We build and estimate open economy two-bloc DSGE models to study the transmission and impact of shocks in Russia, Saudi Arabia and the United Kingdom. After accounting for country-specific fiscal and monetary sectors, we estimate their key policy and structural parameters. Our findings suggest that not only has output responded differently to shocks due to differing levels of diversification and structural and policy settings, but also the responses to fiscal consolidation differ: Russia would benefit from a smaller state foot-print, while in Saudi Arabia, unless this is accompanied by structural reforms that remove rigidities, output would fall. We also find that lower oil prices need not be bad news given more oil-intensive production structures. However, lower oil prices have hurt these oil producers as their public finances depend heavily on oil, among other factors. Productivity gains accompanied by ambitious structural reforms, along with fiscal and monetary reforms could support these economies to achieve better outcomes when oil prices fall, including via diversifying exports.
We build and estimate open economy two-bloc DSGE models to study the transmission and impact of shocks in Russia, Saudi Arabia and the United Kingdom. After accounting for country-specific fiscal and monetary sectors, we estimate their key policy and structural parameters. Our findings suggest that not only has output responded differently to shocks due to differing levels of diversification and structural and policy settings, but also the responses to fiscal consolidation differ: Russia would benefit from a smaller state foot-print, while in Saudi Arabia, unless this is accompanied by structural reforms that remove rigidities, output would fall. We also find that lower oil prices need not be bad news given more oil-intensive production structures. However, lower oil prices have hurt these oil producers as their public finances depend heavily on oil, among other factors. Productivity gains accompanied by ambitious structural reforms, along with fiscal and monetary reforms could support these economies to achieve better outcomes when oil prices fall, including via diversifying exports.
Initially developed by Savoia-Marchetti as a transport, the aircraft had evolved into a dedicated medium bomber by the time the S.79-I made its combat debut in the Spanish Civil War in 1936. During World War 2, it became Italy's most successful bomber, and the most produced, with around 1370 built between 1936 and early 1944. Although initially hampered by poor tactics, the S.79 bomber crews nonetheless scored sunk a number of Allied vessels, and provided a constant threat to Allied sailors in the Mediterranean in the early stages of the war. In East Africa and the Red Sea the Sparvieri were the most modern bombers in-theatre, proving a challenge to RAF and SAAF biplane fighters. Using specially commissioned full-colour artwork, first-hand accounts and historic photographs, this volume chronicles the history of the S.79's war in the Mediterranean, North African, Balkan, and East African theatres.
Body of State offers a critical perspective on the Moro Affair and on Marco Baliani's work. With contributions from scholars, theater practitioners, teachers, and students, it constitutes a unique resource for disciplines that train on the intersection of art and politics. The relevance of the topic raise the interest of the audience as well.
In May 1999, seven thousand people crowded the basilica in Bologna, Italy to offer a farewell to Enzo Piccinini, a surgeon who died tragically at the age of forty-eight. Who was this doctor who had left an indelible mark on so many lives? Formed in an era of political activism and violence, the young Enzo made a surprising decision-to pursue a life of faith and healing-thanks in part to his encounter with Father Luigi Giussani and his commitment to the movement of Communion and Liberation (CL). At the center of his vocation as a doctor was the belief that patients needed to be cared for in all their humanity, including their relationships, and to be helped to face pain and the fear of death-an approach still known as the "Enzo Method." While maintaining a hectic schedule as a surgeon and teacher, Enzo found time to travel all over Italy, visiting CL communities and moving people with the eloquence of his Christian witness. Designated "Servant of God" by the Church, the diocesan phase of the cause for his canonization has been opened. Everything I Did I Did for Happiness is an engrossing story that teaches us, as Enzo said, "to put your heart into what you do.
In the design of new CI engines, it is of paramount importance to reduce the pollutants and fuel consumption," writes author Marco Nuti. In this, the first book devoted entirely to exhaust emissions from two-stroke engines, Nuti examines the technical design issues that will determine how long the two-stroke engine survives into the twenty-first century. Dr. Nuti, director of Technical Innovation at Piaggio, thoroughly explores pollutant formation and control from unburned hydrocarbon emissions, carbon monoxide emissions, catalytic aftertreatment, and secondary air addition.
Written soon before and in the middle of the Covid-19 pandemic, when theatre ground to a halt and spectatorship was suspended, this book takes stock of spectatorship as theatre’s living archive and affirms its value in the midst of the present crisis. Drawing from a manifold affective archive of performances and installations (by Marina Abramović, Ron Athey, Forced Entertainment, Socìetas Raffaello Sanzio, Blast Theory, LIGNA, Doris Salcedo, Graeme Miller, Lenz Rifrazioni, Cristina Rizzo, etc.), and expanding on the work of many theorists and scholars, such as Roland Barthes and Jacques Rancière, Giorgio Agamben and Alain Badiou, Nicholas Ridout and Alan Read, among others, the book focuses on the spectator as the subject, rather than the object, of investigation. This is the right time to remember their secret power and theorise their collective time in the theatre. This book is an archive of their adventure and a manifesto rooted in their potentiality. It boldly posits the spectator as the inaugurator of theatre, the surplus that survives it. The book will be of great interest to spectators all and sundry, to scholars and students of theatre and performance studies, of spectatorship and politics.
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