Monday, May 13, 2013

The Best Novels and Plays About Business: Results of a Survey

Ed Younkins shares the following with AEL readers:



The Best Novels and Plays About Business: Results of  a Survey

My Koch Research Fellows, Jomana Krupinski and Kaitlyn Pytlak, and I conducted a survey of 250 Business and Economics professors and 250 English and Literature professors. Colleges and universities were randomly selected and then professors from the relevant departments were also randomly selected to receive our email survey. They were asked to list and rank from 1 to 10 what they considered to be the best novels and plays about business. We did not attempt to define the word “best” leaving that decision to each respondent. We obtained sixty-nine usable responses from Business and Economics professors and fifty-one from English and Literature professors. A list of fifty choices was given to each respondent and an opportunity was presented to vote for works not on the list. When tabulating the results, ten points were given to a novel or play in a respondent’s first position, nine points were assigned to a work in the second position, and so on, down to the tenth listed work which was allotted one point. The table below presents the top twenty-five novels and plays for each group of professors. Interestingly, fifteen works made both top-25 lists. These are noted in bold type.




The Best Novels and Plays about Business

Business and Economics Professors

English and Literature Professors

1.   Atlas Shrugged, Ayn Rand
457
1.   Death of a Salesman, Arthur Miller
282
2.   The Fountainhead, Ayn Rand
297
2.   Bartleby: The Scrivener, Herman Melville
259
3.   The Great Gatsby, F. Scott Fitzgerald
216
3.   The Great Gatsby, F. Scott Fitzgerald
231
4.   Death of a Salesman, Arthur Miller
164
4.   The Jungle, Upton Sinclair
143
5.   Time Will Run Back, Henry Hazlitt
145
5.   Babbitt, Sinclair Lewis
126
6.   The Jungle, Upton Sinclair
136
6.   Glengarry Glen Ross, David Mamet
121
7.   The Gilded Age, Mark Twain and Charles Dudley Warner
95
7.   The Rise of Silas Lapham, William Dean Howells
98
8.   Glengarry Glen Ross, David Mamet
89
8.   American Pastoral, Philip Roth
85
9.   God Bless You, Mr. Rosewater, Kurt Vonnegut, Jr.
57
9.   The Confidence Man, Herman Melville
75
10. Other People’s Money, Jerry Sterner
57
10. The Fountainhead, Ayn Rand
75
11. Bartleby: The Scrivener, Herman Melville
55
11. A Hazard of New Fortunes, William Dean Howells
66
12. A Man in Full, Tom Wolfe
48
12. The Octopus, Frank Norris
65
13. Babbitt, Sinclair Lewis
47
13. Atlas Shrugged, Ayn Rand
62
14. The Man in the Gray Flannel Suit, Sloan Wilson
43
14. Nice Work, David Lodge
62
15. Rabbit is Rich, John Updike
41
15. The Big Money, John Dos Passos
59
16. Major Barbara, George Bernard Shaw
39
16. The Gilded Age, Mark Twain and Charles Dudley Warner
58
17. Dombey and Son, Charles Dickens
33
17. Rabbit is Rich, John Updike
55
18. The Goal, Eliyahu M. Goldratt
33
18. Seize the Day, Saul Bellow
55
19. The Driver, Garet Garrett
32
19. Mildred Pierce, James M. Cain
54
20. Executive Suite, Cameron Hawley
32
20. The Financier, Theodore Dreiser
53
21. The Way We Live Now, Anthony Trollope
32
21. Dombey and Son, Charles Dickens
51
22. American Pastoral, Philip Roth
29
22. Sometimes a Great Notion, Ken Kesey
45
23. The Octopus, Frank Norris
29
23. The Last Tycoon, F. Scott Fitzgerald
44
24. Sometimes a Great Notion, Ken Kesey
28
24. The Moviegoer, Walker Percy
43
25. North and South, Elizabeth Gaskell
27
25. God Bless You, Mr. Rosewater, Kurt Vonnegut, Jr.
39

Friday, May 3, 2013

Arts Funding Debate at The Economist

The Economist is hosting a debate on Arts Funding. It begins with Alan Davey discussing how Keynes set up Britain's art council and arguing that, apparently, there was no art funding at all prior that, and that therefore there was no art being produced to speak of (how else is one to interpret phrases such as "Britain after the second world war didn't have much by way of arts provision" or defining Keynes' goal as being "essentially an attempt to address market failure"?) Mr. Davey is apparently unaware of the appearance of the distinctly anti-establishment Modernist movement that arose at the time and the fact that the artists without any public support were in fact the most productive and most creative of all the artists working. Pete Spence takes up the other argument, pointing out that government spending on art tends to crowd out competitive funding, support safe (conservative in the worst sense) art, and undermine market signals that drive artistic innovation and creativity. In the end, "No elite panel of experts should decide what art is best for us. We should decide what is best for ourselves. The dead hand of the state doesn't have much going for it—we should put it to rest and embrace the messy, diverse, vibrant tapestry of commercial funding."