The aim of the present study was to propose a model on safety climate by investigating the relationship between safety climate perceptions of employees and their safety-related behaviors in the workplace. Additionally, effects of fatalism views and risk taking/sensation seeking tendencies on safe behaviors were analyzed. The possible moderating effects of these variables on safety climate-safe behavior relationship were also investigated. A total of 185 blue-collar employees working in a manufacturing firm participated in the study. Participants filled out the questionnaires including scales of safety climate, cultural values (fatalism, individualism, hierarchy, and egaliterianism) and dimensions (collectivism, power distance, and uncertainty avoidance), and risk taking/sensation seeking. The outcome variables included self-reported compliance with safety rules and self-reported percentage of safety equipment use. Safety climate perceptions predicted compliance with the safety rules. Also, sensation seeking tendencies were found to predict use of protective equipments. The hypothesized relationships concerning fatalism views and moderations were not confirmed in the present study. In addition to the hypotheses, safety climate perceptions tended to be more positive as collectivism, power distance increased, and uncertainty avoidance of the employees increased. Sensation seeking tendencies were higher for employees who reported less equipment use. Employees who reported to have had an accident had higher risk taking scores than employees who reported not to have had an accident involvement. The results are discussed with the implications and contributions of the study. Limitations of the study are presented along with some suggestions for future research.

O presente trabalho visa compreender a relação entre a ordem do mundo e o homem nas obras de Voltaire, ou seja, elucidar a posição e condição do homem num mundo ordenado por leis e a compreensão desse mundo do ponto de vista humano. Para tanto se enfrentou os temas que tal relação oferecia ao autor: a liberdade e a necessidade, o destino, a providência e o mal. Estes tópicos, como se sabe, constituem os assuntos tradicionais da teodicéia, de sorte que o presente trabalho é concebido também como a elucidação da leitura crítica de Voltaire do otimismo filosófico. / The present work tries to understand the rapports between the order of the world and man in Voltaires works, that is, it aims at shedding some light on man as part of an ordered world and on the understanding of that ordered world from a human standpoint. In order to do that it focused the subjects which the comprehension of that relation required: liberty and necessity, destiny, providence and evil. Those topics, as one knows, constituted the traditional themes of the theodicy, so that the present work can also be considered as an account of Voltaires critique of the philosophical optimism.

Mistakes and betrayals can cause developing interpersonal trust between parties to be broken, and damaged trust can have serious negative impacts on relationships, such as withdrawal from group interaction or the enactment of revenge. Research has suggested that the use of apologies helps to repair damaged trust. However, this research is almost exclusively based in westernized populations and has not begun to explore any cross-cultural differences. Therefore, the primary goal of this comparative cross-national laboratory study was to examine if, and how, the effectiveness of trust repair efforts differs across cultures. The effectiveness of three manipulated trust repair strategies (no response, apology, and account) was tested using students from universities in the United States (U.S.) and in the United Arab Emirates (UAE). The results of the study indicate that fatalism, or the belief that events in life are meant to occur, was negatively related to initial trust and positively related to initial distrust toward one’s collaborative partner. It was also found that higher levels of fatalism were associated with more severe trust damage after a trust violation. Regarding the trust repair strategies, accounts were more effective at repairing trust than no response for high fatalism participants whereas apologies were more effective than accounts at reducing distrust after a violation for low fatalism participants, providing partial support for the idea that trust repair strategies are more effective when matched to the cultural self-construal of the victim. Finally, initial distrust and trust directly after the violation were predictive of taking revenge on the other player. Implications are discussed along with the study limitations and suggestions for future research.

No description available.

Text in German / The present thesis undertakes a comprehensive survey and criticak analysis of the concept of duty and its significance in the prose of Siegfried Lenz (born in 1926). It concentrates on those novels and narratives in which duty is the main motif; these are Schwierige Trauer (1960), Das Feuerschiff (1960), Deutschstunde (1968) and Ein Kriegsende (1984). After an introduction which outlines the development and the influence of the concept of duty in Germany, the thesis deals with Lenz's prose in chronological order. Siegfried Lenz's main motif is the significance of the concept of duty within the moral code of the individual, the specific meaning and influence of which has been developed in Germany. Lenz does not deny that duty is a necessary element of the process of socialization. But he rejects the unreflected and uncritical acceptance of a dubious morality based on a sense of duty, at the expense of individuality and responsibility for oneself. It is a deformed understanding of duty which Lenz exposes and criticizes in his work: a characteristic mark of submissiveness and slavish obedience ("Untertanengeist und Kadavergehorsam"). These distortions are determined by political-historical events, theological dogmas, philosophical theses and an authoritarian upbringing. The reasons for the attitudes and behaviour of Lenz's fictitious characters have their roots in those factors. Lenz always insists on reflection. He refuses the uncritical acceptance of a morality based on duty, which allows a person to avoid his or her responsibility. However, Siegfried Lenz neither attempts to construct a social background nor does he offer recipes for a new social order. Rather he restricts himself to the sceptical questioning of norms and values, which are maintained by authority. The author creates a conflict in a hermetic environment, for example a ship or a small village, in which his fictitious characters have to prove themselves. By confronting his readers with such an extreme situation and the protagonists' questionable decisions, Lenz forces his public to reconsider their own position. The author's aim is to make his readers realize that right and wrong cannot always be distinguished in a clear-cut manner / Linguistics and Modern Languages / D.Litt. et Phil. (German)

Les images qui représentent le Mexicain le montrent habituellement sous les traits d’un être extrêmement mélancolique qui fait face à un destin tragique. Les nombreux mythes entourant le Mexicain, issus de la culture même, sont effectivement reliés de près ou de loin à la peur et la tristesse, soit deux composantes essentielles de la mélancolie. L’anthropologue Roger Bartra dans La jaula de la melancolía: identidad y metamorfosis del mexicano analyse ces éléments clés qui constitueraient la personnalité du Mexicain. L’objectif de cette recherche est de démontrer que Atlántida d’Oscar Villegas est l’œuvre par excellence qui représente cette mélancolie toute mexicaine. Dans sa pièce de théâtre, Villegas raconte l’histoire d’une jeune artiste de cabaret qui vit de nombreuses désillusions dans un monde vulgaire et pervers où les valeurs humaines font défaut. Le dramaturge met en scène le Mexico urbain des années quarante et montre le désespoir et l’impossibilité pour les habitants de ses quartiers pauvres de changer le cours de leur vie. En plus d’être une pièce de théâtre qui, tant au niveau de son contenu que de sa forme, porte en elle les marques de la mélancolie, Atlántida met en relief ces caractéristiques devenues au fil du temps représentatives de l’image nationale du Mexicain. L’étude de cette œuvre s’appuie sur les théories d’analyse du texte théâtral d’Anne Ubersfeld qui propose une approche centrée sur l’action et les conditions de communication contenues dans les dialogues. Faire le pont entre la pièce de théâtre de Villegas et l’essai de Bartra permet d’explorer le lien intrinsèque qui semble s’établir entre Mexicain et mélancolie. / Mexican men and women are commonly depicted as extremely melancholic beings bound to a tragic fate. Numerous myths about them, direct products of their own culture, are linked to sadness and fear which are the two basic components of melancholy. The anthropologist Roger Bartra, in his work La jaula de la melancolia; identidad y metamorfosis del Mexicano, analyses these culturally acquired elements of the personality of Mexicans. The objective of this investigation is to demonstrate that Oscar Villegas' Atlántida is an exemplary representation of Mexican melancholy. In this play, Villegas tells the story of a young cabaret exotic dancer who lives constant disillusions in a vulgar and perverted world where human values are lacking. The playwright takes us to the poor neighbourhoods of Mexico City in the Forties to portray people in despair who are unable to change the course of their lives. Besides being a theatre play about melancholy, Atlántida outlines the very caracteristics that have become the national feature of Mexicans throughout time. The study of this work is based on Anne Ubersfeld's theories of theatrical text analysis, suggesting an approach that centers on the line of action and contexts of communication found in the dialogues. The study of both Villegas' play and Bartra's essay allows us to explore the intrinsic correlation that seems to exist between Mexicans and melancholy. / Las imágenes que representan al mexicano suelen mostrarlo bajo los rasgos de un ser sumamente melancólico que sufre un destino despiadado. Los mitos que la propia cultura ha creado en torno al mexicano tienen una relación directa con la tristeza y el miedo, ambos componentes de la melancolía. El antropólogo Roger Bartra en La jaula de la melancolía: identidad y metamorfosis del mexicano analiza esos elementos centrales de la personalidad del mexicano. El objetivo de esta investigación es demostrar que Atlántida de Oscar Villegas es la obra por excelencia de esa melancolía mexicana. En su obra de teatro, Villegas relata la historia de una joven cabaretera que vive desilusiones aplastantes dentro de un mundo bajo y vulgar que carece de valores humanos. El dramaturgo pone en el escenario el México urbano de los años cuarenta y enseña la desesperación y la imposibilidad de cambiar la vida en sus colonias pobres. Además de ser una obra teatral que, tanto en su contenido como en su forma, lleva matices explícitos de la melancolía, Atlántida retrata de manera muy clara esas características que se volvieron con el tiempo representativas del “carácter nacional mexicano”. El estudio de esta obra se apoya en las teorías del análisis del texto teatral de Anne Ubersfeld que propone concentrar la atención en las acciones y las condiciones de comunicación contenidas en los diálogos. Al hacer el puente entre la obra de teatro de Villegas y el ensayo de Bartra, se explora el vínculo que parece establecerse entre mexicano y melancolía.

Timely detection of prostate cancer (PCA) with prostate-specific antigens (PSA) and digital rectal examinations (DRE) are essential in optimizing incidence, minimizing prevalence, and reducing mortality rates. Given the low levels of participation in cancer screening, this study was conducted to examine the factors men consider when deciding whether to screen for PCA in Nigeria. A cross-sectional, online-based survey of 180 consenting Nigerian men 50 years old and older was carried out. Logistic regression analysis and descriptive statistics were used to analyze the data. Based on the data, there was a moderate positive association between the health belief model constructs and DRE/PSA screening intentions, which were statistically significant (p < 0.05). The results also demonstrated that there were no statistically significant associations between previous screening and age, previous screening and ethnicity, and previous screening and education among men in the sample (all p > 0.05). Of the 180 men surveyed, 29% (n = 53) had been screened for PCA before, while 76% (n = 137) reported no health insurance. Factors significantly associated with screening included income, insurance, and family history of PCA (all p < 0.05). Cancer fatalism, pain, and embarrassment were the most common barriers to screening reported. Focused interventions that help healthcare providers identify barriers quickly could improve screening outcomes. The implications for positive social change from this study include an increase in PCA screening, positive screening intentions, and a decrease in PCA mortality rate among men in Nigeria.

Les images qui représentent le Mexicain le montrent habituellement sous les traits d’un être extrêmement mélancolique qui fait face à un destin tragique. Les nombreux mythes entourant le Mexicain, issus de la culture même, sont effectivement reliés de près ou de loin à la peur et la tristesse, soit deux composantes essentielles de la mélancolie. L’anthropologue Roger Bartra dans La jaula de la melancolía: identidad y metamorfosis del mexicano analyse ces éléments clés qui constitueraient la personnalité du Mexicain. L’objectif de cette recherche est de démontrer que Atlántida d’Oscar Villegas est l’œuvre par excellence qui représente cette mélancolie toute mexicaine. Dans sa pièce de théâtre, Villegas raconte l’histoire d’une jeune artiste de cabaret qui vit de nombreuses désillusions dans un monde vulgaire et pervers où les valeurs humaines font défaut. Le dramaturge met en scène le Mexico urbain des années quarante et montre le désespoir et l’impossibilité pour les habitants de ses quartiers pauvres de changer le cours de leur vie. En plus d’être une pièce de théâtre qui, tant au niveau de son contenu que de sa forme, porte en elle les marques de la mélancolie, Atlántida met en relief ces caractéristiques devenues au fil du temps représentatives de l’image nationale du Mexicain. L’étude de cette œuvre s’appuie sur les théories d’analyse du texte théâtral d’Anne Ubersfeld qui propose une approche centrée sur l’action et les conditions de communication contenues dans les dialogues. Faire le pont entre la pièce de théâtre de Villegas et l’essai de Bartra permet d’explorer le lien intrinsèque qui semble s’établir entre Mexicain et mélancolie. / Mexican men and women are commonly depicted as extremely melancholic beings bound to a tragic fate. Numerous myths about them, direct products of their own culture, are linked to sadness and fear which are the two basic components of melancholy. The anthropologist Roger Bartra, in his work La jaula de la melancolia; identidad y metamorfosis del Mexicano, analyses these culturally acquired elements of the personality of Mexicans. The objective of this investigation is to demonstrate that Oscar Villegas' Atlántida is an exemplary representation of Mexican melancholy. In this play, Villegas tells the story of a young cabaret exotic dancer who lives constant disillusions in a vulgar and perverted world where human values are lacking. The playwright takes us to the poor neighbourhoods of Mexico City in the Forties to portray people in despair who are unable to change the course of their lives. Besides being a theatre play about melancholy, Atlántida outlines the very caracteristics that have become the national feature of Mexicans throughout time. The study of this work is based on Anne Ubersfeld's theories of theatrical text analysis, suggesting an approach that centers on the line of action and contexts of communication found in the dialogues. The study of both Villegas' play and Bartra's essay allows us to explore the intrinsic correlation that seems to exist between Mexicans and melancholy. / Las imágenes que representan al mexicano suelen mostrarlo bajo los rasgos de un ser sumamente melancólico que sufre un destino despiadado. Los mitos que la propia cultura ha creado en torno al mexicano tienen una relación directa con la tristeza y el miedo, ambos componentes de la melancolía. El antropólogo Roger Bartra en La jaula de la melancolía: identidad y metamorfosis del mexicano analiza esos elementos centrales de la personalidad del mexicano. El objetivo de esta investigación es demostrar que Atlántida de Oscar Villegas es la obra por excelencia de esa melancolía mexicana. En su obra de teatro, Villegas relata la historia de una joven cabaretera que vive desilusiones aplastantes dentro de un mundo bajo y vulgar que carece de valores humanos. El dramaturgo pone en el escenario el México urbano de los años cuarenta y enseña la desesperación y la imposibilidad de cambiar la vida en sus colonias pobres. Además de ser una obra teatral que, tanto en su contenido como en su forma, lleva matices explícitos de la melancolía, Atlántida retrata de manera muy clara esas características que se volvieron con el tiempo representativas del “carácter nacional mexicano”. El estudio de esta obra se apoya en las teorías del análisis del texto teatral de Anne Ubersfeld que propone concentrar la atención en las acciones y las condiciones de comunicación contenidas en los diálogos. Al hacer el puente entre la obra de teatro de Villegas y el ensayo de Bartra, se explora el vínculo que parece establecerse entre mexicano y melancolía.

Thesis (DPhil)--University of Stellenbosch, 2005. / Bibliography. Also available via the Internet.

In this thesis I attempt to introduce Galen Strawson's position, which he adopts in the free will debate followed by the debate about his Basic Argument. While giving a de-tailed account of responsibility as a reflective rational responsiveness, I show that re-sponsibility is in no respect causa sui and therefore it is not impossible for human beings to reach it, explained with the reasons given by Strawson. I refuse steps B, C, 8, 9 and 10 of the Basic Argument. I claim that undetermined self-determination consists in the ability to make a decision in the light of actually revised principles of choice. Such revision is granted by actual ability to reflect the validity and adequacy of principles of choice in relation to motivating values in question by using methodical doubt as a universal tool do to so. Such reflection, with respect to what matters for decision making in question, is potentially ultimate. I claim that Strawson underestimates the uniqueness of reflective rationality especially, when missing the crucial difference between Fido the dog and Nemo the man in the situation of choice. Moreover, I suspect Strawson of excluding the subject of action or choice and its actual principles of choice from the realm of intelligible things. This leads to disruption of request to conception of the world as internally consistent and in principle attainable by human beings. Finally, I show why I find sophisticated fatalism problematic in both of its versions, deterministic as well as indeterministic.