2012 Reprint of 1957 Edition. Exact facsimile of the original edition, not reproduced with Optical Recognition Software. Tjalling Charles Koopmans (1910 - 1985) was the joint winner, with Leonid Kantorovich, of the 1975 Nobel Memorial Prize in Economic Sciences. In 1944 Koopmans joined the Cowles Commission for Research in Economics at the University of Chicago, where he extended his technique to a wide variety of economic problems. When the commission was relocated to Yale University in 1955, Koopmans moved with it, becoming professor of economics at Yale. He wrote a widely read book on the methodology of economic analysis, "Three Essays on the State of Economic Science" in 1957. Essays are: Allocation of Resources and the Price System The Construction of Economic Knowledge The Interaction of Tools and Problems in Economics

This first volume in a three-volume exposition of Shubik's vision of "mathematical institutional economics" explores a one-period approach to economic exchange with money, debt, and bankruptcy. This is the first volume in a three-volume exposition of Martin Shubik's vision of "mathematical institutional economics"--a term he coined in 1959 to describe the theoretical underpinnings needed for the construction of an economic dynamics. The goal is to develop a process-oriented theory of money and financial institutions that reconciles micro- and macroeconomics, using as a prime tool the theory of games in strategic and extensive form. The approach involves a search for minimal financial institutions that appear as a logical, technological, and institutional necessity, as part of the "rules of the game." Money and financial institutions are assumed to be the basic elements of the network that transmits the sociopolitical imperatives to the economy. Volume 1 deals with a one-period approach to economic exchange with money, debt, and bankruptcy. Volume 2 explores the new economic features that arise when we consider multi-period finite and infinite horizon economies. Volume 3 will consider the specific role of financial institutions and government, and formulate the economic financial control problem linking micro- and macroeconomics.

In this slim, insightful volume, noted economist Samir Amin returns to the core of Marxian economic thought: Marx’s theory of value. He begins with the same question that Marx, along with the classical economists, once pondered: how can every commodity, including labor power, sell at its value on the market and still produce a profit for owners of capital? While bourgeois economists attempted to answer this question according to the categories of capitalist society itself, Marx sought to peer through the surface phenomena of market transactions and develop his theory by examining the actual social relations they obscured. The debate over Marx’s conclusions continues to this day. Amin defends Marx’s theory of value against its critics and also tackles some of its trickier aspects. He examines the relationship between Marx’s abstract concepts—such as “socially necessary labor time”—and how they are manifested in the capitalist marketplace as prices, wages, rents, and so on. He also explains how variations in price are affected by the development of “monopoly- capitalism,” the abandonment of the gold standard, and the deepening of capitalism as a global system. Amin extends Marx’s theory and applies it to capitalism’s current trajectory in a way that is unencumbered by the weight of orthodoxy and unafraid of its own radical conclusions.

How do economists tackle the problems of the economic system and give advice on public policy? Nobel laureate R.H. Coase reflects on some of the most fundamental concerns of economists over the past two centuries. In 15 essays, Coase explore the history and philosophy of economics and evaluates the contributions of a number of outstanding figures.

Every Economics textbook today teaches that questions of values and morality lie outside of, are in fact excluded from, the field of Economics and its proper domain of study, "the economy." Yet the dominant cultural and media narrative in response to major economic crisis is almost always one of moral outrage. How do we reconcile this tension or explain this paradox by which Economics seems to have both everything and nothing to do with values? The discipline of modern economics hypostatizes and continually reifies a domain it calls "the economy"; only this epistemic practice makes it possible to falsely separate the question of value from the broader inquiry into the economic. And only if we have first eliminated value from the domain of economics can we then transform stories of financial crisis or massive corporate corruption into simple tales of ethics. But if economic forces establish, transform, and maintain relations of value then it proves impossible to separate economics from questions of value, because value relations only come to be in the world by way of economic logics. This means that the "positive economics" spoken of so fondly in the textbooks is nothing more than a contradiction in terms, and as this book demonstrates, there's no such thing as "the economy." To grasp the basic logic of capital is to bring into view the unbreakable link between economics and value.

with a memoir by William S. Heckscher Erwin Panofsky (1892-1968) was one of the preeminent art historians of the twentieth century. A new translation of his seminal work, Perspective as Symbolic Form, was recently published by Zone Books; now three remarkable essays, one previously unpublished, place Panofsky's genius in a different perspective: What Is Baroque?, Style and Medium in the Motion Pictures,andThe Ideological Antecedents of the Rolls-Royce Radiator. The essays are framed by an introduction by Irving Lavin, Panofsky's successor as Professor of Art History at the Institute for Advanced Study in Princeton, discussing the context of the essays' composition and their significance within Panofsky's oeuvre, and an insightful memoir by Panofsky's former student, close friend, and fellow emigr & e ́, William Heckscher. All three essays reveal unexpected aspects of Panofsky's sensibility, both personal and intellectual. Originally written as lectures for general audiences, they are composed in a lively, informal manner, and are full of charm and wit. The studies concern broadly defined problems of style in art--the visual symptoms endemic to works of a certain period (Baroque), medium (film), or national identity (England)--as opposed to the focus on iconography and subject matter usually associated with Panofsky's "method." The essay on Baroque, which Lavin considers "vintage Panofsky" and which appears here for the first time, and the one on film were written in 1934. The Rolls-Royce piece was written in 1962.

This paper is concerned primarily with certain methodological problems that arise in constructing the "distinct positive science" that John Neville Keynes called for, in particular, the problem how to decide whether a suggested hypothesis or theory should be tentatively accepted as part of the "body of systematized knowledge concerning what is."