Ruskin and Political Economy
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The End of Economics, Or, Is
THE END OF ECONOMICS, OR, IS UTILITARIANISM FINISHED? By John D. Mueller James Madison Program Fellow Fellow of The Lehrman Institute President, LBMC LLC Princeton University, 127 Corwin Hall, 15 April 2002 Summary. According to Lionel Robbins’ classic definition, “Economics is the science which studies human behavior as a relationship between ends and scarce means that have alternate uses.” Yet most modern economists assume that economic choice involves only the means and not to the ends of human action. The reason seems to be that most modern economists are ignorant of the history of their own discipline before Adam Smith or Jeremy Bentham. Leading economists like Gary Becker attempt to explain all human behavior, including love and hate, as a maximization of “utility.” But historically and logically, an adequate description of economic choice has always required both a ranking of persons as ends and a ranking of scarce goods as means. What is missing from modern economics is an adequate description of the ranking of persons as ends. This is reflected in the absence of a satisfactory microeconomic explanation (for example, within the household) as to how goods are distributed to their final users, and in an overemphasis at the political level on an “individualistic social welfare function,” by which policymakers are purported to add up the preferences of a society of selfish individuals and determine all distribution from the government downwards, as if the nation or the world were one large household. As this “hole” in economic theory is recognized, an army of “neo-scholastic” economists will find full employment for the first few decades of the 21st Century, busily rewriting the Utilitarian “economic approach to human behavior” that dominated the last three decades of the 20th Century. -
Read Ebook {PDF EPUB} on Art and Life by John Ruskin History of the Victorian Art Critic and Writer John Ruskin
Read Ebook {PDF EPUB} On Art and Life by John Ruskin History of the Victorian Art Critic and Writer John Ruskin. Ruskin200.com is no longer available here. Please visit ruskinprize.co.uk/manchester instead. Who Was John Ruskin? John Ruskin was undoubtedly a fascinating character, one of the most famous art critics of the Victorian era. His many talents included philosophy, philanthropy, and writing. His books spanned many genres, including geology, myths, and literature. Ruskin's Personal Life. Ruskin had a complex personality and today would be described as bipolar, as he often suffered bouts of depression. For long periods, the state of his mental health rendered him powerless to do anything. His first relationship was a failure. He was said to be disgusted by his wife's body, leading to a divorce on the grounds of consummation not having happened. A second love affair was marred by tragedy as the object of his affections died of anorexia at the age of 27. Ruskin's Books. A prolific writer, Ruskin, published several important works on a great many subjects. His first volume of Modern Painters was a very influential piece, written when he was only 24. His alternative views on popular artists brought him to the attention of the art establishment. The Stones of Venice was published in 1851 and discussed Ruskin's love of Venice and its architecture. His beliefs that the classical style represented a need to control civilisation are still studied today. There is much to learn about John Ruskin, and there is a museum dedicated to him, located in the Lake District. -
Last of the Schoolmen Natural Law and Social Justice in Karl Marx
chapter 8 Last of the Schoolmen Natural Law and Social Justice in Karl Marx George E. McCarthy In this essay, we will examine the influence of natural law theory on the early and later writings of Karl Marx in order to show the continuity between his nineteenth-century critical social theory and the classical and medieval tradi- tions. In his 1926 work, Religion and the Rise of Capitalism, Richard Tawney wrote in a relatively obscure and largely forgotten comment that Marx was the “last of the Schoolmen,”1 that is, last of the medieval natural law theorists fol- lowing in the footsteps from the twelfth to the fourteenth century of Pierre 1 Richard Tawney, Religion and the Rise of Capitalism (London: J. Murray, 1927). By character- izing Marx as the “last of the Schoolmen,” Tawney was referring to Thomas Aquinas’ labor theory of value and the continuity of traditions between Marx and neo-Aristotelian medieval Scholasticism. Tawney argued that Marx was the end of a long tradition of theorists that included the 13th-century theologian Thomas Aquinas, the 14th-century scholastic Henry of Langenstein, and the 16th-century Protestant reformer Martin Luther who made the point that the appropriate and “reasonable remuneration” of wages for a worker or merchant should be based on their labor and contribution to the common good. “The medieval theorist condemned as a sin precisely that effort to achieve a continuous and unlimited increase in material wealth which modern societies applaud as a quality, and the vices for which he reserved his most merciless denunciations were the more refined and subtle of the economic virtues” (pp. -
Bertrand Russell on Aesthetics 51
Bertrand Russell on Aesthetics CARL SPADONI Introduction "What is your attitude toward art today?" "I have no view about art today." 1 That is Bertrand Russell's reply when he was asked in 1929 to comment on modern art. Itis a confession ofignorance and not false modesty. In contrast to his profound contributions to other areas of philosophy, he made no major attempt to answer the fundamental questions of aesthetics questions such as: What is a work ofart? Whatis the nature ofbeauty? What constitutes an aesthetic experience? What are the nature, function and justification ofartistic criticism? When we examine Russell's correspondence of the 1950S and 1960s on this subject, we encounter statements such as the following: I doubt whether I shall have an opinion of any value as regards your essay on beauty, for beauty is a subject about which I have never had any views whatever. 2 I am not sufficiently competent to make judgments on painting.... I feel I cannot sponsor or publicly promote paintings because I do not have a professional knowledge ofthe field. 3 I have no views whatsoever in connection with the graphic arts.... The philosophy ofart is a subject which I have not studied, so that any views expressed by me would be oflittle value. 4 49 50 Carl Spadoni Bertrand Russell on Aesthetics 51 You ask why I have not written on the subject of painting. The chief "good" is to be interpreted subjectively as an attempt to universalize our reason is that I suffer from an inadequate appreciation of pictures. I get desires. -
Urban Pastorals
Urban Pastorals By Clive Wilmer Worple Press When I heard Clive Wilmer read his Urban Pastorals last Monday evening in the Cambridge University Library I was moved. There was a quiet solemnity about the delivery but it was tinged with wistfulness and a gentle wry humour that had echoes of Alan Bennett talking of his Yorkshire childhood. Peter Carpenter’s Worple Press has published these short pieces of nostalgic insight into a childhood spent in the South London of Tooting Bec and I recommend everyone to get a copy. The Press is based at Achill Sound, 2b Dry Hill Road, Tonbridge, Kent TN9 1LX and is well-known for excellent productions (including volumes by Iain Sinclair). When D.W. Harding wrote his seminal essay on nostalgia for the first issue of F.R. Leavis’s Quarterly Review, Scrutiny, in 1932 he referred to ‘simple homesickness’ being ‘an aspect of social life’ where the home that one yearns for ‘comprises the whole familiar framework—objects and institutions as well as people—within which one lives and in dealing with which one possesses established habits and sentiments.’ It is an established truth that no man is the author of himself and in moments of clarity, and humility, we can recognise how much we are the result of everything that has happened to us. This awareness is, of course, a far cry from some regressive tendencies that can be bound up within the world of nostalgia: ‘regressive because the ideal period seems to have been free from difficulties that have to be met in the present, and nostalgic because the difficulties of the present are seldom unrelated to the difficulty of living with an uncongenial group.’ (Harding) Clive Wilmer’s beautifully poised writing never runs the danger of forfeiting its tone of recognition: the past’s importance is registered precisely because it is the past. -
The Labour Party and the Idea of Citizenship, C. 193 1-1951
The Labour Party and the Idea of Citizenship, c. 193 1-1951 ABIGAIL LOUISA BEACH University College London Thesis presented for the degree of PhD University of London June 1996 I. ABSTRACT This thesis examines the development and articulation of ideas of citizenship by the Labour Party and its sympathizers in academia and the professions. Setting this analysis within the context of key policy debates the study explores how ideas of citizenship shaped critiques of the relationships between central government and local government, voluntary groups and the individual. Present historiographical orthodoxy has skewed our understanding of Labour's attitude to society and the state, overemphasising the collectivist nature and centralising intentions of the Labour party, while underplaying other important ideological trends within the party. In particular, historical analyses which stress the party's commitment from the 1930s to achieving the transition to socialism through a strategy of planning, (of industrial development, production, investment, and so on), have generally concluded that the party based its programme on a centralised, expert-driven state, with control removed from the grasp of the ordinary people. The re-evaluation developed here questions this analysis and, fundamentally, seeks to loosen the almost overwhelming concentration on the mechanisms chosen by the Labour for the implementation of policy. It focuses instead on the discussion of ideas that lay behind these policies and points to the variety of opinions on the meaning and implications of social and economic planning that surfaced in the mid-twentieth century Labour party. In particular, it reveals considerable interest in the development of an active and participatory citizenship among socialist thinkers and politicians, themes which have hitherto largely been seen as missing elements in the ideas of the interwar and immediate postwar Labour party. -
Article BRTLT
A SPECTRAL TURN AROUND VENICE By Luke Jones I spent several days, during a recent trip to Venice, in conversation with a ghost. The writer and critic John Ruskin became my spectral guide, and his commentary on the buildings that we visited transformed my experience of those spaces. What follows is an account of my time with him. This ‘conversation’, if it were a conceit on my part, had the aim of finding a productive way of addressing his difficult, extraordinary, vast Stones of Venice in light of the deeply, but incompletely, felt affection which many have for it. The book is a history of Venice as a sort of epic tragedy narrated by its buildings, and it is simultaneously a polemic against the previous three hundred years of European architecture, directed particularly against London, and proposing a revolution in architectural style. It is commonly viewed as a heroic, rousing failure. Kenneth Clark said of it that ‘even now […], when the cause it advocates is dead, we cannot read it without a thrill, without a sudden resolution to reform the world’ (Clark 1964, 181), and Colin Amery reveals a typical ambivalence when he writes that ‘the trouble is that Ruskin was wrong […] [yet] we need a voice like his again’ (Amery 2001, viii-ix). The effect of invoking Ruskin in the manner of a haunting is not simply to convey a measure of sympathy for him, as a figure, or his work. Rather, I am trying to approach, however obliquely, the subtle and intriguing way in which Ruskin’s rhetoric, which is concerned with portraying contemporary Venice as a ruin, also starts to reveal within itself the ruin of Ruskin’s ideals. -
The Roots of Ruskin, Florida
Tampa Bay History Volume 4 Issue 1 Article 3 6-1-1982 Socialism in the Sunshine: The Roots of Ruskin, Florida Lori Robinson Bill De Young Follow this and additional works at: https://scholarcommons.usf.edu/tampabayhistory Recommended Citation Robinson, Lori and De Young, Bill (1982) "Socialism in the Sunshine: The Roots of Ruskin, Florida," Tampa Bay History: Vol. 4 : Iss. 1 , Article 3. Available at: https://scholarcommons.usf.edu/tampabayhistory/vol4/iss1/3 This Article is brought to you for free and open access by the Open Access Journals at Scholar Commons. It has been accepted for inclusion in Tampa Bay History by an authorized editor of Scholar Commons. For more information, please contact [email protected]. Robinson and De Young: Socialism in the Sunshine: The Roots of Ruskin, Florida John Ruskin, 1876. Photograph from The Works of John Ruskin. SOCIALISM IN THE SUNSHINE: THE ROOTS OF RUSKIN, FLORIDA by Lori Robinson and Bill De Young Today, Ruskin is a quiet Florida town, known primarily for the sweet, red tomatoes and other farm produce grown in its clay soil. Only a few street names and the name of the town itself remain as vestiges of a dream that brought a small band of settlers to the Florida pinewoods on the sparsely settled eastern shore of Tampa Bay. They were utopians from the North, intellectuals and farmers in search of a new life and a new community. As they cut down the pines from the surrounding turpentine groves and set about building their community, they named its shady but rocky streets after some of the men whose principles they held dear – Carlyle, Bellamy, and Morris. -
The Mendicant Preachers and the Merchant's Soul
MARK HANSSEN THE MENDICANT PREACHERS AND THE MERCHANT'S SOUL THE CIVILIZATION OF COMMERCE IN THE LATE- MIDDLE AGES AND RENAISSANCE ITALY (1275-1425) Tesis doctoral dirigida por PROF. DR. MIGUEL ALFONSO MARTÍNEZ-ECHEVARRÍA Y ORTEGA PROF. DR. ANTONIO MORENO ALMÁRCEGUI FACULTAD DE CIENCIAS ECONÓMICAS Y EMPRESARIALES PAMPLONA, 2014 Table of contents Prologue .......................................................................................................... 7 PART I: BACKGROUND Chapter 1: Introduction The Merchant in the Wilderness ............................. 27 1. Economic Autarky and Carolingian Political "Augustinianism" ........................ 27 2. The Commercial Revolution ................................................................................ 39 3. Eschatology and Civilization ............................................................................... 54 4. Plan of the Work .................................................................................................. 66 Chapter 2: Theology and Civilization ........................................................... 73 1. Theology and Humanism ..................................................................................... 73 2. Christianity and Classical Culture ...................................................................... 83 3. Justice, Commerce and Political Society............................................................. 95 PART II: SCHOLASTIC PHILOSOPHICAL-THEOLOGY, ETHICS AND POLITICAL PHILOSOPHY Introduction................................................................................................ -
Vernacular Revival and Ideology – What’S Left? by Peter Guillery
Vernacular Revival and Ideology – What’s Left? by Peter Guillery This essay derives from a lecture first given at a Vernacular Architecture Group conference on vernacular revivals in 2015, reprised to generally younger audiences at the Bartlett School of Architecture and the University of Westminster. Its retrospection about vernacular architecture, anonymity, revival and left-wing ideologies was prompted primarily by a bemused awareness of recent advances in self-building. It seemed timely to try to get at how and why certain ideas retain traction. Then, coincidentally, young and old were recombining behind Jeremy Corbyn to reinvigorate Labour, and the self-styled design ‘collective’ Assemble won the Turner Prize. John Ruskin, William Morris, the Arts and Crafts Movement and Romanticism will arise (how could they not?), but only in passing, for a revisionist view of what has come since. It is taken as read that a strong commitment to architectural design as being rooted in labour and everyday or subaltern agency tallied with the emergence of socialism and was an important part of architectural thinking and history in late-19th-century England. This is an attempt to relate that history to the present in a new overview for a new framework. It adopts an unconventional or purist definition of what vernacular means that will clash with many preconceptions. Peter Guillery is an architectural historian and editor for the Survey of London, in the Bartlett School of Architecture, University College London. He is the author of The Small House in Eighteenth-Century London (2004), and the editor of Built from Below: British Architecture and the Vernacular (2011), and (with David Kroll) Mobilising Housing Histories: Learning from London’s Past (2016). -
Christian History & Biography
Issue 73: Thomas Aquinas: Greatest Medieval Theologian Thomas Aquinas: Did You Know? Interesting and unusual fact about Thomas Aquinas editors Trounced In a detail from Andrea di Bonaiuto's fourteenth-century fresco The Triumph of Saint Thomas Aquinas, heretics Averroes and Arius crouch beneath the enthroned Aquinas. Averroes (also called Ibn Rushd; 1126-1198) was a Muslim philosopher who, according to Aquinas, made a hash of Aristotle and led many medieval Christians astray. Arius (c. 250-c. 336) denied Christ's full divinity by positing that "there was [a time] when the son was not." Aquinas participated in no physical crusades against heresy, but he did believe that heretics "deserve not only to be separated from the Church by excommunication, but also to be severed from the world by death." Fancy meeting you here Aquinas and several of his enemies make appearances in James Joyce's daunting 1922 novel Ulysses. In chapter one, a character is asked for his views on Hamlet but replies, "I'm not equal to Thomas Aquinas and the fiftyfive reasons he has made to prop it up. Wait till I have a few pints in me first." Arius, Sabellius (the third heretic at Aquinas's feet in The Triumph), Averroes, and Moses Maimonides (see page 37) pop up as well. Heeding the call Franciscans in Assisi will soon enjoy a new feature in their habits: cell phone pockets. Some critics consider the innovation inappropriate, but Elisabetta Biancheri, who designed the habits, said, "It is simply a functional item of clothing. Even monks make phone calls." Biancheri is right about the phones, but she shouldn't call Franciscans "monks"—they're friars, and, as Thomas well knew, there is a difference (see page 23). -
Ruskin Unleashed: Towards a Revised Political Economy of Art Or Joy for Ever: How to Use Art to Change the World (And Its Price Beyond the Market)
Ruskin unleashed: towards a revised political economy of art or Joy for ever: How to use art to change the world (and its price beyond the market) Alistair Hudson Figure 1 The Whitworth, University of Manchester, with advertisements for its exhibition ‘Joy for ever: How to use art to change the world (and its price in the market)’ held from 29 March to 9 June 2019. Photo: author Joy for ever: How to use art to change the world (and its price in the market) was an exhibition held at the Whitworth, University of Manchester, from 29 March to 9 June 2019 (fig. 1). It was held to coincide with the 200th anniversary of the birth of John Ruskin, the British artist, writer, commentator and educationalist, who was the principal voice campaigning throughout the nineteenth century against the ills of an increasingly industrial and dehumanising world. The exhibition also marked the beginning of a new chapter in the history of the Whitworth in a post-Postindustrial era of ecological, political, financial and social crisis. The institution is now seeking to evolve as a museum that is relevant Journal of Art Historiography Number 22 June 2020 Alistair Hudson Ruskin unleashed … or … How to use art to change the world and useful in our context and one that takes an active role in society, promoting art as a tool for social change. With this goal in mind, our aim is to reconnect with our founders’ intentions, to create an institute, art gallery and park that can help realise the full potential of the city and its residents.