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Money is a legal institution with principal economic and sociological consequences. Money is a debt, because that is how it is conceptualised and comes into existence: as circulating credit – if viewed from the creditor’s perspective – or, from the debtor’s viewpoint, as debt. This book presents a legal theory of money, based on the concept of dematerialised property. It describes the money creation or money supply process for cash and for bank money, and looks at modern forms of money, such as cryptocurrencies. It also shows why mainstream economics presupposes, but avoids an analysis of, money by effectively eliminating money from the microeconomic market model and declaring it as ...
The Regional Handbooks of Economic Development series provides accessible overviews of countries within their larger domestic and international contexts, focusing on the relations among regions as they meet the challenges of the twenty first century. The series allows the non-specialist student to explore a wide range of complex factors-social and political as well as economic-that affect the growth of developing regions in Asia, Europe, and South America. Each Handbook provides an overview chapter discussing the region's economic conditions within an historical and political context, as well as 20 or more chapter-length essays written by recognized experts, which analyze the key issues affecting a region's economy: its population, natural resources, foreign trade, labor problems, and economic inequalities, and other vital factors. In addition, the volumes offer useful support materials, including a series of appendices that include a detailed chronology of events in the region, a glossary of terms, biographical entries on key personalities, an annotated bibliography of further reading, and a comprehensive analytical index.
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Daniel-François-Esprit Auber (1782–1871) was long considered one of the most typically French, as well as one of the most successful, opera composers of the nineteenth century. Although musically gifted, he initially chose commerce as a career, but soon realized that his future lay in music. He studied under Cherubini, and it was not long before his opéra-comique La Bergère Châteleine (1820), written at the age of 38, established him as an operatic composer. Perhaps the greatest turning point in Auber’s life was his meeting with the librettist Eugène Scribe (1791–1861), with whom he developed a long and illustrious working partnership that only ended with Scribe’s death. Success...
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