Thesis (M.B.A.)--University of Hong Kong, 1996. / Includes bibliographical references (leaf 43-44).

published_or_final_version / Business Administration / Master / Master of Business Administration

Thesis (doctoral)--Université de Genève. / Thèse No. 375.

Inaug.-diss.--Bern. / Also pub. under title: "Kleine reichsbanknoten. Das deutsche banknotengesetz ..." Leipzig, C.L. Hirschfeld, 1908. "Verzeichnis der benützten literatur": 2 p. at end.

No description available.

Este trabalho é uma investigação da história do papel-moeda brasileiro, do cruzeiro de 1970 ao real de 2010, do ponto de vista do Design Gráfico, considerando as dimensões histórica, tecnológica e política do objeto dinheiro impresso. Foram levantados dados de diferentes fontes, como bibliografia especializada, documentos da Casa da Moeda do Brasil e do Banco Central, bem como entrevistas com profissionais envolvidos nos projetos de papel-moeda brasileiro no período de 1970 a 2010. O estudo aponta para uma crescente nacionalização do processo de projeto gráfico do papel-moeda brasileiro a partir dos anos 1960, com a aprovação da proposta da cédula de cinco cruzeiros pela Casa da Moeda, dando início à nacionalização definitiva dos trabalhos de projeto e de produção de cédulas pelo Brasil, atingida com o lançamento da família de cédulas projetada por Aloísio Magalhães, e com a modernização da Casa da Moeda no final dos anos 1970. / This is a work about the history of brazilian paper money, from the cruzeiro in 1970 to the real of 2010, from a graphic designers perspective and considering its historical, technological and political dimensions of printed money as an industrial product. The research was made from different sources, such as specialized books, internal documents from Casa da Moeda do Brasil and from Banco Central do Brasil, as well as interviews with key people involved with the design of brazilian bank notes from 1970 to 2010. This study points towards an increasing nationalization of the graphic design of brazilian paper money since the 1960s, with the approval of a five-cruzeiro bank note design, marking the beginning of the nationalization of bank note design and production in Brazil, achieved with the issue of the bank note series designed by Aloísio Magalhães, and the technical improvements at Casa da Moeda do Brasil at the end of the 1970s.

Este trabalho é uma investigação da história do papel-moeda brasileiro, do cruzeiro de 1970 ao real de 2010, do ponto de vista do Design Gráfico, considerando as dimensões histórica, tecnológica e política do objeto dinheiro impresso. Foram levantados dados de diferentes fontes, como bibliografia especializada, documentos da Casa da Moeda do Brasil e do Banco Central, bem como entrevistas com profissionais envolvidos nos projetos de papel-moeda brasileiro no período de 1970 a 2010. O estudo aponta para uma crescente nacionalização do processo de projeto gráfico do papel-moeda brasileiro a partir dos anos 1960, com a aprovação da proposta da cédula de cinco cruzeiros pela Casa da Moeda, dando início à nacionalização definitiva dos trabalhos de projeto e de produção de cédulas pelo Brasil, atingida com o lançamento da família de cédulas projetada por Aloísio Magalhães, e com a modernização da Casa da Moeda no final dos anos 1970. / This is a work about the history of brazilian paper money, from the cruzeiro in 1970 to the real of 2010, from a graphic designers perspective and considering its historical, technological and political dimensions of printed money as an industrial product. The research was made from different sources, such as specialized books, internal documents from Casa da Moeda do Brasil and from Banco Central do Brasil, as well as interviews with key people involved with the design of brazilian bank notes from 1970 to 2010. This study points towards an increasing nationalization of the graphic design of brazilian paper money since the 1960s, with the approval of a five-cruzeiro bank note design, marking the beginning of the nationalization of bank note design and production in Brazil, achieved with the issue of the bank note series designed by Aloísio Magalhães, and the technical improvements at Casa da Moeda do Brasil at the end of the 1970s.

The antebellum era was a time of paper—there were newspapers and magazines to read, advertising bills to recognize, and money in the pocket to evaluate. Both the bank note companies and art unions emphasized the quality of the artists they hired, and publicized these works for their taste and nationalizing sentiments. These groups set out to produce a product that encouraged consumer confidence in paper in exchange for something more lasting, such as a painting in oil or a gold coin. The link between these two ideas and the creators of that ineffable quality that lent confidence to both the bank note and the fine art engraving was the engraver himself. Navigating this modern, paper economy in both realms were engravers such as Alfred Jones (1819-1900), a man who made his way in the financial and art worlds, and whose ambitions and career serve as a case study to explore the rapid changes in the demand for images during the Nineteenth Century. Chapter one situates Jones and his colleagues in their historical era and illuminate how cultural, political, and technological advances created a market where engraving could flourish. Chapter two examines Jones’s role within the art unions of the day, and how those groups advertised the skill of engravers, such as Jones, to bolster notions of value in the prints they issued. Chapter three looks more closely at the images created by engravers, and investigates their role in establishing and reinforcing a national visual lexicon that could unify the idea of the nation even as it was unraveling. Chapter four discusses the confusion surrounding counterfeit engravings during the antebellum period and the efforts bank notes companies undertook to highlight the skill of their engravers to reassure the general public of their worth. The burins of Jones and his cohort, through their work in fine arts organizations and bank note companies created images accessible to the average citizen, images these consumers could recognize and assign a value. They applied their talents to works on paper that illustrated the making of the American self in the years before the Civil War.

The National Banking System operated during the 50 year period between 1863 and 1913. It was believed at the time of its conception that individuals seeking a national bank charter would do so for the privilege of issuing national bank notes. Paradoxically, for the majority of the National Banking System's existence note issue was of · relatively minor importance. The one exception where note issue was an important aspect of national bank behavior was the period between 1867 and 1873. The purpose of this dissertation is to examine this period when national bank note issue was an important aspect of national bank behavior and determine why note issue was so important. In order to determine this, a straightforward profit maximizing model is developed and various predictions are made concerning national bank behavior. These predictions are then tested and evaluated using actual national bank balance sheet data to determine if actual national bank behavior conforms to the predictions of the model. / Ph. D.