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The-Morality-of-Capitalism-PDF

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<strong>of</strong> diverse cultures. In this manner, all other peoples, and notjust the small and weak ones, will lose their identity, theirsoul, and will become no more than twenty-first-centurycolonies—zombies or caricatures modeled after the culturalnorms <strong>of</strong> a new imperialism that, in addition to ruling overthe planet with its capital, military might, and scientificknowledge, will impose on others its language and its ways<strong>of</strong> thinking, believing, enjoying, and dreaming.This nightmare or negative utopia <strong>of</strong> a world that, thanks toglobalization, is losing its linguistic and cultural diversity andis being culturally appropriated by the United States, is not theexclusive domain <strong>of</strong> left-wing politicians nostalgic for Marx, Mao,or Che Guevara. This delirium <strong>of</strong> persecution—spurred by hatredand rancor toward the North American giant—is also apparentin developed countries and nations <strong>of</strong> high culture and is sharedamong political sectors <strong>of</strong> the left, center, and right.<strong>The</strong> most notorious case is that <strong>of</strong> France, where we see frequentgovernment campaigns in defense <strong>of</strong> a French “cultural identity”supposedly threatened by globalization. A vast array <strong>of</strong> intellectualsand politicians is alarmed by the possibility that the soil thatproduced Montaigne, Descartes, Racine, and Baudelaire—and acountry that was long the arbiter <strong>of</strong> fashion in clothing, thought,art, dining, and in all domains <strong>of</strong> the spirit—can be invaded byMcDonald’s, Pizza Hut, Kentucky Fried Chicken, rock, rap,Hollywood movies, blue jeans, sneakers, and T-shirts. This fearhas resulted, for instance, in massive French subsidies for the localfilm industry and demands for quotas requiring theaters to showa certain number <strong>of</strong> national films and limit the importation<strong>of</strong> movies from the United States. This fear is also the reasonwhy municipalities issued severe directives penalizing with highfines any publicity announcements that littered with Anglicismsthe language <strong>of</strong> Molière. (Although, judging by the view <strong>of</strong> apedestrian on the streets <strong>of</strong> Paris, the directives were not quiterespected.) This is the reason why José Bové, the farmer-cumcrusaderagainst la malbouffe (lousy food), has become no lessthan a popular hero in France. And with his recent sentencingto three months in prison, his popularity has likely increased.115

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