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"The Historical Expansion of International Society" published on by Oxford University Press.

The article considers most of the films in the Columbo cycle as the classical detective story. Columbo has all the necessary features of the classical sleuth: aptitude for acting, grotesqueness, trickery, breach of the norm. His appearance is close to mask that is why his attributes (a cigar and a raincoat) are so important. Unlike the classical sleuths in literature Columbo works for the police but contrasts against his normal colleagues as a wrong policeman. Depiction of the crime precedes investigation is characteristic not of the literary classical detective story, but of a number of works by R. Austin Freeman, who introduced the concept of the inverted detective story. But in these works there is no detective pointe, required for the classical detective story. In the Columbo cycle the pointe is associated not with the announcement of the name of the criminal, as in literature, but with the way he is unmasked.

In 1818, the United State Supreme Court ended the year's term without rendering a decision in the case that would become the foundation for the protection of corporate property rights from state intervention: Trustees of Dartmouth College v. Woodward.1 From the inception of the controversy to the reading of Justice Marshall's opinion on the opening day of the Supreme Court's term in 1819, Justice Joseph Story played a critical role in molding the Dartmouth College case into a solid foundation for the "protection to private property against the authority of the government--a principle which became the cornerstone of the American doctrine of constitutional government."2 Justice Story not only helped create the legal strategy of Dartmouth College's chief counsel, Daniel Webster, but his eloquent concurring opinion repaired the shortfalls of Chief Justice Marshall's opinion.

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.

This paper tests the explanatory power of the main strands of neoclassical realism in accounting for US foreign policy after the Cold War. According to the emphasis they place on the relevance of structural versus non-structural variables in foreign policy making, three schools can be identified. The first school restricts the role of non-structural factors to accounting for anomalous behavior; the second school argues that non-structural variables should also be included in order to understand the policy's timing and style, and, in times of security plenty, its content; while the third school contends that it is international structural factors, i.e. a state's strategic interactions with other polities, that shape most foreign policy. Following the test of their forecasts versus the historical record, the third school emerges as providing the most accurate account and as the most promising avenue of research for neoclassical realism.

This article was written to answer the following two questions, which are 1) What is the history of the Wang Bang Kholaem ensemble? What were the reasons for its establishment and dissolution? 2) What were the factors that led to its success? Did the relationship between the ensemble owner and his musicians contribute to its success? The results were: 1) The Wang Bang Kholaem Thai Classical ensemble was set up around 2470-2475 B.E. The owner was Prince Krommaluang Lopburirames. The ensemble was dissolved after his death. The reason why he chose Bang Kholaem as the location for his ensemble, was that, in the past, Bang Kholaem had been an area of peaceful and shady fruit yards faraway from the capital city, suited for building a retreat for practicing Thai classical music. 2) The factors contributing to the band's success and fame included the fact that the ensemble's owner was royal and was really fond of Thai classical music. He had enough assets to be a patron to a large number of talented musicians and was able to assemble many great teachers to train his musicians. The fact is that the musicians of the Wang Bang Kholaem ensemble inherited musical wisdom from the Wang Burabha ensemble, which belonged to Prince Bhanubhandhu-wongworadech, his father-in-law. Among the great teachers were: Luang Praditphairoh (Son Silapabanleng), Phra Phinbanlengraj (Yam Prasansup) and Phra Phatbanlengromya (Phim Wathin). Moreover, he was also able to gather many gifted musicians into the ensemble. In addition, the ensemble flourished and fostered great interest in the social and cultural environment of the period which existed during the reign of King Rama VII before the Revolution in 2475 B.E. 3) As for the relationship between the great teachers and the musicians, it was based on very strict discipline. In addition to the fact that the owner was of high royalty, the relationship between the owner and his musicians was that of the patronage system according to feudal tradition. The musicians respected and adored the owner so they dedicated themselves to working effortlessly to build a great reputation for the ensemble.

Historians have long argued about the place of trade in classical antiquity: was it the life-blood of a complex, Mediterranean-wide economic system, or a thin veneer on the surface of an underdeveloped agrarian society? Trade underpinned the growth of Athenian and Roman power, helping to supply armies and cities. It furnished the goods that ancient elites needed to maintain their dominance - and yet, those same elites generally regarded trade and traders as a threat to social order. Trade, like the patterns of consumption that determined its development, was implicated in wider debates about politics, morality and the state of society, just as the expansion of trade in the modern world is presented both as the answer to global poverty and as an instrument of exploitation and cultural imperialism. This 2007 book explores the nature and importance of ancient trade, considering its ecological and cultural significance as well as its economic aspects