As implied by executive job demands theory, intensified job demands of a firm’s top executives limit their cognitive capacity and centralize the locus of decision-making, which may undermine corporate sustainability performance. The current study tests this effect, along with the impact of two contextual factors, to reveal that the negative influence of executive job demands is weaker if firms feature greater functional diversity and average tenure in their top management teams. In an extension of upper echelon theory, this study also (...) outlines the influence of task challenges that confront strategic leaders on corporate sustainability performance. (shrink)

In his influential paper, 'Why Was the Logic of Discovery Abandoned?', Laudan contends that there has been no philosophical rationale for a logic of discovery since the emergence of consequentialism in the 19th century. It is the purpose of this paper to show that consequentialism does not involve the rejection of all types of logic of discovery. Laudan goes too far in his interpretation of the historical shift from generativism to consequentialism, and his claim that the context of pursuit belongs (...) to neither discovery nor justification is based on narrow interpretations of the contexts of discovery and justification. As a result, Laudan draws unwarranted conclusions concerning both the early and contemporary defenders of a logic of discovery. A methodological logic of discovery - which involves self-corrective methods of hypothesis generation that promote the long-term goals of science and which require consequential support for justification - is a type of logic of discovery that survives the shift to consequentialism. (shrink)

This paper will show how the three principles of the Socratic teaching method—midwifery, recollection, and cross-examination—are utilized in the treatment of learning diseases, that is, attitudes that interfere with effective learning. The Socratic teaching method differs from the traditional lecture model of teaching, but it does not sacrifice the therapeutic for the informative task of teaching. Rather, by indirectly imparting content and uncovering implicit content through careful questioning, it provides a careful balance between the informative and therapeutic aspects of teaching. (...) Insights from client-centered and cognitive therapy can enhance the effectiveness of the Socratic teaching method. (shrink)

Popper is well known for rejecting a logic of discovery, but he is only justified in rejecting the same type of logic of discovery that is denied by consequentialism. His own account of hypothesis generation, based on a natural selection analogy, involves an error-eliminative logic of discovery and the differences he admits between biological and conceptual evolution suggest an error-corrective logic of discovery. These types of logics of discovery are based on principles of plausibility that are used in the generation (...) as opposed to the preliminary evaluation of hypotheses. The normative relevance of these principles is grounded in the distinction between strategic and definitory rules. (shrink)

Popper is well known for rejecting a logic of discovery, but he is only justified in rejecting the same type of logic of discovery that is denied by consequentialism. His own account of hypothesis generation, based on a natural selection analogy, involves an error-eliminative logic of discovery and the differences he admits between biological and conceptual evolution suggest an error-corrective logic of discovery. These types of logics of discovery are based on principles of plausibility that are used in the generation (...) as opposed to the preliminary evaluation of hypotheses. The normative relevance of these principles is grounded in the distinction between strategic and definitory rules. (shrink)

A paradigm shift occurred in musical culture in the early nineteenth century, whereby revered old works—newly called “classics”—began to rival contemporary ones as the guiding authority over taste. This article explores the less well-known composers found on programs in the period when classical repertories were becoming established. A kind of professional collegiality developed during this period on concert programs among pieces of diverse age and taste, reaching far beyond the iconic composers (now seen by most of us to have been (...) Haydn, Mozart, Beethoven, Schubert, Schumann, and Mendelssohn). Many of the “other” composers came from Italy, France, or Britain and became famous for opera selections and songs, some termed “popular,” and a substantial number of their pieces were performed throughout the nineteenth century. The present-day narrative of music history has canonic blind spots for composers then widely performed—Louis Spohr, Thomas Arne, Giovanni Viotti, Etienne-Nicolas Méhul, George Onslow, Louise Farrenc, and Robert Franz, for example. To understand musical life of that time, it is necessary to rethink the language of canon and canonization. The concept of canonization and the concept of the masterpiece have narrowed musical thinking harmfully. We need to look back at the fruitful collegiality that existed between canonic and contemporary music in the early nineteenth century, involving as it did a wide array of composers and tastes not yet bound by rigid assumptions about supposed “levels” of taste. (shrink)

" Ces sentiments (amour, poésie, religion, etc.) font entendre au fond de notre âme une musique céleste, qui calme la passion, la douleur, et semble annoncer la mort elle-même par des accords purs et doux, des accords qui accompagnent le retour vers la nature et le tranquille appel du père à ses enfants. " Le but de cet ouvrage n'est autre que de déterminer ce qui se cache derrière ces belles lignes de " De l'Allemagne " que l'on pourrait volontiers (...) croire entachées d'une prolixité un peu facile. Et derrière ces métaphores se cachent en fait beaucoup de choses : la rencontre de la tradition spirituelle - augustinienne notamment - et de la philosophie sensualiste du XVIIIe siècle ; le souci d'une cohérence entre conception du monde et discours théorique sur la musique, entre imagination poétique et perception subjective des formes et productions musicales. Histoire des idées, analyse littéraire et recherche musicale se rejoignent ici pour montrer la richesse de la réflexion et de l'intuition poétique de Joubert (1754-1824), de Mme de Staël (1766-1817), de Chateaubriand (1768-1848) ou de Senancour (1770-1846) sur la musique, mais pour montrer aussi la convergence avec le paysage musical de l'époque et ses compositeurs : Lesueur (1760-1837), Cherubini (1760-1842), Méhul (1763-1817). (shrink)