NEUROECONOMICS: ERNST FEHR OF ZURICH

July 31, 2009 on 10:56 pm | In Economics, Financial, Research | No Comments

spin-globe.gif

books-globe.gif

globe-purple.gif

history.gif

world.gif

compass.gif

loudspeaker.gif

globeinmoney.jpg

Ernst Fehr and Neuroeconomics

Prof. Ernst Fehr
Institute for Empirical Research in Economics
University of Zurich
Blümlisalpstrasse 10
CH-8006 Zürich

Office BLU-213

Phone: +41 (0)44 634 37 09
Email: efehr@iew.uzh.ch

University of Zurich

Institute for Empirical Research in

Economics

Establishment

The Institute for Empirical Research in Economics (IEW) was established in 1970.

Research Priority Program on the Foundations of Human Social Behavior

Ernst Fehr and Neuroeconomics

Professors David Laibson of Harvard and Robert Shiller of

Yale are leading advocates of neuroeconomics.

See: “Charlie Rose,” Thursday, July 30 Shiller TV interview

with passing mention of Ernst Fehr.

banknotes.jpg

EMPIRES AND PSYCHOLOGIES

July 31, 2009 on 3:30 am | In Art, Film, France, History, Literary, Philosophy, World-System | No Comments

spin-globe.gif

books-globe.gif

globe-purple.gif

history.gif

world.gif

compass.gif

loudspeaker.gif

globeinmoney.jpg

EMPIRES AND PSYCHOLOGIES

Think of the world as partly a story of empire-states and their colonies with imperial change as the driver. Think of France/Algeria, France/Indo-China in the nineteen fifties and sixties (and the U.S from Vietnam through Iraq as it steps into the shoes of the French and British).

People living in and through these imperial “macro dramas” see the connections between their own thoughts and moods and impulses and imperial change “through a glass darkly” and not clearly till decades later, if at all.

This world-historical “background to everything” influences and distorts the daily life of the people in the imperial countries as depicted in these two French movies. The people themselves don’t really see how their daily feelings and behaviors, moods and dreams, are deeply entwined with the world-history story in the media.

Perhaps we could say that “coming of age” is psychologically wrapped up with “the coming of an age”, i.e. post-Colonialism.

Louis Malle

Le souffle au coeur (1971)

Murmur of the Heart

Through the nostalgic and mean-spirited jibes at the domestic help, clergy and stiff-lipped crust of high society, it commences on a journey of an adolescent male, Laurent Chevalier (Benoit Ferreux) in Dijon, France circa 1954.

This is a coming-of-age story about a 14-15-year-old boy named Laurent Chevalier who is growing up in bourgeois surroundings in Dijon

Early in the movie, Clara, his mother, states that she saw The Barefoot Contessa in Paris and American pop culture is pervasive.

During this early part of the movie, the French are fighting the war in Indochina. The final battle of that war, Dien Bien Phu, occurred on May 7, 1954…

Andre Téchiné s “Wild Reeds” is another coming of age story set in 1962 France with the Algerian War as backdrop:

Wild Reeds (1994)

Téchiné had his one of his greatest successes to date with Wild Reeds (Les roseaux sauvages) (1994). The film was commissioned by French television as one of part of a series of eight films entitled Tous les garçons et les filles de leur âge, although it was shown first at cinemas. This is a bucolic tale of teenage self-discovery centered on the inner turmoil of four teenagers staying at a boarding school in Aquitaine in 1962, their political and sexual awakenings with the effect the Algerian War as backdrop. The director, inspired in his adolescence, delivered a limpid and sensual work, bathed by the light of southwest France. Faithful to certain sets of themes (the family bonds, homosexuality, the exile). Wild Reeds is his most autobiographical movie because, like the teen-age Téchiné, the main character, Francois, attends an all-male boarding school. [2] While part of the story revolves around Francois’s discovery that he is gay, Téchiné said his principal interest was to evoke how the Algerian war of independence was felt in a rural corner of France.” If I hadn’t been able to inject this, if I had only been making a film about adolescent coming of age, it wouldn’t have interested me at all,” he explained.[2]

Wild Reeds was a hit at the 1994 César award ceremony, winning four out of eight nominations (best film, best director, best script, and best newcomer for Élodie Bouchez). [10]It also won the Prix Delluc in 1994. This was Téchiné’s sixth film released in the USA (in 1995–following French Provincial (Souvenirs d’ en France), Barrocco, Hotel des Ameriques, Rendezvous and Scene of the Crime) and his most autobiographical picture to date. Wild Reeds won the New York Film Critics Award and National Society of Film Critics Award for Best Foreign Language Film.

See also:

In the haunting drama “Muriel,” from 1963, French filmmaker Alan Resnais continues his exploration of and fascination with memory and the impact of past events on people’s present lives. Helene is a lonely widow who lives with her stepson, Bernard, in Boulogne. Into their lives walk Alphonse, a lover from her past, and Francoise, who he claims is his niece but is actually his mistress. While Helene and Alphonse are obsessed with their past relationship, Bernard is troubled by his memory of a girl whose brutal death he witnessed while he was fighting in the Algerian War.

In his preceding features, Hiroshima mon amour and Last Year at Marienbad, Resnais pioneered new ways of representing inner reality and emotion; but with Muriel, he merged the vicissitudes of his characters’ personal pasts with the traumas of the political present – namely, the French war in Algeria.

André Téchiné

André Téchiné (born 13 March 1943 at Valence-d’Agen (Tarn-et-Garonne) in France), is a French screenwriter and film director. He has had a long and distinguished career that placed him among the best post-New Wave French film directors.

He belongs to a second generation of French film critics associated with Cahiers du cinéma who followed François Truffaut, Claude Chabrol, Jean-Luc Godard and others from criticism into film-making. Téchiné is noted for his elegant and emotionally charged films that often delve into the complexities of human condition and emotions. An intimist flavor pervades his work.

One of the trademarks of his filmography is the lyrical examination of human relations in a sensitive but unsentimental way, as can be seen in his most acclaimed films: My Favorite Season (1993) and Wild Reeds (1994).

Life

André Téchiné was born on 13 March 1943 at Valence-d’Agen, a small town in the Midi-Pyrénées region, department of Lot-et-Garonne, France.[1] His family, of Spanish ancestry, owned a small business making agricultural equipment.[1] He grew up in the south-west French country side and in his adolescence acquired a passion for films. From 1952 to 1959 he went to a Catholic boarding school in Montauban.[1] He was allowed to leave the school only on Sunday afternoons when he would go to the cinema, although he often had to return before the screening ended. From 1959 he attended a secular state school, which exposed him to a different culture, with Marxist teachers, a cine club and a film magazine, La Plume et l’écran, to which he contributed.[1] “Films were my only opening to the world,” [2] Téchiné explained in an interview. “They were my only possibility of escaping my family environment and my boarding school. It was probably dangerous because, through movies, I learned how the world works and how human relations work. But it was magical, and I was determined to follow the thread of that magic.” [2]

At nineteen he moved to Paris in order to look for a career in filmaking.[1] He failed the entrance examination at France‘s most prominent film school,[1] but started to write reviews for the prestigious Cahiers du cinéma where he worked for four years (1964-1967).[1] His first article was about Truffaut’s The Soft Skin, published in july 1964.[1]

Téchiné’s first filmaking experience emerged from a theatrical milieu.[3] He went on to become assistant director for Marc’O Les Idoles (1967), a film version of an experimental play. [3] This film was edited by Jean Eustache and Téchiné made an uncredited walk on appearance in Eustache’s film La Maman et la putin (1972). [4] Téchiné was also assistant director to Jacques Rivette, (his editor at Cahiers du Cinema) on L’Amour Fou (1969).[5]

Téchiné is noted for his elegant and emotionally charged films that often delve into the complexities of human condition and emotions. An intimist flavor pervades his work. One of the trademarks of his filmography is the lyrical examination of human relations in a sensitive but unsentimental way. Influenced by Roland Barthes, Bertolt Brecht, Ingmar Bergman, William Falkner and the cinematic French New Wave, the originality of Téchiné films lies in his subtle exploration of sexuality and national identity, as he challenges expectations in his depictions of gay relations, the North African dimensions of contemporary French culture, and the center-periphery relationship between Paris and his native Southwest. [6] Shy and ascetic-looking Téchiné does not opine on political issues and rarely appears on television.[2] Fear of flying prevents him from attending most film openings or festivals more than a train ride from his Paris apartment overlooking the Luxembourg Gardens.[2]

I never know how each film will end, Téchiné explains. When I’m filming, I shoot each scene as if it were a short film. It’s only when I edit that I worry about the narrative. My objective is to tell a story, but that’s the final thing I do. [2]

Film career

Paulina s’en va (1969)

André Téchiné made his debut as director with: Paulina s’en va (Paulina is going) (1969) in which the title character drifts aimlessly, struggling to find a way out of her disenchantment and find her calling in life. The artisanal nature of its production, and the fact that it was initially conceived as a short, meant it was shot in two periods, over one week in 1967 and two week in 1969.[4] The film, shown at that year’s Venice Film Festival,[4] disconcerted audiences and was not actually released until 1975. In the meantime, Téchiné experimented with references to different genres and auteurs while providing screenplays for other directors as: Liliane de Kermadec ‘s Aloïse.

Souvenirs d’en France (1974)

After working in television and theater, [7]Téchiné first came into prominence with his second film: Souvenirs d’en France (French Provincial) (1974) a curious mix of black comedy, romantic drama and nostalgia with a distinctly Brechtian imprint. The film was inspired by Orson Welles’s The Magnificent Ambersons and filmed in the director’s native village. It is a highly compressed history of a small-town family from early in the century through the Resistance and on to May 1968. Téchiné explored the relationship between wider and personal histories.[8] The film starred Jeanne Moreau, and the director’s work has since been distinguished by affording fine actresses key roles. [8]

Barocco (1976)

Téchiné’s demonstrated his flair for richly textured, atmospheric storytelling with his next film, the aptly titled thriller Barocco (1976), a crime drama, rooted in expressionist surrealism. A boxer who has accepted and then turned down a huge bribe from a politician to tell a lie that will influence an election is killed by a hired assassin, the boxer’s girlfriend, eventually falls in love with the killer while trying to remake him into the image of her slain lover. The film elicited critical plaudits for its elegant look.[8]

Les sœurs Brontë (1979)

Three years later, Téchiné earned acclaim for his attempt at biography with Les sœurs Brontë The Bronte Sisters (1979). A profile of the famous Brontë sisters with a love for his subject and an acute artistic vision. The film’s heavy, repressive mood evokes the harshness and injustice of the life that the Brontë sisters endured. The passion and color that is so vivid in their novels was absent from their daily existence, and the film’s appropriately gloomy cinematography – which uses dreary earth colors to emphasize the cold, remote feel – brings this with great poignancy. The film features an all-star cast: Isabelle Adjani, Marie-France Pisier and Isabelle Huppert as Emily, Charlotte and Anne Brontë and Pascal Gregory as their ill-fated brother Branwell.

Hôtel des Amériques (1981)

Hôtel des Amériques (1981), set in Biarritz, explores the strained relationship between a successful middle-aged woman and an unfulfilled and emotionally unbalanced man in a story of a hopelessly ill-matched love. This film marked a turning point in Téchiné’s career, anchoring his work from then on in a more realistic universe from a previous romantic one. For the first time Téchiné let his actors improvise, a practice he has continued ever since, adjusting his scripts to accommodate the new material.“ From Hotel des Amériques onwards my films are no longer genre films” [9] he said, “My inspiration is no longer drawn from the Cinema”.[9] This film also started a long productive collaboration with Catherine Deneuve. “There are some directors who are more feminine than others, like Téchiné, like Truffaut. They are an exceptional gift to actresses,” Deneuve said about their collaboration.

Rendez-vous (1985)

After making a television production: La Matiouette ou l’arrière-pays, (1983), Téchiné returned to the foreground thanks to Rendez-vous (1985), a sexy noir melodrama replete with the seductive surface of the era.[8] Here, a would-be actress, Nina, fleeing her provincial home for Paris is irrationally in love with a sadistic, self-destructive young actor, who caused the death of his former girlfriend. When the actor himself is killed in an accident, or possible suicide, his former mentor/director, and father of the dead girlfriend, determines to cast the unexperienced Nina in the female lead role in ‘Romeo and Juliet’, a role his deceased daughter had. The film is ultimately a vehicle for exploring the violent intensity of certain emotional attachments and their ability to cause one’s life to spin off in unexpected directions. By now a key director of the post-New Wave , this film earned Téchiné the Cannes Festival Best Direction Award and helped launch the career of Juliette Binoche.[8]

Le lieu du crime (1986)

Le lieu du crime (1986) (Scene of the Crime) begins with a shot right out of the opening of Great Expectations. In the rustic vicinity of a small provincial town, a young boy helps an escaped criminal. The boy (a highly troubled youth himself) disaffected by his parents’ divorce, lives with his mother and grandparents while the father lives nearby. The escaped convict commits murder to save the boy from harm but gets involved with the mother. By the time, the boy is planning his first communion; the mother trapped in a humdrum existence has felt in love with the convict and wants to run away with him.

Les innocents (1987)

In his next film, Les Innocents (1987) a young woman, born and raised in Northern France, is visiting the Mediterranean city of Toulon for the first time, prompted by two events: the wedding of her sister, and the disappearance of her brother. He is a deaf-mute who supports himself as a pickpocket under the tutelage of a young Arab and an older bisexual married man with a weakness for young Arabs. The girl meets them and finds herself attracted to the young Arab and the older man’s son, who is also bisexual like his father. She is soon torn between the two in a romantic and sexual dilemma that mirrors France‘s political turmoil regarding the nation’s growing Arab population.

J’embrasse pas (1991)

J’embrasse pas (I don’t kiss) (1991) is a bleak, melancholic portrait of a young man searching and failing to find meaning in his life. An idealistic seventeen-year-old youth leaves his home in the rural South-West of France, hoping to make a career as an actor in Paris. After an auspicious start in the French capital, he soon discovers that he has no talent as an actor losing soon both his job and his room. In the end, he has to hustle to make a living as a male prostitute. He falls in love with a luckless young prostitute, but the relationship has terrible consequences for him.

My Favorite Season (1993)

My Favorite Season (Ma saison préférée) (1993) is a dark and somber story of middle-aged estranged siblings, brother and sister, a provincial lawyer and a skilled surgeon, respectively, who begin to come to terms with what they have become professionally and personally when their aging mother begins to decline after a stroke. Téchiné himself describes Ma Saison Préférée as a film “about individuality and the coldness of the modern world.” It earned great acclaim when it was screened in competition at that year’s Cannes Festival.

Wild Reeds (1994)

The following year, Téchiné had his greatest success to date with Wild Reeds (Les roseaux sauvages) (1994). The film was commissioned by French television as one of part of a series of eight films entitled Tous les garçons et les filles de leur âge, although it was shown first at cinemas. This is a bucolic tale of teenage self-discovery centered on the inner turmoil of four teenagers staying at a boarding school in Aquitaine in 1962, their political and sexual awakenings with the effect the Algerian War as backdrop. The director, inspired in his adolescence, delivered a limpid and sensual work, bathed by the light of southwest France. Faithful to certain sets of themes (the family bonds, homosexuality, the exile). Wild Reeds is his most autobiographical movie because, like the teen-age Téchiné, the main character, Francois, attends an all-male boarding school. [2] While part of the story revolves around Francois’s discovery that he is gay, Téchiné said his principal interest was to evoke how the Algerian war of independence was felt in a rural corner of France.” If I hadn’t been able to inject this, if I had only been making a film about adolescent coming of age, it wouldn’t have interested me at all,” he explained.[2]

Wild Reeds was a hit at the 1994 César award ceremony, winning four out of eight nominations (best film, best director, best script, and best newcomer for Élodie Bouchez). [10]It also won the Prix Delluc in 1994. This was Téchiné’s sixth film released in the USA (in 1995–following French Provincial (Souvenirs d’enfrance), Barrocco, Hotel des Ameriques, Rendezvous and Scene of the Crime) and his most autobiographical picture to date. Wild Reeds won the New York Film Critics Award and National Society of Film Critics Award for Best Foreign Language Film.

Les voleurs (1996)

Further acclaim greeted the director in 1996 with Les voleurs (Thieves) (1996), an ambitious and complex crime drama. The film jumps through time and switches narrative perspectives in a Rashomon-style exploring family and amorous ties. It postulates a fatalistic world bound by family origins and intense romantic longings in which every character is trapped into becoming a thief of one kind or another, emotionally as well as existentially. This film earned Téchiné nominations for the César and Golden Palme at Cannes, as well as a host of other honors.

Alice et Martin (1998)

Téchiné followed this success with Alice et Martin (Alice and Martin) (1998), a haunting love story between two emotionally damaged outsiders that marked his reunion with Juliette Binoche. [8]As in his earlier film Les Voleurs, Téchiné told the story out of sequence.

Loin (2001)

Loin (Far) (2001) was shot on digital video using primarily natural light and the slightly patchy video image contributes to the sense of collapse and unease. The film is set in Tangier and is told in three “movements”; the sections marked by chapters. The plot turns around three characters: a truck driver importing goods between Morocco and France tempted to cross the strait to Spain smuggling some drugs; his young Arab friend desperate to go to Europe; and the driver’s Jewish ex-girlfriend who is hesitant about her future migration to Canada. During the three days they are together, some decisions must be made.

Strayed (2003)

After two lesser but still ravishing efforts, André Téchiné went back in top form with Strayed (Les égarés) (2003), a fine adaptation of the novel, Le Garçon aux yeux gris, by Gilles Perrault. While Téchiné usually braids several intersecting stories, this engaging wartime drama, traces a single linear tale with only four characters. In 1940, an attractive widow flees Nazi-occupied Paris for the South with her small daughter and teen-age son; a mysterious young man joins them. The foursome find refuge from the war in an abandoned house.

Changing Times (2004)

Changing Times (Les temps qui changent) (2004) is a warmhearted exploration of cultural collision in contemporary Morocco, oscillating between two worlds and two ideas about the meaning of experience. A middle age construction supervisor comes to Tangier to search for the love of his youth, lost many years ago. She is now married and with a grown up son. They eventually cross paths in a supermarket. Téchiné weaves half dozen subplots, creating a set of variations on the theme of divided sensibilities tugging one another into states of perpetual unrest and possible happiness.

Les Témoins (2007)

Les Témoins starring Emmanuelle Béart, Michel Blanc, Sami Bouajila and Julie Depardieu, dealt with a group of friends and lovers confronting the AIDS epidemic in the 1980s; it was released in the spring 2007. It opened in the U.S. spring 2008 under the title “The Witnesses.” New York Press critic Armond White, who has been Techine’s most fervent U.S. supporter, hailed The Witnesses: “No filmmaker has a greater appreciation of human diversity than Techine, whose socially complex melodramas always feature age, gender and race through liberte, egalite, fraternite. That’s Techine’s radical vision of France–postmodern, post-Colonial and post-gay liberation with all those issues in motion.”

Filmography

Year

English title

Original title

Notes

1969

Paulina is Leaving

Paulina s’en va

Original Script.

1975

French Provincial

Souvenirs d’en France

Original Script.

1976

Barocco

Barocco

Original Script.

1979

The Bronte Sisters

Les sœurs Brontë

Original Script.

1981

Hotel America

Hôtel des Amériques

Original Script

1983

La matiouette ou l’arrière-pays

1985

Rendez-vous

Rendez-vous

Original Script

1986

The Scene of the Crime

Le lieu du crime

Original Script

1987

The Innocents

Les Innocents

Original Script

1991

I don’t Kiss

J’embrasse pas

Original Script.

1993

My Favorite Season

Ma saison préférée

Original Script

1994

Wild Reeds

Les roseaux sauvages

Original Script

1996

Thieves

Les voleurs

Original Script

1998

Alice and Martin

Alice et Martin

Original Script

2001

Far

Loin

Original Script.

2003

Strayed

Les égarés

Original Script

2004

Changing Times

Les temps qui changent

Original Script.

2007

The Witnesses

Les Témoins

Original Script

Notes

  1. a b c d e f g h Marshall, André Téchiné, p. 2
  2. a b c d e f g Riding, Finding Cinematic Gold, New York Times, December 29, 1996.
  3. a b Marshall, André Téchiné, p. 4
  4. a b c Marshall, André Téchiné, p. 5
  5. Marshall, André Téchiné, p. 3
  6. Marshall, André Téchiné, p. back cover
  7. Armstrong, The Rough Guide to Film, p. 551
  8. a b c d e f Armstrong, The Rough Guide to Film, p. 552
  9. a b Philippon, André Téchiné, p. 121
  10. Marshall, André Téchiné, p. 81

References

  • Kael, Pauline, “Lion-Hearted Women” (Review of French Provincial (Souvenirs d’en France),” The New Yorker, March 1, 1976 also in book When the Lights Go Down
  • White, Armond, “Strange Gifts: Andre Techine Remakes the Melodrama,” Film Comment, July/August 1995
  • Marshall, Bill, André Téchiné, Manchester University Press, 2007, ISBN 0719058317
  • Rees-Roberts, Nick, French Queer Cinema, Edinburgh University Press, 2008, ISBN 0748634185
  • Philippon, Alain, André Téchiné, Difussion Seuil,1988, ISBN 2866420667
  • Gale Reference Team, “André Téchiné”, Contemporary Authors, Gale-Thomson
  • Jones, Kent, André Téchiné ; La Estrastegia de la Tension, 42 Semana Internacional de Cine, Valladolid ISBN 8487737234
  • Armstrong, Richard, The Rough Guide to Film: An A-Z of Directors and their movies, Rough Guides. ISBN 9781843534082
  • Milicia, Joseph. Téchiné, André in International Dictionary of Films and Filmmakers.Vol. 2: Directors. St. James Press, 2001. ISBN 1558624775

Riding, Alan, Finding Cinematic Gold in the Dysfunctional Family, The New York Times, December 29, 1996

banknotes.jpg

"BEIGE BOOK": ATLANTA FED

July 30, 2009 on 3:45 pm | In Economics, Financial, Research, USA | No Comments

spin-globe.gif

books-globe.gif

globe-purple.gif

history.gif

world.gif

compass.gif

loudspeaker.gif

globeinmoney.jpg

FRB Atlanta–Beige Book

AtlantaFed@frbatlanta.org

www.frbatlanta.org

Thu 7/30/09

Summaries of current economic conditions in the nation and in each Federal Reserve District from the Beige Book are now available on the Federal Reserve Board’s Web site. The Beige Book is part of the economic information prepared by the 12 Federal Reserve Banks for use by the Federal Open Market Committee (FOMC) in its deliberations on national monetary policy on August 11-12, 2009.
http://www.federalreserve.gov/fomc/beigebook/2009/20090729/default.htm

The Atlanta Fed’s research department compiles its contribution to the report from a variety of statistical data and confidential interviews with representatives of industries headquartered in the region. States included in the Sixth Federal Reserve District are Alabama, Florida, Georgia and parts of Louisiana, Mississippi and Tennessee.
http://www.federalreserve.gov/fomc/beigebook/2009/20090729/6.htm

Beige Book

Visit our Web site, www.frbatlanta.org

Use RSS to read the content that interests you. Free RSS (Real Simple Syndication) feeds provide news and updates as they happen. Publications, speeches, events, circular letters, and more are available through www.frbatlanta.org/rss/rss.cfm

For a list of items recently posted to the Atlanta Fed’s Web site, go to www.frbatlanta.org/whatsnew.cfm

Do not respond to this message. It is a one-way notification.

We welcome your comments, questions, and suggestions.

Please e-mail us at webmaster@frbatlanta.org.

FRB Atlanta–Beige Book

AtlantaFed@frbatlanta.org

www.frbatlanta.org

www.frbatlanta.org/whatsnew.cfm

Thu 7/30/09

banknotes.jpg

BANK FOR INTERNATIONAL SETTLEMENTS BIS REVIEW NO. 93: POST-CRISIS FINANCIAL SYSTEM

July 30, 2009 on 3:32 pm | In Economics, Financial, Globalization, Islam, Research | No Comments

spin-globe.gif

books-globe.gif

globe-purple.gif

history.gif

world.gif

compass.gif

loudspeaker.gif

globeinmoney.jpg

BIS Review

Bank for International Settlements

BIS Review No 93 available

Press, Service (press@bis.org)

Publications, Service (Publications@bis.org)

Thu 7/30/0

Please find BIS Review No 93 attached as an Adobe Acrobat (PDF) file.

Alternatively, you can access this BIS Review on the Bank for International Settlements’ website by clicking on:

http://www.bis.org/review/index.htm.

What’s included?

BIS Review No 93 (30 July 2009)

Glenn Stevens: Challenges for economic policy

José De Gregorio: The Chilean economy in the current conjuncture

Joseph Yam: Financial market developments in Hong Kong

Donald L Kohn: Comments on “Financial Intermediation and the Post-Crisis Financial System”

Mohd Razif bin Abd Kadir: Islamic financial services industry – developments in Malaysia

e-mail press@bis.or

BIS Review

Bank for International Settlements

BIS Review No 93 available

http://www.bis.org/review/index.htm

Press, Service (press@bis.org)

Publications, Service (Publications@bis.org)

Thu 7/30/09

banknotes.jpg

A HISTORIAN AS A PROPHET IN REVERSE

July 29, 2009 on 6:08 am | In Art, Books, Germany, History, Literary, Philosophy | No Comments

spin-globe.gif

books-globe.gif

globe-purple.gif

history.gif

world.gif

compass.gif

loudspeaker.gif

globeinmoney.jpg

Karl Daub, 1765-1836, professor of theology at Heidelberg

university:

“The act of looking backward is, just like that of looking into the future, an act of divination; and if the prophet is well called an historian of the future, the historian is just as well called, or even better so, a prophet of the past, of the historical”.

Karl Daub (March 20, 1765November 22,

1836), was a German Protestant theologian, much admired by

Kierkegaard.

He was born at Kassel. He studied philosophy, philology and theology at Marburg in 1786, and eventually (1795) became professor ordinarius of theology at the University of Heidelberg, where he remained until his death.

Daub was one of the leaders of a school which sought to reconcile theology and philosophy, and to bring about a speculative reconstruction of orthodox dogma. In the course of his intellectual development, he came successively under the influence of Immanuel Kant, Friedrich von Schelling and Georg Hegel, and on account of the different phases through which he passed he was called the Talleyrand of German thought. There was one great defect in his speculative theology: he ignored historical criticism. His purpose was, as Otto Pfleiderer says,

“to connect the metaphysical ideas, which had been arrived at by means of philosophical dialectic, directly with the persons and events of the Gospel narratives, thus raising these above the region of ordinary experience into that of the supernatural, and regarding the most absurd assertions as philosophically justified. Daub had become so hopelessly addicted to this perverse principle that he deduced not only Jesus as the embodiment of the philosophical idea of the union of God and man, but also Judas Iscariot as the embodiment of the idea of a rival god, or Satan.”

The three stages in Daub’s development are clearly marked in his writings. His Lehrbuch der Katechetik (1801) was written under the spell of Kant. His Theologumena (1806), his Einleitung in das Studium der christi. Dogmatik (1810), and his Judas Ischarioth (2 vols., 1816, 2nd ed., 1818), were all written in the spirit of Schelling, the last of them reflecting a change in Schelling himself from theosophy to positive philosophy. Daub’s Die dogmatische Theologiejetziger Zeit oder die Selbstsucht in der Wissenschaft des Glaubens (1833), and Vorlesungen uber die Prolegomena zur Dogmatik (1839), are Hegelian in principle and obscure in language.

Karl Daub, 1765-1836, professor of theology at Heidelberg

university:

“The act of looking backward is, just like that of looking into the future, an act of divination; and if the prophet is well called an historian of the future, the historian is just as well called, or even better so, a prophet of the past, of the historical”.

Kierkegaard:

Life:

“Life is lived forward but understood backward.”

This quotation occurs in various reported forms: e.g.:

“life (history?) must be lived forward but can only be understood backward.” “Man kann das Leben nur rückwärts verstehen, doch leben müssen wir es vorwärts.” “Life must be lived in the present and viewed from the past.” “You can only understand life backwards, but we must live it forwards.” In Kierkegaard’s Danish this is: “Livet skal forstås baglaens, men leves forlaens”. A literal translation is: ‘Life is to be understood backwards, but it is lived forwards’.

Kierkegaard is alluding to Karl Daub, 1765-1836, professor of theology at Heidelberg university. This is what Daub says [in ‘Die Form der christlichen Dogmen- und Kirchen-Historie’, Zeitschrift för spekulative Theologie, ed. Bruno Bauer, I-III, Berlin, 1836-38, I, 1836, p. 1]:

“The act of looking backward is, just like that of looking into the future, an act of divination; and if the prophet is well called an historian of the future, the historian is just as well called, or even better so, a prophet of the past, of the historical”. Kierkegaard repeats this thought of Daub, putting it together with the thought that life is “lived forward”. Life can be interpreted only after it has been experienced, but the past informs one’s understanding and grasp of the future.

The allusion occurs in S.K. in several places. In Hong: KW I, From the Papers of One still Living, p. 78 and in Hong: KW VII, Philosophical Fragments, p. 80. Also in: JP 1, A-E, entries 1030 and 1025

Karl Daub, 1765-1836, professor of theology at Heidelberg

university:

“The act of looking backward is, just like that of looking into the future, an act of divination; and if the prophet is well called an historian of the future, the historian is just as well called, or even better so, a prophet of the past, of the historical”.

banknotes.jpg

AFRICAN GLOBALIZATION

July 29, 2009 on 3:32 am | In Africa, Economics, Financial, Globalization, Research | No Comments

spin-globe.gif

books-globe.gif

globe-purple.gif

history.gif

world.gif

compass.gif

loudspeaker.gif

globeinmoney.jpg

IMF Update: Working Paper No.09/157

NewContent@InternationalMonetaryFund.org

Tue 7/28/09

New item

Working Paper No.09/157:

Revenue Mobilization in Sub-Saharan Africa:

Challenges from Globalization

Author/Editor:

Keen Michael and Mansour Mario

Summary:

This paper evaluates the nature and extent of, and possible responses to, two of the central challenges that globalization poses for revenue mobilization in Sub-Saharan Africa (SSA): from corporate tax competition, and from trade liberalization. It does so using a new dataset with features needed to meaningfully address these issues: a distinction between resource related and other revenues, and a disentangling of tariff from commodity tax revenue. Countries’ experiences vary quite widely, nonresource revenues have been essentially stagnant. Corporate tax revenues have held up, despite a reduction in rates and evidence of substantial base-narrowing-something of a puzzle-and trade tax revenue reductions have been largely offset by other measures. Options for dealing with the continuation and intensification of the challenges, which the present crisis is likely to accelerate-including through regional cooperation-are discussed.

http://www.imf.org/external/pubs/cat/longres.cfm?sk=23124.0

DISCLAIMER: This Working Paper should not be reported as representing the views of the IMF. The views expressed in this Working Paper are those of the author(s) and do not necessarily represent those of the IMF or IMF policy. Working Papers describe research in progress by the author(s) and are published to elicit comments and to further debate.

For tracking globalization and its impact on individual economies, please see the new IMF Survey magazine online at: http://www.imf.org/external/pubs/ft/survey/so/home.aspx

News, views, and analysis from the IMF.

Send a message to webmaster@imf.org.

IMF Update: Working Paper No.09/157

NewContent@InternationalMonetaryFund.org

Tue 7/28/09

New item

Working Paper No.09/157:

Revenue Mobilization in Sub-Saharan Africa:

Challenges from Globalization

Author/Editor:Keen Michael and Mansou Mario

Tue 7/28/09

IMF Update: Working Paper No.09/157

http://www.imf.org/external/pubs/cat/longres.cfm?sk=23124.0

NewContent@InternationalMonetaryFund.org

http://www.imf.org/external/pubs/ft/survey/so/home.aspx

Tue 7/28/09

banknotes.jpg

FINANCIAL TIMES JULY 2009: TWO ARTICLES BY SAMUEL BRITTAN

July 28, 2009 on 4:08 pm | In Economics, Financial, History, Research, United Kingdom | No Comments

spin-globe.gif

books-globe.gif

globe-purple.gif

history.gif

world.gif

compass.gif

loudspeaker.gif

globeinmoney.jpg

Two new Samuel Brittan articles

andrew.heavens@gmail.com

Tue 7/28/09

How the budget hole developed

The Financial Times 24/07/09

How has this deterioration occurred? There are two deeply unconvincing explanations. There is the opposition Conservative accusation that Gordon Brown took leave of his senses and suddenly went on an ideologically driven spending spree. Then there is the opposite plea that the British leader was virtuously delivering “Labour investment” as opposed to “Tory tax cuts” when he ran into an international financial storm. By far the best analysis I have seen is in a paper by Giles Wilkes – A Balancing Act: Fair Solutions to a Modern Debt Crisis.

http://www.samuelbrittan.co.uk/text341_p.html

A new guide for the perplexed

The Financial Times 10/07/09

At one of many recent roundtables on “the crisis” a well-known historian called upon economists to abandon the gods of their profession. If only there were still such gods. There are not even clearly defined schools of thought. A typical discussion will consist of a series of overlapping points of view, leaving the innocent listener at best “confused at a higher level”. What follows is an attempt to outline the main issues. It is inevitably subjective and selective.

http://www.samuelbrittan.co.uk/text340_p.html

Two new Samuel Brittan articles

andrew.heavens@gmail.com

Tue 7/28/09

banknotes.jpg

BANK FOR INTERNATIONAL SETTLEMENTS BIS REVIEW NO. 91: SINGAPORE FINANCIAL SYSTEM

July 27, 2009 on 9:23 pm | In Economics, Financial, Globalization, Research | No Comments

spin-globe.gif

books-globe.gif

globe-purple.gif

history.gif

world.gif

compass.gif

loudspeaker.gif

globeinmoney.jpg

BIS Review

Bank for International Settlements

BIS Review No 91 available

Press, Service (press@bis.org)

Publications, Service (Publications@bis.org)

Tue 7/21/09

Please find BIS Review No 91 attached as an Adobe Acrobat (PDF) file.

Alternatively, you can access this BIS Review on the Bank for International Settlements’ website by clicking on http://www.bis.org/review/index.htm.

What’s included?

BIS Review No 91 (21 July 2009)

Jean-Claude Trichet: Introductory remarks at the signing ceremony for the T2S Memorandum of Understanding

Andres Lipstok: Estonia’s economic environment and central bank activities

Elizabeth A Duke: Consumer protection

Gertrude Tumpel-Gugerell: Opening statement at the press briefing for the signing of T2S Memorandum of Understanding

Heng Swee Keat: A review of Singapore’s economy and financial system

e-mail press@bis.org.

BIS Review

Bank for International Settlements

BIS Review No 91 available

http://www.bis.org/review/index.htm

Press, Service (press@bis.org)

Publications, Service (Publications@bis.org)

Tue 7/21/09

banknotes.jpg

BANK FOR INTERNATIONAL SETTLEMENTS BIS REVIEW NO. 90: THE CRISIS AND CENTRAL BANKS

July 27, 2009 on 9:08 pm | In Africa, Economics, Financial, Globalization, Research | No Comments

spin-globe.gif

books-globe.gif

globe-purple.gif

history.gif

world.gif

compass.gif

loudspeaker.gif

globeinmoney.jpg

BIS Review

Bank for International Settlements

BIS Review No 90 available

Press, Service (press@bis.org)

Publications, Service (Publications@bis.org)

Mon 7/20/09

Please find BIS Review No 90 attached as an Adobe Acrobat (PDF) file.

Alternatively, you can access this BIS Review on the Bank for International Settlements’ website by clicking on http://www.bis.org/review/index.htm.

What’s included?

BIS Review No 90 (20 July 2009)

Mario Draghi: An overview of banking in Italy

Andres Lipstok: The Estonian economy

Amando M Tetangco, Jr: The BSP and its partners – standing up to the global challenges today

Yves Mersch: The crisis – point of view of a central banker

Rundheersing Bheenick: The first Pan-African Derivatives Exchange in Mauritius

e-mail press@bis.org.

BIS Review

Bank for International Settlements

BIS Review No 90 available

http://www.bis.org/review/index.htm

Press, Service (press@bis.org)

Publications, Service (Publications@bis.org)

Mon 7/20/09

banknotes.jpg

BANK FOR INTERNATIONAL SETTLEMENTS BIS REVIEW NO. 92: BERNANKE REPORT

July 27, 2009 on 4:55 pm | In Economics, Financial, Globalization, India, Research | No Comments

spin-globe.gif

books-globe.gif

globe-purple.gif

history.gif

world.gif

compass.gif

loudspeaker.gif

globeinmoney.jpg

BIS Review

Bank for International Settlements

BIS Review No 92 available

Press, Service (press@bis.org)

Publications, Service (Publications@bis.org)

Mon 7/27/09

Please find BIS Review No 92 attached as an Adobe Acrobat (PDF) file.

Alternatively, you can access this BIS Review on the Bank for International Settlements’ website by clicking on http://www.bis.org/review/index.htm.

What’s included?

BIS Review No 92 (27 July 2009)

Ben S Bernanke: Semiannual Monetary Report to Congress

Mark Carney: Statement on the July Monetary Policy Report

Duvvuri Subbarao: Impact of the global financial crisis on India – collateral damage

and respons

Bandid Nijathaworn: Where is global finance heading?

Daniel K Tarullo: Regulatory restructuring

e-mail press@bis.org.

BIS Review

Bank for International Settlements

BIS Review No 92 available

http://www.bis.org/review/index.htm

Press, Service (press@bis.org)

Publications, Service (Publications@bis.org)

Mon 7/27/09

banknotes.jpg

Next Page »

Powered by WordPress with Pool theme design by Borja Fernandez.
Entries and comments feeds. Valid XHTML and CSS. ^Top^