.. unemployment had disappeared during the war not because of the beautiful workings of a Keynesian multiplier, but entirely because about 20 percent of the labor force was forced, directly or indirectly, into the armed forces and a comparable number of employees set to work in factories, shipyards, and other facilities turning out war-related ”goods” the government purchased only after forcing the public to pay for them sooner (via wartime taxes and inflation) or later (via repayment of wartime borrowing). Thus, the great wartime “boom” consisted entirely of (1) some people’s mass engagement in wreaking death and destruction and (2) other people’s employment in producing supplies for these warriors after the government’s military labor drain, turning out ”goods” never valued by consumers or private producers in voluntary transactions, but rather ordered by government functionaries and priced completely arbitrarily in a command-and-control economy. In no sense was the alleged ”wartime prosperity” comparable to real, normal prosperity. The pervasive regimentation, rationing, price controls, direct government resource allocations, and forbidden forms of production (e.g., civilian automobiles) should have served as a tip-off.
"A Arte da Fuga" ("Die Kunst der Fuge", BWV 1080) é uma obra-prima de Johann Sebastian Bach:
um único tema musical persegue-se, a si mesmo e as múltiplas variações, num diálogo musical intenso desenvolvido a diversas vozes, rico de simetrias, inversões, ritmos e tempos diferentes.
Fugas para aartedafuga@gmail.com
quinta-feira, junho 30, 2011
Keynesianismo extremo
World War II: Still Being Touted as the Quintessential Keynesian Miracle:
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