An Examination of the Varieties of Capitalism and its Application in Essay

An Examination of the Varieties of Capitalism and its Application in USA, Sweden and Germany - Essay Example â€Å"Where social democracy is strong, the public firm was unstable and weak, and unable to dominate without difficulty; where social democracy is weak, ownership diffusion of the large firms could reign if other economic and institutional conditions prevailed...† (Roe, [Political] 21) In this definition, Roe seem to identify that nations that have strong traditions of social democracy like Germany have inefficiencies in their public institutions and structures. This include bureaucracy and some elements of inefficiency which plagues nations with strong public sector issues. However, in traditional capitalist states, dominant economic institutions and powerful corporate entities emerge to fill the gap and determine the distribution of wealth in the economy. Roe goes on to illustrate this point by examining the American model of capitalism into detail (Capital para1). He begins by recognizing that America differs from all socialist states because there is less intervention by the government. This leaves a strong vacuum for some kind of a 'moderator' to determine the distribution of income in the economy. Roe (Capital para 3) identifies that the American economy is strongly influenced by corporate entities. He goes on to state that America's laws put more power in the hands of the managers and directors of these corporate entities. This means that shareholders do not have a strong reason to push for capital oriented decisions that will solely be in the interest of their stocks and investments. This means that the people charged with governance are the actual controllers of power in America. The state's intervention is weak whilst the shareholders, who have the true capitalist interest are also kept in check by corporate governance laws which favor the managers and directors. Employees do not have much rights because these managers can hire and fire. Elsewhere in Northern Europe and Central Europe, the strength of the state is boosted because many state in stitutions act as moderators in the corporate world (Soskice 51). This means that the state has some kind of power to intervene in the distribution of wealth. Secondly, the states in these European nations have established strong negotiation systems that ensure that stakeholders like workers and shareholders negotiate to come to a consensus. This is very pronounced in Sweden. It is also quite dominant in Germany. However, what is common to all these capitalist systems is that there is debate and consensus building in all these jurisdictions. The parties involved in these debates determine the differences. On a further analysis of the American system, Roe (Capital 75) states that â€Å"for capital markets to function, political institutions must support capitalism in general and capitalism of financial markets in particular†. This means that the state must moderate in the various debates and interests of the capital markets and some elements of the society. He states that poli tical economy shapes the capital markets by economic, political and legal institutions. This creates a mechanism where the corporate entities shape policy and policy shapes the corporate entities. In a practical analysis of what happens in America, Roe (Political 104) states that capitalism in America is made up of interest groups that converge in the form of corporate entities. Thus, the Republicans and Democrats make promises based on what

Modern Theatre Essay Example | Topics and Well Written Essays - 2000 words

Modern Theatre - Essay Example By the same token, evolutionist historians have also privileged those plays which most nearly conform to this overarching narrative about the demise f melodrama and the all-conquering triumph f realism. Tom Robertson's cup-and-saucer dramas and the cordial 'goodheartedness' (Jenkins 1991) f Arthur Wing Pinero's farcical protagonists, for example, represent two important staging posts on this Whiggish journey. In passing, it's interesting to note an unacknowledged separation f theatrical spheres in these arguments. Although it is women who are usually portrayed as the heroes f managerial reform, slowly transforming dirty, communal playhouses into elegant, comfortable, quasidomestic arenas, the credit for dramatic reform has invariably been attributed to male playwrights. Several consequences arise from this evolutionist history. First, the 'rise f realism' thesis portrays the theatre f the late 1880s and 1890s as a beacon f dramatic light, at the end f the dark tunnel f institutional decadence and theatrical unrespectability. Not only does this entail a strategic and rather narrow selection f the theatrical record, but, at least as importantly, fin-de-siecle drama and theatrical institutions have acquired the status f self-fulfilling prophecies. In other words, the theatre f the 1890s tends to be valued in direct proportion to its difference from -- and satirical critiques of-Victorian drama rather than in terms f its intricate and complex relationships to earlier conventions and dramatic traditions. Michael Baker's The Rise f the Victorian Actor (1978) and Anthony Jenkins' history, The Making f Victorian Drama (1991) are two influential and distinguished examples f this evolutionist approach. Baker's work traces the gradual emergence f acting as a profession in the nineteenth century. In general, he writes, 'the actor f 1830 was a social and artistic outcast and the theatre an outlawed sector f private enterprise'; (Baker 1978) by the 1880s, however, the actor had finally 'arrived' in Victorian society. The rise f journalism and the new status f the man f letters contributed to the creation f new middlebrow audiences, whilst the emergence f a mass market leisure industry helped to provide a solid framework for the gentrification f the acting profession. For Anthony Jenkins, Victorian theatre can be construed in terms f the eventual liberation f drama from the tyranny f a popular, unthinking public. 'The attempt to rescue British Drama from the theatre's rowdy spectacle', he declares at the opening f his first chapter (pointedly entitled, 'Breaking through the darkness'), 'began a few months before Princess Victoria became Queen'. In Victoria's reign, Jenkins locates the gradual emergence f a 'serious' drama whose genealogy can be traced in the plays f Edward Bulwer Lytton, Tom Robertson, William Gilbert, and Henry Arthur Jones; its apex is represented by George Bernard Shaw's final conversion f the Victorian theatre's 'sideshow' into a momentous 'sacred