Traditional and Health-Related Philanthropy: The Role of Resources and Personality

I study the relationships of resources and personality characteristics to charitable giving, postmortem organ donation, and blood donation in a nationwide sample of persons in households in the Netherlands. I find that specific personality characteristics are related to specific types of giving: agreeableness to blood donation, empathic concern to charitable giving, and prosocial value orientation to postmortem organ donation. I find that giving has a consistently stronger relation to human and social capital than to personality. Human capital increases giving; social capital increases giving only when it is approved by others. Effects of prosocial personality characteristics decline at higher levels of these characteristics. Effects of empathic concern, helpfulness, and social value orientations on generosity are mediated by verbal proficiency and church attendance.

The Psychology of Restaurant Tipping

Since its origins in 18th-century English pubs, tipping has become a custom involving numerous professions and billions of dollars. Knowledge of the psychological factors underlying tipping would benefit service workers, service managers, and customers alike. Two studies were conducted to provide such knowledge about restaurant tipping. The percent tipped in these studies was related to group size, the customer\u27s gender, the method of payment (cash or credit), and in some cases, the size of the bill. Tipping was not related to service quality, waitperson\u27s efforts, waitperson\u27s gender, restaurant\u27s atmosphere, or restaurant\u27s food

‘”Hearing Voices” and Performing the Mind in debbie tucker green’s Dramatic-Poetics’

This chapter explores tucker green’s unique dramatic idiom through her distinctive play ‘text’ which produces opportunities for audiences and readers to relish the ways in which language can be sounded – as it is seen, heard and uttered. Framed by Charles Bernstein’s distinctions between orality and aurality, the chapter examines tucker green’s technique for making the mind physically (en)actable through her non-naturalistic methods for staging a character’s thoughts. dirty butterfly (2003), stoning mary (2005) and nut (2013) exemplify a noteworthy aesthetic for ‘performing the mind’ — be it as a borderless aesthesia, a sensory space shared by multiple characters’ perceptions (dirty butterfly) or as an individually, physically embodied, character in mimetic stage space (stoning mary, nut). The chapter proposes that three socio-cultural acknowledgements are requisite for examining tucker green’s creative impact. These emphasize the considerable influences of post-war Caribbean poetic heritage, the ongoing after-shock of colonization as being crucial to conceptions of contemporary British culture, and the ‘right to opacity’ (Édouard Glissant 1997) as a counter-stance to the hegemonic critical and aesthetic frameworks that are habitually applied to (and even ‘post-colonize’) black British writers and their writing