The Online Library of Liberty

A project of Liberty Fund, Inc.

• Appendix a Critique of Böhm-bawerk’s Reasoning In Support of His Time Preference Theory
• Glossary
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• Z

Z

Zadruga, (Serbian). A rural community composed of a large family of from 15 to 70 related adult Slavs and their children. The members ate, lived and worked in communal family style. The house father and house mother assigned the tasks and apportioned rights according to each individual’s relationship to the founder. The house father occupied the hamlet’s best and largest house with the common kitchen, dining and living rooms. The other houses were primarily crude sleeping quarters. The main occupations were farming, grazing and tending orchards and vineyards. No property could be sold except by common consent. In ancient times, Zadrugas were fairly common in the rural and mountain areas of what is now Yugoslavia and Bulgaria and a few of them continued down to recent years.

Zeus. The chief of the pantheon of the Greeks and the Greek counterpart of the Roman god, Jupiter, at about 1000 He was worshipped as the omnipresent, all powerful Father or Master of all Gods.

Zwangswirtschaft, (German). An economic system entirely subject to government control. “Zwang means compulsion, Wirtschaft means economy. The English language equivalent for Zwangswirtschaft is something like compulsory economy.” (Mises, Socialism, Liberty Fund, 1981, p. 485, n. 4)

The typeface used in setting this book is Electra, designed in 1935 by the great American typographer William Addison Dwiggins. Dwiggins was a student and associate of Frederic Goudy and served for a time as acting director of Harvard University Press. In his illustrious career as typographer and book designer (he coined the term “graphic designer”), Dwiggins created a number of typefaces, including Metro and Caledonia, and designed as well many of the typographic ornaments or “dingbats” familiar to readers.

Electra is a crisp, elegant, and readable typeface, strongly suggestive of calligraphy. The contrast between its strokes is relatively muted, and it produces an even but still “active” impression in text. Interestingly, the design of the italic form—called “cursive” in this typeface—is less calligraphic than the italic form of many faces, and more closely resembles the roman.

This book is printed on paper that is acid-free and meets the requirements of the American National Standard for Permanence of Paper for Printed Library Materials, z 39.48-1992. (archival)

Book design adapted by Erin Kirk New, Watkinsville, Georgia, after a design by Martin Lubin Graphic Design, Jackson Heights, New York

Typography by G & S Typesetters, Inc., Austin, Texas

Printed and bound by Edwards Brothers, Inc., Ann Arbor, Michigan