22,876 research outputs found
ADAM SMITH'S OPTIMISTIC TELEOLOGICAL VIEW OF HISTORY
Full text linkAdam 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,
How Might Adam Smith Pay Professors Today?
Full text linkAdam 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?
Full text linkThe 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,
Low-valent and low-coordinate titanium and molybdenum complexes supported with bulky amido ligands
No full textThesis (Ph. D.)--Massachusetts Institute of Technology, Dept. of Chemistry, 1997.Vita.Includes bibliographical references.by Adam Reid Johnson.Ph.D
Crítica de Thomas Reid al sistema de la simpatía de Adam Smith
Full text linkIn order to understand Thomas Reid’s critique of Adam Smith’s Sympathy System it is necessary to determine the relation between this system and the moral phenomenon of sympathy in David Hume. From this perspective, the system can be seen as framed within the ‘Theory of Ideas’ —as Reid names it— which is developed according to a hypothetical-deductive methodology rather than a Newtonian inductive method, and therefore has no realistic or metaphysical scope.Para comprender la crítica de Thomas Reid al sistema de la simpatía de Adam Smith, es necesario establecer la relación existente entre este sistema y el fenómeno moral de la simpatía en David Hume. Así ese sistema queda enmarcado dentro de la teoría de las ideas, denominada así por Reid, que se desarrollaría según una metodología hipotético-deductiva, y no según el método inductivo newtoniano, por lo que no tendría un alcance realista y metafísico
REID BROS, LTD / 101 /STANDARD SONGS / Tonic Solfa and Old Notation Combined_Full Pianoforte Accompaniments.
No full textTitle page: "E.T POTTER / Everything Musical / [... SALI]SBURY[?]" [stamp]Box no. 1Reid Bros: 101 Standard Songs; music printItem type: book | Content type: music and text | Counting of pages: page numbersvocal-instrumental score | staff notation; tonic sol-fa notation | voice; piano"Men of Harlech in the hollow, Do ye hear, like rushing billow [...]"March of the Men of Harlech (words by W.[illiam] Duthie); Giordani: Caro Mio Ben; Samuel Lover: Molly Bawn [from “Il Paddy Whack in Italia”]; W.[illiam] H.[erbert] Jude: Silvery Bells (words by W.[illiam] Cartwright-Newsam); Dr W[ilia]m Boyce: Heart of Oak (words by David Garrick); J. Louis Rockliffe and H.[enry] T.[emple] Leslie: The Four Jolly Smiths; Richard Wagner: Star of Eve [“O du mein holder Abendstern" from "Tannhäuser und der Sängerkrieg auf Wartburg”.]; C.M. von Weber: When the thorn is white with blossom (words by S.C.) [Lied der Hirtin]; Samuel Lover: The low back'd car; My love is like a red, red rose (Air "Low down in the broom.") (words by [Robert] Burns); Carl Monteith: Dream of Me (words by Clifton Bingham); Widdicome Fair; Scots wha hae; Kathleen O'Moore; Clement Locknane: I know a little word (words by Geo. Grossmith Jun.); A. Grieg: Love is like sweet briar roses; H. Evan-Jones: Lily of Llanover (words by Cyril Oakes); Henry C.[lay] Work: Marching through Georgia; [John Wall Callcott]: Drink to me only with thine eyes ([words by] Ben Jonson); Claude Melville: Take back thy Gift (words by Edward Oxenford); J.[ohn] L.[iptrot] Hatton: The Lark now leaves his wat'ry Nest (words by sir W.[illiam] Davenant); W.[illiam] H.[erbert] Jude: For King and Country; Fred Whishaw: When all the World is Young (words by Charles Kingsley); Rocked in the Cradle of the Deep; Thomas P.[ayne] Westendore [instead of Westendorf]: Dar's one more ribber for to cross. The Great Jubilee Song (words by James Hosey); James James and Owain Alaw [John Owen]: Land of my Fathers; Gerard F.[rancis] Cobb: Carisbrooke (words by G.[eorgeanne] Hubi Nemcombe; Eliza Cook and John Blockley: Many happy returns of the day; W.[illoughby] H.[unter] Weiss: The Village Blacksmith (words by [Henry Wadsworth] Longfellow); Virginia Gabriel: Cleansing Fires (words by Adelaide Proctor); Henry Bishop: Home Sweet Home ([words by John Howard] Payne); The Campbells are comin'; R.[ichard J.[ohn] S.[amuel] Stevens: Sigh no more, ladies; W. H. Lonsdale: Cupid's Darts; S.[ydney] Nelson: Madoline (Edward J. Gill); Adam Geibel: Wonderland. Fairy Lullaby; Clementine ([words by] Percy Montrose [instead of Montross]); The harp that once thro' Tara's halls; A.[lexander] Hume: Afton Water; Arthur S.[eymour] Sullivan: If doughty deeds my lady please (words by [Robert Cunninghame] Graham of Gartmore); A. Grieg: To Daffodils (from love's litanies) (words by Kenneth Douglas); Claude Melville and W[illia]m Cartwright Newsam: The Angelus; [Friedrich Glück:] The Mill Wheel (“In einem kühlen Grunde”; [words by Joseph von Eichendorff]); Ch.[arles] Gounod: When all was young. Romance from "Faust" (“Si le bonheur à sourer t’invite”); Bonnie Dundee; Claribel [pseudonym of Charlotte Alington Barnard]: Take back the heart ([words by] G. R. Gifford); Julius Benedict: Eily Mavourneen; Julius Benedict: I'm Alone; Arthur [Seymour] Sullivan: A Hymn of the Home-land (words by H.[ugh] R.[eginald] Haweis); Caller Herrin'; C.[harles] Gounod: Serenade ([words by Victor Hugo]); John Peel; Claribel: Come Back to Erin; The wearing of the Green; Claribel: I cannot sing the Old Songs; John Hullah: The Storm. Descriptive song (words by Adelaide Procter); The Blue Bells of Scotland; Julius Benedict: By the Sad Sea Waves ([words by] Alfred Bunn); Henry Russell: A life on the ocean wave (words by E.[pes] Sargent); Mary of Argyle; S.[tephen] C.[ollins] Foster: My Old Kentucky Home; The Keel Row; John Brown's Body. March Song of the American Civil War; W.[illiam] H.[erbert] Jude: On the deep blue sea (words by Clifton Bingham); Alfred Redhead: The North Wind doth blow; Poor Old Joe; Brinley Richards: God bless the Prince of Wales; Auld Lang Syne (words by Robert Burns); Claribel: You and I; Claribel: Milly's Faith; Henry Lamb [pseudonym of George L. Spaulding]: The Volunteer Organist ([words by William B. Gray]); Braham: The Anchor's Weigh'd; John Hoskins: Mollie Malone; J.[ames] Pierpont: Jingle Bells; M.[ichael] W.[illiam] Balfe: Come into the garden Maud ([words by] Alfred Tennyson); Dolores [pseudonym of Ellen Dickson]: Wings (words by W.[illiam] Cartwright-Newsam); Joseph Barnby: Sweet and low (arrangement by W.[illiam] H.[erbert] Jude; [words by] Alfred Tennyson); Alfred G.[eorge] Robyn: Answer? Ballad; Claude Melville: Go forth! O my Spirit. Sacred song (words by W.[illiam] Cartwright-Newsam); Victor Girdlestone [pseudonym of Gustav Krenkel]: Life's Secret (words by A.[nna] L.[aetitia] Barbauld); Annie Laurie ([words by Alicia Ann Scott?]); C.[harles] F. Shattuck: A hundred fathoms deep (words by R.[ichard] Cranshaw); Arthur [Seymour] Sullivan: Orpheus with his Lute (words by [William] Shakespeare); Barbara Allen; Francis Böhr: God Bless our England; Fred Whishaw: Music when soft voices die (words by [Percy Bysshe] Shelley); Claribel: Strangers Yet ([words by Richard Monckton Milnes] Houghton); Love's Mirror (arrangement by A. L.); M.[ichael] W.[illiam] Balfe: When other lips; Anton Strelezki: When twilight comes [original title: Dreams] ([words by] Baroness Porteous); W. Jackson: The Dear little Shamrock ([words by] Oherry); John L.[iptrot] Hatton: Good-bye Sweetheart Good-bye ([words by] Folkestone Williams; J.[oseph] Ascher: Alice, where art thou? ([words by Wellington Guernsey]); Edwin Greene: My Home (words by Clifton Bingham); M.[ichael] W.[illiam] Balfe: Killarney ([words by] E.[dmund] Falconer); Comin; thro' the Rye; [Henry] R.[owley] Bishop: Chime again, beautiful Bells; Francis Böhr: Love's Message (words by Maud Bolton); Within a Mile of Edinburgh Toon; Henry R.[obinson] Allen: Maid of Athens ([words by] Lord Byron); Louis Diehl: Jack's Yarn (words by F.[rederick] E.[dward] Weatherly
Adam Smith and Roman Servitudes
Full text linkThis essay is a preprint of an article that appeared at: Tijdschrift voor Rechstsgeschiedenis, 72 (2004), 327–57.This essay discusses Adam Smith historical jurisprudence and his use of Roman law materials in his Lectures on Jurisprudence. It argues that Smith found it difficult to maintain his theory of legal development in the face of a highly developed body of Roman law literature
THE THEOLOGICAL FOUNDATION OF ADAM SMITH'S WORK
Full text linkThe paper will discuss the theological foundation to Smith's writings. Teleology, final causes and divine design were initially seen as central to understanding Smith's writings. Over time, this view fell out of fashion. In the period after World War II, with the rise of positivism, commentators tended to overlook or downplay this interpretation. In the last decade, or so, teleology has started to be restored to its former position as an essential element in understanding Smith. After spelling out Smith's teleology and his view of final causes, divine design and the ends of nature, we try to explain the Panglossian nature of the 'new theistic view' of Smith. While our view differs somewhat, we agree with the essence of the 'new view' claim: a theological view exists in Smith which underpins his moral and economic theories.Political Economy,
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