Subject and purpose: Using annual data for the periods 2009–2019, this paper examines trade flows between China and the Visegrad Group countries. The aim of this article is to assess real changes taking place in international trade in the Visegrad Group countries over the last eleven years. The starting point for the analysis was 2009 – the time after the 2008 economic crisis, and it was compared especially to 2018 – a year marked by a significant improvement in the economy. (...) The purpose is to discuss concerns related to the differences in bilateral trade between China and Poland, Czech Republic, Hungary, and Slovak Republic. The main aim of this research is to distinguish the characteristics of bilateral trade by products between V4 and China in years 2009–2019. The purpose of this article is also to systematize and discuss points of view, rationalizing further empirical research. Two research hypotheses, resulting from the research purpose, were formulated: H1: in the V4 countries import exceeds export, and this trend seems to be growing, H2: Chinese goods imported to the V4 are much more sophisticated than those exported. Design/methodology/approach: To assess the initial and current situation on international trade between the V4 and China, the author uses variables obtained from WTO and OEC resources, diagnosing the situation in Poland, Czech Republic, Hungary, and Slovak Republic. The collected empirical data were processed using theoretical methods such as analysis, synthesis, and comparison to formulate conclusions using deductive and inductive inference methods. Practical Implications: The results can be used in scientific and expert work on diagnostic and forecast trends in bilateral trade by products between the V4 and China. Originality/value: It concerns the indication of the importance of the V4 trade with China compared to the share of the V4 countries in world trade. It was also possible to identify the top export and import products of the V4. The findings also confirm the significant change in China’s trading structure. (shrink)

A review of Stephen Davies's book, Musical Works and Performances.

Sham surgery is a controversial and rarely used component of randomised clinical trials evaluating surgical interventions. The recent use of sham surgery in trials evaluating efficacy of intracerebral fetal tissue grafts in Parkinson’s disease has highlighted the ethical concerns associated with sham surgery controls. Macklin, and Dekkers and Boer argue vigorously against use of sham surgery controls. Macklin presents a broad argument against sham surgery controls while Dekkers and Boer present a narrower argument that sham surgery is unnecessary in the (...) specific setting of fetal tissue engraftment for Parkinson’s disease. I defend sham surgery controls against both these criticisms. Appropriate clinical trial design, sometimes including sham surgery, is needed to ensure that false positive trial results do not occur and endanger public safety. Results of a completed trial of fetal tissue grafting for Parkinson’s disease are used to illustrate the potential benefits of, and problems associated with, sham surgery controls. Sham surgery controls, however, should be employed only when absolutely necessary. I suggest criteria for appropriate use of sham surgery controls. (shrink)

A review of David Davies, _Art as Performance_ (Blackwell, 2004).

An overview of attempts to define music in the Western philosophical tradition.

I investigate the widely held view that fundamental musical ontology should be descriptivist rather than revisionary, that is, that it should describe how we think about musical works, rather than how they are independently of our thought about them. I argue that if we take descriptivism seriously then, first, we should be sceptical of art-ontological arguments that appeal to independent metaphysical respectability; and, second, we should give ‘fictionalism’ about musical works—the theory that they do not exist—more serious consideration than it (...) is usually accorded. CiteULike Connotea Del.icio.us What's this? (shrink)

In this critical study of Julian Dodd’s Being True to Works of Music, I argue that the three-tier normative profile of the work-performance tradition in classical music that Dodd defends should be rejected in favour of a two-tier version. I also argue that the theory of work-performance defended in the book fits much more naturally with a contextualist ontology of musical works than with the Platonist ontology Dodd defends in Works of Music, despite his arguments to the contrary in the (...) afterword of the new book. Finally, I argue that the reasons he gives for preferring a ‘tradition-based’ over a ‘historicized’ theory of the understanding of classical scores are not convincing. (shrink)

This article examines how people with type 2 diabetes perceive autonomous decision making and which moral capacities they consider important in diabetes nurses' support of autonomous decision making. Fifteen older adults with type 2 diabetes were interviewed in a nurse-led unit. First, the data were analysed using the grounded theory method. The participants described a variety of decision-making processes in the nurse and family care-giver context. Later, descriptions of the decision-making processes were analysed using hermeneutic text interpretation. We suggest first- (...) and second-order moral capacities that nurses specializing in diabetes need to promote the autonomous decision making of their patients. We recommend nurses to engage in ongoing, interactive reflective practice to further develop these moral capacities. (shrink)

This is an overview of analytic philosophy of music. It is in five sections, as follows: 1. What Is Music? 2. Musical Ontology 3. Music and the Emotions 4. Understanding Music 5. Music and Value.

Debate continues about the ethics of sham surgery controls. The most powerful argument for sham surgery controls is that rigorous experiments are needed to demonstrate safety and efficacy of surgical procedures. Without such experiments, there is danger of adopting worthless procedures in clinical practice. Opponents of sham surgery controls argue that sham surgery constitutes unacceptable violation of the rights of research subjects. Recent philosophical discussion has used two thought experiments—the transplant case and the trolley problem—to explore the circumstances under which (...) individuals may be harmed to benefit a larger group. The transplant case is felt to exemplify circumstances that forbid harming some to benefit a larger group while the trolley problem exemplifies circumstances that permit harming some to benefit others. I argue that sham surgery controls satisfy criteria derived from the trolley problem and are morally permissible. (shrink)

The goal of this article is to augment the ethical discussion among nurses with the findings from empirical research on autonomy of older adults with type 2 diabetes mellitus. There are many factors influencing autonomy. These include: health conditions, treatment, knowledge, experience and skills, personal approach as well as familial patterns, type of relationship, life history and social context. Fifteen older adults with type 2 diabetes mellitus were interviewed in a nurse-led diabetes clinic. These participants perceive three processes which support (...) autonomy in responsive relationships: preserving patterns of concern and interaction, nurturing collaborative responsibilities and being closely engaged in trustful and helpful family relations. People with diabetes realize autonomy in various responsive relationships in their unique life context. Next, we performed a literature review of care ethics and caring in nursing with regard to relational autonomy. We classified the literature in five strands of care: attitude-oriented, dialogue-oriented, activity-oriented, relationship-oriented and life-oriented. According to our respondents, autonomy in responsive relationships is fostered when patient, nurses, professionals of the health team and family members carry out care activities supported by a relational attitude of care. They can best realize autonomy in relationships with others when several essential aspects of care and caring are present in their lives. Therefore, we advocate a comprehensive approach to care and caring. (shrink)

The book examines the ethical aspect of journalistic activity in an attempt to understand and render explicit the values which guide journalists in their work, but it emphasizes the point that while such values reflect society's existing professional mores, this particular profession is also placed in such a way as to shape the consciousness and values of those who consume its working product. The central question of this work has to do with the ethical implications of journalistic activity, and more (...) exactly, the ethical responsibility of the media in framing public discourse. This question touches on how the journalistic profession conceives its own responsibilities, as reflected in its various professional codes, but it also relates to an account of its formative influence on human sensibilities in a culture in which journalism plays a major role in the interpretation and dissemination of knowledge. (shrink)

I discuss a recent notable attempt to sharply distinguish pornography from erotic art, and argue that the attempt fails. I then turn to methodological questions about how we ought to go about defining ‘pornography’, questions which lead quickly to others about why we want such a definition. I believe that philosophers of art can make important contributions to this definitional project, but only if their contributions are informed by recent work in feminism, philosophical analysis, and art history.

I argue that even if video games are interactive artworks, typical video games are not works for performance and players of video games do not perform these games in the sense in which a musician performs a musical composition (or actors a play, dancers a ballet, and so on). Even expert playings of video games for an audience fail to qualify as performances of those works. Some exemplary playings may qualify as independent “performance-works,” but this tells us nothing about the (...) ontology of video games or playings of them. The argument proceeds by clarifying the concepts of interactivity and work-performance, drawing particularly on recent work by Dominic Lopes, Berys Gaut, and David Davies. (shrink)

I argue that if we want to condemn sexual relationships between professors and students we must also condemn friendships between them. On the other hand, if we want to allow such friendships, we must condone (some) professor-student sexual relationships. My main reasons for this conclusion are, first, that the differences between close friendships and sexual relationships are more subtle than most people think — there is no clear boundary between the two — and, second, anything that would concern us about (...) the latter should concern us about the former. I will argue, further, that though there may be reasons to avoid such relationships, there is nothing about the student-professor relationship in particular that should lead us to condemn all such relationships. (shrink)

An overview of analytic philosophy of music.

Philosophical reflections on the trope of the femme fatale in the films of Christopher Nolan.

Working in ZFC, we show that for any infinite cardinal κ and ordinal $\gamma the polarized partition relation $\[\begin{pmatrix} (2^{ → $\[\begin{pmatrix}(2^{ holds. Our proof of this relation involves the use of elementary substructures of set models of large fragments of ZFC.

We provide a short proof that if κ is a regular cardinal with κ ≤ c, then $\left( \matrix \kappa \\ \omega\endmatrix \right)\rightarrow \left( \matrix\format\c\kern.8em&\c\\ \kappa & \alpha \\ \omega & \omega \endmatrix \right)^{1,1}$ for any ordinal α < min {p, κ}. In particular, $\left( \matrix \germ{p} \\ \omega \endmatrix \right)\rightarrow \left( \matrix\format\c\kern.8em&\c\\ \germ{p} & \alpha \\ \omega & \omega \endmatrix \right)^{1,1}$ for any ordinal α < p. This generalizes an unpublished results of E. Szemerédi that Martin's axiom implies that (...) $\left( \matrix \germ{c} \\ \omega \endmatrix \right)\rightarrow \left( \matrix\format\c\kern.8em&\c\\ \germ{c} & \kappa \\ \omega & \omega \endmatrix \right)^{1,1}$ for any cardinal κ with κ < c. (shrink)

Gregory Currie, arguing against recent psychoanalytic and semiotic film theory, has defended various realist theses about film. The strongest of these is that ‘weak illusionism’—the view that the motion of film images is an illusion—is false. That is, Currie believes film images really do move. In this paper I defend the common-sense position of weak illusionism, firstly by showing that Currie underestimates the power of some arguments for it, especially one based on the mechanics of projection, and secondly by showing (...) that film images exhibit neither garden-variety motion, nor a special response-dependent kind. (shrink)

This is the first comprehensive book-length introduction to the philosophy of Western music that fully integrates consideration of popular music and hybrid musical forms, especially song. Its author, Andrew Kania, begins by asking whether Bob Dylan should even have been eligible for the Nobel Prize in Literature, given that he is a musician. This motivates a discussion of music as an artistic medium, and what philosophy has to contribute to our thinking about music. Chapters 2-5 investigate the most commonly (...) defended sources of musical value: its emotional power, its form, and specifically musical features (such as pitch, rhythm, and harmony). In chapters 6-9, Kania explores issues arising from different musical practices, particularly work-performance (with a focus on classical music), improvisation (with a focus on jazz), and recording (with a focus on rock and pop). Chapter 10 examines the intersection of music and morality. The book ends with a consideration of what, ultimately, music is. (shrink)

Killing in war as a matter of course may be inferred from the fact that, as stated by Thomas Hobbes, “all laws are silent in the time of war”. Although this traditional law-suspending power of war has been restricted to a certain degree by modern humanitarian international law, it is still commonly assumed that killing in war, unless and as long as not explicitly forbidden, is per se permitted and thus does not require any further legitimisation. This is in fundamental (...) contrast to a “normal” homicide, which requires special justification to be considered lawful. This commonly unquestioned license to kill, by the mere reason of being at war, is all the more astonishing given that no legal norm can be found that positively and explicitly declares killing in war to be lawful. However, on what ground can such an unwritten privilege be based? How can it be morally justified and sufficiently legitimised? This question shall be pursued in four steps: by, first, asking whether and why killing in war, as long as it does not cross the threshold of a war crime, shall stay outside the rubric of criminal law. After not having found a satisfactory answer, it must, second, be asked whether and to what degree constitutional law could provide empowerments and restrictions of killing in war. As neither will give full answers, third, final refuge may be taken in international law, with particular attention to state sovereignty. Since even on this level, however, killing in war has not yet found convincing legitimisation, fourth, further challenges are to be met. (shrink)

In this paper I argue that the relations between musical works, performances, and recordings, are significantly different in the three traditions of Western classical, rock, and jazz music. In classical music the work of art – the enduring primary focus of critical attention – is a piece that receives various different performances. Classical recordings are best conceived of as giving the listener access to performances of works, or perhaps as performances in their own right. In rock, however, recordings are at (...) the centre of the tradition. The work of art in rock is not a piece for performance, but the track itself, as in classical electronic music. Tracks do manifest songs which may be performed live, but these are not the primary focus of critical attention in rock. In jazz, there are no works of art. This is because the primary focus of critical attention in jazz is the performance, and the relation between standard on which the performance is based and the performance itself is too dissimilar from the model of classical work-performance. Jazz recordings, however, like classical recordings, are best thought of as providing access to performances. These ontological issues are important in part because of their implications for evaluation and musical practice. If rock works are ontologically like classical electronic works, then criticism of them should focus not just on their formal harmonic structures, but on their use of timbral and spatial effects. Since classical recordings endure, but live performances do not, performers should ideally take a different attitude to work-interpretation in those two spheres. (shrink)

_The Routledge Companion to Philosophy and Music_ is an outstanding guide and reference source to the key topics, subjects, thinkers and debates in philosophy and music. Over fifty entries by an international team of contributors are organised into six clear sections: general issues emotion history figures kinds of music music, philosophy and related disciplines _The Routledge Companion to Philosophy and Music_ is essential reading for anyone interested in philosophy, music and musicology.

I argue for an ontology of jazz according to which it is a tradition of musical performances but no works of art. I proceed by rejecting three alternative proposals: (i) that jazz is a work performance tradition, (ii) that jazz performances are works of art in themselves, and (iii) that jazz recordings are works of art. I also note that the concept of a work of art involved (1) is nonevaluative, so to deny jazz works of art is not to (...) judge it inferior to artistic traditions with works, and (2) is univocal across other musical traditions, so to claim there are works of art in jazz would be to use a different sense of the term than we use when, say, discussing classical music. (shrink)

I argue that the work of art in rock music is a track constructed in the studio, that tracks usually manifest songs, which can be performed live, and that a cover version is a track (successfully) intended to manifest the same song as some other track. This ontology reflects the way informed audiences talk about rock. It recognizes not only the centrality of recorded tracks to the tradition, as discussed by Theodore Gracyk, but also the value accorded to live performance (...) skills, emphasized by Stephen Davies. (shrink)

This article analyzes the Arabisms and other lexical devices that are used to characterize the Native American in the Relación de la jornada de Cíbola by Pedro de Castañeda, a text that deals with the expedition that Francisco Vázquez de Coronado led to the present-day Southwestern United States from 1540 to 1542. After a general presentation of the text, the work focuses on the analysis of seven Arabisms along with other words, including nicknames, to disentangle the meanings and sociolinguistic implications (...) of the use of these words to refer to the American reality. In order to do so, great use is made of information garnered from documentary and lexical sources. We depart from the premise that in the conquest and colonization of New Spain, the models from the previous conquests of Granada and North Africa are followed. And through this perspective of continuity, we identify parallel political measures, identical discursive traditions, as well as a shared attitude and linguistic awareness. From a lexical point of view, this attempt to explain the New World is transmitted by various processes, including the use of lexical Arabisms to plastically illustrate an unknown and pagan culture through codes that are familiar, and equally pagan, to the reader. This contribution helps to expand our understanding about the presence of Arabisms in the history of the Spanish language. (shrink)

In this paper I argue against the theory--popular among theorists of narrative artworks--that we must posit a fictional narrative agent in every narrative artwork in order to explain our imaginative engagement with such works. I accept that every narrative must have a narrator, but I argue that in some central literary cases the narrator is not a fictional agent, but rather the actual author of the work. My criticisms focus on the strongest argument for the ubiquity of fictional narrators, Jerrold (...) Levinson's ontological-gap argument. Finally, I outline an alternative "minimal theory" of narrators, and some consequences thereof. (shrink)

In this essay I first outline contemporary Platonism about musical works – the theory that musical works are abstract objects. I then consider reasons to be suspicious of such a view, motivating a consideration of nominalist theories of musical works. I argue for two conclusions: first, that there are no compelling reasons to be a nominalist about musical works in particular, i.e. that nominalism about musical works rests on arguments for thoroughgoing nominalism, and, second, that if Platonism fails, fictionalism about (...) musical works is to be preferred to other nominalist ontologies of musical works. (shrink)

My aim in this article is twofold. First, I will illuminate the triangular conceptual connections between responsibility, authority, and power as they are exposed in the organizational realm; second, I will show how the three concepts are distinct. Relying on the work of Peter Strawson and his followers on responsibility for my point of departure, I will show that the connection between the inner corporational authority and its inner matching responsibility is different from the connection between the outer corporational forces (...) and influences and the CSR that they develop in reaction to these. This will expose another important distinction between two kinds of responsibility: the organizational kind, as instantiated in organizations, and the social kind, which constitutes the outer aspect of the CSR. Though many thinkers address different kinds of responsibility, a comparative perspective of these different concepts is missing. I attempt to bring three of these separate discourses together to examine them alongside one another, evaluating them in the light of their differences and similarities. This will expose a new typology of ‘responsibility’ that penetrates and illuminates the relations between corporations and society and as such enhance our understanding of organizational responsibility. (shrink)

In this essay, I investigate musical silence. I first discuss how to integrate the concept of silence into a general theory or definition of music. I then consider the possibility of an entirely silent musical piece. I begin with John Cage’s 4′33″, since it is the most notorious candidate for a silent piece of music, even though it is not, in fact, silent. I conclude that it is not music either, but I argue that it is a piece of non-musical (...) sound art, rather than simply a piece of theatre, as Stephen Davies has argued. I end with consideration of several other candidates for entirely silent pieces, concluding that two of these are in fact pieces of music consisting entirely of silence. (shrink)

Book review of _The Philosophy of Motion Pictures_ by Noël Carroll.