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This first volume in a three-volume exposition of Shubik's vision of "mathematical institutional economics" explores a one-period approach to economic exchange with money, debt, and bankruptcy. This is the first volume in a three-volume exposition of Martin Shubik's vision of "mathematical institutional economics"--a term he coined in 1959 to describe the theoretical underpinnings needed for the construction of an economic dynamics. The goal is to develop a process-oriented theory of money and financial institutions that reconciles micro- and macroeconomics, using as a prime tool the theory of games in strategic and extensive form. The approach involves a search for minimal financial institutions that appear as a logical, technological, and institutional necessity, as part of the "rules of the game." Money and financial institutions are assumed to be the basic elements of the network that transmits the sociopolitical imperatives to the economy. Volume 1 deals with a one-period approach to economic exchange with money, debt, and bankruptcy. Volume 2 explores the new economic features that arise when we consider multi-period finite and infinite horizon economies. Volume 3 will consider the specific role of financial institutions and government, and formulate the economic financial control problem linking micro- and macroeconomics.
Now, more than ever, the world needs growth-oriented and socially inclusive policymaking. Is the world giving up on the promise of ever-greater prosperity for all, on functioning democratic institutions, and on long-term peace? Is the special set of circumstances that led to the recent rapid growth in emerging markets unlikely to be present in the future? Will the second decade of the twenty first century end with “secular stagnation”? Does the rise of authoritarianism, populism, and fanatic nihilism—all experienced over the last few years—threaten to unravel what has been built painstakingly since the catastrophe of World War II? Kemal Dervis addresses these and similar questions in this thought-provoking series of essays written for Project Syndicate from 2011 to 2015. The essays are organized in three sections: global economic interdependence, inequality and the political economy of reform, and the specific challenge of Europe. The common theme is the need for growth-oriented and socially inclusive policymaking in an interdependent world. These kinds of policies offer the potential for another wave of unprecedented human progress aided by breathtaking new technologies. However, a huge and destabilizing disruption is possible if policymaking is not globally cooperative and is not focused on inclusion and greater equity. These essays synthesize the experience and analysis of a scholar and policymaker with national, regional, and international experience at the highest levels. Dervis exhibits a passion for combining strongly held values with political feasibility.
with a memoir by William S. Heckscher Erwin Panofsky (1892-1968) was one of the preeminent art historians of the twentieth century. A new translation of his seminal work, Perspective as Symbolic Form, was recently published by Zone Books; now three remarkable essays, one previously unpublished, place Panofsky's genius in a different perspective: What Is Baroque?, Style and Medium in the Motion Pictures,andThe Ideological Antecedents of the Rolls-Royce Radiator. The essays are framed by an introduction by Irving Lavin, Panofsky's successor as Professor of Art History at the Institute for Advanced Study in Princeton, discussing the context of the essays' composition and their significance within Panofsky's oeuvre, and an insightful memoir by Panofsky's former student, close friend, and fellow emigr & e ́, William Heckscher. All three essays reveal unexpected aspects of Panofsky's sensibility, both personal and intellectual. Originally written as lectures for general audiences, they are composed in a lively, informal manner, and are full of charm and wit. The studies concern broadly defined problems of style in art--the visual symptoms endemic to works of a certain period (Baroque), medium (film), or national identity (England)--as opposed to the focus on iconography and subject matter usually associated with Panofsky's "method." The essay on Baroque, which Lavin considers "vintage Panofsky" and which appears here for the first time, and the one on film were written in 1934. The Rolls-Royce piece was written in 1962.
Anita Chari revives the concept of reification from Marx and the Frankfurt School to spotlight the resistance to neoliberal capitalism now forming at the level of political economy and at the more sensate, experiential level of subjective transformation. Reading art by Oliver Ressler, Zanny Begg, Claire Fontaine, Jason Lazarus, and Mika Rottenberg, as well as the politics of Occupy Wall Street, Chari identifies practices through which artists and activists have challenged neoliberalism's social and political logics, exposing its inherent tensions and contradictions.
Included in this volume are papers which are recognized as some of the foundations of post-Keynesian Economics, analysing problems set in historical time and starting from 'real world' observations. The book reflects Geoff Harcourt's contribution to economic debate over more than three decades. It also includes intellectual biographies of some of the most prominent and leading unorthodox economists, such as Kenneth Boulding, Eric Russell and Lorie Tarshis.