The unprecedented circumstances of the COVID-19 pandemic have intensified the demands placed upon parliamentarians to scrutinize and evaluate evidence-based government proposals, making visible the parliamentary mechanisms that enable them to do so. This paper examines the steps that led two such mechanisms to become embedded in the institution of Parliament during from 1964 to 2001: the House of Commons Select Committee on Science and Technology (a scrutiny and information-gathering body) and the Parliamentary Office of Science and Technology (a legislative science (...) and technology advice body). Drawing on official papers, Hansard records and unpublished archival material, this account complements existing studies of the relationships between government ministers and experts. It highlights how individual members of the all-party Parliamentary and Scientific Committee have influenced institutional change. In so doing it exposes some of the challenges confronting Parliament in the scrutiny of science policy from the mid-twentieth century to today. In particular, it reveals MPs’ concerns about their ability to scrutinize science policy in the absence of a select committee on science and technology in the Commons during the 1980s. This shows that parliamentary scrutiny of science was compromised during the very period when the Conservative government under Margaret Thatcher set about making major changes to the organization and funding of government-sponsored research in the UK. (shrink)

The Mediterranean region is facing major challenges for soil conservation and sustainable agriculture. Conservation agriculture (CA), including reduced soil disturbance, can help conserve soils and improve soil fertility, but its adoption in the Mediterranean region is limited. Examining farmers’ perceptions of soil and underlying sociocultural factors can help shed light on adoption of soil management practices. In this paper, we conducted a survey with 590 farmers across Morocco, Spain and Tunisia to explore concepts that are cognitively associated with soil and (...) perceptions of tillage. We also evaluated differences in perceptions of innovation, community, adaptive capacity, and responsibility for soil. We found that farmers’ cognitive associations with soil show awareness of soil as a living resource, go beyond agriculture and livelihoods to reveal cultural ties, and link to multiple levels of human needs. Beliefs about the benefits of tillage for water availability and yield persist among the surveyed farmers. We found that openness towards innovation, perceived adaptive capacity and responsibility for soil were associated with minimum tillage, whereas community integration was not. Education, age and farm lifestyle were also associated with differences in these perceptions. CA promotion in the Mediterranean should emphasize the multiple values of soil, should demonstrate how sufficient yields may be achieved alongside resilience to drought, and be tailored to differing levels of environmental awareness and economic needs across north and south. (shrink)

We leverage the notion that abstraction enables prediction to generate novel insights and hypotheses for the literatures on attitudes and mate preferences. We suggest that ideas about liking are more abstract than experiences of liking, and that ideas about liking may facilitate mental travel beyond the here-and-now.

Surprising as it may perhaps seem to many, I have found in the upshot of a fairly persistent series of trials that it is easier to define “life” in terms of “culture” than it is to define “culture” in terms of “life.” Searching logistic experiments show that the latter way is strewn with conceptual booby-traps in the shape of such terms as “physical,” “non-physical,” “material,” “immaterial,” “spiritual,” “ideal,” “natural,” “supernatural,” etc. Some important sectors of our intellectual culture have for generations (...) stultified themselves by attempting to account in such unserviceable and deceitful terms for manifest and institutionally important differences in natural phenomena and the practical human affairs to which they appertain. Such desperate jugglery as has been engaged in, although embraced in much received doctrine, is not conducive either to intellectual or to moral integrity. Such dualistic chimeras had best be abandoned, the more peremptorily the better, as leading only to self-contradiction, confusion, and serious temptation to futile logical expedients. (shrink)

Both early social psychologists and the modern, interdisciplinary scientific community have advocated for diverse team science. We echo this call and describe three common pitfalls of solo science illustrated by the target article. We discuss how a collaborative and inclusive approach to science can both help researchers avoid these pitfalls and pave the way for more rigorous and relevant research.

The meaning of welfare and the conditions for making it sustainable seemingly are related. This is at least a common idea in current discussions with the implicit assumption that conditions conducive to general welfare improvements also will secure certain sustainability objectives. In this chapter, we challenge this by way of a conceptual analysis of welfare, focused on its descriptive adequacy. Although there are different substantial theories about welfare, they all have to account for its subject-relative nature: individual welfare is whatever (...) is good for an individual from their own point of reference. Sustainability, on the other hand, is the normative requirement that economic growth and development must not be pursued to the detriment of geographically and temporally distant others. With these clarifications of relevant concepts, we provide a tentative argument against certain ‘win-win arguments’ of ‘sustainable welfare’. To respect the sustainability proviso means leaving some sources of welfare untapped, which, although it does not guarantee a decrease, neither assures an increase in welfare. We end by introducing the concept of social capital as an alternative way of accommodating the sustainability proviso. This would imply balancing individual sacrifices in welfare with mobilisation of social capital for the collective good of sustainability. (shrink)

This paper summarizes the consequences of safety and health inattentiveness, and reviews four primary dangers in the workplace. In addition, perspectives of employee health and safety are presented from industry and academia which provide the basis for a strong recommendation to include safety and health issues in business school curricula.

To effectively teach the United Nations Sustainable Development Goals to enhance corporate social responsibility, we need to understand the predictors of business student predispositions towards the SDGs. We examine whether location, authoritarianism, religiosity, and individualism influence university business student SDG preferences. Results indicate authoritarian and religious business students emphasize SDGs with an orientation towards the health and economic well-being of their local communities. The results also indicate the most significant factor in predicting SDG preference was university location. Southeastern U.S. students (...) were more supportive of people/prosperity-oriented SDGs, indicating greater concern with the social safety net and basic human needs, whereas Hawaiian students were more supportive of planet-oriented SDGs indicating greater concern for environmental issues. Implications for teaching SDGs to university business students are discussed. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Feminist Studies 41, no. 2. © 2015 by Feminist Studies, Inc. 335 Rachel Lumsden “The Music Between Us”: Ethel Smyth, Emmeline Pankhurst, and “Possession” But limelight is bad for me: the light in which I work best is twilight. —Virginia Woolf to Ethel Smyth1 There are few composers who seemed to seek the glow of public limelight more than Dame Ethel Smyth (1858–1944). Smyth fearlessly forged a career (...) for herself as a professional composer in Britain during a time when female musicians were largely regarded as inferior to male musicians and lacked equal educational and professional opportunities. Smyth’s brazen personality was evident from her early years; as a teenager, she battled for two years to gain her father’s approval to travel to Leipzig to further her musical studies. Smyth’s struggle for acceptance as a composer continued throughout her career; she composed large-scale works—including six operas—at a time when women were expected to write “feminine,” small-scale compositions (such as solo piano pieces and songs), and she fought unrelentingly to have her music performed. Throughout her career Smyth faced a barrage of sexist criticism, in which she was consistently referred to as a “lady composer” and alternatively praised and derided for writing “masculine” music: if a 1. Virginia Woolf, letter to Ethel Smyth (August 21, 1932), in The Letters of Virginia Woolf, ed. Nigel Nicolson and Joanne Trautmann (New York: Harcourt Brace Jovanovich, 1979), 5: 97. 336 Rachel Lumsden critic liked her work, it would be lauded for its “masculine strength,” and if a critic didn’t like her work, it would be admonished for exceeding the bounds of female propriety.2 Yet Smyth rarely flinched from battles. A defiant and prolific writer, Smyth also published an exhaustive array of books and memoirs: Impressions that Remained (1919), Streaks of Life (1921), A Three-Legged Tour in Greece (1927), A Final Burning of Boats (1928), Female Pipings in Eden (1933), Beecham and Pharaoh (1935), As Time Went On (1936), Inordinate (?) Affection (1936), Maurice Baring (1938), and What Happened Next (1940), using her literary works as a means of bringing her own experiences into the limelight. By chronicling the oppression and discrimination she consistently faced, she sought not only to draw attention to herself as a composer—whose works, in her mind, had been consistently and unjustly neglected by the public—but also to highlight the plight of female musicians in general. Smyth’s literary works are wide-ranging and cover a host of different subjects, including recollections about her own life, biographical portraits of close friends, excerpts from letters, reviews of her musical compositions, and her forthright opinions about women’s rights. A number of scholars have explored these different aspects of Ethel Smyth’s fascinating artistic career; however, most research on Smyth has focused either on her literary endeavors or her compositions. What is missing is a thoroughgoing analysis of the connections between the two. One exception is Elizabeth Wood, who has brilliantly discussed Smyth’s writings and music; however, many details of Smyth’s vast array of musical works still remain largely unexplored.3 This article examines 2. Smyth’s operas include Fantasio (1892–1894), Der Wald (1899–1901), The Wreckers (1902–1904), The Boatswain’s Mate (1913–1914), Fête Galante (1921– 1922), and Entente Cordiale (1923–1924). For more information about Smyth and the status of female musicians in Britain during this era, see Jane A. Bernstein, “‘Shout, Shout, Up with Your Song!’ Dame Ethel Smyth and the Changing Role of the British Woman Composer,” in Women Making Music: The Western Art Tradition, 1150–1950, ed. Jane Bowers and Judith Tick (Urbana: University of Illinois Press, 1986), 304–24; and Eugene Gates, “Damned If You Do and Damned If You Don’t: Sexual Aesthetics and the Music of Dame Ethel Smyth,” Journal of Aesthetic Education 31, no. 1 (Spring 1997): 63–71. 3. See Elizabeth Wood, “Performing Rights: A Sonography of Women’s Suffrage,” The Musical Quarterly 79, no. 4 (Winter 1995): 606–43; and Elizabeth Rachel Lumsden 337 a small, specific slice of Smyth’s oeuvre: her 1913 song “Possession,” dedicated to Emmeline Pankhurst (“E.P”), her friend and leader of... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:preface This issue invites us to consider examples of feminist cultural production that use music, graphic art, and film to resist sexual conventions. Andrea Wood turns our attention to lesbian sex and romance in comics, a genre that has long captivated lay readers and is gaining popularity in academic circles. Rachel Lumsden analyzes Ethel Smyth’s 1913 musical composition “Possession,” an ode to same-sex intimacy displaying a “sonic meld” of (...) passion, desire, and political commitment. Sharmila Lodhia’s account of Nina Paley’s film Sita Sings the Blues considers how a sexually charged anitmated representation of a traditional epic can spur battles over cultural authenticity. Ariane Cruz examines how sexual pleasure presses against racist histories in a study on black women and BDSM. Whether sexuality is policed, as Chloë Taylor explores in her article, or the policing of sexuality is shunned, as Lynn Comella addresses in her review essay, it is clear that the grip of sexual politics on women ’s sexual lives is strong. Wang Zheng’s News and Views piece recounts recent global feminist tactics used to release five young feminists jailed in China, an urgent reminder about how women’s bodies are policed in violent ways. We begin this issue with Chloë Taylor’s essay reflecting on how sexology and psychiatry function to represent female desire in narrow ways. Taylor explores how female sexual dysfunction is constructed in sexology and psychiatric practice and locates this as part of a longer history of rendering selected bodies and sexual practices as deviant. Her analysis is a valuable rejoinder to the ever-expanding grip of psychiatry on the ordering—and disordering—of women’s bodies and sexuality. The line between normal and abnormal is always shifting, but its constant is how it maneuvers and is maneuvered to control female sexual desire. Taylor’s argument moves toward a non-normalizing feminist sexology that can interrogate sexual practice and function without rendering any as “right” or “wrong.” 256Preface Andrea Wood also turns to female sexuality, specifically lesbian sex, love, and romance, in her article on comics as a literary genre. Lesbian romance comics, Wood argues, offer a different discursive lens for “making the invisible visible.” Using queer theory to interrogate romantic depictions of lesbian sex and sexuality, she explores how the visual narrative form of comics allows for a different and politically compelling depiction of lesbian identity and sexual activity. Although lesbian romance and same-sex desire has been an interest of many feminist scholars, few have examined the visual field of lesbian comics—a genre, Wood insists, that demonstrates resistance to what Adrienne Rich identified as “compulsory heterosexuality.” Rachel Lumsden draws our attention to composer Ethel Smyth’s understudied song “Possession.” The song is a rumination on what it means to possess something or someone, and what it means to be possessed ; it is also a song that Smyth dedicated to Emmeline Pankhurst, her political comrade as well as her close friend and muse. Lumsden reads the song as a creative, strategically ambiguous “ode to an intimate female relationship,” a tribute to the respect, affection, and tenderness that Pankhurst and Smyth shared. Rather than reveal the “truth” of Smyth’s relationship with Pankhurst, Lumsden instead invites readers to consider the “sonic meld” of “Possession” as a space through which “themes of desire, activism, eroticism, solidarity, and sacrifice coalesce and congeal ” and as a site through which Smyth narrated her experiences, passions, desires, and political commitments. Sharmila Lodhia engages the controversy surrounding Nina Paley’s re-telling of the Ramayana in her film Sita Sings the Blues, which some critics have deemed “offensive,” “insulting,” and a “desecration of the Ramayana and the Hindu faith.” Lodhia treats Paley’s film—which positions Sita rather than Ram as the story’s protagonist, deploys animation and myriad narrator perspectives, fuses Paley’s own story with Sita’s story, and sets the story to a 1920s blues soundtrack—as a productive “body of critique about the epic’s central teachings on virtue, righteousness, and idealized gender roles.” By situating Paley’s retelling of the Ramayana in the context of numerous and varied Ramayana retellings, Lodhia reveals that Sita Sings the Blues is a “creative... (shrink)

Some of the key primary source texts central to the history of British feminism are now being made available in the six volumes of Sources of British Feminism . These anthologies are intended to signal a tribute to the collective and collaborative efforts of writers whose work has effected profound social and political change. Writings compiled here include socialist manifestoes, miscellaneous pamphlets, personal reminiscences, full length biographies, histories of the various movements and impassioned treatises on the cause of women's rights (...) by leading advocates like Mary Astell, Barbara Bodichon and Emmeline Pankhurst. (shrink)

So Lentricchia has fulfilled one of his purposes in this essay. He has subverted the patriarchy from within: that is, he has subverted Bloom’s literary history as well as the essentialist feminism associated with it. But he has not fulfilled his affiliated purpose of establishing a dialogue between feminists and feminized males. The “feminization” of literary studies by patriarchal figures like Bloom does not account for the feminization of Stoddard, Gilder, Van Dyke, Woodberry, or Stedman. Their feminization, like that of (...) the Stevens who felt positively lady-like, was not the result of patriarchal oppression. And it will not disappear as the result of the subversion of the patriarchy by a feminized male. Mistaking the work of feminization with the work of the patriarch eradicates the feminine. By identifying the difference between a feminization produced by the patriarchy and a feminine cultural sphere, Lentricchia has made room for the different cultural conversation he wants to develop. But this conversation can take place only after the backdrop of an oppressive patriarch can drop away.This conversation might begin with an account of that cultural sphere in which women are the agency to which Lentricchia alludes. It might begin when we recall that the model for the culture’s “Emmeline Grangerfords” was Harriet Beecher Stowe’s Little Eva. The social change Little Eva helped effect was the emancipation of both slaves and slaveholders. Donald E. Pease is professor of English and American literature at Dartmouth College. His articles on nineteenth-century authors and literature have appeared in a number of journals. He is the coeditor, with Walter Benn Michaels, of American Renaissance Reconsidered, and is the author of Visionary Compacts: American Renaissance Writings in Cultural Contexts, which won the Mark H. Ingraham Prize in 1987. (shrink)

Astory is an instruction manual of sorts, containing rules for the manufacture of fictional objects. Consider the opening sentence from E. F. Benson's Mapp and Lucia: "Though it was nearly a year since her husband's death, Emmeline Lucas still wore the deepest and most uncompromising mourning."1 As the sentence does not describe someone who exists, it does not press a truth claim that could be substantiated by observing the person in question. Instead, it is an invitation to construction: the (...) reader is presented with guidelines for what he or she is to imagine. These guidelines do not fully determine what is imagined, since the exact shape and constitution of what a... (shrink)

In serious art, where the best talents of each generation work, we have seen the elimination of didacticism, moral lessons, and the sentimentality so characteristic of the preceding century; in their place we find the celebration of dryness, acerbity, irony, withdrawal from emotion, balance in tension, the reduction of the authorial and, finally, the human presence: "empty words, corresponding to the void in things."1 Literature as practiced and as taught in the schools has tended toward the allusive and the elusive, (...) intellectual games, the pastiche, the echo, the comment on the comment. Brought into relation with twentieth-century political extremism, it has given a large allowance to the grotesque subject and mirrored that subject in an undermining of human consciousness, that naïvely assumed constant that enables moral judgment. While few regret the death of Emmeline Grangerford, it may be that she died only to bequeath us Oskar Mazerath. The corrective swing taken by our literature has given us harpsichord exercises in response to megalithic politics, and "tragedy," the name of our highest inherited literary form, a form we no longer pursue, becomes a devalued label to paste in traffic accidents and on My Lai. Like the Germans who found it "poor form" to talk about certain kinds of killing,2 we may be in a position where our aesthetics works to block our morality. · 1. Norman O. Brown, Love's Body , p. 259.· 2. Raul Hilberg cites in relation to this point the 4 October 1943 speech of Heinrich Himmler on the extermination of the Jews: "It was with us, thank God, an inborn gift of tactfulness, that we have never conversed about this matter, never spoken about it. Every one of us was horrified, and yet every one of us knew that we could do it again if it were ordered and if it were necessary" to Critical Inquiry. (shrink)