While many writers have advocated the importance of narrative as a means of engaging with the problem of extinction, this paper considers what the qualities of visual aesthetics bring to this field. In addressing this question, the discussion turns to the problem of the ethical limits of art raised by Adorno and takes a theoretical turn away from posthumanism to consider how visual responses can redirect attention back to human agency. The focus of visual analysis is on five paintings by (...) the contemporary Iranian artist Naeemeh Naeemaei. Neither exclusively Western nor overtly internationalist in their approach, these artworks refer to the effects of both hunting and the erosion of trans-national habitats as causes of extinction, yet they also show how human affective responses to extinction can extend across geo-political borders to a more global imaginary. As such, Naeemaei’s artworks are regarded as a form of immanent critique of anthropogenic forcing. Her works adapt older traditions in Persian humanism and art to show not only how the human dominion of nonhuman animals has led to extinction, but also how this leads to an almost incalculable sense of human loss. I argue that Naeemaei’s affective imagery of loss is not simply yet another example of how the lifeworld of animals can only be understood from an anthropocentric worldview, but instead points to our inability to yet fully register the immeasurable losses of extinction and what this yet unchartered grief might imply for potential human agency. (shrink)

Over the past twenty years, traditional commitments of policy analysis to empirical inquiry and expert knowledge have shaped the policy "solution" for addressing a public perception of ethical decline. Separation of facts and values, basic assumptions regarding the limits and fallibility of human reason, and confidence in the use of objective techniques to achieve social control have all contributed to a regulatory approach to ethics policy within our organizations. Few have questioned these assumptions. This dissertation argues that policy addressing the (...) ethical conduct of individuals cannot avoid a discussion of values, cannot reject the importance of human reason in resolving ambiguous ethical dilemmas, and cannot legislate ethical behavior by tightening the legal and bureaucratic system of rules and regulations. ;By integrating the perspectives of moral philosophy and policy inquiry, this dissertation presents a theoretical critique of the influence traditional regulatory policy approaches to organizational ethics can have on individuals within these organizations. An examination of diverse goals associated with ethics policy reveals three perspectives common to public administration debates--ethics policy as a vehicle for demonstrating social responsibility, as a tool of social control , and as window dressing to appease the public and to avoid further regulation . Concluding that morally responsible ethics policy requires the use of an interdisciplinary policy approach, a judgment-focused model is recommended to enable and empower individuals to develop a moral self capable of addressing ambiguous ethical dilemmas as they arise. (shrink)

Most secondary sources about Fear and Trembling do not mention the weaning passages that appear in the "Attunement" chapter. Edward Mooney's book, Knights of Faith and Resignation: Reading Kierkegaard's Fear and Trembling (1991), devotes almost two pages of his commentary to the weaning sentences. While what Mooney suggests was quite helpful in directing my thoughts on this subject, I will present a more sustained discussion of the weaning sentences than Mooney's and argue that the weaning passages are more instrumental in (...) Kierkegaard's presentation of the Abraham and Isaac story than previously imagined. They foreshadow the main theme of Fear and Trembling—the existential leap of faith by the knight of faith. (shrink)

This paper considers the way social theorists draw on affective imagery to convey ideas about complex social processes such as the formation of subjectivity within a given habitus. The argument focuses on discussions of art in the work of Elias and Foucault to question whether imagery, and particularly imagery drawn from art, serves to simplify more complex processes of reasoning, or whether the image can be understood as a type of conceptual consolidation of an argument rather than a means to (...) simply illustrate or augment it. The paper also raises the question of whether art is a more complex form of social agency than it was sometimes understood to be in its original social context. (shrink)