Philippe Fontaine

Jefferson D. Pooley

The social sciences underwent rapid development in postwar America. Problems once framed in social terms gradually became redefined as individual with regards to scope and remedy, with economics and psychology winning influence over the other social sciences. By the 1970s, both economics and psychology had spread their intellectual remits wide: psychology's concepts suffused everyday language, while economists entered a myriad of policy debates. Psychology and economics contributed to, and benefited from, a conception of society that was increasingly skeptical of social explanations and interventions. Sociology, in particular, lost intellectual and policy ground to its peers, even regarding 'social problems' that the discipline long considered its settled domain. The book's ten chapters explore this shift, each refracted through a single 'problem': the family, crime, urban concerns, education, discrimination, poverty, addiction, war, and mental health, examining the effects an increasingly individualized lens has had on the way we see these problems.

Social Science and Public Policy in the Postwar United States

Society on the Edge

Albert Jolink

Since the publication of Keynes's General Theory of Employment, Interest and Money in 1936, macroeconomic theory has altered considerably. Each author in this volume focuses on an issue which either preceded, accompanied or followed the 'Keynesian Revolution' and helped to shape economics in subsequent years. Contributors reconsider some of the major concepts of the "General Theory": unemployment and the identity of income and output. They also highlight some of the controversies in macroeconomic theory and review the macroeconomic policy implications and consequences.

Sixty Years After the 'General Theory'

Historical Perspectives on Macroeconomics

Robert Leonard

Throughout the history of economic ideas, it has often been asserted that experimentation is impossible, yet, in fact, history shows that the idea of ‘experimentation’ has always been important, and as such has been interpreted and put to use in many ways. Rich in historical detail, the essays in this topical volume deal with such issues as laboratory experimentation, the observed transition from a post-war economics to a contemporary discipline, the contrasting positions of Friedrich Hayek and Oskar Morgenstern, the socio-economic experiments proposed by Ernest Solvay and Knut Wicksell, and a rigorous examination of the way in which economic models can or cannot be construed as valid experiments producing useful knowledge. A testament to the variety of ways in which experimentation has been of importance in the creation of economic knowledge, these wide-ranging essays will interest those seeking to expand their historical understanding of the discipline, be they theorists, historians, philosophers, advanced students or researchers.

The Experiment in the History of Economics

Roger E. Backhouse

A Historiography of the Modern Social Sciences exposes parallels and contrasts in the way the histories of the social sciences are written.

A Historiography of the Modern Social Sciences

Leading historians trace the changing fortunes of the social science of social problems since World War II.

Redrawing the Boundaries of the Social Sciences

Pierre-Albert Castanet

Frédéric Cousinié 

La « subtile fluidité contemporaine » célébrée par Mallarmé, défenseur et critique perspicace de la mouvance impressionniste, est devenue aussi bien un objet central de réflexion pour la philosophie contemporaine qu’une caractéristique déterminante de la modernité artistique. Déjà associée aux productions de Watteau, Boucher ou Fragonard au XVIIIe siècle, la fluidité l’est aussi à celles de Turner, Hugo, et plus encore à Monet : le « Raphaël de l’eau » (Antonin Proust) dont la « prodigieuse fluidité » (Ernest Chesnau) sera louée des origines du mouvement impressionniste jusqu’aux Nymphéas, décrites comme « un échange d’impondérables à travers des fluides » (Louis Gillet). Ce qui est à la fois un thème, une catégorie technique et stylistique, un concept esthétique déterminant pour l’impressionnisme et, plus largement, pour la culture moderne et contemporaine, est ici étudié grâce au concours d’historiens de l’art, de philosophes, de musicologues et de spécialistes de la littérature, de la photographie et du cinéma.

Philippe Fontaine

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