Suchergebnisse

The study of corporate social responsibility (CSR) can best be mainstreamed within the wider social science literature if it is defined as firms voluntarily assuming responsibility for their externalities, thereby setting the puzzle of how this can be reconciled with the maximization of shareholder value as the central challenge of the subject. Means of resolving the puzzle require modelling the firm interacting with its environment as both a market actor and as an organization, and in particular through the interaction between these two. Such an approach has no need of a separate concept of 'stakeholders'. The analysis develops through the firm's relations with actual and potential political action (raising the separate issue of corporate citizenship), and the tastes of consumers, investors and employees - the last raising interesting implications for principal - agent theory.

В литературе и издательском деле мейнстрим анализируется с позиций культурологического подхода как явление объективное, целостное, автономное, очевидное и универсальное. Смысловое наполнение и сущностные характеристики мейнстрима, его социокультурные функции и место рассматриваются наряду с массовой, маргинальной, охранительной и классической литературой; к главным принципам мейнстрима можно отнести ориентацию литературного произведения на демократические ценности и широкую аудиторию, актуальность тематики, реалистичность, акцент на анализ характеров, нравственных исканий героев. Литературный мейнстрим сегодня становится механизмом формирования широкого читательского вкуса и мировоззрения, индикатором смены и/или перераспределения влияния на общественное сознание различных культурных парадигм и способствует регулированию книгоиздательской политики. ; Mainstream in literature and publishing industry is analyzed from the position of the culturological approach as objective, integral, autonomous, evident and universal phenomenon. Meaning content and essential characteristics of mainstream, its socio-cultural functions and position is considered along with mass, marginal, protective and classical literature. The fundamental principles of mainstream include literary work orientation to democratic values and large readership, to subject matter urgency, reality, accent on the analysis of characters, moral searches of characters. Literature mainstream today has become the mechanism of forming the taste and viewpoints of wide readership as an index of changes or/and redistribution of influence on the public conscience of different cultural paradigms and regulates book-publishing policy.

The article is dedicated to the analysis of thematic and formal originality of A.S. Bukhov's «literary» feuilleton. The satirist exposes the different aspects of modern to him literary life (untalentedness of authors, who create popular texts, low level of reader taste, state of humour, memoirs and critics), touches the contiguous types of art (cinema, stage), using genre stylization and parody here. Bukhov's feuilletons of politics and way of life, in which literary intertextuality functions, are elucidated in the article also.Key-words: feuilleton, literature, satire, humour, «pseudo creative power», genre stylization, parody. ; Статья посвящена анализу тематического и формального своеобразия «литературного» фельетона в творчестве писателя-сатириконца А.С. Бухова. Сатирик раскрывает различные аспекты современной ему литературной жизни (бесталанность авторов, создающих популярные произведения, низкий уровень читательского вкуса, состояние юмористики, мемуаристики и критики, творчество «на заказ»), касается смежных видов искусства (кинематограф, эстрада), используя при этом жанровую стилизацию и пародию. Также, в статье рассматриваются фельетоны Бухова бытовой и политической проблематики, в которых функционирует литературная интертекстуальность.Ключевые слова: фельетон, литература, сатира, юмор, творчество «на заказ», жанровая стилизация, пародия. Стаття присвячена аналізу тематичної та формальної своєрідності «літературного» фейлетону у творчості письменника-сатириконця А.С. Бухова. Сатирик розкриває різні аспекти сучасного йому літературного життя (відсутність таланту у авторів, які створюють популярні тексти, низькій рівень читацького смаку, стан гумористики, мемуаристики та критики, творчість «на замовлення»), торкається суміжних видів мистецтва (кінематограф, естрада), використовуючи жанрову стилізацію і пародію. Також, у статті розглядаються фейлетони Бухова побутової і політичної проблематики, у яких функціонує літературна інтертекстуальність.Ключові слова: фейлетон, література, сатира, гумор, творчість «на замовлення», жанрова стилізація, пародія. The article is dedicated to the analysis of thematic and formal originality of A.S. Bukhov's «literary» feuilleton. The satirist exposes the different aspects of modern to him literary life (untalentedness of authors, who create popular texts, low level of reader taste, state of humour, memoirs and critics), touches the contiguous types of art (cinema, stage), using genre stylization and parody here. Bukhov's feuilletons of politics and way of life, in which literary intertextuality functions, are elucidated in the article also.Key-words: feuilleton, literature, satire, humour, «pseudo creative power», genre stylization, parody.

The purpose of the article is an attempt to develop approaches to the reconstruction of the place and role of literature in the intellectual and information sphere of Russian theological academies of the nineteenth — early twentieth centuries. The current publication has been prepared on the basis of sources of various origins: catalogs of libraries of theological academies, periodicals published in the Orthodox theological academies of the Russian Empire (Khristianskoe chtenie (Christian Reading), Trudy Kievskoi Dukhovnoi Akademii (Proceedings of the Kiev Theological Academy), Pravoslavnyi sobesednik (Orthodox Interlocutor), Bogoslovskii vestnik (Theological Bulletin), for instance), Orthodox autobiographies, proceedings of meetings of councils of theological academies, programs of training courses, teaching manuals (textbooks and anthologies), etc. The analysis of those numerous sources shows that the libraries of four Orthodox theological academies of the Russian Empire had large collections of fiction in various languages, including works of Russian literature. Studying Russian literature was also part of a number of training courses. Initially, it was due not so much to the desire to provide students with a versatile education, but to the desire to develop their artistic taste and literary abilities, which was necessary for composing sermons. But later, literature was interpreted as something of powerful influence at a person's worldview, something that could compete with religion. The study shows that the influence of contemporary Russian literature was constantly increasing, and, by the early twentieth century, the programs of theological educational institutions included studying works by almost all Russian writers. At the same time, not only 'spiritual' writings were studied, but also those which were considered 'harmful', and the last one got almost a central place in the ecclesiastic periodicals (L.N.Tolstoy).

Ideology has always influenced translation, yet this fact became a topic of scholarly research only in the 1990s. The working of ideology in literary translations most often manifests itself as a conflict of value systems. From vast reservoir of foreign sources, the native axiology absorbs values that it needs to sustain its culture. It is not a coincidence that Anglo-American literature, propagating ideas of democracy and individual freedom, became popular in Poland in the first half of the nineteenth-century when Poland did not exist as a state. Only a century later, American literature was the most popular of all foreign literatures in pre-1939 Poland. World War II changed this situation, and the Soviet-controlled apparatchiks favored translations that were "politically correct." Yet, because of their connections with earlier revolutionary movements, avant-garde Anglo-American writers were often published during the communist regime, for example Virginia Woolf, whose novels were standardized to appeal to the tastes of popular readers. After Poland regained independence in 1989, the national book market was privatized and commercialized, and avant-garde literature needed advertising to get noticed. Cormack McCarthy's novels were translated into Polish on the wave of popularity of the Coen brothers movie based on No Country for Old Men. The two Polish translations of McCarthy's novel try to sound like a typical hard-boiled realistic fiction. This is where the ideology of consumerism meets the ideology of communism: literature is a means to sustain – and control – a cultural monolith, where all differences are perceived as possible threats to social order.

Existing discussions of food democracy focus on people's freedom to choose healthy, sustainable, or otherwise 'good' foods. Such foods are supposed to be unrestrained by oligopolistic structures of food supply, economic inequality, misinformation, or the misleading lobbying campaigns of the food industry. Our article aims to broaden the discussion about food democracy: focusing on people's freedom to choose the food they want, but also on people's freedom to engage with what they eat and how they want to eat it. This thematizes collective orders of sensing and, more specifically, taste. Based on pragmatist and praxeological studies we pose that tasting food is a matter of historically grown collective practices. In a second step, we assert that the reflexive shaping of such practices is currently dominated by the food industry and related forms of sensory science. Democratizing taste is a matter of people's capacity to self-govern how they experience and enjoy food. To this end, we suggest the approach of 'experimental eating' as a way to question and reflexively engage with embodied forms of tasting. We report on the development of methods that, in a next step, are to be combined for a participatory exhibition inviting people to experimentally reconfigure their habitual tasting practices and experience agency in matters of shaping taste. The exhibition makes taste public by demonstrating the construction of sensory experience in eating practices. It positions taste as a collective issue which every human being can experiment with—and thus to contest the governance of taste as currently exercised by industrial corporations and scientific experts.

The first part of this article outlines a dilemma in cultural studies and sociology of culture regarding the politics of aesthetics. This concerns whether discourse about the evaluation of symbolic forms serves to reinforce power relations and maintain divisions between people and communities, or whether evaluation can serve as a basis for greater commonality. One way of at least beginning to address this issue is to attend to the 'everyday aesthetics' of media audiences, exemplified here in the ordinary evaluative discourse of music users. The second part of the article reports on interview research about musical tastes and values. It analyses these interviews for evidence of the ways in which evaluative statements might involve making connections with others, or alternatively how they may act as barriers to social connectivity or community. How and to what extent might ordinary musical evaluation be thought of as part of potential aesthetic public spheres?

AbstractVideo is a medium increasingly used in education. The styles of videos produced for academic purposes have been studied in the literature based mainly on those initially designed by instructors for use in MOOCs. In this work, we define a novel taxonomy of academic video design styles based on the videos produced by students. We have defined 10 different styles after reviewing 105 student-generated videos over 5 years. These types of videos reflect the tastes of students when making a video, which do not necessarily coincide with those of instructors. Based on our classification, a comparative analysis was done between the types of videos developed by instructors and by students, and significant differences were found. The style most commonly used by instructors is similar to the presentation slides while students' videos are based on the integration of videos and images they search for on the Internet.

Taking literature in the wide sense of the entire handwritten book-culture of the European Middle Ages (here with focus on Latin Christendom), this article sketches some of the important turning points of the parameters of textual canonicity, in the Middle Ages themselves, as well as in the early modern and modern period. These critical junctures lie around 1050, 1300, 1450 and 1800. In this article, book-technical and linguistic accessibility is suggested as an agent of change in itself – in addition to the factors of cultural politics, ideologies and shifting tastes. In the second part of the article a model is proposed for assessing and measuring the canons operative today – still basically faithful to the romantic turn around 1800. The paper ends with reflections on how the present age of radical accessibility puts us at another historical watershed in how we engage with the rich textual record of the Middle Ages

Blossoms of Persian poetry, although inspired by the pure nature, gradually took the attractive qualities of mysticism. In traditions, the Holy Quran is called the burgeoning of hearts and the greatest prophet (peace be upon him) is referred to as the burgeoning of souls. Spring in Persian literature is sometimes the symbol of improvement and deliverance and at other times is considered as the symbol of the afterlife. Actually, this is the highest symbol of spring in Persian literature.Desert land of Yazd bears fragrant flowers, in spite of its natural wrath, tickles the taste of souls of the pious people. One of these scented flowers is the deceased Behjati whose pen name is "Shafaq" and spring in his poetry possessed the qualities of revolution. Current study is going to address this concept in his poetry.The article was conducted with an analytical-descriptive method using bibliographic resources.

Abstract
Business environment is constantly evolving and it is getting shrunk as managers acting in the market economy encounter some problems and a great deal of implicated solutions from one country can be applied in others. This situation leads to the rise of market systems where various agreements, which are reached, aim at liberalization of trade and cooperation [Penc J., 2003, pp.126-127]. The speed of forwarding messages, products, services, easiness in making relationships, blurring the time and spatial boundaries, and convergence of customer's tastes or standard unification enable trade and world's production to develop. It also causes the borders to be on the decline at the same time increasing enterprise competition level internationally. The objective of paper is to indicate and describe the selected aspects connected with enterprise internationalization. The analysis and review of national and international literature were provided in the article.

Abstract
This research explores the impact of merely altering the name of a food on dieters' and nondieters' evaluations of the food's healthfulness and taste, as well as consumption. Four studies demonstrate that when a food is identified by a relatively unhealthy name (e.g., pasta), dieters perceive the item to be less healthful and less tasty than do nondieters. When the identical food is assigned a relatively healthy name (e.g., salad), however, dieting tendency has no effect on product evaluations. This effect, which results in differences in actual food consumption, is explained by nondieters' insensitivity to food cues as well as dieters' reliance on cues indicating a lack of healthfulness and tendency to employ heuristic information processing when evaluating foods. These findings contribute to the body of literature that explores both individual and contextual factors that influence food evaluation and consumption.

This review explores the present fashion for aesthetics in contemporary sociology. It evaluates the claims that society is undergoing a deep-seated process of aestheticization, and that sociology is experiencing an aestheticization of its epistemological concerns. The aestheticization literature is divided as follows: (1) the re-reading of classical sociological theory through the aesthetic dimension of modernity; (2) the claim that postmodern society involves an `aestheticization of everyday life'; and (3) those sociological theories which stress that contemporary society is more and more like a work of art in its form. The argument is made that the discovery of aesthetics as a way of problematizing sociological reasoning is to some extent rediscovery, returning to various Kantian precepts: the disinterestedness characteristic of aesthetic experiences; the antinomy between the individual and the social aspects of taste; and the work of art as an organism predicated on an inner teleology.

John Keep, Emancipation by the axe? Peasant revolts in Russian thought and literature.
Contrary to widespread opinion, a continuous thread runs from the 17th- and 18th-century Russian peasant revolts to the agrarian revolutions of 1905 and 1917, manifested in the survival of social Utopian myths. The Razin legendary cycle, distorting Christian teaching, presents the "liberator" as an avenging apostle. Russian writers from Pushkin onward, and later social theorists, took up the theme of agrarian violence but were shocked by the brutal events of 1917-1918. Early Soviet writers (e.g. L. Leonov) offered a critical portrait of the peasant revolutionaries, but subsequently this theme has been neglected. A comparison of two novels on the Razin revolt (A. P. Chapygin, 1927; S. Zlobin, 1951) illustrates changes in the official ideology and Soviet literary taste; popular mythology is today manipulated for mundane political ends.