Productivity and Market Integration in American Communal Dairying, 1830-1875

In our late twentieth century experience, survival of an economy seems critically dependent on well established rights to private property and a return to labor that rewards greater effort. But that need not be so. History provides examples of micro-socialist economies that internally, at least, allow for little private property for participants and a constant return to labor that is independent of effort. Some such economies may even be termed 'successful,' if success is taken to mean survival over several generations. If these communities survived without conditions that are generally thought to be necessary for success, a question worth asking is how this occurred, for we can then shed some light on what really is necessary for economic survival. Addressing this issue emphasizes the critical role of time, for even if the microsocialist economies that we study here eventually became the merest shadow of their former selves, the fact that they did flourish for so long makes them a valuable counterexample, and hence, a phenomenon in need of explanation. We consider here the dairy industry of the Shakers, which was characterized by intensive efforts to increase productivity, in part through the use of market signals, but efforts that were also limited by the ideological goals of the community. The Shakers were (and are, but since it is the historical Shakers that concern this paper, the past tense will be used) a Christian communal group. Some of their distinctive beliefs included the existence of a male and female Godhead, from which followed sexual equality, and active communication between Believers (a Shaker term for members of the sect) and denizens of the spirit world. Practices of the Society (their official name is the United Society of Believers in Christ's Second Appearing, the second appearing being in the body of their foundress, an illiterate Englishwoman named Ann Lee) included pacifism, celibacy, confession of sins to elders, and joint or communal ownership of the Society's assets. Each Shaker received the same return for his or her labor: room, board, clothing, and the experience of divine proximity in a community of like minded Believers (Stein 1992).

Hole in the Head: a Play, Accompanied by a Conspectus of Knowledge, Both Repressed and Researched, that Directly Influenced the Playwright in Her Development of a New Work

"Hole in the Head" is a play about a woman who wakes up. Maude wakes up in the first act, and in every subsequent scene she undergoes some form of physical or emotional awakening as characters walk in and out of her front door."Hole in the Head" is accompanied by an introduction that attempts to understand the interplay between creativity and academia through an analysis of theatre, feminist and queer theory, and science.

Alessandro Baricco: A Modern Homer / Alessandro Baricco: Omero Modern

Alessandro Baricco is an Italian author, pianist, journalist and music critic, among a wide range of many other talents. His novels have won great critical acclaim in Italy and France and are popular around the world. While generally considered among the postmodern writers, some critics have accused him of being a forerunner in a 1990s movement dubbed letteratura giovanile, that is juvenile literature that is simplistic, targets a young audience and is created for the sole purpose of making money. This criticism is unwarranted. Baricco is a multitalented author who pays strict attention to the quality of his work and weaves plotlines replete with a diverse set of genres, literary devices and symbolism, often inspired by other great writers and thinkers. However, literary critics have yet to acknowledge one of Baricco's strongest and most important influences: Homer, the ancient Greek bard and author of the epic poems, the Iliad and the Odyssey. Taking Baricco's work in a Homeric context can aid in viewing it as valid and important work, worthy of scholarly discussion and interpretation, rather than, as some critics accuse, a one-dimensional story meant only for children. This paper will argue that Baricco's work is Homeric and, in fact, Baricco's implementation of many of Homer's devices, such as his understanding of his audience and use rhythmic language and stereotyped story patterns, has aided Baricco's great success and popularity.