By David Hume
Los Ensayos económicos de David Hume, publicados en 1752, fueron escritos en el momento que comienza en Gran Bretaña los angeles revolución capitalista conocida como Revolución commercial. Se trata de un proceso que surge de l. a. mano del liberalismo, con ese trasfondo, el filósofo levanta acta de l. a. muerte del mercantilismo y su dependencia de prácticas monopolísticas. En el lugar y tiempo en que se escribieron, el aumento de l. a. demanda estimulaba los angeles competencia entre productores y ésta los angeles laboriosidad y el ingenio de los artífices, así que Hume denuncia el obstáculo que suponen los monopolios en los angeles consecución de un mayor bienestar y los angeles torpeza de quienes se empeñan en mantenerlos. Otra suggestion novedosa es los angeles argumentación contra l. a. acumulación de oro y plata porque -sostiene- no son éstos los que hacen rica a una nación, sino el trabajo que se realiza dentro de sus fronteras, de no existir industria y comercio, los metales preciosos fluirán al extranjero. Los textos deben entenderse en un contexto más amplio de escritos sobre temas políticos, morales y literarios que el autor comenzó a publicar en 1741 y que, en conjunto, le dieron mayor éxito y reconocimiento que las obras epistemológicas. Sus reflexiones influyeron enormemente en las de Adam Smith, con quien compartió amistad e inquietudes, ambos se dedicaban a los angeles filosofía y a l. a. economía, aunque Hume sea más conocido por lo primero que por lo segundo, a diferencia de lo que sucede con Smith. Sin embargo, el trabajo del último resulta incomprensible sin los Ensayos económicos, porque en éstos se encuentran las intuiciones que desarrollará el otro gran pensador escocés.
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Additional resources for Ensayos económicos: Los orígenes del capitalismo moderno (Clásicos del pensamiento)
Example text
The figural (or MARXISM AND THE HIDDEN GOD 57 dialectical) elaboration of such images consists of wresling them out of the archaic domain of empirical history, charging them 'to the bursting point with time', and thereby annihilating what Benjamin calls the intentio - the immediate historical context which is more properly the concern of the human sciences. This explosive moment is simultaneously the 'birth of authentic historical time, the time of truth'. Thus, in Benjamin's idea of the dialectical image, at least, the afiìrmation of transcendence - of another world which is present at every moment in this one - is a central, ineluctable motif, inseparable from the task of intervening in this world.
The painting depicts people known to Spencer during his life - including the artist himself and several 44 REIFICÂTION, OR THE ÂNXIETY OF LATE CAPITALISM members of his family - physically arising from their graves in the parish cemetery. w - a disjunction punctuated by its inadequacy, by its actualiry as the product of worldly logic - is given imaginative form. In Christian art, the same disjunction attains a sensuous form. Christianity and art have an almost symbiotic relationship, as thinkers including Hegel, Freud, Adorno and Georg Simmel have srrongly intuited.
Ia In The Modern Prince,,tntonio Gramsci founds his idea of the revolutionary parfy on a similarþ paradoxical conception of the agency of historical change. 15 In Machiavellit final invocation of a prince (nominally Lorenzo de Medici) who 'really exists', therefore, occurs a 67 WHÂT IS IMPUTED CLASS CONSCIOUSNESS? synthesis of the ideal and the material, comparable to that which occurs in the Christian íncarnation, or in the celebration of the Eucharist - or in the role of the parry as Gramsci develops it by anùogy'.