Pub Date : 2019-06-27DOI: 10.1093/OSO/9780190873455.003.0004
Saul Levmore
John Dos Passos’ The Big Money (1936) is hardly the only important American work to see greed as a cause of the stock market crash and then the Great Depression. It is packed with the problem of distinguishing greed from ambition, and it raises the question of the right social response to unattractive impulses. Prior to losing his idealistic fervor, or exchanging it for conservative passion, Dos Passos freely associated ambition with corruption, and acquisitiveness with antisocial self-interest. His deployment and biographical sketches of industrialists and other notable Americans suggest the difficulty of distinguishing avarice from ambition. Dos Passos’ treatment of ambition presupposes an economy where one person’s gain is at the expense of another; artistic accomplishment is, however, freed from this assumption. The novel speaks more to individual excesses than to their regulation, but it offers an opportunity to think about both.
约翰·多斯·帕索斯(John Dos Passos)的《大钱》(1936)并不是唯一一部将贪婪视为股市崩盘和大萧条的原因的重要美国作品。书中充斥着如何区分贪婪和野心的问题，并提出了一个问题，即如何对没有吸引力的冲动做出正确的社会反应。在失去理想主义热情，或将其换成保守的激情之前，多斯·帕索斯自由地将野心与腐败联系在一起，将贪婪与反社会的自利联系在一起。他对实业家和其他著名美国人的描述和传记表明，很难区分贪婪和野心。多斯·帕索斯对野心的论述预设了这样一种经济:一个人的利益是以另一个人的利益为代价的;然而，艺术成就却不受这种假设的束缚。这部小说更多地讲述了个人的过度行为，而不是对他们的监管，但它提供了一个思考这两者的机会。
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Pub Date : 2019-05-23DOI: 10.1093/oso/9780190873455.003.0003
N. Lacey
This essay examines the wide range of conceptions of money and its legal and social significance in the novels of Anthony Trollope—a writer whose nostalgia for the world of land sits alongside an increasingly sharp critique of the power of money—considering what his novels can tell us about the rapidly changing economic, political, and social world of mid-Victorian England. The essay concentrates in particular on Orley Farm (1861–2)—the novel most directly concerned with law among Trollope’s formidable output—and The Way We Live Now (1875)—the novel most directly concerned with the use and abuse of money in the early world of financial capitalism.
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Pub Date : 2019-05-23DOI: 10.1093/oso/9780190873455.003.0013
Carol M. Rose
Lorraine Hansberry’s hit play of 1957, A Raisin in the Sun, centered on the decision of an African American family in Chicago, the Youngers, to move to a house in a white neighborhood. The play is set in the post–World War II era, but many of its scenes and actions relate back to real estate practices that began at the turn of the century and that continued to evolve into the midcentury and to some degree beyond. During those decades, housing development and finance increased dramatically in scale, professionalization, and standardization. But in their concern for their predominantly white consumers’ preferences for segregation, real estate developers, brokers, financial institutions, and finally governmental agencies adopted standard practices that excluded African Americans from many housing opportunities and that then reinforced white preferences for housing segregation. Many seemingly minor features of the play reflect the way that African Americans had been sidelined in the earlier decades’ evolving real estate practices—not just the family’s overcrowded apartment, but also more subtle cues, such as the source of the initial funds for the new house, the methods for its finance, and the legal background of the white homeowners’ effort to discourage the purchase. This essay pinpoints these and other small clues, and describes how standardizing real estate practices dating from the turn of the century effectively crowded out African American consumers like the Youngers, with consequences that we continue to observe in modern patterns of urban segregation.
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