scholarly journals A Critical History of "Public Rational Inflation Expectations": Rethinking its Foundations

2021 ◽  
Author(s):  
Yair Barak
Keyword(s):  
Rational Expectations ◽  
Nobel Laureate ◽  
Inflation Expectations ◽  
The Core ◽  
Critical History ◽  
History Of ◽  
Economic Reality

The core claim of the paper is that public rational expextations of inflation is a more mystic than science. The main evidence is That article, which has been written by Nobel laureate, Thomas Sargent and prof. Joseph Zeira, was based on fake facts, which showed that the rational expectations theory is refutable as confronted with economic reality and facts.

scholarly journals A Critical History of "Public Rational Inflation Expectations": Rethinking its Foundations

2021 ◽  
Author(s):  
Yair Barak
Keyword(s):  
Rational Expectations ◽  
Nobel Laureate ◽  
Inflation Expectations ◽  
The Core ◽  
Critical History ◽  
History Of ◽  
Economic Reality

The core claim of the paper is that public rational expextations of inflation is a more mystic than science. The main evidence is That article, which has been written by Nobel laureate, Thomas Sargent and prof. Joseph Zeira, was based on fake facts, which showed that the rational expectations theory is refutable as confronted with economic reality and facts.

scholarly journals Mutable Form and Materiality: Toward a Critical History of New Tapestry Networks

ARTMargins ◽  
2016 ◽  
Vol 5 (1) ◽  
pp. 3-29
Author(s):  
Jessica Gerschultz
Keyword(s):  
Art History ◽  
Institutional Support ◽  
Fiber Art ◽  
The Core ◽  
Critical History ◽  
State Patronage ◽  
History Of ◽  
Aesthetic Formalism ◽  
The 1960S

This article raises two concerns underpinning the need for a critical history of fiber art in the 20th century. The first is a critique of aesthetic formalism predominant in the Lausanne Biennale during the 1960s and 70s, which overlooks artistic, ideological, and political milieus that drew together textile artists from localities formerly treated as peripheral in art history. The second holds to account Euro-American institutions and related historiographies for their curatorial exclusion of Arab and African fiber artists. Such inclusion, I argue, would have conjured tapestry's deeper incongruities, which emanated from unresolved questions at the core of modernism: the assigning and appropriating of artistic identities, the evaded issue of state patronage, and the persistent ideological and aesthetic problem of craft and its framing within economies. By comparing three artists: Magdalena Abakanowicz, Jagoda Buic, and Safia Farhat, I reassess New Tapestry networks, myths, and systems of state and institutional support. The circulation of Abakanowicz, Buic, and Farhat around a conflux of dimensions signals a new pathway for recovering and writing a history of fiber art, and perhaps a reflection on modernism at large.

scholarly journals Thinking Historically about Neoliberalism: A Response to William Davies

2014 ◽  
Vol 31 (7-8) ◽  
pp. 303-307 ◽  
Author(s):  
Nicholas Gane
Keyword(s):  
19Th Century ◽  
Historical Analysis ◽  
John Stuart Mill ◽  
Popular Politics ◽  
Complex Relationship ◽  
The Core ◽  
Critical History ◽  
Starting Point ◽  
History Of ◽  
The 19Th Century

This brief response to Will Davies clarifies and expands a number of the core arguments of the article ‘The Emergence of Neoliberalism: Thinking through and Beyond Michel Foucault’s Lectures on Biopolitics’ (published in TCS 31(4): 3–27). It is argued that it is a mistake to treat Foucault as a neoliberal because his lectures on biopolitics centred on the emergence of different trajectories of neoliberal reason. Instead, Foucault’s genealogy of neoliberalism can be read as a critical history, one that is partial and incomplete but which nonetheless can be used as a starting point to think historically and critically about neoliberalism. It is suggested that a more nuanced history of neoliberalism, however, can be developed by paying closer attention to the complex relationship between neoliberal reason and the earlier liberal ideas of the 19th century – in particular those of John Stuart Mill. Finally, a claim is made for the value of historical analysis for understanding and responding to the challenges of the post-crisis present, to a situation in which neoliberal ideas appear to have a near-hegemonic grip over popular politics and discourse.

Same Address, Different Doors: Post-Heritage Deconstruction of the Heritage Household in Upstairs Downstairs in the 1970s and 2010s

2020 ◽  
Author(s):  
William Abbiss
Keyword(s):  
Final Section ◽  
Social Structures ◽  
The Third ◽  
The Past ◽  
War Narrative ◽  
Critical History ◽  
The Social ◽  
Fourth Series ◽  
History Of ◽  
Multiple Episodes

This article offers a ‘post-heritage’ reading of both iterations of Upstairs Downstairs: the LondonWeekend Television (LWT) series (1971–5) and its shortlived BBC revival (2010–12). Identifying elements of subversion and subjectivity allows scholarship on the LWT series to be reassessed, recognising occasions where it challenges rather than supports the social structures of the depicted Edwardian past. The BBC series also incorporates the post-heritage element of self-consciousness, acknowledging the parallel between its narrative and the production’s attempts to recreate the success of its 1970s predecessor. The article’s first section assesses the critical history of the LWT series, identifying areas that are open to further study or revised readings. The second section analyses the serialised war narrative of the fourth series of LWT’s Upstairs, Downstairs (1974), revealing its exploration of female identity across multiple episodes and challenging the notion that the series became more male and upstairs dominated as it progressed. The third section considers the BBC series’ revised concept, identifying the shifts in its main characters’ positions in society that allow the series’ narrative to question the past it evokes. This will be briefly contrasted with the heritage stability of Downton Abbey (ITV, 2010–15). The final section considers the household of 165 Eaton Place’s function as a studio space, which the BBC series self-consciously adopts in order to evoke the aesthetics of prior period dramas. The article concludes by suggesting that the barriers to recreating the past established in the BBC series’ narrative also contributed to its failure to match the success of its earlier iteration.

Same Address, Different Doors: Post-Heritage Deconstruction of the Heritage Household in Upstairs Downstairs in the 1970s and 2010s

2020 ◽  
Author(s):  
William Abbiss
Keyword(s):  
Final Section ◽  
Social Structures ◽  
The Third ◽  
The Past ◽  
War Narrative ◽  
Critical History ◽  
The Social ◽  
Fourth Series ◽  
History Of ◽  
Multiple Episodes

This article offers a ‘post-heritage’ reading of both iterations of Upstairs Downstairs: the LondonWeekend Television (LWT) series (1971–5) and its shortlived BBC revival (2010–12). Identifying elements of subversion and subjectivity allows scholarship on the LWT series to be reassessed, recognising occasions where it challenges rather than supports the social structures of the depicted Edwardian past. The BBC series also incorporates the post-heritage element of self-consciousness, acknowledging the parallel between its narrative and the production’s attempts to recreate the success of its 1970s predecessor. The article’s first section assesses the critical history of the LWT series, identifying areas that are open to further study or revised readings. The second section analyses the serialised war narrative of the fourth series of LWT’s Upstairs, Downstairs (1974), revealing its exploration of female identity across multiple episodes and challenging the notion that the series became more male and upstairs dominated as it progressed. The third section considers the BBC series’ revised concept, identifying the shifts in its main characters’ positions in society that allow the series’ narrative to question the past it evokes. This will be briefly contrasted with the heritage stability of Downton Abbey (ITV, 2010–15). The final section considers the household of 165 Eaton Place’s function as a studio space, which the BBC series self-consciously adopts in order to evoke the aesthetics of prior period dramas. The article concludes by suggesting that the barriers to recreating the past established in the BBC series’ narrative also contributed to its failure to match the success of its earlier iteration.

THE CORE AND PERIPHERY OF THE CURRENT CULTURE OF ARTISTIC CREATION ABOUT THE GREAT PATRIOTIC WAR IN THE STUDENTS’ VIEWS

2020 ◽  
Vol 6 (3) ◽  
pp. 130-149
Author(s):  
Elena N. NARKHOVA ◽  
Dmitry Yu. NARKHOV
Keyword(s):  
Historical Memory ◽  
Soviet Period ◽  
Russian Society ◽  
Student Culture ◽  
The Core ◽  
Musical Works ◽  
Great Patriotic War ◽  
History Of ◽  
Current Student ◽  
Historical Periods

This article analyzes the degree of demand for works of art (films and television films and series, literary and musical works, works of monumental art) associated with the history of the Great Patriotic War among contemporary students. This research is based on the combination of two theories, which study the dynamics and statics of culture in the society — the theory of the nucleus and periphery by Yu. M. Lotman and the theory of actual culture by L. N. Kogan. The four waves of research (2005, 2010, 2015, 2020) by the Russian Society of Socio¬logists (ROS) have revealed a series of works in various genres on this topic in the core structure and on the periphery of the current student culture; this has also allowed tracing the dynamics of demand and the “movement” of these works in the sociocultural space. The authors introduce the concept of the archetype of the echo of war. The high student recognition of works of all historical periods (from wartime to the present day) is shown. A significant complex of works has been identified, forming two contours of the periphery. Attention is drawn to the artistic work of contemporary students as a way to preserve the historical memory of the Great Patriotic War. This article explains the necessity of preserving the layer of national culture in order to reproduce the national identity in the conditions of informational and ideological pluralism of the post-Soviet period. The authors note the differentiation of youth due to the conditions and specifics of socialization in the polysemantic sociocultural space.

Indexicality of Grammar: The Case of Japanese Transgender Speakers

2019 ◽  
Author(s):  
Hideko Abe
Keyword(s):  
Gender Identity ◽  
Gender Identity Disorder ◽  
Grammatical Gender ◽  
Core Structure ◽  
Subject Positions ◽  
Transgender Identity ◽  
The Core ◽  
History Of ◽  
History Of Scholarship ◽  
Grammatical Structures

This article discusses how the intersection of grammatical gender and social gender, entwined in the core structure of language, can be analyzed to understand the dynamic status of selfhood. After reviewing a history of scholarship that demonstrates this claim, the discussion analyzes the language practices of transgender individuals in Japan, where transgender identity is currently understood in terms of sei-dōitsusei-shōgai (gender identity disorder). Based on fieldwork conducted between 2011 and 2017, the analysis reveals how individuals identifying with sei-dōitsusei-shōgai negotiate subject positions by manipulating the specific indexical meanings attached to grammatical structures.

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