The Economic Environment at the Turn of the Century

2019 ◽  
pp. 27-42
Author(s):  
Yadong Luo
Keyword(s):  
Turn Of The Century ◽  
Economic Environment

Bank Mergers in Late Nineteenth-Century New England: The Contingent Nature of Structural Change

1991 ◽  
Vol 51 (3) ◽  
pp. 537-557 ◽  
Author(s):  
Naomi R. Lamoreaux
Keyword(s):  
Nineteenth Century ◽  
Structural Change ◽  
New England ◽  
Banking System ◽  
Turn Of The Century ◽  
Economic Environment ◽  
Competitive Environment ◽  
Late Nineteenth Century ◽  
Bank Mergers ◽  
Late Nineteenth

Although New England's unit banking system was declining in profitability during the late nineteenth century, the existing competitive environment prevented large institutions from outperforming their smaller rivals. As a result, there was little change in the structure of the banking system during this period. At the turn of the century, however, a wave of mergers radically transformed the banking sectors of Boston and Providence. Although the greater profitability of the mergers indicates they were a better fit to the economic environment than their smaller predecessors, their creation was only made possible by a special combination of historical circumstances.

Psychology and gender at the turn of the century.

2000 ◽  
Vol 55 (6) ◽  
pp. 613-615 ◽  
Author(s):  
Henry L. Minton
Keyword(s):  
Turn Of The Century ◽  
And Gender

The Role of Behavioral Models in the Ontological Structure of Modern Macroeconomics

2013 ◽  
pp. 98-110
Author(s):  
M. Likhachev
Keyword(s):  
Economic System ◽  
Government Regulation ◽  
Institutional Structure ◽  
Economic Environment ◽  
Behavioral Models ◽  
Macroeconomic Models ◽  
Basic Characteristics ◽  
Practical Implications

Behavioral models are considered in the paper as the link between the description of the institutional structure of the economic system and the formation of macro-aggregates, reflecting the results of its operations. The degree of homogeneity of the private sector’s economic environment and complementary goals of private entities and government regulation are noted as basic characteristics of behavioral models. The author examines the differences in the estimates of these characteristics as one of the most important factors underpinning the architecture of modern macroeconomic models and their practical implications.

Obscure(d) Modernism: The Aesthetics of the Architect Pal Ligeti

2008 ◽  
Vol 3 (2) ◽  
pp. 139-153
Author(s):  
Rajesh Heynickx
Keyword(s):  
Turn Of The Century

On an old picture, taken in Budapest in the early 1930s, a little girl is leaning on the wall around the Halaszbastya or Fisherman's Bastion. From this mock fortification, built for the Hungarian Millennium celebrations of 1896, she had a marvellous view of the skyline of the Hungarian capital which was dominated by one building: the parliament (fig. 1). It is quite possible that the little girl was counting the number of white neo-gothic turrets and arches of the parliament that was, just as the fortress on which she was standing, built at the turn of the century, to express the sovereignty of the nation. Maybe she tried to decipher some of the sculptures on the walls of the parliament which represented Hungarian rulers and famous military people.

The Arrival of the Zarzuela in Budapest El rey que rabió by Ruperto Chapí

2020 ◽  
Vol 60 (1-4) ◽  
pp. 243-262
Author(s):  
Gloria A. Rodríguez-Lorenzo
Keyword(s):  
Twentieth Century ◽  
String Quartets ◽  
Musical Theatre ◽  
Turn Of The Century ◽  
Going Public ◽  
Spanish Music ◽  
Written Performance

The appearance of zarzuela in Hungary is entirely unknown in musicology. In the present study, I discuss the currently unchartered reception of the zarzuela El rey que rabió (first performed in Spain in 1891) by Ruperto Chapí (1851-1909), a Spanish composer of over one hundred stage pieces and four string quartets. Premièred as Az unatkozó király in Budapest seven years later in 1898, Chapí’s zarzuela met with resounding success in the Hungarian press, a fervour which reverberated into the early decades of the twentieth century. Emil Szalai and Sándor Hevesi’s skilful Hungarian translation, together with Izsó Barna’s appropriate adjustments and reorchestration, accordingly catered the work to Budapest audiences. Through analysis of hand-written performance materials of Az unatkozó király (preserved in the National Széchényi Library), alongside a detailed study of the Hungarian reception, the profound interest in Spanish music–particularly in relation to musical theatre–amongst the turn-of-the-century Hungarian theatre-going public is revealed. This paper explores how Az unatkozó király became a success in Hungary.

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