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The article deals with the emergence and development of the theory of geographical determinism, as well as the essence of the main concepts of geographical determinism of the classical post-classical period. The theoretical foundations of geopolitics and the views of its main representatives are analyzed. It is stated that geographical determinism as a conceptual methodological approach does not become obsolete as society develops, but is modernized and modified. The features of modern geographical determinism (neodeterminism) are determined and some of its directions are considered: the concept of sustainable development, the concept of green energy, geographical ethics.

Itäaasialaisia klassisia muusikoita käsittelevät artikkelit ovat olleet yleisiä eurooppalaisissa klassisen musiikin lehdissä siitä lähtien kun itäaasialaiset alkoivat yhä suuremmassa määrin voittaa kansainvälisiä musiikkikilpailuita ja luoda kansainvälistä uraa 1900-luvun viimeisinä vuosikymmeninä. Läntinen taidemusiikki on kansainvälistymässä aikana, jolloin pelot klassisen musiikin kuolemasta ovat myös päässeet otsikoihin Euroopassa. Itäaasialaiset muusikot työskentelevät kompleksisella kulttuurien kentällä, jossa heidän muusikkoutensa on jatkuvasti arvostelun alaisena. Tämän tutkimuksen tarkoitus oli saada selville, miten itäaasialaiset klassiset muusikot ja heidän kulttuurinen identiteetti on representoitu kolmessa eurooppalaisessa klassisen musiikin lehdessä, Crescendossa, Gramophonessa ja Rondossa vuosina 2002‒2011. Tämä saavutettiin analysoimalla ensin määrällisesti tutkimusaineiston teemat, asenteet ja toimijat. Päämenetelmänä käytettiin diskurssianalyyttistä viitekehystä kuvaamaan neljää itäaasialaisen muusikkouden representaatiota, joita olivat valloittaja-diskurssi, aasialais-diskurssi, virtuoosi-diskurssi ja sillanrakentaja-diskurssi. Itäaasialaiset muusikot nähdään diskursseissa erilaisina muttei kuitenkaan eksoottisina. Tämä erilaisuus tuodaan esiin korostamalla heidän kansalaisuutta ja etnisyyttä paikoissa, joissa tämä tieto ei ole kontekstin kannalta välttämätöntä. Itäaasialaiset muusikot on lisäksi kuvattu sillanrakentajina itämaisen ja länsimaisen kulttuurin välillä. Muusikoiden virtuositeettiin liitetty tekno-orientalismin stereotypia tuodaan usein esiin diskursseissa mutta julistetaan samalla vanhentuneeksi. Itäaasialainen klassisen musiikin ilmiö puolestaan kuvaillaan käyttäen sotilaallista ja sotaisaa sanastoa. Tulokset osoittavat, että läntisen taidemusiikin tarina nähdään edelleen olennaisesti länsimaisena ilmiönä, ja itäaasialaisilla muusikoilla on vielä paljon tehtävää, jotta heistä tulee tämän tarinan pääosan esittäjiä yhdessä eurooppalaisten ja amerikkalaisten kollegoidensa rinnalla. ; Articles of East Asian classical musicians have been common in the European classical music magazines since East Asians began increasingly winning international music competitions and pursue international careers somewhere towards the end of the 20th century. The field of Western classical music is becoming more international at a time when fear of the dying of classical music has also reached the headlines in Europe. East Asian musicians work in a complex cultural field where their musicianship is constantly evaluated from different premises. The aim of this study is to see how the East Asian classical musicians and their cultural identities are represented in three European classical music magazines, Crescendo, Gramophone, and Rondo during the years 2002‒2011. This is achieved through first analysing the themes, attitudes and actors of the articles by using quantitative content analysis. Discourse analytical framework is used as a main method to illustrate four different representations of East Asian classical musicians ‒ the Invader, the Asian, the Virtuoso, and the Bridge Builder. The East Asian classical musicians are seen as different, yet not exotic. Their difference is brought up in emphasising their nationality and ethnicity in places where this knowledge is not necessary for the context. Further, the East Asian musicians are often seen as bridge builders between Eastern and Western culture. The stereotype of techno-orientalism relating to the virtuosity of the musicians is brought up in discourse but is, at the same time, announced outdated. The general context, the East Asian classical music phenomenon, is described using military and warlike terms. The findings indicate that the story of Western classical music is still seen as inherently Western and that East Asian classical musicians still have work to do in becoming main actors in the story alongside their European and American colleagues.

Chapter 1. Introduction: Capital and Classical Antiquity (Max Koedijk and Neville Morley) -- Chapter 2. Problems in the Long-Term Accumulation of Commercial and Financial Capital in Ancient Greece (Michael Leese) -- Chapter 3. Inequality in the Peloponnesian War (Manu Dal Bo Manu Dal Borgo) -- Chapter 4. Framing Capital: Xenophon's Economic Model and Social System (Sven Günther) -- Chapter 5. Piketty's Dilemma: Taxation in Fourth Century Athens (Dorothea Rohde) -- Chapter 6. Status as a Brake and Accelerant on Wealth Inequality in the Late Roman Republic (Max Koedijk) -- Chapter 7. Rent Controls in the 40s BCE: housing costs, public intervention and inequality in the Roman World (Cristina Rosillo-López) -- Chapter 8. Capital in the Roman Empire: the scope for Pikettian dynamics in an ancient agrarian economy (Myles Lavan and John Weisweiler) -- Chapter 9. Money, Capital and Inequality in the Age of Augustus (Colin Elliott^ g? Evidence from Roman Egypt (Paul Kelly) -- Chapter 11. Wealth, Inequality and Political Culture in the Cities of Roman Asia Minor, 1st to 3rd Centuries CE (Arjan Zuiderhoek) -- Chapter 12. Oligarchy Ancient and Modern (David Singh Grewal) -- Chapter 13. Beyond Capital (Kim Bowes) -- Chapter 14. Piketty Among the Ancients: Capital and Beyond (Walter Scheidel) -- Chapter 15. Afterword: Capital from Antiquity to the 21st Century (Thomas Piketty).

Religion was integral to the conduct of war in the ancient world and the Greeks were certainly no exception. No campaign was undertaken, no battle risked, without first making sacrifice to propitiate the appropriate gods (such as Ares, god of War) or consulting oracles and omens to divine their plans. Yet the link between war and religion is an area that has been regularly overlooked by modern scholars examining the conflicts of these times. This volume addresses that omission by drawing together the work of experts from across the globe. The chapters have been carefully structured by the editors so that this wide array of scholarship combines to give a coherent, comprehensive study of the role of religion in the wars of the Archaic and Classical Greek world. Aspects considered in depth will include: Greek writers on religion and war; declarations of war; fate and predestination, the sphagia and pre-battle sacrifices; omens, oracles and portents, trophies and dedications to cult centres; militarized deities; sacred truces and festivals; oaths and vows; religion & Greek military medicine

Examines the work of key figures and institutions in the classical tradition and the agenda they provide for contemporary sociology. It analyzes theories such as those of Karl Marx and Max Weber, and then covers debates on the family, religion, the city, social stratification and citizenship

Abstract
The literature of warfare records the insights of past generations into one of the most harrowing and trying elements of the human experience. The classical works from the Warring States period created the base of military thought in China that also influenced much of East Asia. According to Mao Zedong, these ancient texts bore special importance as literature, sources of study, and inspiration for the people of China. This hard-purchased expertise reflected the experiences of the past that present scholars must carefully study, especially as new works of military thought within the Chinese literary base appeared in the twentieth century, penned and spoken by Mao himself. These new texts demonstrated a steady continuity from the earliest Chinese military-philosophical literature. Most notably, these common concepts included a consistent conceptualization about the role of warfare in society, the importance of complementary opposites, capitalizing on strengths and exploiting weaknesses, and adaptability to changing dynamics. The influence of Mao's writings ensured these precepts continued to exercise an important influence upon the People's Republic of China, creating the base of military-philosophical literature in the prc.