Labour Market Reforms and Current Account Imbalances: Beggar-thy-neighbour policies in a currency union? CEPS Working Document No. 399/September 2014

Member countries of the Economic and Monetary Union (EMU) initiated wide-ranging labour market reforms in the last decade. This process is ongoing as countries that are faced with serious labour market imbalances perceive reforms as the fastest way to restore competitiveness within a currency union. This fosters fears among observers about a beggar-thy-neighbour policy that leaves non-reforming countries with a loss in competitiveness and an increase in foreign debt. Using a two-country, two-sector search and matching DSGE model, we analyse the impact of labour market reforms on the transmission of macroeconomic shocks in both non-reforming and reforming countries. By analysing the impact of reforms on foreign debt, we contribute to the debate on whether labour market reforms increase or reduce current account imbalances.

The Beggar's Opera

William Hogarth; 1 ft. 11 17/64 in.x 2 ft. 6 in.; oil on canvas

Shakespearean extracts from "Edward Pudsey's booke", temp. Q. Elizabeth & K. James I. which include some from an unknown play by William Shakespeare [or rather from Chapman's "Blind beggar of Alexander"] Also a few unpublished records of the Shakespeare of Snitterfield and Wroxall preserved in the Public Record Office.

Mode of access: Internet.

"Polly Peachum"; the story of "Polly" and "The beggar's opera,"

Mode of access: Internet.

The beggar of Bethnal Green : a comedy in three acts, altered from The beggar's daughter of Bethnal Green /

Mode of access: Internet.

The beggar of Bethnal Green; a comedy in three acts, altered from The beggar's daughter of Bethnal Green.

Mode of access: Internet.

The True Lover's Fortune; or, the Beggar of the Pont des Arts.

Mode of access: Internet.

The beggar's opera /

Scene and costumes designed by C. Lovat Fraser.

Beggar and king /

The author has a hearing impairment.

Mexican woman beggar with sleeping child on sidewalk

General note: Title and date provided by Bettye Lane.

Fictionalising Trauma : The Aesthetics of Marguerite Duras's India Cycle

Marguerite Duras (1914−1996) was one of the most original French writers and film directors, whose cycles are renowned for a transgeneric repetition variation of human suffering in the modern condition. Her fictionalisation of Asian colonialism, the India Cycle (1964−1976), consists of three novels, Le ravissement de Lol V. Stein (1964), Le Vice-consul (1966) and L'amour (1971), a theatre play, India Song (1973), and three films, La Femme du Gange (1973), India Song (1974) and Son nom de Venise dans Calcutta desért (1976). Duras’s cultural position as a colon in inter-war ‘Indochina’ was the backdrop for this “théâtre-text-film”, while its creation was provoked by the atrocities of World War II and post-war decolonisation. Fictionalising Trauma analyses the aesthetics of the India Cycle as Duras’s critical working-through of historical trauma. From an emotion-focused cognitive viewpoint, the study sheds light on trauma’s narrativisation using the renewed concept of traumatic memory developed by current social neuroscience. Duras is shown to integrate embodied memory and narrative memory into an emotionally progressing fiction. Thus the rhetoric of the India Cycle epitomises a creative symbolisation of the unsayable, which revises the concept of trauma from a semiotic failure into an imaginative metaphorical process. The India Cycle portrays the stagnated situation of a white society in Europe and British India during the thirties. The narratives of three European protagonists and one fictional Cambodian mendicant are organised as analogues mirroring the effects of rejection and loss on both sides of the colonial system. Using trauma as a conceptual prism, the study rearticulates this composition as three roles: those of witnessing writers, rejected survivors and colonial perpetrators. Three problems are analysed in turn by reading the non-verbal markers of the text: the white man as a witness, the subversive trope of the madwoman and the deadlock of the colonists’ destructive passion. The study reveals emotion and fantasy to be crucial elements in critical trauma fiction. Two devices intertwine throughout the cycle: affective images of trauma expressing the horror of life and death, and self-reflexive metafiction distancing the face-value of the melodramatic stories. This strategy dismantles racist and sexist discourses underpinning European life, thus demanding a renewal of cultural memory by an empathic listening to the ‘other’. And as solipsism and madness lead the lives of the white protagonists to tragic ends, the ‘real’ beggar in Calcutta lives in ecological harmony with Nature. This emphasises the failure of colonialism, as the Durasian phantasm ambiguously strives for a deconstruction of the exotic mythical fiction of French ‘Indochina’.

La thématique de l’eau dans l’œuvre de Marguerite Duras

The aim of this thematic study is to examine how the water motif is used in Marguerite Duras’s literary work. The study shows that water has multiple functions in these texts: it is linked to major themes and creates an enigmatic atmosphere by its association with the unknown, the inexplicable and the unconscious. The strong presence of water in Duras’s texts is striking. References to the water element can be found in several titles throughout her career, from early works such as Un barrage contre le Pacifique (1950) to La mer écrite (1996), published just after her death. Almost all of her fiction take place near water – and the rain or the sound of waves serve as leitmotifs in specific novels. The water motif can play a metonymic as well as a metaphoric role in the texts and it sometimes takes on human or animalistic characteristics (Chapter 4). Several emblematic Durassian characters (e.g. the beggar-woman, Anne-Marie Stretter and Lol V. Stein) have a close relationship to water (Chapter 5). The water motif is linked to many major Durassian themes, and illustrates themes with positive connotations, for example, creation, fecundity, maternity, liberty and desire, as well as themes with negative connotations such as destruction and death (Chapter 6). A close reading of three novels, La vie tranquille (1944), L’après-midi de Monsieur Andesmas (1962) and La maladie de la mort (1982), shows that the realism of the first novel is replaced by intriguing evocations of the sea and the pond in the second text, motifs which resist straightforward interpretation. The enigmatic feeling persists in the last novel, in which the sea illustrates the overall sombre mood of the story (Chapter 7). Finally, the role of the water element in psychoanalytic theory is discussed (Chapter 8), and a parallel is drawn between the Jungian concept of the mother archetype and the water motif in Duras’s texts. The suggestion is made in this last chapter that water is used to illustrate an oriental influence (Taoist or Buddhist) of some of the female characters in Duras’s work.

Desenvolvimento e composição mineral do picão-preto sob diferentes níveis de pH

Visando estudar a tolerância do picão-preto (Bidens pilosa) a diferentes níveis de pH do substrato, conduziu-se um ensaio em condições de câmara de crescimento e utilizando-se a técnica de hidroponia, no qual três plântulas foram transplantadas para recipientes contendo solução nutritiva de Hoagland & Arnon, com pH ajustado para 3,5, 4,0, 5,0, 6,0, 7,0 e 8,0. O delineamento experimental utilizado foi o inteiramente casualizado com três repetições. Ao final do período experimental, 42 dias após o transplante, observou-se que as plantas que se desenvolveram nos pHs 3,5 e 8,0 apresentaram-se menores, com menor comprimento e volume do sistema radicular, menor número de folhas vivas e, consequentemente, menor peso de matéria seca das folhas, caule e raízes. Os teores de N e S nas raízes diminuiram com o aumento do pH do substrato, enquanto os de Ca e Mg aumentaram e os de K e P diminuiram no pH 5,0 a 6,0. No caule, apenas o teor de Mg foi afetado pelo pH, mostrando resposta positiva. Na folha obteve-se os maiores teores de P, S, Ca e Mg quando a planta se desenvolveu em pH 6,0. Não se constatou diferença significativa entre os efeitos dos pHs 5,0, 6,0 e 7,0 nos parâmetros avaliados, sendo que foi no pH 6,0 que se estimou, através de análise de regressão, melhor desenvolvimento do picão-preto. Concluiu-se que o picãopreto apresenta melhor desenvolvimento em pHs próximo ao neutro, com certa tolerância a pHs extremos (3,5 e 8,0).