This book shows how careful attention to moral reasoning can enrich economic understanding and clarify the importance and the limits of an economic analysis of policy problems.
The noted philosopher Debra Satz takes a skeptical view of markets, pointing out that free markets are not always a force for good. The idea of free exchange of child labor, human organs, reproductive services, weapons, life saving medicines, and addcitive drugs, strike many as toxic to human values. She asks: What considerations ought to guide the debates about such markets?"--Provided by publisher.
Here, philosopher Debra Satz takes a penetrating look at those commodity exchanges that strike most of us as problematic. What considerations, she asks, ought to guide the debates about such markets?
The noted philosopher Debra Satz takes a skeptical view of markets, pointing out that free markets are not always a force for good. The idea of free exchange of child labor, human organs, reproductive services, weapons, life saving medicines, and addcitive drugs, strike many as toxic to human values. She asks: What considerations ought to guide the debates about such markets?"--Provided by publisher.
Yiddish Empire tells the story of how a group of itinerant Jewish performers became the interwar equivalent of a viral sensation, providing a missing chapter in the history of the modern stage. During World War I, a motley group of teenaged amateurs, impoverished war refugees, and out- of- work Russian actors banded together to revolutionize the Yiddish stage. Achieving a most unlikely success through their productions, the Vilna Troupe (1915– 36) would eventually go on to earn the attention of theatergoers around the world. Advancements in modern transportation allowed Yiddish theater artists to reach global audiences, traversing not only cities and districts but also countries and continents. The Vilna Troupe routinely performed in major venues that had never before allowed Jews, let alone Yiddish, upon their stages, and operated across a vast territory, a strategy that enabled them to attract unusually diverse audiences to the Yiddish stage and a precursor to the organizational structures and travel patterns that we see now in contemporary theater. Debra Caplan’s history of the Troupe is rigorously researched, employing primary and secondary sources in multiple languages, and is engagingly written.
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