This article addresses the role of science and science advisory bodies in modeling practices for the support of policy-making procedures in the Netherlands in the field of health care. The authors show, based on a detailed investigation of a prestigious interdisciplinary modeling project in which an economic care model was developed for governmental use, that science advisory bodies are entangled with the policy actors they advise in what we call boundary configurations. Boundary configurations are strongly situated interconnections between science advisory (...) institutes and policy institutions that share a specific approach to problem definitions and methods and that are embedded in specific social, discursive, and material elements. Importantly, as the case study shows, such boundary configurations shape the kind of science, and related, the kind of social and political theories about the world, that is effectuated in modeling practices. In this case study, the boundary configuration in which economic experts and policy makers participated contributed to the articulation of health care in terms of a market-based policy program for the health care sector. (shrink)

Researchers are increasingly expected to deliver “socially robust knowledge” that is not only scientifically reliable but also takes into account demands from societal actors. This article focuses on an empirical example where these additional criteria are explicitly organized into research settings. We investigate how the multiple “accountabilities” are managed in such “responsive research settings.” This article provides an empirical account of such an organizational format: the Dutch Academic Collaborative Centres for Public Health. We present a cross-case analysis of four collaborative (...) research projects conducted within this context. We build on Miller’s notion of “hybrid management.” The article shows that the extended concept of hybrid management is useful to study the different accountabilities encountered in such settings. We analyze how the collaboration developed and which conflicts or dilemmas arose. We then focus on the different hybrid management strategies used in the collaboration. The empirical material shows how the different aspects of hybrid management feature in various configurations in the four projects. We highlight that hybrid management strategies may be used by different groups or at different moments, may reinforce or contradict each other, and may be more or less effective at different points in time. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Images >> Visual Vertigo:Gaëlle Foray's Homage to the DiscardedAmber Bal (bio)Gaëlle Foray's artistic style invites renewed meditation upon the two human processes that surround the artwork: first, the metamorphosis of raw materials into aesthetic object at the hands of the artist, and second, the phenomenology of perceiving art. On the side of reception (in other words, the viewer's experience of Foray's works), the artworks demand first to be felt. (...) Only following an immediate visceral "strike" of abstract, unfocused perception, does the analytical eye proceed to examine these intricate works up close, parsing their immense and meticulous detail. On the side of artistic creation, Foray's methods elicit questions about the artist's relationship to Earth's finite materials, to the tension between environmental awareness and our own extractive practices. Foray's response to issues of waste and consumption at the heart of artistic endeavors is that she exclusively uses discarded materials; a form of recycling, gleaning, and/or foraging in the lived world. Yet, her approach is distinct from the well-established use of objet trouvés ("found objects") in modern art. Unlike "anti-artworks" such as Marcel Duchamp's 1917 Fontaine (a porcelain urinal signed "R. Mutt") or Piero Manzoni's 1961 Merda d'artista, both of which offer "common objects" in their original state for aesthetic contemplation, Foray's works are not "readymades." As opposed to what Steven Goldsmith describes as Duchamp's "subordinat[ion] of form to concept," Foray manipulates and defamiliarizes her recycled artistic material through processes of collage and bricolage.1 She describes the transformation of collected objects as a means of "paying homage to waste," from natural matter like animal bones, minerals, and fossils to synthetic waste such as long-discarded plastic toys or Tupperware containers, abandoned family photo albums, and démodé dinner party utensils from the eighties.2What emerges from the selection of Foray's works featured in this issue is a clash between the ephemerality of the human lifespan and planetary spatio-temporal dimensions. Her artistic process forces vertiginous acknowledgement of the fragility of human existence as it presses up against that which the human tries to capture through art: the world. What's more, Earth's monumental landscapes only ever figure as and in fragments. Two specific conflicts return across Foray's works to create this sense of vertigo. First is the contrast between the limited human lifespan and the eternity of the fossil; as the latter is often figured alongside photographs of humans or man-made materials in a manner that draws attention to this unfathomably large geological temporal scale. A secondary contrast arises from Foray's recurrent human-nature juxtaposition as the boundedness of human life continually knocks up against raw and unruly natural matter. Foray's recourse to diverse textures and materials heightens these oppositions—schist lies atop bone, the smooth veneer of a photograph envelops a human form but rests against the jagged edges of a stone. As we shall explore through ruminations on specific pieces, her method prompts inquiry into the relationship between these human [End Page 110] and geological timescales, attesting Foray's remarkable ability to capture brevity and limitlessness in tandem. Of equal note is Foray's repeated, self-reflexive wink to art's mediation of the world through a "framing effect," as she regularly makes the protective screen of a work or staging of an exhibition space integral to the artwork itself. This is her own means of drawing attention to the conditions in which the work of art is encountered, both exaggerating the distantiating function of the frame in classical art which "served to make [artwork] discontinuous with its surroundings" and building upon the "readymade" tradition's abolition of the barrier between viewer and artwork.3Foray's pieces, composed from an amalgam of natural matter and industrial or household waste, operate as self-contained ecosystems that are akin to stumbling upon a diorama that has escaped from its box, or a snowglobe whose glass sphere has been shattered and from which the liquid has drained away. In La Mer (see pages 34/35), the background's glitter and the iridescent blues... (shrink)

This study explores and analyses funerary rite struggles in a nation where Christianity is a comparatively recent phenomenon, and many families have Christian and Hindu, Buddhist and Traditionalist members, who go through traumatic experiences at the death of their family members. The context of mixed affiliation raises questions of social, psychological and religious identity for Christian converts, which are particularly acute after a death in their family. Using empirical research, this thesis focuses on the question of adaptation and identity in (...) relation to church life, within the familial and social sphere of individual Christians and within the wider society in which they live, particularly with reference to death and disposal. This research has used an applied theology approach to explore and analyse the findings in order to address the issue of funerary rites with which the Nepalese church is struggling. For the need of adaptation, this study seeks to understand the funerary rites of the host culture alongside Jewish-Christian characteristics of adaptation, especially in terms of the Nepalese Evangelical Christian context. It also poses the challenge of finding an identity in a wider cultural and societal milieu. The case studies and interviews have portrayed tripartite relationships and tensions between an individual, family and church or community at the death in a ‘split’ family where a Christian convert’s loyalty to the deceased and the family is tested. Participation and non-participation in the last rites create problems for both the church and the family, and some solution needs to be found. The study has discovered that adaptation of the technique of the funerary rites, rather than of their content, could ease this tension in a ‘split’ family, and enhance a family and community’s reconciliation and solidarity. The mode of disposal, whether burial or cremation, could be used and a theology of cremation be developed in order to provide a theological framework. (shrink)

The American Museum of Natural History is monumental not only in its architecture and design but also in its size, scope, and content. This monumental quality suggests in and of itself the primary meaning of the museum inherited from its history: comprehensive collecting as a form of domination.8 In this respect museums belong to an era of scientific and colonial ambition, from the Renaissance through the early twentieth century, with its climactic moment in the second half of the nineteenth century. (...) It belongs in the category of nineteenth-century endeavors such as experimental medicine , evolutionary biology , and the naturalistic novel , all of which claimed to present a comprehensive social study. Such projects have been definitively compromised by postromantic critique, postcolonial protest, and postmodern disillusionment.9But in spite of its appearance, that prefix post- doesn’t make things any easier. Any museum of this size and ambition is today saddled with a double status; it is necessarily also a museum of the museum, a preserve not for endangered species but for an endangered self, a “metamuseum”: the museal preservation of a project ruthlessly dated and belonging to an age long gone whose ideological goals have been subjected to extensive critique.10 Willy-nilly, such a museum solicits reflections on and of its own ideological positions and history. It speaks to its own complicity with practices of domination while it continues to pursue an educational project that, having emerged out of those practices, has been adjusted to new conceptions and pedagogical needs. Indeed, the use of the museum in research and education is insisted on in its self-representations, including the Guide. 9. For an example of the postmodern critique, see Michael M. J. Fischer, “Ethnicity and the Postmodern Arts of Memory,” in Writing Culture: The Poetics and Politics of Ethnography, ed. Clifford and George E. Marcus , pp. 194-233.10. The metamuseal function of a museum like the American Museum is analyzed in Ames, Museums, the Public, and Anthropology. Mieke Bal is professor of the theory of literature at the University of Amsterdam and retains a visiting professorship in the comparative arts program at the University of Rochester. Her most recent book is Reading “Rembrandt”: Beyond the Word-Image Opposition. (shrink)

In this essay I will explore a mode of reading I call “reading for the text.” A text is what we make of a work when reading it: roughly, a meaningful, well-structured whole with a beginning and an end. But as a mode of reading, textuality allows for constant activity, a continual shaping nd reshaping of sign-events. I will argue that reading for a sense of textuality, and for the wholeness this simple textuality entails, does not necessarily preclude awareness of (...) a fundamental lack of unity, while reading for the effect of the real, in spite of the promotion of the “realistic detail,” tends to do so. The two modes of reading are fundamentally different; yet the conflict between them is not necessarily obvious, nor should such conflict be avoided, ignored, or smoothed out.The goal of this confrontation is not to promote textual reading at the expense of realistic reading. It is the conflict between them I wish to promote. The two modes of reading can be brought to bear on the same work, although they are incompatible. As a result, activating both modes is in itself a critical endeavor: their very combination helps one to avoid the unifying fallacy. Textual and realist readings are a problematic and thereby productive combination. Mieke Bal is professor of comparative literature and Susan B. Anthony Professor of women’s studies at the University of Rochester. The author of Death and Dissymmetry: The Politics of Coherence in the Book of Judges, her forthcoming book is Reading “Rembrandt”: Beyond the Word-Image Opposition. (shrink)

In this paper we present a logic that determines when implications in a classical logic context express a relevant connection between antecedent and consequent. In contrast with logics in the relevance logic literature, we leave classical negation intact—in the sense that the law of non-contradiction can be used to obtain relevant implications, as long as there is a connection between antecedent and consequent. On the other hand, we give up the requirement that our theory of relevance should be able to (...) define a new standard of deduction. We present and argue for a list of requirements such a logical theory of classical relevance needs to meet and go on to formulate a system that respects each of these requirements. The presented system is a Tarski logic that extends the relevance logic R with a new relevant implication which allows for Disjunctive Syllogism and similar rules. This is achieved by interpreting the logical symbols in the antecedents in a stronger way than the logical symbols in consequents. A proof theory and an algebraic semantics are formulated and interesting metatheorems are proven. Finally we give a philosophical motivation for our non-standard relevant implication and the asymmetric interpretation of antecedents and consequents. (shrink)

This set of volumes sketches the history, breadth, and applicability of narrative theory, thus demonstrating its value as an analytical instrument. The collection includes articles from the leading names of narrative theory, such as Roland Barthes, Mikhail Bakhtin, Tzvetan Todorov and Jean-Françoise Lyotard, as well as lesser-known, though equally important, contributions. Titles already available in this series include _Deconstruction_ and _Modernism_. Forthcoming titles include _Romanticism_ and _Structuralism_.

cz. 1. Podstawowe pojęcia i systemy etyczne.

To commemorate 40 years since the founding of the Journal of Business Ethics, the editors-in-chief of the journal have invited the editors to provide commentaries on the future of business ethics. This essay comprises a selection of commentaries aimed at creating dialog around the theme Bringing Excitement to Empirical Business Ethics Research (inspired by the title of the commentary by Babalola and van Gils). These editors, considering the diversity of empirical approaches in business ethics, envisage a future in which quantitative (...) business ethics research is more bold and innovative, as well as reflexive about its techniques, and dialog between quantitative and qualitative research nourishes the enrichment of both. In their commentary, Babalola and van Gils argue that leadership research has stagnated with the use of too narrow a range of perspectives and methods and too many overlapping concepts. They propose that novel insights could be achieved by investigating the lived experience of leadership (through interviews, document analysis, archival data); by focusing on topics of concern to society; by employing different personal, philosophical, or cultural perspectives; and by turning the lens on the heroic leader (through “dark-side” and follower studies). Taking a provocative stance, Bal and Garcia-Lorenzo argue that we need radical voices in current times to enable a better understanding of the psychology underlying ethical transformations. Psychology can support business ethics by not shying away from grander ideas, going beyond the margins of “unethical behaviors harming the organization” and expanding the range of lenses used to studying behavior in context. In the arena of finance and business ethics, Guedhami, Liang, and Shailer emphasize novel data sets and innovative methods. Significantly, they stress that an understanding the intersection of finance and ethics is central to business ethics; financial equality and inclusion are persistent socio-economic and political concerns that are not always framed as ethics issues, yet relevant business policies and practices manifest ethical values. Finally, Charles Cho offers his opinion on the blurry line between the “ethical” versus “social” or “critical” aspects of accounting papers. The Journal of Business Ethics provides fertile ground for innovative, even radical, approaches to quantitative methods (see Zyphur and Pierides in J Bus Ethics 143(1):1–16, https://doi.org/10.1007/s10551-017-3549-8, 2017), as part of a broad goal of ethically reflecting on empirical research. (shrink)

A woman is found lying dead on the floor of the living room of her house in Leiden, the Netherlands, and because of a swollen and a slightly wounded eyelid, an autopsy is performed on the body the day after it is found. Behind the wound, there is a whole ballpoint pen, which entered the head of the deceased through her right eye causing mortal brain damage. How did it get there? This question was to cause a stir in Dutch (...) society, holding a group of police detectives and several scientists in its grip for several years. In this article, the ballpoint case is analyzed as to the boundary work between credible and noncredible expertise. As it is often assumed that boundary work in continental law is preempted by the structure of these law models, this case study adds a comparative note to the growing literature about science and the law. (shrink)

Este artigo discute a influência da segunda parte do Parmênides de Platão, e mais especificamente a sua 3ª hipótese, na obra de Plotino e Jâmblico. Ou seja, a inter- elação entre a apropriação do conceito central da 3ª hipótese, o instante (exaiphnes), (1) em Plotino através da apropriação original do conceito de presença (parousia) e (2) em Jâmblico quando da modificação da estrutura das hipóteses parmenidianas, ao introduzir antes da primeira hipótese, o Inefável, e deslocar a alma para a 4ª (...) hipótese, alocando na 3ª hipótese, os daemons, os anjos e os heróis. A posição da alma na estrutura das hipóteses irá determinar a ascese proposta por cada um deles: se para Plotino a ascese é intelectual, para Jâmblico a mesma se realiza, depois de esgotados os recursos filosóficos, através da teurgia, entendida como um complemento e não em oposição à filosofia, sendo esta a sua novidade. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:diacritics 30.1 (2000) 2-24 [Access article in PDF] Three-Way Misreading Mieke Bal Gayatri Chakravorty Spivak. A Critique of Postcolonial Reason: Toward a History of the Vanishing Present. Cambridge: Harvard UP, 1999. [CPR] Introduction: Reading Other-Wise This openly declared interest makes my reading the kind of "mistake" without which no practice can enable itself. 1 --Gayatri Chakravorty Spivak, Critique of Postcolonial ReasonAs many readers of this journal familiar with her (...) earlier work will surmise, Gayatri Chakravorty Spivak's Critique of Postcolonial Reason (CPR) is not easy to read. Yet reading is what the book is about, what it does, and what it teaches. The book, on more levels than one but beginning with its own accessibility, teaches how to read, other-wise. Indeed, this book is perhaps overreadable, if such a notion makes sense. I mean a form of readerliness based on multiplicity, both of (academic) levels and of lines of argumentation, subjects, and discourses. It can be read in a number of ways, none of which is adequate, all of which are enriching and useful for whatever area of specialization one is working in, as long as one is engaged in (thinking through) culture and the activity of analysis."My aim, to begin with, was...": beginning in the past tense and ending on the word "undone," this is a book with no beginning and no end, just like its subject matter, which can be briefly summarized as a passage from its title to a program of developing "transnational literacy." To pretend that either book or subject matter does have an end is to closet it. 2 But both book and subject matter have many openings that beckon you in yet leave the doors open so you can leave when and how you wish. Thus, it sets itself up to be appropriated, and in full awareness of how that makes me complicitous with much that the author at times rants about, I feel compelled to do just that: to productively misread it. Feeling invited to take the book "home"--to divert it from its many-branched course but confirming its multiple readership--I will offer here three readings of CPR. All three are willful misreadings, for misreading, always inevitable, is particularly indispensable in this encounter. 3 Instead of a review, I offer a pedagogical supplement. I will follow or spin three threads, to which the book is in no way reducible, and which [End Page 2] [Begin Page 4] are even insufficiently complex to account for the part-issue on which they focus. My goal is simply to convey one sense in which this book can be read with enormous productivity. I have selected three issues that appear as misreadings even at first sight, to the extent that they foreground aspects of the book's reasoning and analysis that are paradoxical here. In a study explicitly allied to postcolonial theory and politics, I will discuss aesthetics; in a practice of deconstruction, referentiality; and in a book of intricate and self-reflective writing, orality. These three elements are meant to underscore and remedy the profound misreadings to which those who mistrust, misinterpret, or misjudge the author's triple allegiance to transnational culture studies, deconstructive critique, and teaching have subjected her work.CPR contains four long chapters, simply titled "Philosophy," "Literature," "History," "Culture." Simply, or overambitiously? Neither. Whenever the book appears to spread out, it narrows down in the same move. The enumeration embodies a tight program. The sequence of the chapters is clear and significant. It is justified forwards and backwards as an itinerary and guideline for an interdisciplinary culture study that is responsible to each of its components as well as to the objects that can be confined to none. Moving forwards, "Philosophy" examines the arguments, "Literature" the figurations, "History" the archival material in which arguments and figurations collaborate to determine, and retrospectively leave traces of, what happened. 4 "History" also changes the practice of history by interpolating between positive research and philosophy the need to read and a way to do it, borrowed largely from literature. "Culture" opens up to the politics of a world in... (shrink)

The three short pieces below are part of an alphabetically ordered series of entries, which, together, will constitute a non-subject-centered autobiography. Professional memories are merged with personal ones. To underline the fragmentary nature of memory, I call them “vignettes.”.

While the economic and environmental dimensions of the triple bottom line have been covered extensively by management theory and practice, the social dimension remains largely underrepresented. The resource-based view of the firm and the natural resource-based view of the firm are revisited to lay the theoretical foundation for exploring how the social dimension might be addressed. Social capabilities are then explored by looking at the social entrepreneurship literature and illustrative cases with the purpose of elaborating RBV toward a social resource-based (...) view of the firm. Three illustrative cases, which represent social businesses located in catastrophe-ridden Haiti, show how capabilities are used to overcome challenging constraints. The goal for the social entrepreneur is to employ the appropriate capabilities to ensure economic success, a positive environmental impact, and social benefits that leave the local community in a better position than without the business. Just as NRBV is a previous elaboration of RBV, so can SRBV be an elaborated theoretical foundation for future research. The components of a theory are systematically addressed by extending the range of variables, extending the domain, and offering propositions on variable relationships and outcome predictions. By highlighting the social capabilities of social entrepreneurs, this research illuminates the micro-foundations of corporate social responsibility, emphasizing the value of individual level analyses. (shrink)

Inclusive businesses that combine profit making with social impact are claimed to hold the potential for poverty alleviation while also creating new entrepreneurial and innovation opportunities. Current research, however, offers little insight on the processes through which for-profit business organizations introduce social innovations that can profitably create social impact. To understand how social innovations emerge and become sustained in business organizations, we studied a telecom firm in Kenya that successfully extended financial services across the country through a number of mobile (...) banking innovations. Our qualitative analysis revealed the strong role of being embedded in local networks and structures for initiating and implementing social innovations. Strong embeddedness enhanced the pragmatic and ethical imperative for internalizing social issues, but also provided access to diverse resources for implementing and legitimizing social innovations. However, hybridization processes that emphasized social issues introduced organizational tensions by increasing goal diversity and requiring adapting organizational processes and structures. The case shows how developing a mission-driven identity enabled the sustenance of social innovations by providing a meta-narrative that bridged goal diversities and rationalized organizational change. (shrink)

Attempting to explain, in a short film, a theoretical concept that underlies our the feature film Madame B (Bal & Williams Gamaker, 2014), I discovered that narrativity and description, always in tension, merge into more clarity as the film gets shorter.