This volume unites scholars from all over the world, and with very different theoretical perspectives. Their chapters probe into typical Shacklean themes of time and money, uncertainty and expectation, and into the roots of G.L.S. Shackle's philosophical and methodological stance.

Including conversations with world leaders, Nobel prizewinners, business leaders, artists and Olympians, Vikas Shah quizzes the minds that matter on the big questions that concern us all.

The story of how economic reasoning came to dominate Washington between the 1960s and 1980s—and why it continues to constrain progressive ambitions today For decades, Democratic politicians have frustrated progressives by tinkering around the margins of policy while shying away from truly ambitious change. What happened to bold political vision on the left, and what shrunk the very horizons of possibility? In Thinking like an Economist, Elizabeth Popp Berman tells the story of how a distinctive way of thinking—an “economic style of reasoning”—became dominant in Washington between the 1960s and the 1980s and how it continues to dramatically narrow debates over public policy today. Introduced by liberal technocrats who hoped to improve government, this way of thinking was grounded in economics but also transformed law and policy. At its core was an economic understanding of efficiency, and its advocates often found themselves allied with Republicans and in conflict with liberal Democrats who argued for rights, equality, and limits on corporate power. By the Carter administration, economic reasoning had spread throughout government policy and laws affecting poverty, healthcare, antitrust, transportation, and the environment. Fearing waste and overspending, liberals reined in their ambitions for decades to come, even as Reagan and his Republican successors argued for economic efficiency only when it helped their own goals. A compelling account that illuminates what brought American politics to its current state, Thinking like an Economist also offers critical lessons for the future. With the political left resurgent today, Democrats seem poised to break with the past—but doing so will require abandoning the shibboleth of economic efficiency and successfully advocating new ways of thinking about policy.

Assembling contributions from top thinkers in the field, thiscompanion offers a comprehensive and sophisticated exploration ofthe history of economic thought. The volume has a threefold focus:the history of economic thought, the history of economics as adiscipline, and the historiography of economic thought. Provides sophisticated introductions to a vast array oftopics. Focuses on a unique range of topics, including the history ofeconomic thought, the history of the discipline of economics, andthe historiography of economic thought.

Over the last two centuries, artists, critics, philosophers and theorists have contributed significantly to such representations of "the economy" as sublime. It might even be said that much of the emergence of a distinctly "modern" art in the West is inextricably linked to the perception of art’s own autonomy and, therefore, its privileged, mostly critical, gaze at the terrible mixture of wonder and horror of capitalist economic practices and institutions. The premise of this collection is that despite this perceptual sharing, "sublime economy" has yet to be investigated in a purely cross-disciplinary way. Sublime Economy seeks to map this critical territory by exploring the ways diverse concepts of economy and economic value have been culturally constituted and disseminated through modern art and cultural practice. Comprising of 14 individual essays along with an editors’ introduction, Sublime Economy draws together work from some of the leading scholars in the several fields currently exploring the intersection of economic and aesthetic practices and discourses. A pressing issue of this cross-disciplinary conversation is to discern how artists’, writers’, and cultural scholars’ constructions of distinct conceptions of economic value, as pertains to aesthetic objects as well as to more "everyday" objects and relations of mass consumption, have contributed to the ways "value" functions in and across disparate discourses. Thus this book looks at how cultural critics and theorists have put forward working notions of economic value that have regularities and effects similar to those of the "expert" conceptions and discourses about value that have been the preserve of professional economists.

"I had the good fortune to grow up in a wonderful area of Jerusalem, surrounded by a diverse range of people: Rabbi Meizel, the communist Sala Marcel, my widowed Aunt Hannah, and the intellectual Yaacovson. As far as I'm concerned, the opinion of such people is just as authoritative for making social and economic decisions as the opinion of an expert using a model." Part memoir, part crash-course in economic theory, this deeply engaging book by one of the world's foremost economists looks at economic ideas through a personal lens. Together with an introduction to some of the central concepts in modern economic thought, Ariel Rubinstein offers some powerful and entertaining reflections on his childhood, family and career. In doing so, he challenges many of the central tenets of game theory, and sheds light on the role economics can play in society at large. Economic Fables is as thought-provoking for seasoned economists as it is enlightening for newcomers to the field.

This volume emphasizes the economic aspects of art and culture, a relatively new field that poses inherent problems for economics, with its quantitative concepts and tools. Building bridges across disciplines such as management, art history, art philosophy, sociology, and law, editors Victor Ginsburgh and David Throsby assemble chapters that yield new perspectives on the supply and demand for artistic services, the contribution of the arts sector to the economy, and the roles that public policies play. With its focus on culture rather than the arts, Ginsburgh and Throsby bring new clarity and definition to this rapidly growing area. - Presents coherent summaries of major research in art and culture, a field that is inherently difficult to characterize with finance tools and concepts - Offers a rigorous description that avoids common problems associated with art and culture scholarship - Makes details about the economics of art and culture accessible to scholars in fields outside economics

In this study, Don Ross explores the relationship of economics to other branches of behavioral science, asking, in the course of his analysis, under what interpretation economics is a sound empirical science. The book explores the relationships between economic theory and the theoretical foundations of related disciplines that are relevant to the day-to-day work of economics—the cognitive and behavioral sciences. It asks whether the increasingly sophisticated techniques of microeconomic analysis have revealed any deep empirical regularities—whether technical improvement represents improvement in any other sense. Casting Daniel Dennett and Kenneth Binmore as its intellectual heroes, the book proposes a comprehensive model of economic theory that, Ross argues, does not supplant, but recovers the core neoclassical insights, and counters the caricaturish conception of neoclassicism so derided by advocates of behavioral or evolutionary economics. Because he approaches his topic from the viewpoint of the philosophy of science, Ross devotes one chapter to the philosophical theory and terminology on which his argument depends and another to related philosophical issues. Two chapters provide the theoretical background in economics, one covering developments in neoclassical microeconomics and the other treating behavioral and experimental economics and evolutionary game theory. The three chapters at the heart of the argument then apply theses from the philosophy of cognitive science to foundational problems for economic theory. In these chapters, economists will find a genuinely new way of thinking about the implications of cognitive science for economics, and cognitive scientists will find in economic behavior, a new testing site for the explanations of cognitive science.

Culture manifests itself in everything human, including the ordinary business of everyday life. Culture and art have their own value, but economic values are also constrained. Art sponsorships and subsidies suggest a value that exceeds market price. So what is the real value of culture? Unlike the usual focus on formal problems, which has 'de-cultured' and 'de-moralized' the practice of economics, this book brings together economists, philosophers, historians, political scientists and artists to try to sort out the value of culture. This is a book not only for economists and social scientists, but also for anybody actively involved in the world of the arts and culture.

Art and Value is the first comprehensive analysis of art's political economy throughout classical, neoclassical and Marxist economics. It provides a critical-historical survey of the theories of art's economic exceptionalism, of art as a merit good, and of the theories of art's commodification, the culture industry and real subsumption. Key debates on the economics of art, from the high prices artworks fetch at auction, to the controversies over public subsidy of the arts, the 'cost disease' of artistic production, and neoliberal and post-Marxist theories of art's incorporation into capitalism, are examined in detail. Subjecting mainstream and Marxist theories of art's economics to an exacting critique, the book concludes with a new Marxist theory of art's economic exceptionalism.