Art Truth &amp; Politics: Excerpts from the 2005 Nobel Lecture

Pinter, Harold

doi:10.2307/40159078

Cited by 7 publications

(17 citation statements)

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“…In this paper, Mark Aakhus and Michael Bzdak patiently and critically deconstruct Michael Porter and Mark Kramer's (2011) Harvard Business Review project of "shared value" which has taken on a Pinteresque speech act quality. "Shared value" is a trope which simply maintains the neo-liberal status quo, it is "not interested in truth, but interested in power and in the maintenance of that power" (Pinter 2005). This article suggests that the shared value franchise (editors' licence) creates a problematic framework for addressing sustainability and development largely because it categorically reduces social value to mere economic advantage and avoids any engagement with the critical disconnect in values between businesses and people.…”

Section: We Have Arranged the Resulting Articles As Followsmentioning

confidence: 99%

Empowering Students to Engage with Responsible Business Thinking and Practices

Murphy

Sharma

Moon

2012

Business and Professional Ethics Journal

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Sustainability as a narrative has mainstreamed, but practice is stuck in the 'valley of death,' with exemplary business action to internalize social and environmental externalities remaining ad hoc and small scale. Civil regulation has had significant impacts, but appears unable to act as a driver of systemic change. Addressing change at the system level requires the evolution of corporate governance away from intensive towards an extensive accountability, embedded within a 'public fiduciary.' Such a shift in fiduciary arrangements is needed to institutionalize and leverage the growing involvement of the state in economic and industrial practice through direct enterprise ownership, the increasing importance of sovereign wealth funds and national development banks, and the significance of public-private partnerships. This re-emergence of the role of the state in economic governance will underpin the next generation of corporate responsibility, framed largely by an international political economy led by major emerging economies.

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Section: We Have Arranged the Resulting Articles As Followsmentioning

confidence: 99%

Empowering Students to Engage with Responsible Business Thinking and Practices

Murphy

Sharma

Moon

2012

Business and Professional Ethics Journal

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“…What is false? (Pinter, 2005 1)These are the opening words of Harold Pinter’s Nobel Lecture, delivered in 2005. Pinter here begins by referring back to his earlier self, who claims that there is no hard distinction between what is true and what is false, and that it is too simplistic to think that truth is a simple matter of either/or, or on/off.…”

Section: Truths (In Plural)mentioning

confidence: 99%

Unintentional investigations: Truth in drama and “all that ‘ordinary’ in the phrase ‘ordinary language philosophy’ means”

Forsberg

2021

Policy Futures in Education

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This paper explores the notion of truth in relation to literature. It opens with a critical exposition of some dominant tendencies in contemporary aesthetics, in which narrow views of truth and reference guide the aesthetic investigations in harmful ways. One of the problems with such as view is not merely that it becomes difficult to talk about truth in art, but that it also makes the idea that we can learn something from literature problematic. The effort of this paper is thus to open up for a variety of notions of truth, that are not immediately tied to the notion of representation or correspondence. We need a way of talking about truth in art. The effort to explore a notion of truth in art that is not tied to narrow views about reference, and which broadens our sense of “aboutness” goes, in this paper, via a reading of Harold Pinter’s Nobel Lecture from 2005, together with some reflections inspired by some of Stanely Cavell’s reflections about the relevance of reflecting upon ordinary language. It is argued that literature engages in a form of conceptual reflection, by means of making the sense of our concepts clear and by challenging philosophical preconceptions about what our concepts must mean. What we can learn from art is thus not necessarily toed to either representation or authorial intent, but comes into view by means of the literary exercises that often (but certainly not always) require a conceptual sensitivity; that is, by means of careful attention to what words mean and what follows from them in specific contexts of use.

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“…Pinter outlines that truth in art is a hazy commodity as 'truth in drama is forever elusive' and we 'stumble upon the truth in the dark'. 58 However, once you have discovered truth in drama, he argues, 'sometimes you feel you have the truth of a moment in your hand, then it slips through your fingers and is lost'. 59 In James M. Harding's outline, 'Pinter understands his role as an artist to be that of illuminating the elusiveness of truth vis-àvis an artistic search for it'.…”

Section: The State Of Exception and Performancementioning

confidence: 99%

Exception and the Rule: Agamben, Stuff Happens, and Representation in the Post-Truth Age

Wilson¹

2020

New Theatre Quarterly

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The contemporary post-truth environment imposes limitations and ethical consid erations upon the political theatre-maker’s ability to highlight political leaders’ exceptional acts of deception. By unpacking and applying Giorgio Agamben’s writing on the State of Exception to post-truth political performances, Alex D. Wilson discusses in this article how political deception is an exceptional act of sovereign power and how the state of exception is an inherently performative phenomenon. The inherent challenges this state of affairs presents to the theatre are discussed with particular reference to David Hare’s Stuff Happens (2004), which, it is argued, falls into its own state of exception in terms of its approach to truth. Alex D. Wilson is a PhD candidate in Theatre Studies at the University of Otago, who recently completed an MA which explored ethical authorship of British theatrical work produced in response to the 2003 Invasion of Iraq. He is the artistic director of Arcade, a Dunedin-based performing arts company.

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Art Truth & Politics: Excerpts from the 2005 Nobel Lecture

Cited by 7 publications

References 0 publications

Empowering Students to Engage with Responsible Business Thinking and Practices

Empowering Students to Engage with Responsible Business Thinking and Practices

Unintentional investigations: Truth in drama and “all that ‘ordinary’ in the phrase ‘ordinary language philosophy’ means”

Exception and the Rule: Agamben, Stuff Happens, and Representation in the Post-Truth Age

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