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The invitation to write this chapter offers both Wiremu T. Puke (tangata whenua – person with Māori descent) and Sebastian J. Lowe (Pākehā – New Zealander with European ancestry) the opportunity to reflect on their friendship and research partnership, which they refer to as a takarangi, or an interlocking spiral, as seen in traditional Māori carving practice. This motif denotes the origin of all things: thoughts, ideas, concepts and genealogies, which are interconnected through a rich tapestry of history and tradition through a process of ongoing evolution, Te Ao Hurihuri (the ever-changing world) and Te Ao Mārama (the world of light).

They recognise the spaces that separate the two coils of the outward-radiating and interlocking spiral as their shared space. This space symbolises the unknowns as they move from them to tangible forms, through the written word, oral traditions, such as whakatauākī (sayings/proverbs), or through the many Māori visual arts such as whakairo (carving), or in film. Written as a dialogue between Puke, a tohunga whakairo (master-carver) with strong genealogical connections and tribal affiliations, and Lowe (anthropologist and musician) in recognition of their research partnership, this chapter discusses how their own cultural upbringings, personal and shared experiences, have contributed to the forming of their ever-expanding shared space. The ideas and themes they discuss have led to the formation of this chapter.

In his bestselling The Worldly Philosophers, Robert Heilbroner puts the focus on the visions and analyses of the great economic thinkers from Adam Smith to Joseph A. Schumpeter. Worldly philosophy is considered as a child of capitalism and worldly philosophers as system-builders addressing the long-run development of the economy and the society. This implies viewing the economy as historically and institutionally situated demanding a more interdisciplinary perspective and embedding economics in the social sciences. The article compares the work of Heilbroner and Adolph Lowe who was Heilbroner’s main mentor. The focus is on their reflections on Smith and Schumpeter. Heilbroner considered Smith as the first worldly philosopher of whose Wealth of Nations a German translation was published already in 1776 in Stuttgart, Lowe’s native city. Lowe’s early work on business cycles was strongly inspired by Marx and Schumpeter’s emphasis on the role of capital accumulation and technical progress as well as Schumpeter’s distinction between statics and dynamics. Lowe was forced to emigrate from Nazi Germany in spring 1933, only half a year after Schumpeter’s move to Harvard where Heilbroner studied in the late 1930s when Schumpeter enjoyed making provocative statements on the Great Depression which was still not yet overcome.

In their Foreword, Augullo and Guidi identify the objectives behind the design features of their long-term project. One objective is to study “the history of economics from the viewpoint of the economists’ relationships with the institutional and professional environment.” A second objective is that of comparative methodology, the “systematic and meditated comparison among national cases…so that the interpretive framework of each might be enriched by cross-fertilization.” A third objective is that “economics was rooted in institutional contexts and had itself over time become an institution—a doctrinal corpus of knowledge which permeates and frames the mind of the student body, scholars, professionals and public opinion at large” and to do so “not merely from the canonical standpoint of doctrinal or paradigmatic evolution” (AG, p. xi).

Pre-existing music has been used to underscore the moving image since the days of ‘silent’ film, and this practice is still commonplace today in Hollywood and beyond. Such music may be ‘classical’ or ‘popular’ and can feature within the narrative of a movie diegetically, non-diegetically, or both. With regard to art music in film, Wolfgang Amadeus Mozart is often the composer of choice, given the popularity and familiarity of many of his compositions. However, his music is employed cinematically in a range of different situations and for a variety of purposes.

In this chapter, I focus on ways in which compositions by Mozart are used to manifest the music and death nexus present in the narrative of three films that were released in different decades. ‘Là ci darem la mano’ from Don Giovanni (1787) features in the first film I analyse, The Picture of Dorian Gray (Albert Lewin, 1945), with the aria being linked to the symbolic death of the moral compass of the protagonist. I then consider the inclusion of music from one of Mozart's symphonies in the storyline of the film Vertigo (Alfred Hitchcock, 1958), the narrative of which includes the themes of deception and murder. The final film I examine is I am David (Paul Feig, 2003), in which one of the characters sacrifices his life to save that of his friend. Each example encapsulates death as embodied affect, with Mozart's music specifically impacting upon the emotions of the protagonists.

The chapters in the volume are organized into two sections. The first three chapters examine the “Experience of Work” in European countries. The following four focus on various aspects of economic “Inequality” by drawing comparisons between and within Europe and other affluent democracies. In this section, I provide a brief preview of each chapter and identify a few of the unique contributions of each.

Any topic can be sensitive, and every subject area will have sensitive issues and topics that academics in higher education and further education settings will be expected to negotiate. Your ability to negotiate sensitive topics is important because the ways in which you engage and teach about sensitive topics will affect your ability to provide a positive learning experience and teaching alliance with students. In practice, you will face enormous pressure to ‘deliver’ on teaching, which will only be mirrored by similar freedoms in deciding on how and what needs to be done to get students to where they need to be. Negotiating, identifying, preparing for and delivering teaching on sensitive subjects and topics can be difficult in individual academics. This chapter, seeks to prepare you for developing a deeper understanding of some of the philosophical, theoretical, and practical-based concerns and issues related to teaching sensitive topics and subjects. This chapter begins with providing a rationale for what follows, and it explores some of the key themes, positionality, identity, transformational learning and lived experience, that are explored in greater depth in the collection. This chapter also contains a detailed breakdown of the structure and the content of this edited collection, and it concludes with some reflective comments about the implications of the collection for you as an individual and your career.

David M. Gordon advanced labour economics with his theory of labour market segmentation, in which jobs rather than the marginal productivity of individual workers were the unit of analysis. He advanced economic historiography and macroeconomics by conceptualising social structures of accumulation – a framework built on the foundation of his institutionalist training and enriched by his study of Marxist economics. By appropriating methods from other social science disciplines into econometrics, he augmented empirical analysis in economics. He was a founding member of the Union of Radical Political Economics and its journal, the Review of Radical Political Economics – that advanced and promoted heterodox, radical, and Marxist economists in the United States. His contributions to economics, to organised labour, and to the New School for Social Research, where I studied with him, were stunning.

Part 1 lays out some context about the New School Graduate Faculty where Gordon taught. Part 2 explores what historical forces, including his family, led to his expansive creativity. Part 3 summarises how he expanded labour economics to include the relations as well as the technology of production, linked his understanding of the production process to a historical materialist view of labour in the United States, then extended that to econometric analyses of the US macroeconomy. Part 4 presents a bibliometric analysis to provide some idea of the impact of his work. I end with some concluding remarks.