might give the impression that scientists disagree about the fact of climate change rather than about details concerning the extent or timing. Providing uncertainty estimates might clarify that the variability is due in part to quantifiable uncertainty inherent in the prediction process, thereby increasing people's trust in climate projections. This hypothesis was tested in two (...) experiments. Results suggest that including uncertainty estimates along with climate projections leads to an increase in participants’ trust in the information. Analyses explored the roles of time, place, demographic differences, and initial belief in climate change. Implications are discussed in terms of the potential benefit of adding uncertainty estimates to public climate projections. (shrink)

This paper examines various claims by Noël Carroll about narrative closure and its relationship to narrative connections, which are, roughly, causal connections generously conceived to include necessary conditions for sufficient conditions for an effect. I propose supplementing the expanded notion of a cause with Michael Bratman’s notion of a psychological connection to account for the particular role that human agents play in narratives. A novel and a film are used as examples to illustrate how the concept of a psychological connection (...) eliminates the need for Carroll's condition that narratives must be globally forward-looking. (shrink)

Late Tokugawa society and the crisis of community -- Before the Kojikiden : the divine age narrative in Tokugawa Japan -- Motoori Norinaga : discovering Japan -- Ueda Akinari : history and community -- Fujitani Mitsue : the poetics off community -- Tachibana Moribe : cosmology and community -- National literature, intellectual history, and the new Kokugaku -- Conclusion : imagined Japan(s).

My general topic is whether limitations in olfaction’s conceptual and generally mental capabilities hinder its suitability for playing significant and sophisticated roles in theatrical productions of the standard narrative type. This is a big question and I only scratch the surface here. I begin with a brief look at smell’s most prominent roles in the theatre, as illustration and to evoke mood and atmosphere. Next, I consider the relation between smell and the experience of space, looking first at a kind (...) of power it has that is sometimes overlooked. Third, I examine a conundrum about what the objects we smell, as opposed to the objects we see, do and do not represent in a theatrical performance. Finally, the conundrum leads into a deeper discussion of whether scents or the objects we smell do the representing in theatre. (shrink)

This is the text of The Lindley Lecture for 1995, given by Susan Hurley, an American philosopher.

S. L. Hurley; Myth Upon Myth, Proceedings of the Aristotelian Society, Volume 96, Issue 1, 1 June 1996, Pages 253–260, https://doi.org/10.1093/aristotelian/96.1.

In lieu of an abstract, here is a brief excerpt of the content:Beardsley for the Twenty-First CenturySusan L. Feagin (bio)When I was a graduate student in the early 1970s, Nelson Goodman's Languages of Art,1 published originally in 1968, was all the rage, eclipsing Beardsley's monumental Aesthetics: Problems in the Philosophy of Criticism as the most important book in the field at the time. Goodman's book veered decidedly away from aesthetics and toward the philosophy of art; insofar as "the aesthetic" remained, (...) it was explained in cognitive terms. However, Beardsley's Aesthetics continued to provide a valuable resource for those of us who took questions about value and evaluation to be central to the philosophical enterprise, even if we chose to focus on the philosophy of art more or less independently of the aesthetic. Beardsley's functionalist account of aesthetic value is adaptable as a framework for understanding artistic value and evaluation, as is his opposition to (what also seemed to me to be) the too-easy ploy of attributing intrinsic value to our experiences of art. I ended up writing my dissertation on general criteria of criticism—with a chapter devoted to Beardsley's views—arguing that once one employs the notion of artworks having a function, general criteria are not needed to provide a logical connection between a work's good-making or bad-making qualities and its value as a work of art.Nevertheless, Beardsley's instrumentalist view that the value of an artwork resides in its capacity to provide an aesthetic experience contains a major structural problem—what I shall call "Beardsley's dilemma," which he continued to struggle with in his later work.2 The problem lies in the tension between the claim that the value of a work resides in its capacity to evoke an experience having a certain phenomenological quality, and the claim that the properties or qualities of the work are valuable not merely as a means for producing such an experience. [End Page 11]Fifty years on, philosophers of art continue to struggle with this dilemma in various guises. Though the nature of aesthetic experience is still a lively topic of debate, it is just as common to find the evocation of emotions and other affective responses—from Aristotelian pity and fear; to anger and pride and horror; to moods such as sadness and melancholy—touted as among the functions of art.3 In the first section of this essay, I describe why understanding Beardsley's dilemma is important if one takes having emotions and other affective responses to art as part of what is valuable about it. Emotions, after all, are typically alleged to be "in us," not in the object; simply jettisoning the concept of aesthetic experience or aesthetic emotion does not make the dilemma go away. In the second section I distinguish between Beardsley's instrumentalism and a noninstrumentalist version of functionalism as two different models for understanding art's value. Noninstrumentalist functionalism involves the idea that the value of a work lies in the activity of appreciating what is (aesthetically or artistically) valuable about it, rather than in an experience that occurs as a result of perceiving the work. Some exercises involving the evaluation of art and nonart objects—exercises that might usefully be undertaken by students using objects of their own choosing—illustrate how functionalism skirts Beardsley's dilemma and better explicates the nature and locus of the values concerned.I: From Aesthetic Experience to Garden-Variety EmotionsThe view that at least some artworks have as part of their function the production of emotions or other affective responses is a contemporary analogue of Beardsley's instrumentalist view that the function of artworks is to provide an aesthetic experience. The contemporary analogue, however, is not committed to the view that all artworks have, in some abstract sense, the same function but only insists, minimally, that it is at least part of the function of some works of art to produce some variety of emotions and other affective responses. That is, producing emotions may be conceived of as part of the function of a work, and a perceiver's having them as part of appreciating its value.Beardsley's dilemma arises when (at... (shrink)