Results for 'Caterina Marchionni'

7 found
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  1. Is geographical economics imperializing economic geography?Uskali Mäki & Caterina Marchionni - 2011 - Journal of Economic Geography 11 (4):645-665.
    Geographical economics (also known as the ‘new economic geography’) is an approach developed within economics dealing with space and geography, issues previously neglected by the mainstream of the discipline. Some practitioners in neighbouring fields traditionally concerned with spatial issues (descriptively) characterized it as—and (normatively) blamed it for—intellectual imperialism. We provide a nuanced analysis of the alleged imperialism of geographical economics and investigate whether the form of imperialism it allegedly instantiates is to be resisted and on what grounds. From both descriptive (...)
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  2. I modelli in economia.Alessandra Basso & Caterina Marchionni - 2015 - Aphex 11.
    The paper reviews the philosophical literature on the epistemology of modelling in contemporary economics. In particular, it focuses on open questions concerning the epistemic role of models, the validity of inferences from the models to the world, and the legitimacy of their use for purposes of explanation, prediction and intervention.
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  3. The Significance of Quasizerlegung for Carnap's Aufbau and Scientific Philosophy in General.Caterina del Sordo & Thomas Mormann - 2022 - PHILINQ 10 (1):234 - 253.
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  4. Model Diversity and the Embarrassment of Riches.Walter Veit - unknown
    In a recent special issue dedicated to Dani Rodrik’s (2015) influential monograph Economics Rules, Grüne-Yanoff and Marchionni (2018) raise a potentially damning problem for Rodrik’s suggestion that progress in economics should be understood and measured laterally, by a continuous expansion of new models. They argue that this could lead to an “embarrassment of riches”, i.e. the rapid expansion of our model library to such an extent that we become unable to choose between the available models, and thus needs to (...)
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  5. How to Change an Artwork.David Friedell - forthcoming - In Alex King (ed.), Art and Philosophy. Oxford University Press.
    The question of how people change artworks is important for the metaphysics of art. It’s relatively easy for anyone to change a painting or sculpture, but who may change a literary or musical work is restricted and varies with context. Authors of novels and composers of symphonies often have a special power to change their artworks. Mary Shelley revised Frankenstein, and Tchaikovsky revised his Second Symphony. I cannot change these artworks. In other cases, such as those involving jazz standards and (...)
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  6. Bauman e Habermas su teoria e prassi. Alle origini di un confronto incompiuto.Luca Corchia - 2018 - Sicurezza E Scienze Sociali 1 (6):141-174.
    After noting the absence of a mutual confrontation, the aim of this research has been redefined in reconstructing the influence of Habermas’ writings on the work of Zygmunt Bauman – an aspect known to scholars of the Polish sociologist but not very well recognized in the international sociological community. Following a philological and critical literary approach, the Baumanian interpretations – selective, discontinuous and, often, erroneous – have been systematized into two main topics: 1) the epistemological foundations of social theory; 2) (...)
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  7. Aleksandr Nikolaevič Radiščev, L’uomo, la sua mortalità e immortalità. Introduzione a cura di Angela Dioletta Siclari, traduzione e note di Pia Dusi.Aleksandr Nikolaevič Radiščev, Angela Dioletta Siclari & Pia Dusi - 2020 - Parma: E-theca OnLineOpenAccess Edizioni. Edited by Stefano Caroti & Andrea Strazzoni.
    Se Radiščev occupa un posto considerevole nella storia del pensiero russo lo deve non al suo trattato Sull’uomo, la sua mortalità e immortalità [O Čeloveke, o ego smertnosti i bessmertii] bensì al Viaggio da Pietroburgo a Mosca [Putešestvie iz Peterburga v Moskvu], opera che gli procurò la condanna a morte da parte di Caterina II, commutata poi nel lungo esilio in Siberia. Qui egli scrisse il suo trattato filosofico che non poche perplessità ha suscitato nei critici, i quali ne (...)
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