This article concerns challenges arising from the development of economic globalization as the so-called “creator of a new world order“ and its tendency to deteriorate the foundation of a global order in terms of social justice, solidarity, and human dignity. As main point of referral functions, the report of the "Commission Stiglitz, Sen and Fitoussi" on the Measurement of Economic Performance and Social Progress that refers to the European Commission's strategy of development, acknowledges the need for these values. On behalf of this reflection, this article is based on the recent outcomes of the exploration of these social quality issues in a recent published book by the Foundation on Social Quality. The article argues that indicators are needed in order to understand the effects of societal changes in response to the current economic globalization, which increases inequality and the fragmentation of the labor market.
The Genesis of Sartre’s Theatrical Career in Writings to, with, and by Beauvoir
Dennis A. Gilbert
attract him to a career in dramatic writing and theatrical performance? This vast subject, the genesis of Sartre’s theatrical career, exceeds the limitations of this article. In the pages that follow, I focus only on the most revealing sources of this
The Best Practice Price Sustainability Metrics
H. J. (Huub) Lenders
Private and societal costs have their origin in the classic and neo-classic era. The market, based on private costs, ignores externalities, while actors fail to gain access to information on societal costs, causing a gap. The best practice price (BPP), a sustainability metric, can fill this information gap. Based on science and the weighted opinions of stakeholders, best practices for basic production factors such as land, labor, and natural resources are identified and their costs calculated. Producers can use these data to calculate the BPP of their products. Besides the market price (the price to be paid), the BPP is mentioned on the invoice and price tag as representing the costs of production according to the best practices. The ratio of market price (MP) to the BPP ‒ the BP ratio (BPR) – makes comparison of different products possible. Using the BPR, producers, public entities, and consumers can set goals for sustainable production or consumption.
Jeffrey Alexander, Bernhard Giesen and Jason Mast (eds.), Social Performance: Symbolic Action, Cultural Pragmatics and Ritual, Cambridge: Cambridge University Press, 2006, 374 pp.
Ron Eyerman and Lisa McCormick (eds.), Myth, Meaning, and Performance: Toward a New Cultural Sociology of the Arts, Boulder: Paradigm Publishers, 2006, 166 pp.
Social, Environmental and Economic Dimensions
Scholars are researching how to assess a country's sustainable development performance. However, not many proposals differentiate the performance via the three dimensions of sustainable development: social, economic and environmental. This article proposes to assess a country's sustainable development performance in general as well as in each of the dimensions. It pursues three objectives: (1) identifying sustainably developed countries; (2) assessing the best performers in terms of sustainable development; and (3) understanding the relations between the dimensions. Results show a globally bad sustainable development performance, with no sustainably developed countries. They also show that the economic dimension is not the best performing dimension at a global level and that very high levels of gross national income (GNI) per capita usually imply a bad environmental performance.
Seventeen Sightings of the “Social” in Economic Development Policy Writing
Semantic codes constitute the world (or parts of it), not in a mechanistic “cause-and-effect” sense but through another type of linkage. This article explores some of the semantic code, the “semantic DNA,” of mainstream neoclassical economic development policy thinking and writing and looks at what that mode of thinking incorporates into its discourse as “social.” The various forms of the “social” in economics discourse add up, from a sociologist’s viewpoint, to disappointingly little: they mainly consist of a miscellaneous set of noneconomic aspects that mainstream economic thinking can use to blame for the policy-performance gap between what such thinking promises and what it often actually delivers.
The End of the 1972/1973 Conjuncture? A Legal Perspective
The article begins with reported data on social and economic imbalances and their negative effects on sustainable development. The state, the social partners, and enterprises such as cooperatives formerly organized democratic participation as the central mechanism through which social justice regenerates. Globalization makes them inoperative. That is why we have to reconsider the role of enterprises in general. Their responsibilities under the Global Compact and similar measures are not sufficient, unless they are made legally binding and are complemented by laws that link their structure to the aspects of sustainable development. The article singles out cooperatives and points to their features being approximated through legislation with the features of capitalistic companies, which negatively affects their sustainable development performance. The article concludes with remarks on the challenges for legislators, not least the outdated notion of competitiveness and a radically changing concept of enterprise.
The article develops Sartre's remarks on the paradox of the actor in two ways. Firstly, it derives from them an 'existential ontology' of mimetic performance - an 'onto-mimetology'. Secondly, it uses this reconstruction in order to put pressure on Sartre's analogy of the actor with bad faith. In grasping the problem of acting from a Sartrean perspective, I show that this analogy is not as clear cut as he assumes and that a crucial difference exists between the situation of the theatre and that of bad faith. To master the paradox of his own being I argue the actor's technique indeed utilizes the same 'non-persuasiveness-of-belief ' thesis identified by Sartre as the condition of possibility for bad faith, yet in the actor's case it need not necessitate the condition of bad faith. In conclusion, I propose that through the notion of play, the actor sheds intriguing light on Sartre's notion of freedom.
Peter R. A. Oeij, Steven Dhondt, and Ton Korver
Social innovation is becoming a core value of the EU flagship initiative Innovation Union, but it is not clearly demarcated as it covers a wide field of topics. To understand social innovation within European policymaking a brief outline is given of EC policy developments on innovation and on workplace innovation. Definitions of social innovation formulated at the societal level and the organizational or workplace level are discussed. Empirical research findings of workplace innovation in the Netherlands are presented as examples showing that workplace innovation activities boost organizational performance. The article explores the relation between workplace innovation and social innovation, and concludes that policy developments in the EU can be studied with the theory of social quality, provided that the latter in its empirical approach focuses on how individuals together constitute innovations.
Sartre's play Les Mouches (The Flies), first performed in 1943 under German occupation, has long been controversial. While intended to encourage resistance against the Nazis, its approval by the censor indicates that the regime did not recognize the play as a threat. Further, its apparently violent and solitary themes have been read as irresponsible or apolitical. For these reasons, the play has been characterized as ambiguous or worse. Sartre himself later saw it as overemphasizing individual autonomy, and in the view of one critic, it conveys an “existentialist fascism.” In response to this reading, it is necessary to attend to the elements of the play that already emphasize duty to society. From this perspective, the play can be seen as anticipating the concern with collective responsibility usually associated with the later Sartre of the 1960s. More than this, the play's apparent “ambiguity” can be found to exemplify a didacticism that is much more complex than sometimes attributed to Sartre. It is not only an exhortation about ethical responsibility, but also a performance of the difficulties attendant to that duty.