Before mainly focussing on Jerome Robbins and Robert Wise’s musical to examine relevant correspondences with Shakespeare’s play (such as the sustained rhythm of physical confrontations, or the poetic stasis of pure love, or the hectic reactions induced by loss and despair, or other emotional archetypes), this chapter will examine former screen adaptations in relation with either music or singing or dancing (including George Cukor’s 1936 version, with Agnes de Mille as a choreographer; André Cayatte’s 1949 Les Amants de Vérone, with Isabelle Aubret as a singer and Renato Castellani’s 1954 version, with Roman Vlad as a composer), so as to consider how and when emotional intensity is added to the play-text, and how West Side Story takes after and also increases such emotional intensity, as it wonderfully combines its screenplay with songs, symphonic orchestra, melodic and rhythmic variations, the dramatic device of leitmotifs and choreography.

This chapter argues that, although Samuelson developed much of the standard welfare theory based on individualism and the Pareto criterion, he attached great importance to ethical judgments that went beyond welfarism. Following his teacher, Frank Knight, he consistently argued that welfare judgments had to be based on ethical assumptions, his social welfare function providing a way that the implications of alternative ethical judgements could be analyzed. He attached great importance to the distribution of income and his own ethical values involved non-consequentialist elements.