Machines Bodies And Invisible Hands
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Machines, Bodies and Invisible Hands
What was Adam Smith’s intellectual laboratory? How did his economic theory take shape? Were his metaphors of order only residual and ornamental expressions? This book answers these questions by analyzing the formation of the concepts of market and social order in Adam Smith’s work, by considering various aspects of his approach. It analyzes how metaphors and pre-analytical concepts influenced Smith’s theory. In line with studies that deal with the cognitive role of metaphors in science, this book suggests that in Smith’s work metaphors provided a framework, on which basis the theory subsequently developed. Therefore, as such they were part of that intellectual process which made possible the formation of structured concepts. The content and scope of the book permits a more comprehensive interpretation of Smith’s thought, in which many aspects of his work are taken into consideration in order to explain a crucial problem for Smith: the nature and causes of social and economic order. The book also shows that in general, formation of theories is a complex process that includes pre-analytical views as non-residual parts of inquiry.
Adam Smith and Modernity
This volume features 19 original chapters on Adam Smith’s conception of modernity. The contributions demonstrate the relevance of Smith as the great interpreter of modernity 250 years after the publication of The Wealth of Nations. The chapters in Part 1 focus on structural aspects of Smith’s work. They cover topics such as Smith as the theorist of a spontaneous order, the systematic dimension of Smith’s theoretical construction, and Smith’s role as a historian of economic thought. Part 2 addresses Smith’s conception of modern subjectivity between Lectures on Rhetoric and Belles-Lettres, Theory of Moral Sentiments, and Wealth of Nations. Here the contributors consider the figure of the Smithian "merchant" and the importance of ridicule and satire for understanding modern civility, and comment on the role of sympathy, imagination, and moral judgement in developing a sense of self, the condition of the modern man in society, and the virtue of self-command. Part 3 focuses on the crucial question of the relationship between ethics and economics discussing the link between efficiency, equity and justice, the nature of Smith's theory of value, and the ethical connotation of Smith's critique. Part 4 deals with topics inherent to the functional dynamics and development process of the Smithian "commercial society." These topics include law and authority, the relationship between work and freedom, the parable of the "poor man's son," and the economic and political consequences of the new secular orthodoxy. Finally, the chapters in Part 5 explore themes related to history and the Smithian idea of progress. They focus on the link between trade and progress of civilization, Smith’s modern sociological vision of mass commercial societies, Smith's judgement on “savage” and premodern societies, and the controversial question of the immanentistic or providentialist perspective from which Smith considers both the social dynamics and the historical process. Adam Smith and Modernity will appeal to scholars and advanced students on 18th-century philosophy, the history of economic thought, and the history of social and political philosophy.
Contemporary Irish Theatre
This open access book is a new survey of theatre practices in Ireland from 1957 to the present. Part I: Histories, situates the theatrical activity of twentieth and twenty-first century Ireland within its social and political contexts, identifies key practitioners, landmark productions, institutions, festivals, and seminal revivals. Part II: Theories, offers five key theoretical frameworks - nation, language, body, space and interculturalism - to examine contemporary Irish theatre practices. Contemporary Irish Theatre and Performance ultimately offers a more extensive story of contemporary Irish theatre documenting the diversity of practices and contributors that have populated the contemporary Irish theatre landscape since 1957.