by Thomas R. Wells
The idea of ‘good corporate citizenship’ has become popular recently among business ethicists and corporate leaders. You may have noticed its appearance on corporate websites and CEO speeches. But what does it mean and does it matter? Is it any more than a new species of public relations flimflam to set beside terms like ‘corporate social responsibility’ and the ‘triple bottom line’? Is it just a metaphor?
The history of the term does not promise much. It does indeed seem to have evolved out of corporate speak – how corporations represent themselves rather than how they view themselves – selected, perhaps, for sounding reassuring but vague. Its popularity has far preceded its definition; ‘corporate citizenship’ is still evolving, looking for a place to settle.
But what it is about is important. For it represents a political turn to the old question, Who are corporations for and how is their power to be managed? Are corporations bound to serve society’s interest, or are they free to follow their own? Are they public institutions, part of the governance of our society and publicly accountable to us for their actions, or are they private associations accountable only to their managers and owners?
For around a hundred years this question had an institutional answer in the form of ‘managed capitalism’, with governments playing a central role in corporate decision-making. They were outright owners of many businesses; they directed negotiations with labour – itself institutionally empowered by the state as a countervailing power to the large corporation; and they used the wide discretionary authority of the state to cajole and coerce company directors to serve what they saw as the public interest. Read more »

Learning Objectives. Measurable Outcomes. These are among the buzziest of buzz words in current debates about education. And that discordant groaning noise you can hear around many academic departments is the sound of recalcitrant faculty, following orders from on high, unenthusiastically inserting learning objectives (henceforth LOs) and measurable outcomes (hereafter MOs) into already bloated syllabi or program assessment instruments.


Although frequently lampooned as over-the-top, there is a history of describing wines as if they expressed personality traits or emotions, despite the fact that wine is not a psychological agent and could not literally have these characteristics—wines are described as aggressive, sensual, fierce, languorous, angry, dignified, brooding, joyful, bombastic, tense or calm, etc. Is there a foundation to these descriptions or are they just arbitrary flights of fancy?
He flew so fast and so close to the sun that it took an entire lifetime to fall back to Earth.
I recently read Simone Weil for the first time after having come across numerous references to her over the past year. I broke down and bought Waiting for God despite the intimidating and frankly confusing title. I was not disappointed. One of her essays in particular, “Reflections on the Right Use of School Studies in View of the Love of God,” has opened and focused my thinking on education and learning in general, whether for children or later in life for the rest of us. 



Opera as resistance? Music as re-enchantment?
When it comes to evil, nobody beats Hitler. He committed the biggest mass murder of innocent humans in all of history.

Many years ago in 1991, in my first job out of college, I worked for a small investment bank. By 1994, I was working in its IT department. One of my tasks was PC support and I had a modem attached to my computer so that I could connect to Compuserve for research on technical issues. Yes, this was the heydey of Compuserve, the year that the first web browser came out and a time when most people had very little idea, if any, what this Internet thing was. 
Novels set in New York and Berlin of the 1980s and 1990s, in other words, just as subculture was at its apogee and the first major gentrification waves in various neighborhoods of the two cities were underway—particularly when they also try to tell the coming-of-age story of a young art student maturing into an artist—these novels run the risk of digressing into art scene cameos and excursions on drug excess. In her novel A Lesser Day (Spuyten Duyvil, second edition 2018), Andrea Scrima purposely avoids effects of this kind. Instead, she concentrates on quietly capturing moments that illuminate her narrator’s ties to the locations she’s lived in and the lives she’s lived there.