Harmony has become a major challenge for modern governance in the twenty-first century because of the multi-religious, multi-racial and multi-ethnic character of our increasingly globalized societies. Governments all over the world are facing growing pressure to integrate the many diverse elements and subcultures which make up modern pluralistic societies. This book examines the idea of harmony, and its place in politics and governance, both in theory and practice, in Asia, the West and elsewhere. It explores and analyses the meanings, mechanisms, dimensions and methodologies of harmony as.
The Javanese people began to recognise the variety of western literature after printing media was introduced by the Dutch colonial government. Since then, a lot of Javanese literary works written by Javanese authors have been published through mass media. It was a different condition for literature to develop compared to the preceding traditional handwriting period. In Javanese literature today, works of prose are varied into several forms, such as fairy tales, novels and even stories that are widely known in mass media, among them are Panjebar Semangat, and Jaka Lodhang. In the mass media the form becomes short stories (carita cekak, jagating lelembut, wacan boy, carios pedhalangan). Each of these forms has its own fans. The purpose of this research is to trace the concept or principle of patience, harmony and respect in Javanese culture applied by an author in a story. This research explores the story of Lamtara-Lamtara Pinggir Desa. The story is written by Sri Setya Rahayu, a story writer who often writes stories in Javanese. Sri Setya Rahayu is an active writer as her short stories, such as Panjebar Semangat, Jayabaya, Kumangdhang, Djaka Lodang, and others, are often published in magazines or tabloids.
The article analyzes the similarity between the Chinese "Harmony Culture" and the Russian "Sobornost", which are the core of the national traditional culture and remain active and radiate vitality in the new era. The first part of the article analyzes the origins and content of the concepts of "Harmony Culture" and "Sobornost". The Chinese "Harmony Culture" dates to the eight trigrams in ancient times, advocates harmony, "All under heaven are of one family", "Harmonious but different", "Golden mean", etc. The notion of "Sobornost" goes back to the cathedral or village community, advocates unity, solidarity, tolerance, cooperation. The second part of the article analyzes the manifestation of the concepts of "Harmony Culture" and "Sobornost" in modern societies. In modern China, "Harmony Culture" is embodied in the goal of building a "Harmonious Socialist Society" and in the diplomatic concept of building a "Community of Human Destiny". In modern Russia, the "Sobornost" is embodied in Putin's "idea of new Russia" and various policies to revive "Russian traditional culture". There is a high coherence and correspondence between the two concepts, which is an important ideological source to deepening mutual understanding between Russia and China, steadily developing Sino-Russian relations in the new era and preserving long-term peace on earth. The Russian and Chinese governments will be able to find common ground and overcome their differences.
In past research there has been continuous controversy over the definition of entrepreneurship and the identification of entrepreneurs. By combining the ideas of entrepreneurship and linguistics, this paper takes a different approach to examining entrepreneurial definitions. An exploratory analysis of entrepreneurial metaphors and concepts is conducted to study informants' perceptions of these two terms. The sample consists of 751 respondents from Scandinavia, Ireland, Australia and Canada. In the quantitative analysis of entrepreneurial concepts, respondents defined the terms 'entrepreneur' and 'entrepreneurship' with suggested conceptual equivalents. In the metaphor analysis, informants came up with metaphorical expressions of entrepreneurship. Particular attention was paid to looking for differences in conceptualizations between (1) entrepreneurs and non-entrepreneurs, (2) males and females, and (3) Scandinavians and native English speakers. Entrepreneurial respondents perceived the concepts of entrepreneurship more positively than other respondents. The same applied to differences between females and males respectively. In the cross-cultural comparison, the Scandinavians seemed to have a more positive picture of entrepreneurship than their English-speaking counterparts. As regards the entrepreneurial metaphors, they are grouped into the following semantic categories: Machine(ry) and other Physical Objects, Warfare and Adventure, Sports and Games, Creativity and Activity, Nature, "Disease", Food Items, and Special Features.
The institution of copyright has frequently been criticized by scholars of popular music for systematically misrepresenting and under-privileging popular music as a field of creative practice. In this respect, it is sometimes suggested, copyright law harbours a bias in favour of Western art music that is remarkably similar to that embedded in musicology, the discipline in opposition to which popular music studies chiefly defines itself. Setting the scene for this special section of Social & Legal Studies on (copyright) law and music, this introduction reviews the literature in which these concerns have been expressed, and traces them to the fact that copyright law - not unlike musicology - operates with a conception of the musical artefact as a bounded expressive form originating in the compositional efforts of some individual: a fixed, reified work of authorship. It explores the origins and significance of the workconcept as a musicological category, and critically analyses the claim that the legal concept of the musical work is identical to this category and has been determined by it. It concludes with the suggestion that the legal and aesthetic musical work-concepts are at once distinct and overlapping: both reify a temporal experience (a musical event), but for very different reasons. Whereas the musicological category facilitates a certain kind of musical appreciation and certain kinds of listening practice, the legal category facilitates the drawing of proprietary boundaries around 'objects' that will figure in commercial transactions and be the focus of commercial expectations.
In December 2013 the membership of the American Studies Association voted to endorse a boycott of Israeli academic institutions. Has the boycott effectively challenged academic complicity with the policies of the Israeli state? Or has it only further isolated voices of dissent in Israeli society?
The present article deals with the idea of the "harmonious society," which is at the core of contemporary social ideologies in the P. R. China. This concept is examined from three perspectives: the official state interpretations of the concept of harmony (he 和 or hexie 和諧), and the classical and Modern Confucian elucidations. The author concludes that official political interpretations from the P.R. China mainly follow Xunzi's classical elaboration of this concept, which is in the legalist tradition and implies autocratic elements, whereas the philosophic interpretations written by the Taiwanese Modern Confucians generally elaborate the Mencian, i.e. the more egalitarian and democratic stream of classical Confucian thought. ; Predmet pričujočega članka je raziskava ideje »harmonične družbe«, ki je v središču aktualnih družbenih ideologij L. R. Kitajske. Avtorica razišče kitajski koncept harmonije (he ali hexie) z vidika treh različnih perspektiv: uradne interpretacije sodobnih ideologov, klasičnih pomenov in moderno konfucianskih nadgradenj. Pokaže se, da uradne interpretacije v glavnem sledijo Xunzijevemu razumevanju tega koncepta, ki vsebuje vrsto avtokratskih elementov, medtem ko Moderni konfucianci večinoma izhajajo iz Mencijeve, t.j. bolj egalitarne in demokratične struje klasičnega konfucianizma.
