Economic Policy provides a unique combination of facts-based analysis, state-of-the art economic theory, and insights from first-hand policy experience at the national and international levels to shed light on current domestic and international policy challenges. It is ideally suited for students, practitioners, and scholars seeking understanding both of the pragmatic constraints of real-world policy making and the analytical tools that enhance inquiry and inform debates. The authors draw on their experiences as academics and as policy makers in European and international institutions to offer a deep dive into the rationale, design, and implementation of economic policy across a range of policy domains: fiscal policy, monetary policy, international finance, financial stability, taxes, long-term growth and inequality. Highlighting the ways experience, theories, and institutions interact, each chapter starts with historical examples of dilemmas and shows how theoretical approaches can help policy makers understand what is at stake and identify solutions. The authors highlight the differences between the positive approach to economic policy (how do policies impact the economy), the normative approach (what should be policymakers' objectives and against which criteria should their action be judged), and the political-economy constraints (what are the limits and obstacles to public intervention). They rely on the most recent academic research, providing technical boxes while explaining the mechanisms in plain English in the text, with appropriate illustrations. This new edition is informed by such important recent developments as the Great Recession, the strains on the European Union and the Euro, the challenges of public and private debt, the successes and setbacks to emerging markets, changes to labor markets along with the increased attention to inequality, the debates on secular stagnation and its implications for conventional and unconventional monetary policy, the re-regulation of the financial sector, the debt overhang in both the public and the private sector.
The principal audience for this book seems to be deliberately and most certainly an academic one; that said, those practitioners from a business management or central/local government support-agency background might also find the text a useful resource. Intrinsically, those employed teaching and researching within the fields of entrepreneurship or regional economic development will find this publication an invaluable and indispensable reference tool. . . After an excellent, cohesive and informative introductory chapter, which places the book firmly in the field of regional entrepreneurship theory development, the reader is effortlessly prepared for the intellectually challenging read ahead. . . this book is well laid out and it is easy for the reader to pick up the thread of the argument, even after a lay-off. The endnotes after each chapter are useful and comprehensive, adding richness to the text through the additional information. The bibliography is as comprehensive as it is exhaustive. . . Professor Julien has given us a book that presents both an interesting and alternative perspective to the field of entrepreneurial cross-disciplinary research. Paul J. Ferri, International Journal of Entrepreneurial Behaviour and Research . . . it is my view that this book gives a very important contribution for the understanding of development of local entrepreneurship, through its cross-disciplinary approach. I see the book is especially interesting from an entrepreneurship and a regional development perspective. . . this book should inspire research that takes a more holistic approach using different levels of analysis and applies it to economic development at a local/territorial level, when studying entrepreneurship. Einar Lier Madsen, International Small Business Journal The reader who is interested in entrepreneurship and/or regional development will find this book a welcome contribution to the field. Rainer Harms, Entrepreneurship and Innovation For too long, researchers have regarded local dynamism as the result of the actions of certain entrepreneurs. If this were the case, how could we explain the simultaneous presence of winning , stagnating or declining areas with very similar socioeconomic profiles within the same region? Departing from this restrictive and somewhat inadequate approach, Pierre-André Julien considers entrepreneurship as a collective behaviour specifically related to the dynamism of the milieu in which it develops. The author introduces a complex, innovative theory of local entrepreneurship, demonstrating that the emergence of new ventures and the development of existing enterprises cannot be understood without taking into account certain factors: locale, social capital, networking and entrepreneurial culture within a given area are all crucial to entrepreneurial growth. Expanding upon this theory, the book demonstrates how entrepreneurship can be fostered in order to support collective development. Various forms of partnership among socioeconomic actors are then analysed to highlight the social conventions and entrepreneurial culture that connect and intensify the energies at the root of local dynamism. This highly original book represents a departure from entrepreneurship literature that is largely limited to the study of entrepreneurs behaviour. Its dynamic presentation of holistic theory will prove an extremely absorbing read for those with an academic or professional interest in business and management, entrepreneurship and regional development.
The presence of Jews in Quebec dates back four centuries. Quebec Jewry, in Montreal in particular, has evolved over time, thanks to successive waves of migration from different regions of the world. The Jews of Quebec belong to a unique society in North America, which they have worked to fashion. The dedication with which they have defended their rights and their extensive achievements in multiple sectors of activity have helped foster diversity in Quebec. This work recounts the different contributions Jews have made over the years, along with the cultural context that encouraged the emergence in Montreal of a Jewish community like no other in North America. This is the first overview of a history that began during the French Regime and continued, through many twists and turns, up to the turn of the twenty-first century.
In film history, director-cinematographer collaborations were on a labor spectrum, with the model of the contracted camera operator in the silent era and that of the cinematographer in the sound era. But in Weimar era German filmmaking, 1919-33, a short period of intense artistic activity and political and economic instability, these models existed side by side due to the emergence of camera operators as independent visual artists and collaborators with directors. Berlin in the 1920s was the chief site of the interdisciplinary avant-garde of the Modernist movement in the visual, literary, architectural, design, typographical, sartorial, and performance arts in Europe. The Weimar Revolution that arose in the aftermath of the November 1918 Armistice and that established the Weimar Republic informed and agitated all of the art movements, such as Expressionism, Dada, the Bauhaus, Minimalism, Objectivism, Verism, and Neue Sachlichkeit (“New Objectivity”). Among the avant-garde forms of these new stylistically and culturally negotiated arts, the cinema was foremost and since its inception had been a radical experimental practice in new visual technologies that proved instrumental in changing how human beings perceived movement, structure, perspective, light exposure, temporal duration, continuity, spatial orientation, human postural, facial, vocal, and gestural displays, and their own spectatorship, as well as conventions of storytelling like narrative, setting, theme, character, and structure. Whereas most of the arts mobilized into schools, movements, institutions, and other structures, cinema, a collaborative art, tended to organize around its ensembles of practitioners. Historically, the silent film era, 1895-1927, is associated with auteurs, the precursors of François Truffaut and other filmmakers in the 1960s: actuality filmmakers and pioneers like R. W. Paul and Fred and Joe Evans in England, Auguste and Luis Lumière and Georges Méliès in France, and Charles Chaplin and Buster Keaton in America, who, by managing all the compositional, executional, and editorial facets of film production—scripting, directing, acting, photographing, set, costume, and lighting design, editing, and marketing—imposed their personal vision or authorship on the film. The dichotomy of the auteur and the production ensemble established a production hierarchy in most filmmaking. In formative German silent film, however, this hierarchy was less rank or class driven, because collaborative partnerships took precedence over single authorship. Whereas in silent film production in most countries the terms filmmaker and director were synonymous, in German silent film the plural term filmemacherin connoted both directors and cinematographers, along with the rest of the filmmaking crew. Thus, German silent filmmakers’ principle contribution to the new medium and art of film was less the representational iconographies of Expressionist, New Objective, and Naturalist styles than the executional practice of co-authorship and co-production, in distinctive cinematographer-director partnerships such as those of cinematographer Theodor Sparkuhl and director Ernst Lubitsch; Fritz Arno Wagner with F. W. Murnau, Fritz Lang, and G. W. Pabst; Rudolf Maté with Carl Theodor Dreyer; Guido Seeber with Lang and Pabst; and Carl Hoffmann with Lang and Murnau.
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