19,206 research outputs found
ADAM SMITH'S OPTIMISTIC TELEOLOGICAL VIEW OF HISTORY
No full textAdam Smith's four-stage theory provides the framework for his writings on history. The fourth stage is the commercial epoch; the culmination of history in this stage is a key component in the conventional interpretation of Adam Smith as a prophet of commercialism. In two historical case studies Smith shows the capacity of commercial society to regenerate itself. This potent capacity suggests that commercial society is inevitable. At a certain point in time it also overcomes the major obstacles to its permanence. Smith's philosophy of history anticipates the end of history views of Kant and Hegel.Political Economy,
Reproduction of the Schreyer-Landauer Monument
No full textLeft panel, Resurrection, showing the Risen Christ and his sepulcher; The original is in sandstone, dated ca. 1490-1492 and is located on the exterior of the apse at the Church of St. Sebaldus, Nuremberg, Germany. Adam Kraft was a leading sculptor of the final phase of the Late Gothic period in Germany. His many works in stone, which range from monumental sculptures for public places to decorative ornaments for private residences, were commissioned primarily by Nuremberg patrons, between 1490 and 1509. When in 1490 Kraft was first mentioned in a Nuremberg document, he was already established as a master with his own workshop. In this year he was commissioned to make an elaborate stone relief to replace a weathered mural on the east choir of St. Sebaldus. This epitaph for the Schreyer and Landauer families, showing extended narrative scenes from the Passion and Resurrection, is replete with anecdotal detail, a hallmark of Kraft’s work. Source: Grove Art Online; http://www.oxfordartonline.com/ (accessed 5/10/2009
D. Adam Struensee kurze Abhandlung von der übernatürlichen Kraft des Wortes Gottes
No full textD. ADAM STRUENSEE KURZE ABHANDLUNG VON DER ÜBERNATÜRLICHEN KRAFT DES WORTES GOTTES
D. Adam Struensee kurze Abhandlung von der übernatürlichen Kraft des Wortes Gottes ([1])
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How Might Adam Smith Pay Professors Today?
No full textAdam Smith’s proposal for paying professors was intended to induce increased faculty knowledge. If students have imperfect information about what they learn, and universities can only imperfectly measure the input of faculty time in student learning, publications may be used to measure faculty knowledge. If professors’ ability to publish is positively related to their ability to produce student learning, which universities can imperfectly measure, publications may be necessary to attract more able professors. Since research signals faculty knowledge, schools that do not value publications per se could require higher publication standards and pay higher wages than schools that value only publications.
ADAM SMITH'S VIEW OF HISTORY: CONSISTENT OR PARADOXICAL?
No full textThe conventional interpretation of Adam Smith is that he is a prophet of commercialism. The liberal capitalist reading of Smith is consistent with the view that history culminates in commercial society. The first part of the article develops this optimistic interpretation of Smith's view of history. Smith implies that commercial society is the end of history because 1) it supplies the ends of nature that he identifies; 2) it is inevitable; and 3) it is permanent. The second part of the article shows that Smith has some dark moments in his writings where he seems to reject completely such teleological notions. In this more civic humanist mood he confesses that commercial society does not supply the ends of nature, nor is it inevitable, nor is it permanent. Both views exist in Smith and the commentator is forced to choose between passages in Smith's work in order to support a particular interpretation of the former's view of history.Political Economy,
Adam Kraft’s Moving Sandstones
No full textAdam Kraft, Albrecht Dürer’s contemporary in Nuremberg, worked in the material of sandstone to provide a comparable experience in carved relief about the Passion of Christ. Both artists began their work in Nuremberg around the same time, 1490, although the older Kraft actually predeceased Dürer by two full decades (1508/1528). But both Nuremberg artists shared a religious sentiment of late-medieval art as having a goal to evoke pious emotions through vivid, multi-figured narrative re-enactments. Kraft’s Stations of the Cross series simulates an imaginary pilgrimage in Jerusalem itself. Through their visual process, both Kraft and Dürer moved pious empathy in their—literally—moving viewers of Passion sequences
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