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The Limits of Utilitarianism
Harlan B. Miller and William H. Williams, Editors
University of Minnesota Press, 1982

The Limits of Utilitarianism was first published in 1982. Minnesota Archive Editions uses digital technology to make long-unavailable books once again accessible, and are published unaltered from the original University of Minnesota Press editions.

Many philosophers have argued that utilitarianism is an unacceptable moral theory and that promoting the general welfare is at best only one of the legitimate goals of public policy. Utilitarian principles seem to place no limits on the extent to which society may legitimately interfere with a person's liberties - provided that such actions can be shown to promote the long-term welfare of its members. These issues have played a central role in discussions of utilitarianism since the time of Bentham and Mill. Despite criticisms, utilitarianism remains the most influential and widely accepted moral theory of recent times.

In this volume contemporary philosophers address four aspects of utilitarianism: the principle of utility; utilitarianism vis-à-vis contractarianism; welfare; and voluntary cooperation and helping others. The editors provide an introduction and a comprehensive bibliography that covers all books and articles published in utilitarianism since 1930.

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My Excellency
Comedy in Three Acts
Luis Rechani Agrait
Swan Isle Press, 2025
William Carlos Williams’s “lost” translation of Luis Rechani Agrait’s masterpiece.

William Carlos Williams’s passion for his matrilineal Puerto Rican roots led him to visit Puerto Rico for the first time in 1941. There at a writers’ conference, he befriended the playwright Luis Rechani Agrait, who gave him his play Mi señoría, staged to acclaim the previous year. 

My Excellency, as Williams calls the play in his translation, is a political farce set in an “imaginary country” that resembles Puerto Rico during the Great Depression, with its high unemployment and labor unrest. The play focuses on the plight of an idealistic but naive man, Buenaventura Padilla, in a completely corrupt political system. Through an unscrupulous election, he becomes the nation’s leader.

The play is successful as a satire largely because of Buenaventura’s hilarious language—recreated by Williams—with its pompous style combined with stunning malapropisms and clownish errors in history and grammar. The play’s very title is a laughable malapropism. My Excellency shows the corrupting power of success and the tragic flaw of materialism. Driving the comedy in Williams’s translation is his firm command of the play’s dialogue interwoven with popular idioms in which the charm of pure nonsense abounds. This edition is Luis Rechani Agrait’s debut as a playwright in English.
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Tourism, Landscape, and the Irish Character
British Travel Writers in Pre-Famine Ireland
William H. A. Williams
University of Wisconsin Press, 2007

Picturesque but poor, abject yet sublime in its Gothic melancholy, the Ireland perceived by British visitors during the eighteenth and nineteenth centuries did not fit their ideas of progress, propriety, and Protestantism. The rituals of Irish Catholicism, the lamentations of funeral wakes, the Irish language they could not comprehend, even the landscapes were all strange to tourists from England, Wales, and Scotland. Overlooking the acute despair in England’s own industrial cities, these travelers opined in their writings that the poverty, bog lands, and ill-thatched houses of rural Ireland indicated moral failures of the Irish character.

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'Twas Only an Irishman's Dream
The Image of Ireland and the Irish in American Popular Song Lyrics, 1800-1920
William H. A. Williams
University of Illinois Press, 1996

Over time, the image of the Irish in the United States changed from that of hard-drinking Paddies to genial working-class citizens. 

In 'Twas Only an Irishman's Dream, William H. A. Williams traces the change in this image through more than seven hundred pieces of sheet music--popular songs from the stage and for the parlor--to show how Americans' opinions of Ireland and the Irish swung from one extreme to the other. 

As Williams shows, sheet music's place as a commercial item meant it had to be acceptable to the broadest possible song-buying public. Negotiations about the image of the Irish and Irish Americans involved Irish songwriters, performers, and pressured groups on one side, and non-Irish writers, publishers, and audiences on the other. Williams ties the contents of song lyrics to the history of the Irish diaspora, revealing how societies create ethnic stereotypes and how such stereotypes evolve, and even disappear, from mainstream popular culture.

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