Sunrise,America, and the Other Side

Abstract

The following essay employs the metaphor of 'the other side' in order to explore the symbolic relationship between America and Europe in F.W. Murnau's Sunrise (1927). The essay argues that the film's symbolic stress on the dichotomy of Europe/America and there/not there rearticulates the role of the US in the immigrant imagination, redefining it in terms of the supernatural, almost deathly nature of early film. The journey west has long been equated with the mythical passage toward death, and in a similar way early responses to the mechanics of cinema also stressed the idea of film as phantasmal projections of this 'other side', a spectral realm haunted by ghosts, apparitions, and shadows. The paper thus positions theoretical notions of negative space (dealing in particular with Jean-Paul Sartre's notions of presence and absence) alongside the notion of the Atlantic crossing as a synonym for emptiness and vacuity, in order to provide a provocative interpretation both of Murnau's film and of the role of America in the European mindset.     

Contextualizing Business Ethics: Anomie and Social Life

The objective of this paper is to explore howthe current interest in Business Ethics can be locatedwithin an analysis of contemporary society which takesinto account the prevalence of moral uncertainty along with the concomitant desire to(re)establish some form of normative order. As such,Business Ethics may be seen as a socially constructedfield of study which reflects broaderchanges and controversies within society. Yet as a body of knowledge,Business Ethics articulates epistemological doubts. Twodistinctive themes in Business Ethics discourse areconsidered — the modernist/rationalist and thepostmodernist/relativist. It is argued that in different ways, each canbe seen as both an expression of, and a reaction to, theincreasing incidence of anomie in society. Theimplications for organizational practices are thenconsidered through the example of Corporate Codes ofEthics and the problem of establishing consensus wherethe grounds for any claim to moral authority areproblematic.     

The New Rugged Individualism: Modernity and Countersystem in Post-World War II Fiction

Abstract

This essay examines the work of J.D. Salinger and Jack Kerouac as a reaction to the overarching nihilism, exhaustion and despair of modernity and postmodernity. More specifically, these works are seen through the lens of the sociological 'countersystem' model of Sjoberg and Cain, who posit that studying behavior defined as 'negative' by the dominant social system can act as a heuristic device for that system. Novelists such as Kerouac and Salinger create fictive countersystems as a means of addressing weaknesses in the existing social structure and implicitly trying to resolve them. Their countersystems are, to a large extent, a hybrid of Buddhism and Romanticism. Finally, the characters of Kerouac and Salinger are discussed as representing a return to the individualistic heroes of American premodernity, such as Huck Finn and Hester Prynne. The work of Kerouac and Salinger, among others, is termed New Rugged Individualism.     

Charles Sheeler's imprecise precisionism

Abstract

In this article I address the significance of a series of images of New York skyscrapers fundamental to the work of American modernist painter and photographer Charles Sheeler (1883–1965). The article examines three works – a photograph, a drawing and a painting – produced between 1919–23 of the same scene: the rear of the Park Row Building, Manhattan. I argue that these images introduce imprecisions that disrupt the notion of Sheeler as the pre-eminent Precisionist artist. Following aspects of Theodor Adorno's aesthetic theory, I suggest that Sheeler's works adopt the language of rationalization whilst remaining critical of it. As such, the more positive conceptions of Sheeler's skyscraper works are juxtaposed against the actuality of the imprecision in the works, a dialectical move that unveils a negative critique of the rationalized culture of American modernity.