1,720,975 research outputs found
Dictionary Reconstructions of the History of the Theories of Crises and Cycles: A Meta-Taxonomy
No full textAuguste Ott on commercial crises and distributive justice: An early reproduction scheme
No full textIn 1851 the French Social economist Auguste Ott discussed the problem of gluts and commercial crises, together with the issue of distributive justice between workers in co-operative societies. He did so by means of a ‘simple reproduction scheme’ sharing some features with modern intersectoral transactions tables, in particular in terms of their graphical representation. The paper presents Ott’s theory of crises (which was based on the disappointment of expectations) and the context of his model, and discusses its peculiarities, supplying a new piece for the reconstruction of the prehistory of input-output analysis
Dal liberalismo al liberismo. Stato e mercato nella storia delle idee e dell'analisi degli economisti
No full textDal liberalismo al liberismo. Stato e mercato nella storia delle idee e dell'analisi degli economisti. Seconda edizione allargata con CD.
No full text“The unlooked for proselytizer. J. Robinson and the correspondence with Sraffa, Harrod and Kaldor” .
No full textIl saggio costituisce un capitolo di un libro che ha ricostruito le relazione tra i principali economisti di Cambridge nella prima parte del secolo scorso fino alla morte di Keynes nel 1946. In questo capitolo si ricostruiscono i rapporti di J. Robinson con Sraffa, Kaldor e Harrod. La maggiore attenzione è dedicata alla discussione tra la Robinson e Sraffa intorno alla pubblicazione di Economia della concorrenza imperfetta, ma sono affrontati anche i temi delle teorie dell'occupazione e della nascita del concetto di innovazione neutral
The Keynesian tutor. Kahn and the correspondence with Sraffa, Harrod and Kaldor
No full textIn this chapter, relying on new documentary evidence, the differences of approach, style and focus of those economists who were close to Keynes (Sraffa, Harrod, and Kaldor) are highlighted, in relation to Keynes’s ‘favourite pupil’ (as Kahn defined himself). Special importance is given to the period of the ‘Circus’, when Keynes’s new theories were arguing out (and sometimes independently developed) by the younger economists
Going Beyond Counting First Authors in Author Co-citation Analysis
Full text linkThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Variations on the Author
Full text link“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
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