Teaching morally and teaching morality are understood as mutually dependent processes necessary for providing moral education, or the communication of messages and lessons on what is right, good and virtuous in a student’s character. This comprehensive and contextualized volume offers anecdotes and experiences on how an elementary schoolteacher envisions, enacts, and reflects on the ethical teaching and learning of her students. By employing a personally developed form of moral education that is not defined by any particular philosophical or theoretical orientation, this volume relates that classroom-based moral education can, therefore, be conceived of and promoted as moral agency. Accentuated by the teacher’s voice to offer the experience of being in the classroom, this volume enables others to transfer relevant practices to their own teaching contexts.
A deeply considered and provocative new look at major American writers—including Saul Bellow, Norman Mailer, and W.H. Auden—Edward Mendelson’s Moral Agents is also a work of critical biography in the great tradition of Plutarch, Samuel Johnson, and Emerson. Any important writer, in Mendelson’s view, writes in response to an idea of the good life that is inseparable from the life the writer lives. Fusing biography and criticism and based on extensive new research, Moral Agents presents challenging new portraits of eight writers—novelists, critics, and poets—who transformed American literature in the turbulent twentieth century. Eight sharply distinctive individuals—inspired, troubled, hugely ambitious—who reimagined what it means to be a writer. There’s Saul Bellow, a novelist determined to rule as a patriarch, who, having been neglected by his father, in turn neglected his son in favor of young writers who presented themselves as his literary heirs. Norman Mailer’s extraordinary ambition, suppressed insecurity, and renegade metaphysics muddled the novels through which he hoped to change the world, yet these same qualities endowed him with an uncanny sensitivity and deep sympathy to the pathologies of American life that make him an unequaled political reporter. William Maxwell wrote sad tales of small-town life and surrounded himself with a coterie of worshipful admirers. As a powerful editor at The New Yorker, he exercised an enormous and constraining influence on American fiction that is still felt today. Preeminent among the critics is Lionel Trilling, whose Liberal Imagination made him a celebrity sage of the anxiously tranquilized 1950s, even as his calculated image of Olympian reserve masked a deeply conflicted life and contributed to his ultimately despairing worldview. Dwight Macdonald, by contrast, was a haute-WASP anarchist and aesthete driven by an exuberant moral commitment, in a time of cautious mediocrity, to doing the right thing. Alfred Kazin, from a poor Jewish émigré background, remained an outsider at the center of literary New York, driven both to escape from and do justice to the deepest meanings of his Jewish heritage. Perhaps most intriguing are the two poets, W.H. Auden and Frank O’Hara. Early in his career, Auden was tempted to don the mantle of the poet as prophet, but after his move from England to America he lived and wrote in a spirit of modesty and charity born out of a deeply idiosyncratic understanding of Christianity. O’Hara, tireless partygoer and pioneering curator at MoMA, wrote much of his poetry for private occasions. Its lasting power has proven to be something different from its avant-garde reputation: personal warmth, individuality, rootedness in ancient traditions, and openness to the world.
"Tauber's book is encyclopedic—not only a revealing and comprehensive study of Thoreau but also a full vision of the Romantic Weltanschauung and its relevance to contemporary concerns in philosophy, science, and poetics. While this scope is wildly ambitious, Tauber admirably delivers, always informing his parts with the whole, consistently altering the whole with his parts."—Eric Wilson, author of Emerson's Sublime Science "In arguing for the centrally moral and ethical value of Thoreau's works, Tauber is taking a brave stance in these slippery postmodern times…. It's one thing to praise Thoreau for his opposition to the Mexican War, his philosophy of passive resistance, and his fervent opposition to slavery. It's quite another to argue that his entire project—his whole sense of identity, self-formation, and his relation to nature—is part of a deeply moral enterprise….Thoreau's modernity has been defined in many ways in recent years. Tauber adds another important and distinctive dimension to this discussion."—H. Daniel Peck, John Guy Vassar Professor of English, Vassar College
Street level discretion -- Three pathologies: the indifferent, the enforcer, and the caregiver -- A gymnastics of the self: coping with the everyday pressures of street-level work -- When the rules run out: informal taxonomies and peer-level accountability -- Impossible situations: on the breakdown of moral integrity at the frontlines of public service
John M. Doris presents a new account of agency and responsibility, which reconciles our understanding of ourselves as moral agents with psychological research on the unconscious mind. Much philosophical theorizing maintains that the exercise of morally responsible agency consists in judgment and behavior ordered by accurate reflection. On such theories, when human beings are able to direct their lives in the manner philosophers have dignified with the honorific 'agency', it's because they know what they're doing, and why they're doing it. This understanding is compromised by quantities of psychological research on unconscious processing, which suggests that accurate reflection is distressingly uncommon; very often behavior is ordered by surprisingly inaccurate self-awareness. Thus, if agency requires accurate reflection, people seldom exercise agency, and skepticism about agency threatens. To counter the skeptical threat, John M. Doris proposes an alternative theory that requires neither reflection nor accurate self-awareness: he identifies a dialogic form of agency where self-direction is facilitated by exchange of the rationalizations with which people explain and justify themselves to one another. The result is a stoutly interdisciplinary theory sensitive to both what human beings are like—creatures with opaque and unruly psychologies-and what they need: an account of agency sufficient to support a practice of moral responsibility.
“A welcome renewal and defense of John Dewey's ethical naturalism, which Johnson claims is the only morality ‘fit for actual human beings.’” —Notre Dame Philosophical Reviews What is the difference between right and wrong? This is no easy question to answer, yet we constantly try to make it so, frequently appealing to absolutes, whether drawn from God, universal reason, or societal authority. Combining cognitive science with a pragmatist philosophical framework, Mark Johnson argues that appealing solely to absolute principles is not only scientifically unsound but even morally suspect. He shows that the standards for the kinds of people we should be and how we should treat one another are frequently subject to change. Taking context into consideration, he offers a nuanced, naturalistic view of ethics that sees us creatively adapt our standards according to given needs, emerging problems, and social interactions. Ethical naturalism is not just a revamped form of relativism. Indeed, Johnson attempts to overcome the absolutist-versus-relativist impasse that has been one of the most intractable problems in the history of philosophy. Much of our moral thought, he shows, is automatic and intuitive, gut feelings that we attempt to justify with rational analysis and argument. However, good moral deliberation is not limited to intuitive judgments supported after the fact by reasoning. Johnson points out a crucial third element: we imagine how our decisions will play out, how we or the world would change with each action we might take. Plumbing this imaginative dimension of moral reasoning, he provides a psychologically sophisticated view of moral problem solving, one perfectly suited for the embodied, culturally embedded, and ever-developing human creatures that we are.
In recent years, corporate accounting scandals have received considerable media attention, raising concerns about unethical practice in the business world. Faced with a decline in society's trust in business, research into the ethics of organisations and their leaders is now of critical importance. In this timely book, Ericson focuses on the moral human agency involved in business by leading the reader through the full span of the activities involved in coffee production, from-bean-to-cup. Illustrating the ethical implications and opportunities involved in producing Löfbergs coffee, Ericson highlights the importance of the morally-imbued connections made between practitioners and other participants. These activities can contribute to a sustainable, profitable and competitive future whilst, at the same time, accounting for justice through a reciprocity of mutual benefit, respect and meaning. Promoting the reintroduction of ethics in strategy research, this book will be of great interest and use to strategy researchers, business leaders and sustainability directors.
Collected Stories includes both volumes of the National Book Award–winning author Shirley Hazzard’s short-story collections—Cliffs of Fall and People in Glass Houses—alongside uncollected works and two previously unpublished stories Shirley Hazzard's Collected Stories is a work of staggering breadth and accomplishment. Taken together, these twenty-eight short stories are masterworks in telescoping focus, ranging from quotidian struggles between beauty and pragmatism to satirical send-ups of international bureaucracy, from the Italian countryside to suburban Connecticut. Hazzard's heroes are high-minded romantics who attempt to fit their feelings into the twentieth-century world of office jobs and dreary marriages. After all, as she writes in "The Picnic," "It was tempting to confine oneself to what one could cope with. And one couldn't cope with love." And yet it is the comedy, the tragedy, and the splendor of love, the pursuit and the absence of it, that animates Hazzard's stories and provides the truth and beauty that her protagonists seek. Hazzard once said, "The idea that somebody has expressed something, in a supreme way, that it can be expressed; this is, I think, an enormous feature of literature." Her stories themselves are a supreme evocation of writing at its very best: probing, uncompromising, and deeply felt.
