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There is a growing consensus that there are often excessive medical interventions in terminally ill patients. This problem is usually seen as stemming from physician decisions in applying new technology in a context in which financial costs have been borne by third parties. We believe this is, at best, a partial explanation for the phenomenon. The tendency to escalate commitment—to persist in failing courses of action—has been found by social scientists to occur in a wide variety of decision contexts. In ethnographically examining health care interventions in terminally ill patients, we found that a wide range of rational calculus, psychological, social, organizational, and contextual factors interact over time to contribute to excessive persistence. Intervention decisions reflect a complex, fluid interplay between patients, health care providers, institutions, and an array of external stakeholders. Effective revisions of current patterns of care practices must address the nature and complexity of the sources of the problem. We suggest a series of strategies including a new medical specialty to deal with these issues.

In 1969, the psychiatrist Elisabeth Kübler-Ross wrote On Death and Dying. In this influential essay, she presented her now-famous 5-stage model of approaching death, which can be modelled into a downward trajectory (1. shock and denial, 2. anger, 3. bargaining, 4. depression) followed by a symmetrical psychological rise (5. acceptance).

In 1888–1894, in response to Hans von Bülow's death, Gustav Mahler composed his Symphony No. 2 (subtitled ‘Resurrection’), in which the idea of death is omnipresent: it opens with a funeral march based on a symphonic poem called Totenfeier (‘Remembrance Ceremony’) containing a Dies Irae motive and closes with a very long finale inspired by Klopstock's Die Auferstehung (The Resurrection). The structure of the finale itself is quite similar to the symmetrical mechanism described by Kübler-Ross, which can be summarised in the symphony by this verse sung by the choir: ‘Sterben werd’ ich, um zu leben!’ (‘I shall die, to live!’). With this ‘death and transfiguration’ movement, the orchestra and the choir embodying the psychological process of a dying subject covers every single step of the model: from a ‘cry of despair’ in the first bar (1. shock) to a horn call without response (2. denial), to the depiction of a rivalry between the Dies Irae motive (‘death’) and what will be the Resurrection theme (3. bargaining), to a grieving section (4. depression) and to a long rising towards an optimistic climax at the end (5. acceptance).

Even though the death acceptance process was far from being formalised in Mahler's days, this symphony shows that more than 75 years before Kübler-Ross, the composer, who had many opportunities to grieve since his youth (facing his brothers' and sisters' deaths), intuitively converted these experiences into an in-depth knowledge of the psychological processes of dying. In other words, after having dealt with the loss of loved ones, Mahler turns out to know how to deal with his own.

This research provides accounting-ethics authors and administrators with a benchmark for accounting-ethics research. While Bernardi and Bean (2010) considered publications in business-ethics and accounting’s top-40 journals this study considers research in eight accounting-ethics and public-interest journals, as well as, 34 business-ethics journals. We analyzed the contents of our 42 journals for the 25-year period between 1991 through 2015. This research documents the continued growth (Bernardi & Bean, 2007) of accounting-ethics research in both accounting-ethics and business-ethics journals. We provide data on the top-10 ethics authors in each doctoral year group, the top-50 ethics authors over the most recent 10, 20, and 25 years, and a distribution among ethics scholars for these periods. For the 25-year timeframe, our data indicate that only 665 (274) of the 5,125 accounting PhDs/DBAs (13.0% and 5.4% respectively) in Canada and the United States had authored or co-authored one (more than one) ethics article.

In this chapter, we draw on health lifestyle, human capital, and health commodity theories to examine the effects of educational attainment on a wide range of individual dietary behaviors and dietary lifestyles.

Using data from the 2005-2006 iteration of the National Health and Nutrition Examination Survey (n = 2,135), we employ negative binomial regression and binary logistic regression to model three dietary lifestyle indices and thirteen healthy dietary behaviors.

We find that having a college degree or higher is associated with seven of the thirteen healthy dietary behaviors, including greater attention to nutrition information (general nutrition, serving size, calories, and total fat) and consumption of vegetables, protein, and dairy products. For the most part, education is unrelated to the inspection of cholesterol and sodium information and consumption of fruits/grains/sweets, and daily caloric intake. We observe that having a college degree is associated with healthier dietary lifestyles, the contemporaneous practice of multiple healthy dietary behaviors (label checking and eating behaviors). Remarkably, household income and the poverty-to-income ratio are unrelated to dietary lifestyles and have virtually no impact on the magnitude of the association between education and dietary lifestyles.

Our findings are consistent with predictions derived from health lifestyle and human capital theories. We find no support for health commodity theory, the idea that people who are advantaged in terms of education live healthier lifestyles because they tend to have the financial resources to purchase the elements of a healthy lifestyle.

Ich habe genug (I have enough) BWV 82 is one of the best known, most regularly performed and consistently recorded of J.S. Bach's approximately 200 extant sacred cantatas. ¹ In the text, by an anonymous author, the narrator repeatedly expresses their readiness to die, in faith that they will be received by their saviour in eternal life. The whole cantata expresses a fearless ‘longing for death’ (Schweitzer, 1911/1966, p. 114), coupled with a serene contentment. Bach's setting of this text for religious purposes not only supports the sentiments expressed by the narrator but colours, illuminates, vitalises and elevates it in ways that startle the ear, quicken the spirit and stir the imagination. In the third and final aria of the cantata, Bach employs an almost-jaunty dance rhythm to accompany the narrator's anticipatory delight in their own death, liberated from worldly and bodily suffering. After identifying some of the ingenious ways Bach animates the text, I offer some speculations and elaborations as to how and why this work has had such an enduring presence in the Western musical canon, for believers and non-believers alike.