Teaching business ethics to undergraduates has disclosed difficulties for both students and teacher which raise deeper issues about what is the purpose of teaching ethics and of engaging in business. The author is Lecturer in Business Ethics in the Faculty of Business and Social Studies, Cheltenham & Gloucester College of Higher Education, Swindon Road, Cheltenham, Glos GL50 4AZ, UK.

The siren call of individualism is compelling. And although we have recognized its dangerous allure in the realm of adult decision-making, it has had profound and yet unnoticed dangerous effects in pediatric decision-making as well. Liberal individualism as instantiated in the best interest standard conceptualizes the child as independent and unencumbered and the goal of child rearing as rational autonomous adulthood, a characterization that is both ontologically false and normatively dangerous. Although a notion of the individuated child might have a (...) place in establishing a threshold of care obligated and enforced by the state, beyond this context we should turn our attention more explicitly to the relational interests of children. (shrink)

The study of syntax is fundamental to linguistics and language study, but it is often taught solely within the framework of transformational grammar. This book is unique in several respects: it introduces the basic concepts used in the description of syntax, independently of any single model of grammar. Most grammatical models fail to deal adequately with one aspect of syntax or another, and the authors argue that an understanding of the concepts used in any full description of language is crucial (...) for assessing the strengths and weaknesses of formal grammars. Formal approaches to some of these concepts are critically examined. This book will train students, of either linguistics or language, to understand and make the best use of any grammar they encounter. Secondly, the book deals with the whole of syntax from immediate constituents and relations between sentences. It also examines concepts like subject and object, agent and patient, topic, comment and theme. Thirdly, there is a section on morphology, and a discussion of the relationship between syntax and morphology. As a book which explains, in a lucid and approachable way, why linguists have adopted certain solutions to problems and not others, this will be an invaluable introductory text. It is profusely illustrated with diagrams, and there are sets of exercises for every chapter which can be used in class, or by students working independently. This second edition has been extensively revised to take account of recent developments in syntactic studies. (shrink)

Aron Gurwitsch did not publish his Habilitationschrift, completed in 1931, or follow up its themes in his subsequent work. Only at the end of his life did he consent to its publication and, shortly before his death in 1973, reviewed the text for the present edition.

Context: The idea for this article sprang from a desire to revive a conversation with the late Ernst von Glasersfeld on the heuristic function - and epistemological status - of forms of ideations that resist linguistic or empirical scrutiny. A close look into the uses of humor seemed a thread worth pursuing, albeit tenuous, to further explore some of the controversies surrounding the evocative power of the imaginal and other oblique forms of knowing characteristic of creative individuals. Problem: People generally (...) respond to humor, i.e., they are inclined to smile at things they find funny. People like to crack jokes, make puns, and, starting at age two, human infants engage in pretense or fantasy play. Research on creativity, on the other hand, has mostly scorned the trickster within. Cognitivists in particular are quick to relegate wit, whimsy, and even playfulness to the ranks of artful or poetic frivolities. Method: We use the emblems of the craftsman, the trickster, and the poet to highlight some of the oblique ways of knowing by which creative thinkers bring forth new insights. Each epitomizes dimensions intrinsic to the art of “possibilizing.” Taken together, they help us better understand what it means to be playful beyond curious, rigorous beyond reasonable, and why this should matter, even to constructivists! Results: The musings characteristic of creative individuals speak to intelligent beings’ ability to use glitches intentionally or serendipitously as a means to open up possibilities; to hold on to a thought before spelling it out; and to resist treating words or images as conventional and arbitrary signs regardless of their evocative power. To fall into nominalism, Bachelard insisted, is a poet’s nightmare! Implications: Psyche is image, said Jung, and when we feel alive we rely on the imaginal to guide our reason. Note that image is not here to be understood as a picture in the head or a photographic snapshot of the world. The imaginal does not represent, it brings forth what we understand beyond words. It does not lock us into a single mode. Instead, it is a call to be mindful, in Ellen Langer’s sense: in the present, mentally alert, and on the outlook for our psyche’s own surprising wisdom (sagacity. Constructivist content: Debates on the heuristic function and epistemological status of oblique ways of knowing have long occupied constructivist scholars. I can only guess whether my uses of Jung’s imaginal or Bachelard’s anti-nominalism would have amused or exasperated Ernst! I do know that, on occasion, Ernst the connoisseur, bricoleur, and translator allowed the rationalist-within to include the poet’s power to evoke as a legitimate form of rationality. He himself has written about oblique knowing as legit! (shrink)

In an article1 entitled Lucrèce et les éléphants, Professor Ernout has referred to recent archaeological evidence that in palaeolithic times the skeletons of mammoths were used in the construction of primitive habitations, and observes that the well-known lines of Lucretius. 532 ff. about India being so prolific inelephants that the whole land ‘milibus e multis vallo munitur eburno’ mayrefer not to anything legendary, nor to themilitary use of elephants in large numbers for frontier defence, but to a recognitionof the fact (...) that even in later times ‘les Indiens avaient pu conserver leurmode de vie et utiliser avec ses défenses d'éléphant le système de protectioninvente par leurs ancêtres, ou simplement conserver ces gigantesques os demammouths’, etc. (shrink)

Bowra (Pindar, p. 270), referring to the image of the, and to the striking impression, states ‘Pindar seems to fuse two unusually disparate images into a single result… While the sheddingof leaves implies that he would have grown old without winning any wide renown, the cock means that such renown as he would have got would have beenof little account in the Greek world at large.’ Gildersleeve's comment ad loc, ‘Thethus becomes a flower’, implies a similar assumption, that the secondimage (...) is entirely unconnected with the first. (shrink)

‘Quid vero fit, quod poeta hanc plantam, tanquam munus locustae inprimis gratum, commemoret, nemo dixit; nee ego dicere possum’—so Jacobs in his note on the seventh line of this epigram. Among later commentators, Mackail thinks ‘can hardly mean “leek” here’ and he assumes it to be ‘groundsel’; Dain in the Budé edition is satisfied with the rather prosaic explanation that it is an ‘observation très juste … la cigale ne se nourrit que des sues des plantes’. I hope to show (...) that the diet of leeks and dewdrops from the mouth is promised by the love-sick swain of Meleager's poem for the same specific reason—to refresh the grasshopper's ‘voice’ for a new day's beguilement by song and persuasion to the sleep which will again free him from the cares of love. Although the ancients were aware of the means by which such insects produced their incessant sound, they remained faithful to the poetic tradition, which made them drink dew as a prelude to their singing, first found in Hesiod, Scut. 395, and clearly expressed in a couplet of Antipater of Thessalonica. (shrink)

Every Greek scholar knows the celebrated lapsus linguae committed by the tragic actor Hegelochus at the Great Dionysia of 408 B.C., when he faltered in his enunciation of line 279 of Euripides' Orestes and gave the impression to the mirthful audience of having said I am surprised, however, that the commentators on this line have only partially explained the reason for its having seemed exceptonally funny.

The literary contest of the two tragedians in Frogs is introduced by four stanzas redolent of Homeric combat, with their predominantly dactylic metre and a number of high-flown epic words. I am surprised that several editors prefer the reading ὑψὑλøωυ at 818, as íππóλοøος surely has a resonance of íπποκορυστ⋯ς of Iliad 2.1, etc. The readings and sense, however, of both halves of 819 have long been controversial. As Dover suggested in his 1993 edition the MSS ‘linch-pins of splinters’ is (...) less satisfactory than his proposed transposition to ‘splintering of linch-pins', which suggests a recollection of the dangers of chariot accidents or collisions, as in the funeral games of Il. 23. But the following expression ‘shavings of deeds’ is even more puzzling, and highly improbable, and Heiberg's emendation to σμιλο⋯, agreeing with φωτÓς, is preferred by Stanford among others, though doubted by Dover. (shrink)

In my article ‘Two Textual Problems in Euripides’ Antiope, Fr. 188', in which I compared the debate of Amphion the unpractical musician and his industrious brother Zethus to the fable of the cicada and the ant, I drew attention to a passage of Olympiodorus' commentary on the Gorgias which had been overlooked in the testimonia to Euripides' play, and which begins.

In addition to the technical writers on music, a number of ancient authors, notably Plutarch and Athenaeus, have recorded several musical terms, either by way of illustrative material—Plutarch is particularly given to musical similes and metaphors—or in the course of anecdotes about music and musicians. As musical terminology in different ages contains words or phrases not only of general acceptance and familiarity, but other more ephemeral expressions which belong to the jargon of a narrower circle of executants and critics, it (...) is possible that the musical significance of such words, when used in an apparently non-musical context, has escaped notice. (shrink)

Both the meaning of and the identity of the are in some doubt here. Gow's view that ‘Lacon thinks of labourers and cicadas vying with one another in the heat’ and that means ‘provoke to further exertions, put him on his mettle’ agrees in general with the scholiast.

This second visit to the place of Virgil's birth was made partly in actuality—for my wife and I, before taking part in the Virgilian Cruise of last summer, spent two delightful days at Pietole with our hosts, the Signori Prati, and our guest and friend Bruno Nardi—and partly in a renewed pondering of the arguments presented by my friend Professor Conway both in his earlier article and in his recent review of the question, to which, as he says, I had (...) urged him to return. I promised him at the time that if he should not speak the last word on the subject, I would still further defend the view commonly accepted until he bestowed an extraordinary publicity on Calvisano and Carpenedolo. He declares that I maintain the traditional site at Pietole, ‘though not perhaps with very great confidence.’ He further implies that I ‘do not want to accept the evidence of Probus because “I prefer” to believe a mediaeval tradition.’ Let me assure him and the reader that I do not regard a mediaeval tradition per se as better proof than the certain statement of an ancient authority. I have been led, by studies in various fields, to respect tradition in general until it is disproved, and to lay the burden of the argument on those who would disprove it. But the mere sight of something hoary and mediaeval does not prompt me to exclaim, ‘Media Aetas locuta est; causa finita est’ I relish the attempts of an iconoclast to destroy rigid error, and accept his destruction if it is accomplished. In the present case, however, I have ‘very great confidence’ that Conway's assault on the tradition has come to naught. Possibly some new and unexpected evidence may yet be discovered, showing that Virgil was born at Calvisano, or Carpenedolo, or at some other site than Pietole—but nobody has presented it yet. (shrink)

Gow and Page are of the opinion that Planudes’ àένναος in the fifth line of this epigram may be not his conjecture but the true reading, and reject Jacobs' commonly received emendation àєί λáνος, with κηρο in the following line. But I have no doubt that for the two words μέν àλανóς we should read μєμαλαγαγμένος for ó μєμαλαγαγμένος κηρóς is the regular gloss1 on the waxy substance called μàλθα or μàλθα which was used in Athens—at the time of Sophocles (...) himself2—particularly for spreading on wooden writing-tablets. It was surmised by Schwabe that μàλθη had been the word glossed in Ael. Dion.Two entries in Pollux are especially important for establishing the use ofmaltha. In 10. 58–9, describing it as ό ένών т πινακίδί κηρϳς, he quotes passages from Herodotus, Cratinus, and Aristophanes referring to the soft wax which could easily be scraped from writing-tablets to erase writing. In 8. 16 he says it is the wax spread on the dicasts’ πινáκιον тιμηтικóν, from scratching on which the ‘long line’ of condemnation it will be remembered that Athenian philheliasts got wax under their finger-nails. (shrink)

Upshot: In view of Kenny’s clinical insights, Hug’s notes on the intricacies of rational vs. a-rational “knowing” in the design sciences, and Chronaki & Kynigos’s notice of mathematics teachers’ meta-communication on experiences of change, this response reframes the heuristic power of bisociation and suspension of disbelief in the light of Kelly’s notion of “as-if-ism” (constructive alternativism. Doing as-if and playing what-if, I reiterate, are critical to mitigating intra-and inter-personal relations, or meta-communicating. Their epistemic status within the radical constructivist framework is (...) cast in the context of mutually enriching conversational techniques, or language-games, inspired by Maturana’s concepts of “objectivity in parenthesis” and the multiverse. (shrink)

In Proceedings of the Cambridge Philological Society N.S. 14, 68, D. C. C. Young drew attention to a curious variant in the text of Longus 2.2.1, where, in a description of how, at the vintage, women ‘eyed’ Daphnis, A has concluding that ‘brothers’ must be a colloquial expression for ‘eyes’, he was however unable to cite any other example of this usage, but compared ‘picked men’, in Paulus Silentiarius, a locution found in a small range of other authors, as well (...) as ‘comrades on the flank, bystanders’ ‘twins’ = testicles, and French jumelles - binoculars. (shrink)

In 394 most editors of the Knights read, cited uniquely from this passage in the lexica, in the sense ‘dry up, parch’, referring, for the condition and appearance of the prisoners after long captivity and privations, to Nub. 186, where the allusion is to the squalor and emaciation of the Socratics. Now Aristophanes' skill in maintaining allusively an image, once a keyword has been supplied, makes me wonder how line 394 was intended to complete the metaphor of the harvest and (...) the crop in 392–3. (shrink)

Philocleon's dance in the exodus of the Wasps, and its allusions to, and caricatures of, contemporary composers or dancers, have often been discussed, and much is bound to remain inconclusive in view of the dubious nature of such scanty material as has survived in explanation of the scene in the scholiastic tradition. It is particularly unfortunate that it is not certain who is the Phrynichus referred to in 1490 ff.