A Deadly Shift in Policy? How Britain’s Use of Weaponized Drones, and How it Reports Such Use, Has Changed Since 2015

This article examines how over the past five years Britain’s use of deadly weaponized drone strikes has become routine. It contrasts what happened following two strikes in August 2015 which killed British member of IS, Reyaad Khan, with what happened following subsequent attacks. In particular, it examines why the Government’s justification for the Khan attack － that his death was the only way to prevent a terrorist atrocity on UK soil － is no longer used to justify drone strikes. The paper also shows that RAF drone missions are now seldom reported to the UK parliament or media. Indeed, the only reason we know about many of them is because of Freedom of Information requests by one particular campaigning website.departmental bulletin pape

The correspondence of the arts in a Fin de Si\ue8cle Magazine The \u201cLivre d\u2019Art\u201d at the crossroads of Modernism

he main topic of this article is the history of a rare and precious French magazine of the late Nineteenth century, in which a vivid and crucial discussion about arts and their inter-relation grew more and more intense in the short space of four years (1892-1896). The \u201cLivre d\u2019Art\u201d was first conceived as a simple booklet to be distributed to the spectators of the experimental plays of the \u201dTh\ue9\ue2tre d\u2019Art\u201d, but it soon became a sophisticated art object, which merged figurative and poetic art in order to create a mutual relation of authentic correspondence among them, thus overcoming the wagnerian idea of Gesamtkumstwerk. We are then going to focus on the second series of the Livre d\u2019Art (1896), that exhibits a new tendency towards Modernism and Internationalism, opening towards Belgian, German and English artistic and literary movements, such as Jugendstil and Arts and Crafts, but opening also to contemporary theatre aesthetics, publishing i.e. Jarry\u2019s Ubu Roi.Cet article vise \ue0 reconstruire l'histoire d'une revue symboliste fran\ue7aise, qui \ue0 la fin du XIXe si\ue8cle repr\ue9senta un lieu de rencontre et d'\ue9laboration de nouvelles th\ue9ories artistiques et th\ue9\ue2trale, et dont les cons\ue9quences furent tr\ue8s relevantes pour la formation de la nouvelle culture europ\ue9enne du Modernisme. Le "Livre d'Art", avec sa promotion d'une intense inter-relation parmi les arts, contribua en effet \ue0 l'ouverture du Symbolisme vers le Modernisme europ\ue9en et vers l'internationalisme des premi\ue8res d\ue9cennies du XXe si\ue8cle

Making Decisions with Limited Information: Forming and Updating Ambiguous Beliefs

Introduction: How individuals deal with outcomes under unknown risks (I.e. ambiguity) can be important for understanding decisions in the real world. One commonly applied model for ambiguous decisions, maxmin expected utility (MMEU), suggests that people only focus on the range of probabilities. However, other models, including subjective recursive expected utility (SREU), suggest that instead of thinking about the range, people construct a belief about the probabilities as a distribution, based on their experiences or intuition. MMEU has been used to relate ambiguity preferences to clinical disorders, including autism spectrum disorder. However, if SREU models are a better reflection of decisions under ambiguity, these differences may be related to beliefs instead of preferences. Methods: To investigate the role of beliefs in ambiguous decisions, we collected choice and personality data from an online sample (N=298) utilizing a novel task. In our task, participants make decisions under ambiguity after learning about the distribution of probabilities during a previous decision task. We test if variance in beliefs influences decisions under ambiguity, interacts with reward feedback, and accounts for individual differences related to a clinical variable, the Autism Quotient (AQ) to explore the bounds of the MMEU model. Results: Participants preferred ambiguous stimuli associated with high variance distributions and made larger changes in response to feedback information when applied to high variance distributions. We did not replicate results showing that ambiguity aversion decreased with AQ but did find AQ decreased with the believed variance of probabilities. Conclusions: Our results provide experimental evidence that decisions under ambiguity are influenced by beliefs, violating a key axiom of MMEU, suggesting previous results should be revisited by incorporating beliefs to better understand the mechanisms of ambiguous choice.Psycholog

The influence of CSR orientation on innovative performance: is the effect conditioned to the implementation of organizational practices?

Previous research has examined the relationship between CSR and innovation and has suggested that the former might positively affect the latter; however, the impact of CSR on innovation success needs further attention. This study aims to develop a deeper understanding of how environmental and social CSR are related to innovation performance and whether the implementation of organizational practices might moderate this relationship. The results are based on an unbalanced panel of 14,313 observations of 3713 firms covering 2011–2015. Using random-effects probit models and the estimation of average marginal effects (AMEs), this paper contributes to the literature on CSR by explaining how CSR dimensions affect innovation success differently and by addressing how this effect is influenced by organizational innovation. The results show that while environmental CSR orientation proves beneficial for the generation of process innovation, social CSR orientation contributes to the generation of both kinds of technological innovations only when internal organizational practices are implemented. This study provides valuable insights for managers aiming to implement a CSR perspective in their strategies to support the pursuit of innovation.The authors gratefully acknowledge the funding received through the PID2020-115018RB-C31 (AEI/ FEDER, UE), PID2020-114460GB-C32 (AEI / FEDER, UE) and RTI2018-093791- B-C21 (AEI/ FEDER, UE) research projects financed by the Spanish Ministry of Science, Innovation and Universities and the European Regional Development Funds. Open Access funding provided by Universidad Pública de Navarra

サミュエルソンの『対応原理』について

Articledepartmental bulletin pape

検地帳における屋敷持と無屋敷登録人 : 十七世紀末期備後国芦田郡を中心として

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Effects of A Recombinant Sarcocystis muris Microneme Protein on Splenocytes of The Natural Intermediate Host

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« Avoir le temps de vivre. Joseph Czapski et Proust »

This article aims at a better comprehension of the series of lectures that Joseph Czapski gave in the Soviet camp of Grazovietz between 1940 and 1941. The case of Czapski is well known, but his exceptional performance (of memory, and critical inquiry) deserves further investigation. Not surprisingly, the Polish painter focuses on memory as a concept and as a possibility to save what seemed to be lost: life itself. Czapski’s reference to an apparently worn-out metaphor (“the river of memory”) hides in fact a deeper conception of literature and art, that are given the task (not metaphorical in the war and suffering context in which Czapski was speaking) of salvation. Art, in Proust’s novel and Czapski’s retrieval of it, is the “pearl” capable of giving life the meaning that seems annihilated. Czapski’s case recalls another one, as surprising and “miraculous”: Gustav Herling’s reading of Fyodor Dostoevsky’s House of the Dead in the Soviet forced labour camp of Yertsevo in 1942, in the same context of suffering and war. Although hardly comparable, Proust’s and Dostoevsky’s works seem to provoke an “essential” relation to life, in which memory plays a decisive role.Entrée dans le mythe, l’oeuvre de Proust participe désormais de tous les discours, de la réclame d’un matelas (« Demain je me lève de bonheur ») ou d’une marque de thon en boîte (« À la recherche du thon perdu »), elle participe de toutes les discussions : de philosophie, de psychologie ou même de physique. Célèbre, l’oeuvre de Proust n’est pas nécessairement connue, « lieu de mémoire » (Compagnon 1984, p. 927-967), roman sur la mémoire, mémoire du roman, serait-elle sortie des mémoires individuelles? Le cas de Joseph Czapski semble démentir la nécessité même de la question. La série de conférences que ce prisonnier d’un camp de concentration soviétique tint dans le camp de Grazovietz entre 1940 et 1941 représente en effet un exemple extraordinaire de survivance non seulement de l’oeuvre elle-même, que de l’humanité de celui qui en parlait et de ceux qui l’écoutaient. S’il est vrai que Proust représente « un moyen pour Czapski de maintenir vivant le souvenir des camps et des disparus » (Perrier, Zuk 2009), nous croyons que la relation du peintre polonais avec la Recherche mérite d’être étudiée ultérieurement de plusieurs points de vue : en effet, l’attention de Czapski ne va pas seulement aux thèmes (la position anti-idéologique de Proust, l’amour, le temps), mais de manière surprenante pour quelqu’un qui se trouvait en une condition de souffrance inimaginable, au style proustien, qui « exige [du lecteur] une révision nouvelle de toute son échelle de valeurs » (Czapski 2011, p. 98). Cette lecture de la Recherche en rappelle une autre, non moins surprenante et “miraculeuse” : la lecture que Gustav Herling fit de Souvenirs de la maison des morts de Fiodor Dostoïevski dans le camp d’extermination soviétique de Yertsevo en 1942, dans le même contexte de guerre et de souffrance. Même si difficilement comparables, les textes de Proust et de Dostoïevski semblent provoquer une relation ‘essentielle’ à la vie où la mémoire joue un rôle déterminant. Notre essai se concentrera sur cette relation “primordiale” du lecteur au texte, et sur le rôle du style dans cette relation. Notre ambition est finalement de contribuer à répondre à une question qui est très actuelle de nos jours: la littérature, sert-elle à vivre

La synesth\ue9sie dans Le Spleen de Paris. De la fusion \ue0 l\u2019agr\ue9gation

If synesthesia is rare in "Le Spleen de Paris", it is also differently constructed and shaped than in the Fleurs du Mal. This article aims to demonstrate that this evolution points out a shift in Baudelaire's esthetics, that from Unity of Univers seems to move towards fragmentation of reality: actually, from Baudelaire to Proust.Cet article s'int\ue9resse \ue0 la synesth\ue9sie comme ph\ue9nom\ue8ne rh\ue9torique et comme instance esth\ue9tique dans le Spleen de Paris de Baudelaire. Nous but est de d\ue9montrer que la raret\ue9 du ph\ue9nom\ue8ne et sa diff\ue9rente nature par rapport aux Fleurs du Mal marque une bascule dans l'esth\ue9tique baudelairienne, qui \ue9volue de la fusion d'un univers unitaire \ue0 la fragmentation d'un monde en mouvemen

Digital, humain: Proust au vingt-et-uni\ue8me si\ue8cle

Digital reading is not just a matter of new media; it is a new cognitive activity that Proust\u2019s writing seems to have anticipated. Our goal is to demonstrate that the \u201cbranching and responding text\u201d that was announced by Ted Nelson in Litary Machines corresponds in its very logic and patterns to the new writing style that is to be observed in Proust\u2019s novel. We are going to focus on a specific semantic field (sensorial processes and experience) and analyze some passages from the Recherche, in order to unveil its organic \u2018connectivity\u2019 and its affinity with hypertext as a new approach to knowledge