2,309,346 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,
Naj, naj, naj Festival - production and reception
No full textRad započinje kratkom povijesti nastanka festivala, definicijom festivala kao forme i podjelom festivala. Nakon toga definirana je povijest Naj, naj, naj festivala od samoga osnutka kazališta. Autorica stavlja naglasak na produkciju jednog kazališnog festivala koji djeluje unutar ustanove. Podrobno je razrađena produkcija festivala u svim prepoznatljivim fazama. Također, pokazano je kako su sve poznate faze pretprodukcije, produkcije i postprodukcije u umjetničkom, financijskom i tehničko-organizacijskom aspektu istovjetne onome u kazalištu za odrasle, poznatijem kao „večernja scena“, sa zaključkom da svaki festival prolazi kroz iste ili slične faze produkcije. Veliku pozornost autorica usmjerava na specifičnosti dječje publike, kao i važnost Naj, naj, naj festivala za djecu, čime potkrepljuje poznatu tvrdnju da kazalište za djecu stvara buduću publiku kojoj će kazalište u zrelim godinama biti nezaobilazna potreba u napajanju vlastite duhovnosti i formiranju ličnosti kao kulturološkog bića, jer kazalište uči i zabavlja u isto vrijeme, formira ukus, uči djecu dijalogu i razvijanju tolerancije prema različitostima.
U drugom dijelu rada autorica govori o Naj, naj, naj festivalu kao kulturnoj potrebi grada Zagreba, ali i kao turističkoj ponudi grada Zagreba, gdje je navedeni festival na kulturnoj mapi Republike Hrvatske te naposljetku o festivalu kao brendu Gradskog kazališta Žar ptica. Primjerima iz Hrvatske dat će se uvid u analizu konkurencije i predstaviti jedan kazališni festival za djecu koji je po ustroju sličan Naj, naj, naj festivalu te jedan koji je u potpunosti različit.The thesis begins with a brief history of how the festival was conceived, the definition of the festival as an art form and its classification. What follows is the history of the Naj, naj, naj festival from the very establishment of the relevant theatre. The author focuses on the production of the specific theatre festival taking place within the institution. The festival production is elaborated in detail through all major phases. It is shown that all well-known phases of pre-production, production and post-production are identical (in terms of art, financing, technical and organizational issues) to that of the adult segment (known in this case as the evening scene).
In conclusion, every festival has the same or similar production phases. The author highlights specific features of children’s audience, as well as the importance of the Naj, naj, naj festival for children, thus supporting well-known claim that children's theatre creates the audience of the future for whom the theatre will play an important part in their adult years; it will help develop their own spirituality and cultural identity. As the theatre educates and entertains at the same time, it also shows children how to communicate, develops their artistic taste and cultivates diversity.
In the second part of the thesis, the author describes the Naj, naj, naj festival as a part of the cultural landscape of the City of Zagreb and of the City's tourist offer in which the Festival is positioned on the map of cultural events of the Republic of Croatia and finally, as the brand of the City Theatre Žar Ptica. Other examples from Croatia provide insight into the competition analysis and present another children's theatre festival which is similar to the Naj, naj, naj festival with regard to organization, and yet another example which is completely different
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,
John Adam Street [Adelphi development]
No full textNumber 8 John Adam Street (Royal Society for the Encouragement of Arts, Manufactures and Commerce), detail, medallion; Adam House (7-10 John Adam Street) is part of the Adelphi development designed in 1768-1772 by brothers Robert and John Adam. In addition to individual town houses, Robert Adam engaged in a number of urban-planning schemes. He often introduced varied shapes, including squares, crescents and circuses, although his long terraces of juxtaposed houses or unified façades on the sides of a square were more common. For these, he took the principles of his individual town-house compositions and adapted them to large and more complex groupings, often applying the delicate ornamentation in Liardet’s cement. The grandest of Adam’s schemes was the Adelphi, built on leased land between the Strand and the Thames. He embanked the Thames, raising the Royal Terrace’s houses (destroyed) above vaulted warehouses that he hoped the Government would lease. For this, and for the rest of this H-shaped development, he employed his favourite decorative elements, but in a composition without an obvious central emphasis. Though aesthetically satisfying, the Adelphi was a failure financially for the brothers. Source: Grove Art Online; http://www.oxfordartonline.com/ (accessed 7/17/2010
Adam Smith on public expenditure and taxation
No full textThis paper presents Adam Smith’s view on taxation and public expenditure, by means of an almost literal reading of the Wealth of Nations famous passages on the "duties of the sovereign" and on the "maxims of taxation". Contrarily to the commonest usage of these passages, we will show that their core is the preoccupation with the public expenditure soaring and the defence of decentralisation. Furthermore and also contrarily to the existing interpretations we defend the non-existence of any contradiction between Smith’s income and price theory (and the incidence hypothesis), provided due attention is paid to the guiding role of the "maxims".Adam Smith, taxation, public expenditure
Portrait of Mary Emma Smith, 1874 [picture] /
No full textTitle devised by cataloguer based on information from acquisitions documentation.; "Portrait of Adam Forster's wife to be"--Information from acquisitions documentation.; Also available in an electronic version via the Internet at: http://nla.gov.au/nla.pic-vn4975057; Donated by Mrs Florence Walker, nee Forster, grand-daughter of the artist, Adam Forster, 2010
Galop du ballet de Giselle / musique d'Adolphe Adam ; arrangé pour piano... par Adolphe Adam
No full textTitre uniforme : Adam, Adolphe (1803-1856). Compositeur. [Giselle]. Extrait ; réduction pour pianoGalops (piano) -- +* 1800......- 1899......+:19e siècle:Piano, Musique de (musique) -- +* 1800......- 1899......+:19e siècle
“Das adam Smith Problem” - uma análise comparativa das obras a teoria dos sentimentos morais e a riqueza das nações de Adam Smith
No full textTCC (graduação) - Universidade Federal de Santa Catarina. Centro Sócio-Econômico. Economia.Analisaremos aqui as relações existentes entre duas obras de Adam Smith, Teoria dos Sentimentos Morais (TSM) e Riqueza das Nações (RN), e a conseqüente relação entre moral e economia. Na primeira parte analisaremos as teses de Smith sobre filosofia moral (TSM) e economia política (RN). Na segunda parte analisaremos seletivamente a controvertida recensão dessas teses, o que ficou conhecido na história do pensamento econômico como “Das Adam Smith Problem”. Essa recensão dividi-se basicamente em duas interpretações: a primeira considera que entre a TSM e a RN haveria uma ruptura no pensamento de Smith, a segunda considera que existe uma unidade entre ambas as obras. Com relação à primeira interpretação, selecionamos a análise de Louis Dumont. E como contraponto, selecionamos a interpretação de Jean-Pierre Dupuy. Advogando a tese da unidade entre as obra de Smith, esse trabalho mostra as relações existentes entre a filosofia moral e economia para Adam Smith
Cartoon sketch, ca. 1880s [picture] /
No full textTitle devised by cataloguer based on information from acquisitions documentation.; Also available in an electronic version via the Internet at: http://nla.gov.au/nla.pic-vn4975070; Donated by Mrs Florence Walker, nee Forster, grand-daughter of the artist, Adam Forster, 2010
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