Each one of us is, in a sense, a leader in this world, and the author encourages us to adopt a model of harmony-based leadership. In easily-digested 'lessons' Prof. Srića gives fifty-two examples explaining in detail how each of us can develop internal harmony, and how to build and develop harmonious teams and organizations. Prof. Srića finds the source of today's global chaos in the lack of leadership in politics and business, and he explains why the current paradigm is exhausted. The first pages are valuable in their own right, as they present an ice-bath of cold facts that will wake up anyone who doubts that change is urgently needed.
Foreword Ten years is a long time. In 2009 a bunch of friends gathered in Portugal for a conference that was to precede TAKE. In 2011 we repeated. Then, after a strange sequence of events, we finally organized TAKE for the first time in 2015 in Aveiro, followed by Zagreb, Poznan and now Vienna. Florian Kragulj was in the first TAKE in Aveiro and from the start showed the highest level of enthusiasm and professionalism in the event. These characteristics were kept alive during all the 15 or so months during which we organized TAKE 2019. That this edition of TAKE involves several entities linked with academia, i.e. WU Vienna University of Economics and Business, the Austrian Economic Chamber and the Institute for Applied Research on Skilled Crafts and Trades (IAGF). This in itself a big success and a sign of the Conference improvement. Also, we may see, by analysing the papers and in particular the streams, that TAKE has been following the economic times, and this year we have several papers on the Gig Economy. Only good conferences adjust, the others get stuck in time. And success in Conferences is about teams. And in TAKE that team, is indeed, a very large group of people including the co-chairs, the local organizing team, the material organizers (Book of Abstracts and Proceedings), the stream leaders, and the paper reviewers – without all these persons nothing could have been done. And finally we had to depend on the authors, and their willingness to work with us. Without the work of these large dozens of devoted and skilled people TAKE 2019 would not have existed. May I also mention that this time and with Florian’s impulse and skill the organization of TAKE was improved in technological terms – in short we became techno – we used a website to deliver the mail list, a website to receive the scientific material and another website to receive the fees. All these were investments that eventually paid of, and that will guarantee a more stable organization for TAKE in the future. And we owe it to Florian. However, as the Human Resource Development part of TAKE (and more than anyone Gary Mc Lean) would remind us – “We are humans, Eduardo”, and technology helps, but in the end, is attention to detail, capacity to deal with the bizarre and to accommodate the weirdness making sometimes the impossible possible that differentiates a good conference, made doing things right, from an excellent conference, based in doing the right things. And on this last matter, believe me, we in TAKE are among the best in the world, because apart from being outstanding scholars, and good colleagues, we are an amazing group of friends, and friendship is the best way to turn good conferences into outstanding ones. Many thanks, from the heart and enjoy the Conference. Eduardo Tomé Conference Chair, Universidad Europeia Lisbon, July 2019, Lisbon, Portugal
For the first time, His Royal Highness Charles, the Prince of Wales, shares his views on how mankind’s most pressing modern challenges are rooted in our disharmony with nature. In the vein of Al Gore’s An Inconvenient Truth and Van Jones’ Green Collar Economy, Prince Charles presents the compelling case that solutions to our most dire crises—from climate change to poverty—lie in regaining a balance with the world around us.
In a world that seems increasingly fragmented, J. Philip Newell calls us to a vision of life′s essential oneness. He invites us to listen for the heartbeat of God and to be part of a new harmony. A New Harmony is based on a Christianity more integrated with the earth and with the rest of humanity and we are taken on a pathway towards transformation in our lives. A New Harmony communicates across the boundaries of religion and race that have separated us and honours our distinct inheritances by serving what is deeper still—the oneness of our origins and the oneness of Earth′s destiny.
As a traditional theological issue and in its broader secular varieties, theodicy remains a problem in the philosophy of religion. In this remarkable book, Sami Pihlström provides a novel critical reassessment of the theodicy discourse addressing the problem of evil and suffering. He develops and defends an antitheodicist view, arguing that theodicies seeking to render apparently meaningless suffering meaningful or justified from a ‘God’s-Eye-View’ ultimately rely on metaphysical realism failing to recognize the individual perspective of the sufferer. Pihlström thus shows that a pragmatist approach to the realism issue in the philosophy of religion is a vital starting point for a re-evaluation of the problem of theodicy. With its strong positions and precise arguments, the volume provides a new approach which is likely to stimulate discussion in the wider academic world of philosophy of religion.
In the disastrous years before and during the Second World War, when confidence in a harmonious future was as difficult as it was crucial for spiritual survival, two German artists in exile wrote what would become their late masterpieces. The composer Paul Hindemith conceived an opera on the famous astronomer Johannes Kepler's mature life and theories, The Harmony of the World; the poet and novelist Hermann Hesse wrote a complex literary collage, i>The Glass Bead Game. Both works address the topic of universal harmony in the fabric of creation and culture, as well as the urgent problem of how such harmony can heal the spiritual, mental, and emotional developments of individuals and of society at large. The two quests are mirrored into circumstances that are almost equidistant from the mid-20th-century period in which their stories are being told. Hindemith's opera centers on an outstanding intellectual in the late 16th and early 17th centuries, while Hesse's work focuses on this intellectual's counterpart projected into a fictional world of the early 23rd century. In both cases, the quest for harmony and truthful proportion manifests at all levels of the stories told and of the works telling them. Siglind Bruhn's thought-provoking interdisciplinary study is organized along the lines of the seven areas in which scholars of the Pythagorean tradition from Plato to Kepler and beyond found universal harmony paradigmatically realized music, arithmetic, geometry and astronomy (the quadrivium of the medieval liberal arts) complemented by metaphysics, psychology, and art.
How the ordering of the sensible world continues to suggest a reality that no notes or letters can fully transcribe. An ancient tradition holds that Pythagoras discovered the secrets of harmony within a forge when he came across five men hammering with five hammers, producing a wondrous sound. Four of the five hammers stood in a marvelous set of proportions, harmonizing; but there was also a fifth hammer. Pythagoras saw and heard it, but he could not measure it; nor could he understand its discordant sound. Pythagoras therefore discarded it. What was this hammer, such that Pythagoras chose so decidedly to reject it? Since antiquity, "harmony" has been a name for more than a theory of musical sounds; it has offered a paradigm for the scientific understanding of the natural world. Nature, through harmony, has been transcribed in the ideal signs of mathematics. But, time and again, the transcription has run up against one fundamental limit: something in nature resists being written down, transcribed in a stable set of ideal elements. A fifth hammer, obstinately, continues to sound. In eight chapters, linked together as are the tones of a single scale, The Fifth Hammer explores the sounds and echoes of that troubling percussion as they make themselves felt on the most varied of attempts to understand and represent the natural world. From music to metaphysics, aesthetics to astronomy, and from Plato and Boethius to Kepler, Leibniz, and Kant, this book explores the ways in which the ordering of the sensible world has continued to suggest a reality that no notes or letters can fully transcribe.
The problems of corruption, social injustice, public unrest, disparity in income and regional development, shortage of energy and resources, unemployment, aging population, inadequate social and economic safety network, pollution, etc., are poised to jeopardize political stability and cast a shadow on the moral foundation of economic reform. How to cope with these new problems is a daunting task facing the Chinese leadership and people in the twenty-first century. The new generation of leadership under Hu Jintao has begun to search for solutions and directions. 'Building a harmonious society' based on a 'scientific view of development' has become a new catch phrase in political and academic discourse in China and a newly adopted program by the Chinese government. It is in this context that this edited volume brings together a group of China scholars to discuss the concept and goal of building a harmonious society. This book will be of interest to professors and students of China studies, as well as policy makers and researchers.
There is neither in the music history nor in the history of art such a closed and contradictory composer and creator as Galina Ustvolskaya. The music of Galina Ustvolskaya (excepting commissioned works written not for internal reasons but for necessity) is a kind of mysterious ritual. What is her music about? What ideas dominate it? Ustvolskaya’s music art is not big in volume, but with a huge degree of tension, it has concentrated the main ideological problems and contradictions of our time. What is culture? What is spirituality? What is the role of art in life? Do we need them? Is it possible to exclude these phenomena and concepts from our being? And why is our era passing away? The book is full of allusions. This is a kind of deductive method, with the help of which the author tries to understand and explain the talented composer who is a drop of water in an ocean reflecting the leading trends and tendencies of twentieth-century art.
