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Niall Ferguson - The Cash Nexus: Money and Politics in Modern History, 1700–2000

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Niall Ferguson The Cash Nexus: Money and Politics in Modern History, 1700–2000
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The Cash Nexus is the controversial history of moneys central place in the world, from Niall Ferguson, bestselling author of Empire and *Civilization*

Generations of historians have shied away from the truth behind the cliche: money makes the world go around. International bestseller Niall Ferguson answers the big questions about finance and its crucial place in bringing happiness and despair, warfare and welfare, boom and crash to nations buffeted by the onward march of history. Starting in 1700 and ending today, The Cash Nexus is a dazzling, powerful and controversial explanation of modern world history and the fundamental force that lurks behind it all.

About the author:

Niall Ferguson is one of Britains most renowned historians. He is the author of Paper and Iron, The House of Rothschild, The Pity of War, Empire, Colossus, The War of the World, The Ascent of Money, HighFinancier, Civilization and The Great Degeneration. He has written and presented six highly successful television series for Channel Four: Empire, American Colossus, The War of the World, The Ascent of Money, Civilization and China: Triumph and Turmoil.

**

From Publishers Weekly

In a work that neatly marries the subjects of his previous books, Ferguson, who made his name with controversial popular histories of World War I (Pity of War, 1999) and the Rothschild banking empire (House of Rothschild, 1998), continues to challenge conventional wisdom. Here, he argues that the enormous expense of war, which forces governments into fiscal innovation, is the primary agent of financial change and its political repercussions, which sometimes include starting new wars. In Fergusons view, political crises defined broadly to include those spurred by religion, law and culture cause both wars and financial disasters; the ensuing political outcomes determine the long-term economic fallout. Economic events, on the other hand, affect politics in indirect and unpredictable ways. Emphasizing the nuances and exceptions to his argument, he marshals economic statistics to support it, though he does not discuss alternative explanations for financial change. Despite frequent, jarring digressions into the minutiae of 1980s British politics and in praise of Thatcherism, the book is lucidly argued. But for a history that focuses so much on war, it includes little discussion of the military. Most controversially, Ferguson challenges the orthodox assumption that the world is headed toward a peaceful, prosperous and democratic global future. Economic success does not always lead to stability, he argues, and economic freedom is neither necessary for economic growth nor sufficient for political freedom. Nor, he warns, will economic globalization necessarily lead to greater economic or political cooperation. (Mar.) Forecast: This book will be more talked about than read, though it will attract serious readers. Like Fergusons The Pity of War, its merits should outlive the controversy over its predictions.
Copyright 2001 Reed Business Information, Inc.

From Library Journal

In this scholarly tome, Ferguson (history, Jesus Coll., Oxford; The Pity of War) presents a heavily noted, high-level economic analysis of the impact of economic trends on political change. As he thoroughly analyzes the nexus between economics and politics, he delves deep into the complex relationship among economic principles and international war, political changes in major countries, social liberalization, and national demographics. He challenges the prevailing principles of well-known author Paul Kennedy (The Rise and Fall of the Great Powers), specifically that economic change is the prime mover of political change, contending rather that the conflicting impulses of sex, violence, and power are together more powerful than money. In the books many dense chapters, Ferguson argues that political institutions have often dominated economic development, and he deftly integrates historical trends and eras, multiple economic principles and theory, as well as modern economic growth and development. This very complex economic analysis will well serve larger university libraries supporting higher-level study in economics, especially international economic theory. Dale Farris, Groves, TX
Copyright 2001 Reed Business Information, Inc.

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NIALL FERGUSON The Cash Nexus Money and Power in the Modern World 17002000 - photo 1
NIALL FERGUSON
The Cash Nexus

Money and Power in the Modern World, 17002000

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PENGUIN BOOKS

Contents
ABOUT THE AUTHOR

Niall Ferguson is Professor of Political and Financial History at Oxford University and Visiting Professor of Economics at the Stern Business School, New York University. He is the author of Paper and Iron, The House of Rothschild (two volumes) and The Pity of War, and editor of the best-selling Virtual History. He lives in Oxfordshire with his wife and three children.

For Mary and May

PENGUIN BOOKS

THE CASH NEXUS

Ferguson combines an ability to make statistics dance with a prodigious range of literary and historical reference Money, the Bible said, answereth all things, but as Niall Ferguson proves with such scholarly verve, it never quite answereth them completely Martin Vander Weyer, Literary Review

Brilliant Rory ODonnell, Irish Times

Whatever Niall Ferguson writes is of intense interest. In The Cash Nexus he explores perhaps the greatest force in recent history Melvyn Bragg, BBC History

Erudite and noble a welcome caution against the nave expectations of fashionable triumphalists David Calleo, The New York Times

Ferguson is always thoroughly analytical, engaging and engaged James Davidson, Daily Telegraph

Not only original and creative but [also] deeply researched Daniel Yergin, Wall Street Journal

A rigorous historical analysis of the interaction of money and power over the past 300 years John Gray, New Statesman

Niall Ferguson challenges some central assumptions about the relationship between money and power This book is diamantine in its appeal, and it is immensely well researched Bill Jamieson, Scotsman

Fergusons greatest achievement is in using this narrative to make us rethink the connections between cash and power Sean Coughlan, The Times Higher Education Supplement

List of Tables

Appendices

List of Figures
List of Illustrations

Photographic acknowledgements, where applicable: Andrew Edmunds: 1, 2; Bridgeman Art Library: 6; Fotomas Index: 3, 4, 7, 8, 10, 14; Mary Evans Picture Library: 9, 11, 12

Abbreviations

ECB

European Central Bank

GDP

Gross Domestic Product

GNP

Gross National Product

HMSO

Her Majestys Stationery Office

IISS

International Institute for Strategic Studies

IMF

International Monetary Fund

INSEE

Institut National de la Statistique et des tudes conomiques

NBER

National Bureau of Economic Research

NIC

National Insurance Contributions

NNP

Net National Product

OECD

Organisation of Economic Cooperation and Development

ONS

Office of National Statistics

OPEC

Organization of Petroleum Exporting Countries

PSBR

Public Sector Borrowing Requirement

SIPRI

Stockholm International Peace Research Institute

SPD

Social Democratic Party of Germany

Introduction: The Old Economic Determinism and the New

Money makes the world go round, of that we all are sure On being poor.

Cabaret (1972)

The idea that money makes the world go round as the Master of Ceremonies sang in the musical Cabaret is an old one, yet remarkably resilient. It is there in the Bible, in both the Old and the New Testaments: compare Money answereth all things (Ecclesiastes 10: 19) with The love of money is the root of all evil (1 Timothy 6: 10). The sin of avarice was, of course, condemned by Mosaic law. But in Christian doctrine, as the second aphorism suggests, even the normal pecuniary motive was condemned. Part of the revolutionary appeal of Christs teaching was the prospect that the rich would be excluded from the Kingdom of God: it was easier for a camel to go through the eye of a needle, than for a rich man to enter into the kingdom of God (Matthew 19: 24).

Plainly, Western Europe would not have progressed so successfully from feudalism to capitalism had this dogma deterred people from making money. The point, of course, was that it did nothing of the sort. Rather, it consoled those (the majority) who had no money and instilled a sense of guilt in those who had much: an optimal strategy for an organization seeking both mass membership and substantial private donations from the lite.

The notion of a fundamental conflict between morality and Mammon also informed the most successful secular religion of modern times. To Karl Marx and Friedrich Engels what was odious about their own class, the bourgeoisie, was its ethos of naked self interest and callous cash payment.

Though it is no longer fashionable to do so, it is possible to interpret Richard Wagners The Ring of the Nibelung as another romantic critique of capitalism. Its central argument, as one of the Rhine maidens tells the dwarf Alberich in the very first scene, is that money to be precise, gold which has been mined and worked is power: He that would fashion from the Rhinegold the ring / that would confer on him immeasurable might / could win the worlds wealth for his own. But there is a catch: Only he who forswears loves power, / only he who forfeits loves delight, / only he can attain the magic / to fashion the gold into a ring. In other words, the acquisition of wealth and emotional fulfilment are mutually exclusive. His lecherous advances having been mockingly rebuffed by the Rhine maidens, Alberich has little difficulty in opting for the former: significantly, the first act of capital accumulation in The Ring is his theft of the gold.

This is not the only economic symbolism in The Rhinegold. The next scene is dominated by a contractual dispute between the god Wotan and the giants Fafner and Fasolt, who have just completed the construction of a new fortress, Valhalla. It is the third scene, however, that contains the most explicit economics. Here we see Alberich in his new incarnation as the heartless master of Nibelheim, mercilessly sweating his fellow dwarfs, the Nibelungs, in an immense gold factory. As his wretched brother Mime explains, his people were once carefree smiths who created / ornaments for our women, wondrous trinkets, / dainty trifles for Nibelungs, / and lightly laughed out our work. But now this villain compels us / to creep into our caverns / and ever toil for him alone without pause or peace. The relentless pace of work demanded by Alberich is memorably evoked by the sound of hammers rhythmically striking anvils. It is a sound we hear again later in the cycle when Siegfried reforges his fathers shattered sword Notung: perhaps the only example of a breakthrough in arms manufacturing set to music.

Of course, few serious Wagnerians nowadays would wish to overplay the economic theme in The Ring.

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