The Central concern of Thorstein Veblen's The Higher Learning in America (1918), a book that anyone concerned with the bureaucratization of the university or recent assaults on tenure would do well to scrutinize, is the scandalous porousness of boundaries between academia and business. According to Veblen, research universities contaminated themselves at the time of their formation in the late 19th century, not simply by accepting funding from capitalists, but also by mimicking the administrative structure and adopting the values of commercial culture. Although he believes the interests of education and business are “wholly divergent,” Veblen finds that “Plato's classic scheme of folly, which would have the philosophers take over the management of affairs, has been turned on its head; the men of affairs have taken over the direction of the pursuit of knowledge.” While some of the local concerns of Higher Learning differ from problems facing the university today, current interest in what Andrew Ross calls the “corporatization of the modern university” makes the book's broad claims strikingly relevant.

No abstract

No abstract

No abstract

This essay focuses on the relationship between George and Nick, who represent two competing but interdependent models of heterosexual masculinity. Who’s Afraid of Virginia Woolf? stages, in addition to its famous battle between the sexes, an equally urgent battle within masculinity. The verbal combat between George and Nick illustrates not only Albee’s understanding of gender as discursively constructed but also that the legendary marriage delineated in Who’s Afraid depends both structurally and psychologically on the competition between the two men. Albee presents postwar heterosexual masculinity as fundamentally competitive, a gender identity that must be proven as well as performed. The play suggests that, if competitive masculinity produces a victor, it also demands a loser. As it takes one man to prove another’s masculinity, an attentive and ultimately vanquished male audience is necessary to complete the performance. Moreover, Who’s Afraid shows heterosexual masculinity as constituted through a particular form of triangulation: George and Nick compete to see which is the better man and fitter mate for Martha.