Interpreting Spatial Economic Structure and Spatial Multipliers: Three Perspectives

The measurement and interpretation of spatial economic structure have presented many problems for analysts. The notion of a spatial multiplier has received even less formal attention; part of the motivation for this paper is the examination of the degree to which sectoral decomposition analysis might prove useful in illuminating the paths of interaction across space that are associated with changes in exogenous activity levels. In this paper, we present three perspectives that examine spatial structure in the context of an aggregated interregional social accounting matrix for Bangladesh. These perspectives examine structure at the micro-, meso-, and macrolevels and are interpreted with the assistance of several alternative methods, including structural path analysis, the field of influence, the superposition principle, multiregional feedback loop analysis, and the Matrioshka Principle; the results are interpreted analytically and cartographically. Some attention is also devoted to the formulation of a general approach to spatial multipliers. It is shown that the structure of flows and the structure of influence reveal patterns that, taken together, provide important insights into an understanding of structure and may prove to form the basis for the eventual formal presentation of the spatial multiplier.     

Gastronomy or Geology? The Role of Nationalism in the Reconstruction of Nations

Abstract. This article considers the debate that has recently developed in studies of nationalism between those scholars who see the nation as a modern and constantly changing construction ex nihilo and those who see it as an immemorial, unchanging communal essence. It outlines the so-called ‘gastronomical’ and ‘geological’ metaphors of nation formation and suggests a synthetic model which balances the influence of the ethnic past and the impact of nationalist activity. It shows that the central question which has divided theorists of nationalism is the place of the past in the life of modern nations. The author recognises the role of nationalists in national mobilisation but stresses that nationalists are not social engineers or mere image makers as modernist and post-modernist accounts would have it, but rather social and political archaeologists whose activities consist in the rediscovery and reinterpretation of the ethnic past and through it the regeneration of their national community.     

Germany in Transition: Immigration,Racism and the Extreme Right

Abstract. German society is on its way to changing from a relatively homogenous population as a result of the Second World War and prior events to a more culturally, ethnically and religiously diverse society, based on its huge post-war immigration. The emergence of racism, political extremism and violence in post-unification German society points to deficits of political legitimacy, political culture and social cohesion. The strains of unification and waves of immigration from East Germany, ethnic German resettlers (Aussiedler), and asylum seekers have exacerbated and made visible unsolved questions of national identity, diversity, immigration and integration of foreigners. These events have affected German political culture and polarised the traditional party system along a ‘New’ and ‘Old Politics’ axis. These new realities have led to a growth of far right parties, racist violence, and an increase of neo-nationalist, anti-immigrant and welfare-chauvinist rhetoric.     

Essentialism and Historicism in Danto's Philosophy of Art

Arthur C. Danto has long defended essentialism in the philosophy of art, yet he has been interpreted by many as a historicist. This essentialism/historicism conflict in the interpretation of his work reflects the same conflict both within his thought and, more importantly, within modern art itself. Danto's strategy for resolving this conflict involves, among other things, a Bildungsroman of modern art failing to discover its essence, an essentialist definition of art provided by philosophy which is indemnified against history, and a thesis about the end of art once it has been defined. Is this strategy successful, or does it result, as I argue, in a philosophical disenfranchisement of art of precisely the type that Danto himself has criticized?