The revenge of the market on the rentiers why neo-liberal reports of the end of history turned out to be premature

Starting from the perspective of heterodox Keynesian-Minskyian-Kindlebergian financial economics, this paper begins by highlighting a number of mechanisms that contributed to the current financial crisis. These include excess liquidity, income polarisation, conflicts between financial and productive capital, lack of intelligent regulation, asymmetric information, principal-agent dilemmas and bounded rationalities. However, the paper then proceeds to argue that perhaps more than ever the ‘macroeconomics’ that led to this crisis only makes analytical sense if examined within the framework of the political settlements and distributional outcomes in which it had operated. Taking the perspective of critical social theories the paper concludes that, ultimately, the current financial crisis is the outcome of something much more systemic, namely an attempt to use neo-liberalism (or, in US terms, neo-conservatism) as a new technology of power to help transform capitalism into a rentiers’ delight. And in particular, into a system without much ‘compulsion’ on big business; i.e., one that imposes only minimal pressures on big agents to engage in competitive struggles in the real economy (while inflicting exactly the opposite fate on workers and small firms). A key component in the effectiveness of this new technology of power was its ability to transform the state into a major facilitator of the ever-increasing rent-seeking practices of oligopolistic capital. The architects of this experiment include some capitalist groups (in particular rentiers from the financial sector as well as capitalists from the ‘mature’ and most polluting industries of the preceding techno-economic paradigm), some political groups, as well as intellectual networks with their allies – including most economists and the ‘new’ left. Although rentiers did succeed in their attempt to get rid of practically all fetters on their greed, in the end the crisis materialised when ‘markets’ took their inevitable revenge on the rentiers by calling their (blatant) bluff.

The Rechtslehre doctrine and Kant's philosophy of history

The text is divided in two phases. In the first phase, consisting of three parts, the main concepts of Kant's Doctrine of Right are considered in a comprehensive approach related to: the issue of the relations between natural right and positive right, problem closely connected to that of the relations between natural state and civil state, private right and public right; to the doctrine of property and its connection with political right. on treating the right in its several types, we intend to appoint the practical reasoning as a background of the Doctrine. In the second phase, concerning its last section, the consideration on the presence of the practical reasoning into the right is placed before some specificities of Kant's phylosophy of history, with the intent of establishing the possible relation between Rechtslehre and that philosophy.

The De-Totalization of History in Tim O'Brien's The Things They Carried

This paper aims at discussing how Tim O’Brien, a veteran of the Vietnam War, reviews the American involvement in the conflict in his novel The Things They Carried (1990). The author shows the perspective of the soldiers in the stories and, therefore, presents other possibilities to analyze that historical fact. The interplay of fiction and truth is essential for O’Brien to reach the objective of reevaluating official history in order to make the readers rethink the past.

Foucault's heraclitism and the concept of history

Deleuze states that Foucault would have created a new relationship between men and history, a relationship other than that established by the philosophers of history. In order to specify the steps Foucault took to accomplish this invention, I shall support, according to Deleuze, Foucault s Heraclitism as the basis for a genuine Foucaultian concept of history. After outlining the risks taken by Foucault s concept of history, I observe this concept at work through the three periods that perform his thought: Archeology, Genealogy and Aesthetics of Existence. The main characters that embody his concept of history through these periods are: a) the discontinuous profile of history; b) the denaturalization of would-be unhistorical objects; c) the historical dimension of body; d) the eddies of subjectivation in history. We shall focus our inspection on the turn made along Foucault s work when he takes into a new account the theme of subjectivity, mostly in the last two volumes of the History of Sexuality. Thus, our attention turns to the subjectivity defined as a process, in order to investigate individual identity as the result of history.

The Pressures of History: Shakespearean Performance and Interpretation

Interpretations of Shakespeare’s characters have been subject to the pressures of history, exhibiting a progression of performance styles in accordance with changes in ideas and concerns over time. Shakespeare’s complex portrayals of women leave room for cultural influences of a time period to greatly influence interpretations because of the ambiguous nature of some of his major female characters. Lady Macbeth and Much Ado About Nothing’s Beatrice both overstep and challenge gender boundaries, and the combination of their defiant natures and textual ambiguities have made these characters highly controversial over the past four centuries.Various cultures over time have imposed specific readings of the characters that serve to reinforce the male-dominated expectations of a given society. The examination of variations in performance styles and interpretations of these two extremely canonical characters revealinsights into gender ideologies that existed during various time periods throughout history. The combination of this analysis with an exploration of the effects of the more recent applications offeminism and film, which have both helped to reshape the cultural images of both Lady Macbeth and Beatrice, will aide in an observation of the status of gender relations in our contemporary society. The current trend of interpretations of these characters could also provide predictions about future gender relations in our culture.

Effects of experimental inbreeding on herbivore resistance and plant fitness: the role of history of inbreeding, herbivory and abiotic factors

Inbreeding is common in plant populations and can affect plant fitness and resistance against herbivores. These effects are likely to depend on population history. In a greenhouse experiment with plants from 17 populations of Lychnis flos-cuculi, we studied the effects of experimental inbreeding on resistance and plant fitness. Depending on the levels of past herbivory and abiotic factors at the site of plant origin, we found either inbreeding or outbreeding depression in herbivore resistance. Furthermore, when not damaged experimentally by snail herbivores, plants from populations with higher heterozygosity suffered from inbreeding depression and those from populations with lower heterozygosity suffered from outbreeding depression. These effects of inbreeding and outbreeding were not apparent under experimental snail herbivory. We conclude that inbreeding effects on resistance and plant fitness depend on population history. Moreover, herbivory can mask inbreeding effects on plant fitness. Thus, understanding inbreeding effects on plant fitness requires studying multiple populations and considering population history and biotic interactions.

The Absence of Atrocity: On Bart Michiels’ "The Course of History" Photographs

This article examines the absence of atrocity in the photographic series The Course of History by the Belgian-born, New York-based photographer Bart Michiels (1964–). It shows, in beautiful, large-format prints, seemingly innocent landscapes and confined views of nature. Only when viewers read the titles of the photographs do they become aware of the violent history of the sites. These turn out to be the fields of fierce European battles such as Verdun, Waterloo and Stalingrad. The present article reviews recent trends towards using place as a motif in contemporary art photography and focuses on the ‘empty’ landscape as a pictorial strategy that opens up a narrative space, one that needs to be completed by the viewer. The absence evoked by the image is treated as antithetical to the conventional ethos of photography, which canonically stands as the evidence of an occurrence.