In this article we assess the extant literature on women’s careers appearing in selected career, management and psychology journals from 1990 to the present to determine what is currently known about the state of women’s careers at the dawn of the 21st century. Based on this review, we identify four patterns that cumulatively contribute to the current state of the literature on women’s careers: women’s careers are embedded in women’s larger-life contexts, families and careers are central to women’s lives, women’s (...) career paths reflect a wide range and variety of patterns, and human and social capital are critical factors for women’s careers. We also identify paradoxes that highlight the disconnection between organizational practice and scholarly research associated with each of the identified patterns. Our overall conclusion is that male-defined constructions of work and career success continue to dominate organizational research and practice. We provide direction for a research agenda on women’s careers that addresses the development of integrative career theories relevant for women’s contemporary lives in hopes of providing fresh avenues for conceptualizing career success for women. Propositions are identified for more strongly connecting career scholarship to organizational practice in support of women’s continued career advancement. (shrink)
In this article we assess the extant literature on women’s careers appearing in selected career, management and psychology journals from 1990 to the present to determine what is currently known about the state of women’s careers at the dawn of the 21st century. Based on this review, we identify four patterns that cumulatively contribute to the current state of the literature on women’s careers: women’s careers are embedded in women’s larger-life contexts, families and careers are central to women’s lives, women’s (...) career paths reflect a wide range and variety of patterns, and human and social capital are critical factors for women’s careers. We also identify paradoxes that highlight the disconnection between organizational practice and scholarly research associated with each of the identified patterns. Our overall conclusion is that male-defined constructions of work and career success continue to dominate organizational research and practice. We provide direction for a research agenda on women’s careers that addresses the development of integrative career theories relevant for women’s contemporary lives in hopes of providing fresh avenues for conceptualizing career success for women. Propositions are identified for more strongly connecting career scholarship to organizational practice in support of women’s continued career advancement. (shrink)
In ‘Sight and Sensibility: Evaluating Pictures’ Dominic Lopes attempts two things. First, he attempts to solve the ‘Puzzle of Mimesis’: why do we value looking at pictures over looking at the things they depict? Second, he defends ‘interactionism’: the view that some aesthetic evaluations of pictures imply evaluations in moral and cognitive terms. I argue that the attempt to solve the Puzzle turns on the notion of ‘inflection’, and that that notion is more problematic than Lopes admits. I further argue (...) that Lopes’s defence of interactionism in fact establishes a thesis weaker than desired. (shrink)
Congenitally blind people can make and understand ‘tactile pictures’ – representations form of raised ridges on flat surfaces. If made visible, these representations can serve as pictures for the sighted. Does it follow that we should take at face value the idea that they are pictures made for touch? I explore this question, and the related issue of the aesthetics of ‘tactile pictures’ by considering the role in both depiction and pictorial aesthetics of experience, and by asking how far the (...) experience of those engaging with representations through touch can approximate to that of those engaging with them through sight. (shrink)
This paper argues that an account of picturing in terms of the experience it sustains, in particular an experience of resemblance in outline shape, is superior to Dominic Lopes’, view, on which pictures engage our recognitional capacities for the objects they depict. Lopes’ position fails to do the work proper to a philosophical theory of picturing. Lopes argues that the experienced resemblance view pays insufficient attention to empirical work, and that it incurs unwelcome empirical commitments. I refuse the commitments Lopes (...) offers, and suggest that the view is more open to the empirical than he thinks. (shrink)
Some (Podro, Lopes) think that sometimes our experience of pictures is ‘inflected’. What we see in these pictures involves, somehow, an awareness of features of their design. I clarify the idea of inflection, arguing that the thought must be that what is seen in the picture is something with properties which themselves need characterising by reference to that picture’s design, conceived as such. I argue that there is at least one case of inflection, so understood. Proponents of inflection have claimed (...) great significance for the phenomenon. But what might that significance be? Inter alia, I consider Lopes’s proposal that inflection solves a central problem in pictorial aesthetics, the ‘puzzle of mimesis’. I argue that the puzzle, and the proposed solution, both turn on aspects of Lopes’s conception of seeing-in. Other accounts of seeing-in can make no sense of either. I further argue that the phenomenon of inflection itself puts pressure on the sort of account Lopes offers. Thus it is hard to offer a view which both holds that inflection occurs and is able to make clear sense of why it matters. (shrink)
In every picture there is a perspective: the picture represents its object from a point (or points) of view. Is the same true of sculpture, and in particular is it true of the purest form of sculpture, sculpture in the round? I address this issue in two ways. First, I explore the prospects for reasoning that perspective forms part of the content of some sculptures by adapting an argument from M. G. F. Martin for the parallel claim in the case (...) of visualizing. I conclude that the argument does not transfer successfully to the sculptural case. Second, I turn to the question whether sculptural experience presents the sculpted object from a point of view. That is, does our experience of sculpture involve, not merely a perspective on the sculpture itself, but a distinct perspective on the object visible in that sculpture? I consider, and reject, an argument for thinking that the answer is ‘yes’ before turning to two arguments for distinguishing sculpture from pictorial representations in this respect. That leaves us with no reason to think sculpture does involve perspective, rather than having reason to think it does not. I end by considering a principle that would allow us to close this gap. (shrink)
In an intrepid article entitled “Why Anselm's Proof in the Proslogion Is Not an Ontological Argument,”45 G.E.M. Anscombe takes issue with the traditional reading of Anselm's text. According to this reading Anselm's proof in Proslogion 2 depends upon the premise that existence is a perfection; and as a result of this dependency it has been given the label “ontological argument.” I In challenging the traditional reading, Anscombe proposes a corrected version of Anselm’s proof—a version which eliminates the premise that existence (...) is a perfection and which thereby undermines the rationale for considering the proof to be an “ontological argument.” Her corrected version runs as follows: 26 Anscombe on Anselm.. (shrink)
The relationship of the author's intention to the meaning of a literary work has been a persistently controversial topic in aesthetics. Anti-intentionalists Wimsatt and Beardsley, in the 1946 paper that launched the debate, accused critics who fueled their interpretative activity by poring over the author's private diaries and life story of committing the 'fallacy' of equating the work's meaning, properly determined by context and linguistic convention, with the meaning intended by the author. Hirsch responded that context and convention are not (...) sufficient to determine a unique meaning for a text; to avoid radical ambiguity we must appeal to the author's intention, which actualizes one of the candidate meanings. Subsequent writers have defended refined versions of these views, and a variety of positions on the spectrum between them, in a debate that remains central to philosophical aesthetics. While much of the debate has focused on literature, similar questions arise with respect to the interpretation of visual artworks. Some of the readings listed below address this matter explicitly. Author Recommends: William K. Wimsatt and Monroe C. Beardsley, 'The Intentional Fallacy', Sewanee Review 54 (1946): 468–88. Locus classicus of the anti-intentionalist position: Wimsatt and Beardsley hold that appeal to the author's intention is always extraneous, since intention cannot override the role of linguistic convention and context in determining meaning. Criticism, they argue, should thus proceed by careful examination of the literary work rather than by sifting through biographical material that might hint at the author's intentions. E. D. Hirsch, Jr., Validity in Interpretation (New Haven, CT: Yale University Press, 1967). The seminal statement of actual intentionalism: Hirsch holds that 'meaning is an affair of consciousness and not of physical signs or things' (23), though he allows that linguistic convention constrains the meanings the author can intend for a particular utterance. He argues that the author's intention is necessary to fix meaning, since the application of conventions alone would typically leave a text wildly indeterminate. Alexander Nehamas, 'The Postulated Author: Critical Monism as a Regulative Ideal', Critical Inquiry 8 (1981): 133–49. Nehamas argues for a version of hypothetical intentionalism according to which interpretation is a matter of attributing an intended meaning to a hypothetical author, distinct from the historical writer. This view allows the interpreter to find meaning even in features of the work that may have been mere accidents on the part of the historical writer. Gary Iseminger, ed., Intention and Interpretation (Philadelphia, PA: Temple University Press, 1992). Intention and Interpretation is an outstanding collection including both classic and new essays representing most of the major viewpoints in the debate. Noël Carroll, 'Art, Intention, and Conversation', Intention and Interpretation , ed. Gary Iseminger (Philadelphia, PA: Temple University Press, 1992), 97–131. The essay defends modest actual intentionalism, according to which the work's meaning is one compatible both with the author's meaning intentions and with the conventionally allowable meanings of the text. Carroll holds that literature is on a continuum with ordinary conversation, to which an intentionalist analysis is apt; for this reason he rejects anti-intentionalism and hypothetical intentionalism, which emphasize the purported autonomy of literary works from their authors. Daniel Nathan, 'Irony, Metaphor, and the Problem of Intention', Intention and Interpretation , ed. Gary Iseminger (Philadelphia, PA: Temple University Press, 1992), 183–202. Nathan argues that even irony and metaphor, which are often thought to require an analysis in terms of the author's actual intentions, are in fact best understood on an anti-intentionalist approach. Jerrold Levinson, 'Intention and Interpretation in Literature', The Pleasures of Aesthetics: Philosophical Essays (Ithaca, NY: Cornell University Press, 1996), 175–213. Revised version of 'Intention and Interpretation: A Last Look', Intention and Interpretation , ed. Gary Iseminger (Philadelphia, PA: Temple University Press, 1992), 221–56. The essay defends a version of hypothetical intentionalism according to which the meaning of a literary work is the meaning that would be attributed to the actual author by members of the ideal audience. Levinson argues that literary works should be treated differently from everyday utterances, since it is a convention of literature that its works are substantially autonomous from their authors. Paisley Livingston, Art and Intention: A Philosophical Study (Oxford: Clarendon Press, 2005). Livingston examines competing accounts of the nature of intentions as they pertain to a variety of issues in the philosophy of art, including the ontology of art, the nature of authorship, and art interpretation. In chapter 6, Livingston argues for partial intentionalism, according to which some, but not all, of a work's meanings are non-redundantly determined by the author's intentions. Stephen Davies, 'Authors' Intentions, Literary Interpretation, and Literary Value', British Journal of Aesthetics 46 (2006): 223–47. Davies defends the value-maximizing view, according to which, when there is more than one conventional meaning consistent with the work's features, the meaning that should be attributed to the work is the one that makes the work out to be most aesthetically valuable. He allows for the attribution of multiple meanings when more than one candidate (approximately) maximizes the work's value. Online Materials: http://plato.stanford.edu/entries/beardsley-aesthetics/ Beardsley's Aesthetics (Michael Wreen) http://plato.stanford.edu/entries/conceptual-art/ Conceptual Art (Elisabeth Schellekens) http://plato.stanford.edu/entries/speech-acts/ Speech Acts (Mitchell Green) http://plato.stanford.edu/entries/hermeneutics/ Hermeneutics (Bjørn Ramberg and Kristin Gjesdal) Sample Syllabus: Week 1: Foundations 1. Wimsatt and Beardsley, 'The Intentional Fallacy'. 2. Livingston, 'What Are Intentions?', Art and Intention , 1–30. Weeks 2–3: Actual Intentionalism 1. Hirsch, Validity in Interpretation , ch. 1–2, 1–67. 2. Gary Iseminger, 'An Intentional Demonstration?', Intention and Interpretation , ed. Iseminger, 76–96. Optional reading: 1. Stephen Knapp and Walter Benn Michaels, 'Against Theory', Critical Inquiry 8 (1982): 723–742. 2. Stephen Knapp and Walter Benn Michaels, 'Against Theory 2: Hermeneutics and Deconstruction', Critical Inquiry 14 (1987): 49–58. Weeks 4–5: Modest, Moderate and Partial Intentionalism 1. Carroll, 'Art, Intention, and Conversation'. 2. Robert Stecker, Interpretation and Construction: Art, Speech, and the Law (Malden, MA: Blackwell, 2003), ch. 2, 29–51. 3. Livingston, 'Intention and the Interpretation of Art', Art and Intention , 135–74. Optional reading: 1. Carroll, 'Interpretation and Intention: The Debate between Hypothetical and Actual Intentionalism', Metaphilosophy 31 (2000): 75–95. 2. Stecker, 'Moderate Actual Intentionalism Defended', Journal of Aesthetics and Art Criticism 64 (2006): 429–38. Weeks 6–7: Hypothetical Intentionalism 1. William E. Tolhurst, 'On What a Text Is and How It Means', British Journal of Aesthetics 19 (1979): 3–14. 2. Nehamas, 'Postulated Author'. 3. Levinson, 'Intention and Interpretation in Literature'. Optional reading: 1. Nehamas, 'What an Author Is', Journal of Philosophy 83 (1986): 685–91. 2. Nehamas, 'Writer, Text, Work, Author', Literature and the Question of Philosophy , ed. A. J. Cascardi (Baltimore, MD: Johns Hopkins University Press, 1987), 265–91. 3. Levinson, 'Hypothetical Intentionalism: Statement, Objections, and Replies', Is There a Single Right Interpretation? , ed. M. Krausz (University Park, PA: Pennsylvania State University Press, 2002), 309–18. Week 8: The Value-Maximizing View 1. Davies, 'The Aesthetic Relevance of Authors' and Painters' Intentions', Journal of Aesthetics and Art Criticism 41 (1982): 65–76. 2. Davies, 'Authors' Intentions, Literary Interpretation, and Literary Value'. Weeks 9–10: Anti-Intentionalism 1. Beardsley, 'The Authority of the Text,' The Possibility of Criticism (Detroit: Wayne State University Press, 1970), 16–37. 2. Nathan, 'Irony, Metaphor, and the Problem of Intention'. 3. Nathan, 'Art, Meaning, and Artist's Meaning', Contemporary Debates in Aesthetics and the Philosophy of Art , ed. M. Kieran (Malden, MA: Blackwell, 2006), 282–95. Optional reading: 1. Beardsley, 'Intentions and Interpretations: A Fallacy Revived', The Aesthetic Point of View: Selected Essays , ed. M. J. Wreen and D. M. Callen (Ithaca, NY: Cornell University Press, 1982), 188–207. 2. Nathan, 'Irony and the Author's Intentions', British Journal of Aesthetics 22 (1982): 246–56. Sample Mini-Syllabus: Week 1: Foundations 1. Wimsatt and Beardsley, 'The Intentional Fallacy'. 2. Livingston, 'What Are Intentions?', Art and Intention , 1–30. Week 2: Actual and Modest Intentionalism 1. Hirsch, Validity in Interpretation , ch. 1–2, 1–67. 2. Carroll, 'Art, Intention, and Conversation'. Week 3: Hypothetical Intentionalism and Anti-Intentionalism 1. Levinson, 'Intention and Interpretation in Literature'. 2. Nathan, 'Irony, Metaphor, and the Problem of Intention'. Focus Questions 1. Is the difficulty of ascertaining the author's intentions a good reason to reject actual intentionalism? 2. Should literary works be seen as largely autonomous from their authors, even if we think that interpretation of ordinary utterances is properly a matter of ascertaining the speaker's intentions? 3. Are linguistic context and convention sufficient to determine the meaning of a literary work, or is the author's intention required to stave off an unacceptable degree of ambiguity? 4. Should the author's intentions about the genre or category to which the work belongs have a different status than intentions about the work's meaning? 5. Can the author's intentions have a non-redundant role to play in fixing meaning even if we take the role of context and linguistic convention seriously? 6. Should we expect the author's intention to play the same role (if any) in the interpretation of visual artworks that it plays in the interpretation of literature, or do differences between these two art forms require distinct approaches? (shrink)
Communication and Conflict Management Training for Clinical Bioethics Committees Content Type Journal Article Pages 341-349 DOI 10.1007/s10730-009-9116-7 Authors Lauren M. Edelstein, Johns Hopkins Medicine’s Howard County General Hospital 5755 Cedar Lane Columbia MD 21044 USA Evan G. DeRenzo, Washington Hospital Center Center for Ethics 110 Irving St Washington, D.C. NW 20010 USA Elizabeth Waetzig, Change Matrix Inc. 485 Maylin St. Pasadena CA 91105 USA Craig Zelizer, Georgetown University Department of Government 3240 Prospect St. Washington, D.C. NW 20057 USA Nneka (...) O. Mokwunye, Washington Hospital Center Center for Ethics 110 Irving St Washington, D.C. NW 20010 USA Journal HEC Forum Online ISSN 1572-8498 Print ISSN 0956-2737 Journal Volume Volume 21 Journal Issue Volume 21, Number 4. (shrink)
& A college development officer is offered a generous gift by a donor whose identity would embarrass the institution. Should the development officer accept? & A volunteer lies about his level of giving, but classmates believe him and match his "gift." Should donors be told the truth? & A development officer must explain to a donor the difference between naming an endowed chair and selecting the person to fill the chair. Where is the line between reasonable donor expectations and intrusion? (...) "There was a time, barely a generation ago, when most college fund raising was a placid, back-porch operation... That pattern, like so much in higher education, began to change dramatically... On the heels of all this change comes this splendid volume by Deni Elliot. The new fund-raising environment raises a host of ethical questions that were largely unknown or unrecognized by earlier generations of fund raisers... The great value of this book is that it provides some clear-eyed guidance through the ethical thicket that is modern higher education fund raising. The great charm of the book is that it provides this important service with such eloquence and good taste... Anyone involved in modern fund raising will find something of value in this book." -- G. Calvin MacKenzie, Academe "This volume provides college and university development officers and administrators practical help with recognizing difficult ethical situations and discerning the correct ethical response. It can also serve as a guide for donors who wonder what's reasonable for them to expect from fund raisers." -- Resources in Education Contributors: Allen Buchanan, James A. Donahue, Marilyn Batt Dunn, Deni Elliott, Bernard Gert, Judith M. Gooch, Bruce R. Hopkins, Frank Logan, Mary Lou Siebert, Holly Smith, and Eric B. Wentworth. (shrink)
The Kennedy Institute of Ethics is grateful for the vision, guidance, and dedication on behalf of the Kennedy Institute of Ethics Journal by Robert M. Veatch, PhD, its senior editor and senior research scholar at the KIE. For over twenty years, Bob has steered the journal along its path of success, and its partnership with the Johns Hopkins University Press, to arrive at the place it holds today—truly a "scholarly forum for diverse views on major issues in bioethics." Bob (...) has retired from the editorship effective January 2011 (though thankfully not from the KIE!).We also wish to express our appreciation to Carol M. Spicer, PhD, the journal's editor and hands-on manager of KIEJ. Carol received her doctorate in .. (shrink)
Machine generated contents note: Selected Papers from Presentations at the Sixth Conference of the International Society for Studies in European Ideas (ISSEI), University of Haifa, Israel, 16-21 August 1998 -- An Answer to the Question 'What Is Counter-Enlightenment?' -- Graeme Garrard, Cardiff University -- Spinoza's Response to the Enlightenment Tradition -- David A. Freeman, Washburn University -- Hermeneutics, Contextualization and Historicity: From Hegel to -- Ricoeur, through the Neo-Kantians and Phenomenology -- Joseph M. de Torre, University of Asia and the (...) Pacific -- The Relationship between Memory and Reason in Kant -- Steven M. DeLue, Miami University -- Selected Papers on "The Philosophy of David Hume" Presented at the -- Tenth International Conference on the Enlightenment, University College, -- Dublin, Ireland, 25-31 July 1999 -- Hume and the First-Person Perspective in Natural Epistemology -- Peter Loptson, University of Guelph -- David Hume, Moral Painter -- Adam Potkay, College of William and Mary -- Hume Disposed -- Michael D. Garral, The Johns Hopkins University -- Rethinking Hume's Newtonian and Kant's Copernican Analogies -- Joseph Gonda, Glendon College, York University -- Hume's Motivational Naturalism and the Kantian Challenge -- John Partridge, The Johns Hopkins University -- Humean Multiculturalism -- H. A. Bassford, University College of the Fraser Valley -- Philosophical Doubts and Common Life in David Hume -- Toshihiko Ise, Ritsumeikan University. (shrink)
Since blind people can draw and interpret raised-line drawings, depiction is not an essentially visual medium. Neither is the art of pictures an essentially visual art form. The reasons given for evaluating a picture aesthetically may advert to its tactile qualities insteadof its visual qualities.In particular, a raised-line picture canbe valued for the tactile experience it elicits of the scene it depicts, just as a visual picture is sometimes valuedfor eliciting a visual experience of its subject. The argument for this (...) claim responds to some objections recently put forward by Robert Hopkins. (shrink)
A century after his landmark report Medical Education in the United States and Canada (1910), Abraham Flexner remains an icon in the history of American medical education. Working for the Carnegie Foundation for the Advancement of Teaching, he visited each of the 155 medical schools then in existence in the United States and Canada, after which he published a blistering, muckraking report. This report helped bring about the destruction of the proprietary medical school, put forth the Johns Hopkins School (...) of Medicine as the ideal of what a medical school should look like, and established Flexner as the unchallenged arbiter of educational reform in American medicine. Two years after the report, he became assistant .. (shrink)
It has been demonstrated that death certificates do not accurately record the actual cause of death in up to one-fourth of cases, as determined from subsequent autopsy findings. The purpose of this study was to explore the use of natural language autopsy data bases as an automated quality assurance mechanism. We translated the account of the major process leading to death, or the primary diagnosis, from all 45,564 narrative autopsy reports obtained at The Johns Hopkins Hospital between May 28, (...) 1889, and June 30, 1987, into the hierarchical system of Medical Subject Heading (MeSH) titles. We obtained a total of 125,772 MeSH title translations, 1,563 of them distinct (average 2.8 per case), ranging in frequency from 6,029 occurrences of LUNG to 1 occurrence apiece of 357 MeSH titles. The natural-language-to-MeSH translations showed expected trends over the past century: fewer infectious diseases; more cardiovascular and neoplastic disease among adults; and more respiratory diseases and congenital malformations in the pediatric age group. The greater availability of autopsy documents in electronic form should increase the value of this resource for quality assurance. (shrink)
: Josiah Royce, a Johns Hopkins Fellow (1876–1878), polished two manuscripts for publication: "The Spirit of Modern Philosophy" (SMP; 62 pp.), and his dissertation, "The Interdependence of the Principles of Knowledge" (IPK; xi + 332 pp.). Although he penned the texts in blue ink and headers and footnotes in red, he never published either work. SMP—not Royce's 1892 work of the same title—critiqued Francis Bowen's Modern Philosophy from Descartes to Schopenhauer and Hartman, and created a new epistemology. My essay (...) ventures the hypotheses that Royce prudently abstained from publishing SMP to avoid alienating Bowen, a Harvard board-member for faculty admissions, and IPK to avoid advancing an interpretation of Kant he felt unsure of and would later publicly disown. Mainly, however, this paper inquires whether, in drafting SMP, Royce created an outline for IPK. I sketch Royce's life at Hopkins and present context and content of these two MSS. From these I unearth seven philosophical themes running parallel in SMP and IPK. This grounds the paper's major hypothesis that Royce's overriding aim in SMP was less to critique Bowen than to create an outline for the long Introduction and Part One of IPK. (shrink)
