Reviews the book, Learning from Asian philosophy by Joel J. Kupperman . In this excellent and tremendously informative book, Kupperman adopts a significantly different tack by showing that many important Eastern texts ought not be considered merely examples of “wisdom literature,” but rather are genuinely significant philosophical texts, structured with carefully thought-out and insightful arguments. Throughout his well-written and accessible treatment, the author takes great pains to demonstrate the many substantive ways in which contemporary philosophers might employ Asian thinking (...) as they grapple with some of the most pressing intellectual questions of our day. 2012 APA, all rights reserved). (shrink)

Reviews the book, Methods of theoretical psychology by Andre Kukla . In this book, the author argues that the traditional manner of studying theoretical psychology does not sufficiently prepare students to critically analyze selected theories. Therefore, this book aims to prepare the reader to analyze and advance the theoretical literature in any tradition. 2012 APA, all rights reserved).

Reviews the book, Martin Buber: The hidden dialogue by Dan Avnon . In this exciting and instructive volume, the author carefully examines the main themes and thrusts of Martin Buber's radical philosophy of dialogue. In recent years it has become increasingly clear that Buber's vision of the basic nature of human existence is not only profound in its intellectual scope and sophistication, but also deeply disturbing in its moral and ethical implications. This fine book, however, seeks to redress this unfortunate (...) shortcoming in the literature—and, all things considered, does a more than adequate job of it. 2012 APA, all rights reserved). (shrink)

Reviews the book, The complete social scientist: A Kurt Lewin reader edited by Martin Gold . Although he is often acknowledged as one of the primary founders of American social psychology, and despite frequent citations in the literature, the actual ideas of Kurt Lewin seem to have been—more often than not—ignored or disregarded by most psychologists over the course of the last half century. Fortunately, there are a number of indications that this clearly unacceptable, decades-long neglect of Lewin is (...) being rectified. One such indication is this very thoughtfully and comprehensively assembled volume published by APA books and edited by Martin Gold. Offered as a companion volume to the also recently issued one-volume edition of two previous Lewin anthologies, Resolving Social Conflicts and Field Theory in Social Science, this anthology brings together fifteen additional articles that have been until now especially difficult for scholars to obtain. 2012 APA, all rights reserved). (shrink)

The Review was founded in 1961 to bring an existential and phenomenological approach to the understanding of human experience. With a primary focus on the psychotherapeutic endeavor, the Review publishes original essays and first translations from the fields of literature and philosophy, as well as from psychology and psychiatry proper. The Review has published essays by nearly every major figure in the world, including Viktor Frankl, Eugene Gendlin, Jacques Lacan, R.D. Laing, RolloMay, Maurice Merleau-Ponty, Jacob Needleman, Carl Rogers, and (...) Jean-Paul Sartre. In addition to continuing to publish original essays on a wide variety of general topics, in recent years the Review has published a series of special issues devoted to major figures in the field of existential psychology. 2012 APA, all rights reserved). (shrink)

Reviews the book, Merleau-Ponty, interiority and exteriority, psychic life and the world by Dorothea Olkowski and James Morley . This book is a brief but informative and thoughtful anthology brings together the work of a number of contemporary scholars in philosophy, psychology, psychiatry, and comparative literature to demonstrate how Merleau-Ponty's understanding of the psyche and the material world has not only tremendous implications for philosophy, but also for the natural and social sciences. 2012 APA, all rights reserved).

Background The number of coauthors in the medical literature has increased over the past 50 years as authorship continues to have important academic, social and financial implications.Aim and method The study aim was to determine the prevalence of honorary authorship in biomedical publications and identify the factors that lead to its existence. An email with a survey link was sent anonymously to 9283 corresponding authors of PubMed articles published within 1 year of contact.Results A completed survey was (...) obtained from 1246 corresponding authors, a response rate of 15.75%. One-third admitted that they had added authors who did not deserve authorship credit. Origin of the study from Europe and Asia , study type as case report/case series and increasing number of coauthors were found to be the associated factors on multivariate analysis. Journal impact factor was also found to be associated with honorary authorship for those who self-reported honorary authorship and 5.60 for those who did not report unjust authorship, p=0.05). In retrospect, 75% of the authors indicated that they would remove unjustified names from the authorship list. Reasons for adding honorary authors were complimentary , to avoid conflict at work , to facilitate article acceptance , and other .Conclusions Honorary authorship is relatively common in biomedical publications. Researchers should comply with the International Committee of Medical Journal Editors’ criteria for authorship. (shrink)

Authorship, as a form of professional recognition, is an important topic in the study of reward systems in science. Empirical studies have shown that reward systems in science vary by historical periods and institutional contexts. Yet existing theoretical perspectives prove inadequate in explaining these variations. This study extends existing literature by investigating organizational mechanisms that shape “cycles of credit” in science and local institutional logics of authorship practices. Qualitative analysis is primarily based on in-depth interviews with thirty-one (...) life scientists from an elite and a provincial university in China, a country that has undergone unparalleled growth in scientific productivity in the past decade. I identify two different institutional logics of authorship. In the elite university, a logic of “autonomy” prevails. Researchers tend to remain independent and equal in negotiated coalitions and give coauthorship credit based on individuals’ scientific contributions to each paper. By contrast, in the provincial university, a logic of “dependence” prevails. Research teams assign coauthorship credit based on members’ long-term contributions regardless of whether they are scientific or not. Organizational factors, including historical development path, resource distribution pattern, and incentive scheme, are crucial in shaping and maintaining these divergent logics. (shrink)

Multiple authorship is becoming increasingly common in bioethics research. There are well-established criteria for authorship in empirical bioethics research but not for conceptual research. It is important to develop criteria for authorship in conceptual publications to prevent undeserved authorship and uphold standards of fairness and accountability. This article explores the issue of multiple authorship in bioethics and develops criteria for determining who should be an author on a conceptual publication in bioethics. Authorship in conceptual (...) research should be based on contributing substantially to: (1) identifying a topic, problem, or issue to study; (2) reviewing and interpreting the relevant literature; (3) formulating, analyzing, and evaluating arguments that support one or more theses; (4) responding to objections and counterarguments; and (5) drafting the manuscript and approving the final version. Authors of conceptual publications should participate substantially in at least two of areas (1)?(5). (shrink)

While there has been significant discussion in the health sciences and ethics literatures about problems associated with publication practices (e.g., ghost- and gift-authorship, conflicts of interest), there has been relatively little practical guidance developed to help researchers determine how they should fairly allocate credit for multi-authored publications. Fair allocation of credit requires that participating authors be acknowledged for their contribution and responsibilities, but it is not obvious what contributions should warrant authorship, nor who should be responsible for the (...) quality and content of the scientific research findings presented in a publication. In this paper, we review arguments presented in the ethics and health science literatures, and the policies or guidelines proposed by learned societies and journals, in order to explore the link between author contribution and responsibility in multi-author multidisciplinary health science publications. We then critically examine the various procedures used in the field to help researchers fairly allocate authorship. (shrink)

The primary aim of this study is to clarify the authorship trends, collaboration patterns, and impact factors in business ethics literature by looking at articles published between 1960 and 2015 in four leading business ethics journals: Business and Society, Business Ethics: A European Review, Business Ethics Quarterly, and the Journal of Business Ethics. This study showed the growth type of business ethics literature, authorship trends, collaboration patterns, authors' productivity evolved by subperiods and journals, and authors' dominance (...) factor by subperiods and journals. After providing an evaluation of the results of the study, the authors discuss the study's limitations and suggestions for future research. (shrink)

Richly illustrated study drawing on art, literature and science to explore Victorian attitudes towards sight.

Some works of literature are compromised because their authors get the facts wrong. In other works deviations from the facts don’t seem to matter, and authors quite legitimately make things up. This paper gives an account of the various ways in which matters of fact can make a difference to the aesthetic value of works of literature. It concludes by showing how this account can be applied in determining when a concern with matters of fact is an important (...) part of literary criticism and when it is merely pedantic. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Pretexts of Authority: The Rhetoric of Authorship in the Renaissance PrefaceSteven RendallPretexts of Authority: The Rhetoric of Authorship in the Renaissance Preface, by Kevin Dunn; xii & 198 pp. Stanford: Stanford University Press, 1994, $32.50.This study is of broader interest than its title might suggest; it engages many of the current issues in literary and cultural studies, and does so with exceptional intelligence. Drawing on Jürgen (...) Habermas’s notion of “the public sphere” and recent research on the history of private life, Dunn focuses on prefatory rhetoric in order to study the ways in which writers of the sixteenth and seventeenth centuries struggled to establish their authority, to define themselves as authors and to regulate their relations with their readers. As they challenged collapsing medieval models of authority, Dunn argues, Renaissance writers had to invent different strategies of self-presentation and discursive legitimation, developing in the process the Renaissance conception of authorship, and eventually a new model of intellectual activity in the service of the public good. [End Page 181]The first part of the book discusses Luther’s effort to ground an oppositional discourse in a personal narrative of suffering and redemption, and Milton’s later recognition of himself as a “member incorporate” of a (Puritan) body for which he can speak as a representative; these represent two termini of the development of Protestant prefatory rhetoric. The second part traces a parallel development in “scientific” writers (Descartes, Bacon, Hobbes, Locke, Sprat), moving from the Cartesian effort to ground science in a personal narrative of discovery to Bacon’s institutionalization of science and Hobbes’s theory of representation based on “common sense.”These chapters offer many insights that deserve close attention. However, since I lack space here to discuss each of them in detail, I will mention only a few points that suggest the wider implications of Dunn’s study. First: he is alive to the role of the body in prefatory rhetoric, as a “private” proof of spiritual authority (in Paul), as a flawed textual corpus (in Luther), and as a model of the body politic (in Hobbes and others). Second: he challenges—correctly, in my view—Foucault’s famous claim about the role of “penal appropriation” in the development of the modern conception of the author, arguing that “texts, books, and discourses begin to need authors at the moment when their transgression itself seeks institutionalization. In other words, it is when the subversive discourse finds itself on the brink of empowerment, of articulating something more than a negative critique of reigning orthodoxies, that the authority of the author becomes necessary” (p. 10). Third: he describes the conflict in Renaissance authors between self-authorization and the desire to prevent readers from following their example—that is, they strive both to open up and to shut off a discursive potential—and offers a subtle account of the persistence of this desire, in the form of the claim to authorial ownership, in writers fully involved in the literary marketplace. Fourth: most of the authors examined here are not traditionally regarded as “literary”; Dunn is casting a broader net, including theological, philosophical, political, and scientific writing, and this is, of course, very much in the spirit of the times—both of our own, and that of the writers discussed. For as Dunn observes, the modern notion of “literature” arises sometime around the end of the Period with which he is concerned in this book—and, perhaps, as a result of the development he describes in it. He argues that “with science having secured its discursive boundaries through the complementary myths of objectivity and public utility, literature became the new site for working out the completing claims of public and private. It is at such a site that literature begins to emerge as an independent category, a place crucial for cultural and political negotiations” (p. 16). As Dunn shows, this is reflected in the way late seventeenth-century French and English prefaces abandon advocacy for critical judgment, handing down sentences based on publicly accepted, secular norms.This fine, illuminating, readable book makes a stimulating contribution to our understanding of the history of cultural authority.Steven RendallUniversity... (shrink)

Background: Multi-collaborator research is increasingly becoming the norm in the field of biomedicine. With this trend comes the imperative to award recognition to all those who contribute to a study; however, there is a gap in the current “gold standard” in authorship guidelines with regards to the efforts of those who provide high quality biosamples and data, yet do not play a role in the intellectual development of the final publication. -/- Methods and findings: We carried out interviews with (...) 36 individuals working in, or with links to, biobanks in Switzerland, in order to understand how they interpret, apply and value authorship criteria in studies involving biosamples. The majority of respondents feel that authorship is an important motivating factor in working and publishing collaboratively. However, our findings suggest that in some cases, authorship guidelines are being ignored in favor of departmental standards which recognize “scientific work” as meriting authorship. -/- Conclusions: Our results support the current calls in the literature for an alternative method of crediting biomaterial contributions, in order to ensure appropriate authorship inclusion and promote collaborative research involving biobanks. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Authorship Redux:On Some Recent and Not-So-Recent Work in Literary TheoryPaisley LivingstonThe Empty Cage: Inquiry into the Mysterious Disappearance of the Author, by Carla Benedetti, translated by William J. Hartley, 232 pp. Ithaca: Cornell University Press, 2005, $52.50Literature, Theory, and Common Sense, by Antoine Compagnon, translated by Carol Cosman, 224 pp. Princeton: Princeton University Press, 2004, $41.00The Death and Resurrection of the Author?, edited by William Irwin, 237 pp. (...) Westport, Connecticut: Greenwood Press, 2002, $32.95.Did Roland Barthes, Michel Foucault, Jacques Derrida, or other "poststructuralist" theorists writing in the wake of May '68 come up with any good ideas about authorship and related topics in the philosophy of literature? The three volumes under review have a common point of departure in that broad question, but offer a number of contrasting responses to it. In what follows I describe and assess some of the various perspectives on offer in these 700 or so pages. The short answer to my initial question comes at the end.Carla Benedetti's book was first published in 1999 in Milan as L'ombra lunga dell'autore: Indagine su una figura cancellata. Professor of Italian and Theory of Literature at the University of Pisa, and Recurrent Visiting Professor at NYU, she clearly shares some of Foucault's basic assumptions about authorship: "It is the reader or viewer who transforms the artist's selections, which in themselves may even be random or compelled, into subjective choices endowed with intentionality: that intentionality [End Page 191] that is capable of providing meaning and artistic value to what we are viewing or reading" (p. 12). Benedetti contends that such attributions are a necessary part of the literary and artistic discursive formation of modernity, and she persuasively demonstrates that the author has not "disappeared," in spite of what Barthes and others may have thought or wished.According to Benedetti, authorialism, or the thesis that artistic value can only derive from original authorship, is the product of a modern ideology. She contends that a self-reflexive, late modernist train of thought generates a highly problematic relation to authorship and such related notions as genius, novelty, and creativity. More specifically, Benedetti finds a Batesonian double bind or paradoxical injunction in modernity's incessant demand for an extreme form of novelty. As soon as something innovative has been done, yet another innovation is desired. Not only does it become harder and harder to make a radically new move in the game, but the entire pursuit appears to be hopeless. Although Benedetti does not say so, the key thought was neatly captured by Oscar Wilde when he quipped: "Nothing is so dangerous as being too modern; one is apt to grow old-fashioned quite suddenly." To be old-fashioned is abhorrent, yet to try to obey the injunction to be "absolutely modern" is to risk becoming old-fashioned in a hurry, so failure seems inevitable. One of the constitutive myths of late modernity has it, then, that artistic activity must be recognized as authorless because it is impossible to create some sort of fundamentally novel work of lasting value. For those in the grip of this unsound thought, it seems necessary to conclude that the writer-no-longer-author must be recognized as an essentially uncreative epigone. Benedetti comments rather sweepingly, "All that poststructuralist thought speaks of, in its multifarious elaborations, is merely our supposed irreversible impossibility to create" (p. 202). She links Derrida's rejection of the possibility of decisive epistemological "ruptures" to the same late modernist mythology.Benedetti concludes her book by saying that the late modernist mythology conflates one kind of novelty with the new in general. This distinction sounds promising, but is not developed any further, and this reader was left wondering how the putative crippling error of a vast artistic dispensation could be revealed by means of a distinction between two kinds of newness. I also wonder whether her diagnosis probes deeply enough into the sources and nature of the modish sensibility that leads perversely to the Last Year in Marienbad syndrome. Not everyone is equally interested in trying to be dazzlingly innovative and fashionable; some [End Page 192] who do... (shrink)

Did Roland Barthes, Michel Foucault, Jacques Derrida, or other "poststructuralist" theorists writing in the wake of May '68 come up with any good ideas about authorship and related topics in the philosophy of literature? The three volumes under review have a common point of departure in that broad question, but offer a number of contrasting responses to it. In what follows I describe and assess some of the various perspectives on offer in these 700 or so pages. The (...) short answer to my initial question comes at the end. Carla Benedetti's book was first published in 1999 in Milan as L'ombra lunga dell'autore: Indagine su una figura cancellata. Professor of Italian and Theory of Literature at the University of Pisa, and Recurrent Visiting Professor at NYU, she clearly shares some of Foucault's basic assumptions about authorship: "It is the reader or viewer who transforms the artist's selections, which in themselves may even be random or compelled, into subjective choices endowed with intentionality: that intentionality that is capable of providing meaning and artistic value to what we are viewing or reading" (p. 12). Benedetti contends that such attributions are a necessary part of the literary and artistic discursive formation of modernity, and she persuasively demonstrates that the author has not "disappeared," in spite of what Barthes and others may have thought or wished. According to Benedetti, authorialism, or the thesis that artistic value can only derive from original authorship, is the product of a modern ideology. She contends that a self-reflexive, late modernist train of thought generates a highly problematic relation to authorship and such related notions as genius, novelty, and creativity. More specifically, Benedetti finds a Batesonian double bind or paradoxical injunction in modernity's incessant demand for an extreme form of novelty. As soon as something innovative has been done, yet another innovation is desired. Not only does it become harder and harder to make a radically new move in the game, but the entire pursuit appears to be hopeless. Although Benedetti does not say so, the key thought was neatly captured by Oscar Wilde when he quipped: "Nothing is so dangerous as being too modern; one is apt to grow old-fashioned quite suddenly." To be old-fashioned is abhorrent, yet to try to obey the injunction to be "absolutely modern" is to risk becoming old-fashioned in a hurry, so failure seems inevitable. One of the constitutive myths of late modernity has it, then, that artistic activity must be recognized as authorless because it is impossible to create some sort of fundamentally novel work of lasting value. For those in the grip of this unsound thought, it seems necessary to conclude that the writer-no-longer-author must be recognized as an essentially uncreative epigone. Benedetti comments rather sweepingly, "All that poststructuralist thought speaks of, in its multifarious elaborations, is merely our supposed irreversible impossibility to create" (p. 202). She links Derrida's rejection of the possibility of decisive epistemological "ruptures" to the same late modernist mythology. Benedetti concludes her book by saying that the late modernist mythology conflates one kind of novelty with the new in general. This distinction sounds promising, but is not developed any further, and this reader was left wondering how the putative crippling error of a vast artistic dispensation could be revealed by means of a distinction between two kinds of newness. I also wonder whether her diagnosis probes deeply enough into the sources and nature of the modish sensibility that leads perversely to the Last Year in Marienbad syndrome. Not everyone is equally interested in trying to be dazzlingly innovative and fashionable; some who do have this inclination manage to produce excellent works of art; and many artists active in the period in question have not worked with the assumptions Benedetti criticizes. Whatever one thinks about Benedetti's Foucauldian premises about authorship, her book is highly informative, engaging, and replete with astute comments on a wide range of European literary and artistic movements and critical trends. With a keen eye for significant detail, she writes elegantly and discusses many fascinating examples, including interesting, lesser-known Italian ones. A variety of perspectives on authorship are presented.. (shrink)

Not In Sisterhood investigates an important transitional moment in the history of U.S. women's writing : the uneasy shift from the 19th-century model of the "lady author" to some new but undefined alternative. The careers of Edith Wharton and Willa Cather, together with that of their friend and peer Zona Gale, the first woman to win the Pulitzer Prize for drama, reveal several different strategies for negotiating this unknown terrain. While Gale made her feminist politics an integral part of her (...) successful novels and plays, Wharton and Cather publicly denied any interest in gender issues or social reforms. Not in Sisterhood shows how the complex intersections of literary and social politics that shaped the world of Wharton, Cather, and Gale are still at work in today's feminist reconstructions of literary history. (shrink)

The article at hand presents the results of a literature review on the ethical issues related to scientific authorship. These issues are understood as questions and/or concerns about obligations, values or virtues in relation to reporting, authorship and publication of research results. For this purpose, the Web of Science core collection was searched for English resources published between 1945 and 2018, and a total of 324 items were analyzed. Based on the review of the documents, ten ethical (...) themes have been identified, some of which entail several ethical issues. Ranked on the basis of their frequency of occurrence these themes are: 1) attribution, 2) violations of the norms of authorship, 3) bias, 4) responsibility and accountability, 5) authorship order, 6) citations and referencing, 7) definition of authorship, 8) publication strategy, 9) originality, and 10) sanctions. In mapping these themes, the current article explores major ethical issue and provides a critical discussion about the application of codes of conduct, various understandings of culture, and contributing factors to unethical behavior. (shrink)

Heresy and Literacy, 1000?1530. Edited by Peter Biller and Anne Hudson, Cambridge Studies in Medieval Literature 23 (Cambridge: Cambridge University Press, 1994), xxv + 293 pp., £37.50/$59.95 cloth. Literature, Politics and National Identity: Reformation to Renaissance. By Andrew Hadfield (Cambridge: Cambridge University Press, 1994), xvii + 261 pp., £35.00/$59.59 cloth. Early Cambridge Theatres: College, University, and Town Stages, 1464?1720. By Alan H. Nelson (Cambridge: Cambridge University Press, 1994), xiv + 179 pp., £35.00/$59.95 cloth.