Corporate Liabilities

2019 ◽  
Author(s):  
Kim Christian Priemel
Keyword(s):  
Civil Rights ◽  
International Regulation ◽  
Corporate Personhood ◽  
The Past ◽  
Political Costs ◽  
Hard Law ◽  
The Social ◽  
International War ◽  
Corporate Liabilities ◽  
Corporate Liability

The debate on how to rein in transnational corporate power has greatly intensified over the past decades. Following a series of scandals, conflicts, and crises, civil rights activists, lawyers, and heterodox economists have been promoting efforts to hold private business accountable for the social, economic, ecological, and political costs of its actions. National legal cultures, however, differ widely on that issue, in particular with an eye to corporate personhood and extraterritoriality. After centuries of not prosecuting corporations on grounds of their lack of mens rea, the pattern changed in the twentieth century as developments in different legal spheres intertwined. When competition law coalesced with tightened national corruption standards as well as the emergence of international war crimes prosecution, a path toward international corporate liability opened up. By now a patchwork set of approaches has emerged in which soft and hard law, statutory and treaty law, and national and international regulation converge on corporate liability.

Afterword

Neo-Passing ◽  
2018 ◽  
Author(s):  
Michele Elam
Keyword(s):  
Civil Rights ◽  
Racial Formation ◽  
Civil Rights Era ◽  
Political Consequences ◽  
The Past ◽  
The Social ◽  
Post Civil Rights

The afterword argues that so-called neo-passing narratives distinctively highlight the performative dimension to racial formation and are, moreover, particularly attentive to the social and political consequences of race. This essay argues that the desire for passing to be a phenomenon of the past can be problematic in that it wills away the social insights afforded by cultural and literary narratives of passing in the post–Civil Rights era.

Legitimizing black businesses: three examples from the Civil War to civil rights

2020 ◽  
Vol 26 (3) ◽  
pp. 377-396
Author(s):  
Keith Hollingsworth
Keyword(s):  
Civil War ◽  
Civil Rights ◽  
Civil Rights Movement ◽  
Design Methodology ◽  
Future Research ◽  
Social Construct ◽  
Content Type ◽  
The Past ◽  
The Social ◽  
Black Businesses

Purpose In “Reinventing Entrepreneurial History,” Wadhwani and Lubinski (2017) encourage the study of legitimacy, the sense that a new organization or venture “belongs” to, or fits within, the social construct of its time. Design/methodology/approach To this end, this query will consider methods used in the period between the Civil War and the Civil Rights Movement to show legitimacy in black economic endeavors. Three Atlanta entrepreneurs’ efforts will be used as demonstrative examples. Findings The overarching aim of this investigation of economic legitimization is to give practical examples of three distinct strategies in play: endorsement, authorization and storytelling. In addition, a fourth external actor, social organizations, that exists outside of the realms of media, government and law as noted by Bitektine and Haack (2015) is illustrated to grant validity within the black community. Also, the storytelling strategy is used to illustrate promoters, actors pushing legitimacy to benefit the community at large. Originality/value Arguably the search for economic and collective legitimacy within black businesses is not confined to the past. Stated in another way, black businesses still fight for legitimacy, and future research should be undertaken to show the similarities and differences in the two aforementioned periods.

Introduction

2019 ◽  
pp. 1-8
Author(s):  
Brian C. Odom
Keyword(s):  
Civil Rights ◽  
Social History ◽  
Civil Rights Movement ◽  
The Political ◽  
The Past ◽  
The Social ◽  
History Of ◽  
Long Civil Rights Movement

This introductory chapter provides an overall introduction for the volume and its collection of diverse essays intended to promote a deeper, interdisciplinary exploration of the social history of NASA during the age of Apollo, developed around the ideas advocated by Jacquelyn Dowd Hall in her 2005 essay, “The Long Civil Rights Movement and the Political Uses of the Past,” which called upon historians to place civil rights movement histories “in the context of a longer story,” one that would make that history “harder to simplify, appropriate, and contain.” The introduction concludes with a call for further research on the topic.

A Moment to Come Together: Personal Reflections on Trayvon Martin

2013 ◽  
Vol 5 (1) ◽  
pp. 131-137
Author(s):  
Roxanne Christensen ◽  
LaSonia Barlow ◽  
Demetrius E. Ford
Keyword(s):  
Civil Rights ◽  
Doctoral Students ◽  
Professional Psychology ◽  
Direct Effects ◽  
The Social ◽  
To Come ◽  
Professional Responses ◽  
The Individual ◽  
Personal Reflections ◽  
Unique Individual

Three personal reflections provided by doctoral students of the Michigan School of Professional Psychology (Farmington Hills, Michigan) address identification of individual perspectives on the tragic events surrounding Trayvon Martin’s death. The historical ramifications of a culture-in-context and the way civil rights, racism, and community traumatization play a role in the social construction of criminals are explored. A justice orientation is applied to both the community and the individual via internal reflection about the unique individual and collective roles social justice plays in the outcome of these events. Finally, the personal and professional responses of a practitioner who is also a mother of minority young men brings to light the need to educate against stereotypes, assist a community to heal, and simultaneously manage the direct effects of such events on youth in society. In all three essays, common themes of community and growth are addressed from varying viewpoints. As worlds collided, a historical division has given rise to a present unity geared toward breaking the cycle of violence and trauma. The authors plead that if there is no other service in the name of this tragedy, let it at least contribute to the actualization of a society toward growth and healing.

Dowagers, Debs, Nuns and Babies: The Politics of Nostalgia and the Older Woman in the British Sunday Night Television Serial

2013 ◽  
Vol 10 (4) ◽  
pp. 769-784 ◽  
Author(s):  
Estella Tincknell
Keyword(s):  
Older Women ◽  
Social Role ◽  
Mature Female ◽  
Older Woman ◽  
Distinctive Features ◽  
The Past ◽  
Political Position ◽  
The Social ◽  
The Uk ◽  
Popular Television

The extensive commercial success of two well-made popular television drama serials screened in the UK at prime time on Sunday evenings during the winter of 2011–12, Downton Abbey (ITV, 2010–) and Call the Midwife (BBC, 2012–), has appeared to consolidate the recent resurgence of the period drama during the 1990s and 2000s, as well as reassembling something like a mass audience for woman-centred realist narratives at a time when the fracturing and disassembling of such audiences seemed axiomatic. While ostensibly different in content, style and focus, the two programmes share a number of distinctive features, including a range of mature female characters who are sufficiently well drawn and socially diverse as to offer a profoundly pleasurable experience for the female viewer seeking representations of aging femininity that go beyond the sexualised body of the ‘successful ager’. Equally importantly, these two programmes present compelling examples of the ‘conjunctural text’, which appears at a moment of intense political polarisation, marking struggles over consent to a contemporary political position by re-presenting the past. Because both programmes foreground older women as crucial figures in their respective communities, but offer very different versions of the social role and ideological positioning that this entails, the underlying politics of such nostalgia becomes apparent. A critical analysis of these two versions of Britain's past thus highlights the ideological investments involved in period drama and the extent to which this ‘cosy’ genre may legitimate or challenge contemporary political claims.

Disciplining Polenta: A Parody on the Politics of Saving Food

2020 ◽  
Vol 20 (2) ◽  
pp. 1-11
Author(s):  
Zachary Nowak ◽  
Bradley M. Jones ◽  
Elisa Ascione
Keyword(s):  
Food Products ◽  
Social Value ◽  
Traditional Food ◽  
Traditional Foods ◽  
Time And Space ◽  
Historical Sources ◽  
Scholarly Literature ◽  
Identity Creation ◽  
The Past ◽  
The Social

This article begins with a parody, a fictitious set of regulations for the production of “traditional” Italian polenta. Through analysis of primary and secondary historical sources we then discuss the various meanings of which polenta has been the bearer through time and space in order to emphasize the mutability of the modes of preparation, ingredients, and the social value of traditional food products. Finally, we situate polenta within its broader cultural, political, and economic contexts, underlining the uses and abuses of rendering foods as traditional—a process always incomplete, often contested, never organic. In stirring up the past and present of polenta and placing it within both the projects of Italian identity creation and the broader scholarly literature on culinary tradition and taste, we emphasize that for so-called traditional foods to be saved, they must be continually reinvented.

Same Address, Different Doors: Post-Heritage Deconstruction of the Heritage Household in Upstairs Downstairs in the 1970s and 2010s

2020 ◽  
Author(s):  
William Abbiss
Keyword(s):  
Final Section ◽  
Social Structures ◽  
The Third ◽  
The Past ◽  
War Narrative ◽  
Critical History ◽  
The Social ◽  
Fourth Series ◽  
History Of ◽  
Multiple Episodes

This article offers a ‘post-heritage’ reading of both iterations of Upstairs Downstairs: the LondonWeekend Television (LWT) series (1971–5) and its shortlived BBC revival (2010–12). Identifying elements of subversion and subjectivity allows scholarship on the LWT series to be reassessed, recognising occasions where it challenges rather than supports the social structures of the depicted Edwardian past. The BBC series also incorporates the post-heritage element of self-consciousness, acknowledging the parallel between its narrative and the production’s attempts to recreate the success of its 1970s predecessor. The article’s first section assesses the critical history of the LWT series, identifying areas that are open to further study or revised readings. The second section analyses the serialised war narrative of the fourth series of LWT’s Upstairs, Downstairs (1974), revealing its exploration of female identity across multiple episodes and challenging the notion that the series became more male and upstairs dominated as it progressed. The third section considers the BBC series’ revised concept, identifying the shifts in its main characters’ positions in society that allow the series’ narrative to question the past it evokes. This will be briefly contrasted with the heritage stability of Downton Abbey (ITV, 2010–15). The final section considers the household of 165 Eaton Place’s function as a studio space, which the BBC series self-consciously adopts in order to evoke the aesthetics of prior period dramas. The article concludes by suggesting that the barriers to recreating the past established in the BBC series’ narrative also contributed to its failure to match the success of its earlier iteration.

Same Address, Different Doors: Post-Heritage Deconstruction of the Heritage Household in Upstairs Downstairs in the 1970s and 2010s

2020 ◽  
Author(s):  
William Abbiss
Keyword(s):  
Final Section ◽  
Social Structures ◽  
The Third ◽  
The Past ◽  
War Narrative ◽  
Critical History ◽  
The Social ◽  
Fourth Series ◽  
History Of ◽  
Multiple Episodes

This article offers a ‘post-heritage’ reading of both iterations of Upstairs Downstairs: the LondonWeekend Television (LWT) series (1971–5) and its shortlived BBC revival (2010–12). Identifying elements of subversion and subjectivity allows scholarship on the LWT series to be reassessed, recognising occasions where it challenges rather than supports the social structures of the depicted Edwardian past. The BBC series also incorporates the post-heritage element of self-consciousness, acknowledging the parallel between its narrative and the production’s attempts to recreate the success of its 1970s predecessor. The article’s first section assesses the critical history of the LWT series, identifying areas that are open to further study or revised readings. The second section analyses the serialised war narrative of the fourth series of LWT’s Upstairs, Downstairs (1974), revealing its exploration of female identity across multiple episodes and challenging the notion that the series became more male and upstairs dominated as it progressed. The third section considers the BBC series’ revised concept, identifying the shifts in its main characters’ positions in society that allow the series’ narrative to question the past it evokes. This will be briefly contrasted with the heritage stability of Downton Abbey (ITV, 2010–15). The final section considers the household of 165 Eaton Place’s function as a studio space, which the BBC series self-consciously adopts in order to evoke the aesthetics of prior period dramas. The article concludes by suggesting that the barriers to recreating the past established in the BBC series’ narrative also contributed to its failure to match the success of its earlier iteration.

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