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Bringing together subjects such as culture, religion, morals, politics, economics, and mentality, Perkin presents and applies a holistic concept of social history in the tradition of great historians of the past. In this classic text of social history, Harold Perkin explores the emergence of a new form of class society in Victorian England, which differed radically from early modern society. He locates the origins of the modern English class system in the Industrial Revolution, the impact of which went beyond economy and technology, and changed the ways of living and perceptions of the English

This volume is about how and whether art can be morally bad (or morally good). Politicians, media pundits, and others frequently complain that particular works of art are morally dangerous, or, sometimes, that particular works are morally edifying (the 'great works' of literature, for example). But little attention is often given to the question of what makes art morally good in the first place. This comprehensive volume explores a wide variety of historical and theoretical perspectives, looking at different art forms and different problems.

"The eminent economic historian Harold James presents a new perspective on financial crises, dividing them into "good" crises, which ultimately expand markets and globalization, and "bad" crises, which result in a smaller, less prosperous world. Examining seven turning points in financial history--from the depression of the 1840s through the Great Depression of the 1930s to the Covid-19 crisis--James shows how crashes prompted by a lack of supply, like the oil shortages of the 1970s, lead to greater globalization as markets expand and producers innovate to increase supply. By contrast, crises triggered by a lack of demand--such as the Global Financial Crisis of 2007-2008--result in less globalization as markets contract, austerity measures are imposed, and skepticism of government grows. By considering not only the times but also the observers who shaped our understanding of each crisis--from Karl Marx to John Maynard Keynes to Larry Summers--James shows how the uneven course of globalization has led to new economic thinking, and how understanding this history can help us better prepare for the future."--Publisher's website.

Wirtschaftskrisen, -einbrüche und -schocks können verheerend sein, doch langfristig wirkten sie offenbar oft transformativ. Harold James zeigt auf, inwiefern die großen Krisen ab Mitte des 19. Jahrhunderts – von der Hungerkrise in Irland über die großen Weltwirtschaftskrisen bis zu den aktuellen Krisenerscheinungen seit 2020 – trotz ihrer gewaltigen Kosten, Wendepunkte gewesen seien: Sie hätten wirtschaftliches Lernen erzwungen, die Annahme technologischer Innovationen beschleunigt und damit die Weichen der Globalisierung neu gestellt.

Frontmatter -- Preface -- Contents -- Tables and Figures -- 1. Introduction: The End of Globalization and the Problem of the Depression -- 2. Monetary Policy and Banking Instability -- 3. Tariffs, Trade Policy, and the Collapse of International Trade -- 4. The Reaction against International Migration -- 5. The Age of Nationalism versus the Age of Capital -- 6. Conclusion: Can It Happen Again? -- Notes -- Index

Frontmatter -- Contents -- Figures -- Maps -- Abbreviations -- Introduction: The Familiarity of Capitalism -- Part I. The Age of the Individual -- Chapter 1 The Wendels and the French State -- Chapter 2 The Pioneer in German History -- Chapter 3 The Industrial Origins of the Falcks -- Part II. The Age of the Corporation -- Introduction -- Chapter 4 The Gutehoffnungshütte as a Joint-Stock Company -- Chapter 5 French Companies in Two Countries -- Chapter 6 An Italian Joint-Stock Company -- Part III. The Age of Organizationalism -- Chapter 7 The Politician as Businessman -- Chapter 8 A Family Concern -- Chapter 9 Models of Italian Industrial Development -- Part IV. The Age of the Postwar Miracle -- Chapter 10 A Costly Miracle in Italy -- Chapter 11 A New Kind of Family Togetherness -- Chapter 12 Postwar Reconstruction in France -- Part V. The Age of Globalization -- Chapter 13 Wendel Becomes a Conglomerate, French Style -- Chapter 14 The Crisis of Italian Steel -- Chapter 15 German Diversification and Internationalization -- Chapter 16 Family Capitalism and the Exit from Steel -- Conclusion Family Entrepreneurship -- Appendix: Family Trees -- Notes -- Acknowledgments -- Index

Nationalism, conservatism, liberalism, socialism, and capitalism are among the most fiercely debated ideas in contemporary politics. Since these concepts hark back to the nineteenth century, much of their nuanced meaning has been lost, and the words are most often used as epithets that short-circuit productive discussion. In this insightful book, Harold James uncovers the origins of these concepts and examines how the problematic definition and meaning of each term has become an obstacle to respectful communication.0 Noting that similar linguistic misunderstandings accompany such newer ideas as geopolitics, neoliberalism, technocracy, and globalism, James argues that a rich historical knowledge of the vocabulary surrounding globalization, politics, and economics-particularly the meaning and the usefulness that drove the original conceptions of the terms-is needed to negotiate the gaps between different understandings and make fruitful political debate once again possible.

Frontmatter -- CONTENTS -- Acknowledgments -- Introduction -- 1 The End of Globalization: A Millennial Perspective -- 2 Which Historical Analogy Applies, 1929 or 1931? -- 3 The Crash of 2008: The Weekends That Made History -- 4 The Extent and Limit of the Financial Revolution -- 5 The Importance of Power Politics -- 6 Uncertainty of Values -- Notes -- Index

"This book takes up the problem of judging works of art using moral standards. When we say that a work is racist, or morally dangerous, what do we mean? The book is divided into two parts. The first part takes up the moral question on its own. What could it mean to say that a work of art (rather than, say, a human being) is immoral? The second part steps back and asks about how moral evaluation fits into the larger task of evaluating artworks. If an artwork is immoral, what does that tell us about how to value the artwork? The overall approach of the book is moderately skeptical. The book argues that many of the reasons given for thinking that works of art are immoral do not stand up to careful scrutiny. It further tries to show that even when works of art are rightly condemned from a moral point of view, the relationship between that moral flaw and their value as artworks is complex. The book defends a moderate version of autonomism between morality and aesthetics. But the real purpose of the book is to highlight the complexities and difficulties in evaluating artworks morally - many philosophers of art have simply assumed that artworks can be evaluated morally and proceeded as though such assessments were unproblematic"--