著者
井波 真弓 齋藤 兆古 堀井 清之
出版者
The Visualization Society of Japan
雑誌
可視化情報学会誌 (ISSN:09164731)
巻号頁・発行日
vol.27, no.1, pp.229-230, 2007

Three elements "Will", "Fact" and "Judgment" in speech of the Japan-U.S. leaders were examined by the discrete wavelets multi-resolution analysis. As a result, it has been clarified that both curves of "Will" shows the similar tendency and these of "Judgment" shows the different tendency. In Policy Speech, Prime Minister Shinzo Abe tends to show his leadership as a new leader by expressing his "Will" and "Judgment". On the other hand, in State of the Union Address, President George Walker Bush emphasizes his agreements of legitimacy and demands an agreement of the present policy by quoting "Fact" repeatedly as the president accomplishing on second term.
著者
古谷 豊
出版者
The Japanese Society for the History of Economic Thought
雑誌
経済学史学会年報 (ISSN:04534786)
巻号頁・発行日
vol.43, no.43, pp.24-37, 2003 (Released:2010-08-05)
参考文献数
25

In his doctrine of exchange, Steuart advanced a policy in which the exchange rate be kept at par by the state. He says that by a statesman's giving bills at par on all occasions, and being himself at the expense of transportation and insurance, in bringing home and sending off all balances, exchange would of itself come to par.Today it is widely accepted that this policy of Steuart's is only a temporary expedient. It is said that Steuart intended this policy as an emergency measure meant to avoid an evil effect of the strong sterling rate. The statesman must not intervene under normal occasions; it is allowed only when the balance of payments is in his favor, and the strong sterling rate discourages exportation.It is shown in this paper that this interpretation stems mainly from the following two factors. First, Steuart's theory is explained as a primitive equilibrium theory. Critics using this approach assert that Steuart's theory of political economy is fundamentally based on market mechanism, and that state intervention is allowed only as a temporary expedient. Second, they understood Steuart's term “high exchange” as “strong sterling rate, ” when Steuart points out that the “high exchange proves a prodigious discouragement to trade in general.”But as we see in this paper, Steuart used this term to refer to a large detachment of the exchange rate from the par. A strong sterling rate, therefore, is expressed as “a price of exchange in favour of a country, ” and a very weak sterling rate is expressed as “high exchange against a country.” According to Steuart, the problem was not the high sterling rate, but the large fluctuations of the exchange. The detachment of the exchange rate from the par, whether it be over or under the par, “produces an instability in the profits upon trade.” Thus Steuart concludes “that it is greatly for the interest of a trading state to keep exchange, at all times, as nearly at par as possible.” This exchange policy enables bills of exchange to circulate according to the true sterling value.The point I wish to emphasize in this paper is that this policy is a constituent of Steuart's monetary policy. Steuart regards bills of exchange as money, along with coins and bank notes. It holds true for bills, when Steuart states “It is of great consequence to a statesman to understand it (the doctrine of money) thoroughly; and it is of the last importance to trade and credit, that the money of a nation be kept stable and invariable.” Accordingly, Steuart enumerates this exchange policy, policy on coin, and policy on bank notes as three branches of “the whole policy of circulation.” In Steuart's theory of political economy, it is of great importance to appropriately supply circulation with stable and invariable money, and this doctrine of exchange must also be understood in this context.
著者
古谷 豊
出版者
The Japanese Society for the History of Economic Thought
雑誌
経済学史学会年報 (ISSN:04534786)
巻号頁・発行日
vol.38, no.38, pp.111-122, 2000 (Released:2010-08-05)
参考文献数
13

Over the last few years a considerable number of studies have been made on various problems regarding James Steuart's theory of interest. What seems to be lacking, however, is a study on the very nature of the “interest” concept in Steuart's theory.S. Okuda is among those who note that analysis on this subject is necessary for investigating other problems regarding Steuart's theory of interest. Steuart describes that a landed man, who received paper (money) for a land security has to pay interest to the bank because the paper “circulates like money, ” but the land does not. From this description, Okuda concluded that Steuart understood interest as the price for receiving the liquidity of money. And this idea is now widely accepted.There are some objections that can be raised against this interpretation. This conclusion is true for the landlords, but not for the industrious class, or the state. Here one gets a glimpse of the secret background of Steuart's “interest” concept. In Steuart's theory of political economy, the theory of interest is the base of the theory of credit, and Steuart argues the “interest” concept according to the structure of his theory of credit.
著者
古川 萌
出版者
美学会
雑誌
美学 (ISSN:05200962)
巻号頁・発行日
vol.65, no.1, pp.49-60, 2014-06-30 (Released:2017-05-22)

The lives of the artists, or Vite, written by an Italian painter and architect Giorgio Vasari (1511-1574), has been considered as one of the most important works in art historiography. However, since Vasari has shown the development of artistic styles and the triumph of maniera moderna in this work, a simple fact seems to have been overlooked for quite a long time, that this book is substantially a collection of artists' biographies, rather than an extensive treatise on the history of art. This essay returns to the fact, and attempts to reconsider the structure and purpose of this book. Epitaphs and woodcut portraits of artists contained in Vite are examined to demonstrate how Vasari views these biographies as funerary monuments to assure their eternal fame, making the whole book a temple to house them. Through the analysis, Vite will also reveal itself as a tool to promote Cosimo I de' Medici's artistic patronage. This is achieved by echoing the act of mourning their artists, which was practiced by such people as Cosimo il Vecchio de' Medici and Lorenzo de' Medici, consequently emphasizing the continuity from the Florentine Republic era.