Institutions are the formal or informal 'rules of the game' that facilitate economic, social, and political interactions. These include such things as legal rules, property rights, constitutions, political structures, and norms and customs. The main theoretical insights from Austrian economics regarding private property rights and prices, entrepreneurship, and spontaneous order mechanisms play a key role in advancing institutional economics. The Austrian economics framework provides an understanding for which institutions matter for growth, how they matter, and how they emerge and can (...) change over time. Specifically, Austrians have contributed significantly to the areas of institutional stickiness and informal institutions, self-governance and self-enforcing contracts, institutional entrepreneurship, and the political infrastructure for development. (shrink)

This article introduces and discusses the initial results of a survey focused on the contents, role and effectiveness of company codes of ethics. The article examines the contents of the codes of ethics of companies operating in the private sector in Italy, quoted on the Italian Stock Exchange (Standard& Poor/Mib-Milano Indice Borsa). The purpose of this investigation was to identify any correlations between sector characteristics and the contents of the codes of ethics, which would enable us to map out the (...) main principles followed in writing the companies' codes of ethics. The analysis was conducted in order to ascertain whether there were common factors deriving from the shared ethical questions faced by the companies operating in the same sector of activity. As the first step, the 40 companies were subdivided into three main economic categories -Industrial, Financial and Service. Then the contents of each code of ethics were evaluated and classified in accordance with different criteria. The main categories of classification were based on -general principles, social values, rules of conduct, relationships with third parties, implementation and sanctions. The next objective was to investigate whether these characteristics were due to the regulation of the sector of reference, the existence of sector benchmarks for best practice, or simply companies' voluntary stance on ethical issues. The main conclusions were that the codes of ethics of the Italian companies that we analysed do not seem to show relevant differences traceable to sector of activity, and their adoption is affected by several reasons other than intentionally ethical considerations. (shrink)

Strategic interactions have been studied extensively in the area of judgment and decision-making. However, so far no specific measure of a decision-maker's ability to be successful in strategic interactions has been proposed and tested. Our contribution is the development of a measure of strategic ability that borrows from both game theory and psychology. Such measure is aimed at providing an estimation of the likelihood of success in many social activities that involve strategic interaction among multiple decision-makers. To construct a reliable (...) measure of strategic ability, that we propose to call ``Strategic Quotient'' (SQ), we designed a test where each item is a game and where, therefore, the individual score obtained depends on the distribution of choices of other decision-makers taking the test. The test is designed to provide information on the abilities related to two dimensions, mentalization and rationality, that we argue are crucial to strategic success, with each dimension being characterized by two main factors. Principal component analysis on preliminary data shows that indeed four factors (two for rationality, two for mentalization) account for strategic success in most of the strategically simpler games of the test. Moreover, two more strategically sophisticated games are inserted in the test and are used to investigate if and to what extent the four factors obtained by simpler games can predict strategic success in more sophisticated strategic interactions. Overall, the collected empirical evidence points to the possibility of building a SQ measure using only simple games designed to capture information about the four identified factors. (shrink)

Résumé La section des Persikà consacrée à la vie d’Artoxerxès est en réalité l’histoire des exploits de Mégabyze, un aristocrate qui rivalise avec le roi pendant toute sa vie. L’analyse de la source nous amène à réfléchir sur les motivations qui poussèrent Ctésias à donner une grande importance à Mégabyze et en même temps nous renseigne sur certaines dynamiques historiques et politiques de l’histoire perse du milieu du V e siècle av. J. -C.

This article reinterprets Schumpeter’s theory of entrepreneurship in a decidedly un-“Schumpeterian” way, and argues that continued emphasis on Schumpeter’s alleged glorification of the entrepreneur constitutes a missed opportunity for democratic critics of capitalism and neoliberalism. I demonstrate that Schumpeter did not exalt the individual entrepreneur as the paradigm for economic and political leadership in capitalist societies, and I show that he offers a surprisingly robust resource for reconceptualizing entrepreneurship. Schumpeter theorized entrepreneurship: as a phenomenon that could not be exemplified by (...) either individual persons or strictly private entities; as a conceptual mechanism for analyzing change in the history of capitalism; and even as evidence that political and economic leadership should not be conflated in modern democratic societies. By contextualizing Schumpeter’s discussions of the entrepreneur, I suggest that a reconsideration of Schumpeter’s actual theory of entrepreneurship would invigorate contemporary debates about the role of leadership in capitalist economies and liberal-democratic polities. (shrink)

ABSTRACTA close reading of Capitalism, Socialism and Democracy underscores Schumpeter's critique of elite political capacities. Given the neglect of this critique in contemporary scholarship, it might warrant a revision of our understanding of “Schumpeterianism.” To notice the critique of elites, we need to read Part IV in the context of the work as a whole, and with greater sensitivity to the sarcasm, irony, and humor that permeate the book. Such a reading produces a fundamentally altered understanding of Schumpeter's contribution to (...) democratic theory. (shrink)

The present work looks at what we call “the multiverse of quantification”, where visible and invisible numbers permeate all aspects and venues of life. We review the contributions of different authors who focus on the roles of quantification in society, with the aim of capturing different and sometimes separate voices. Several scholars, including economists, jurists, philosophers, sociologists, communication and data scientists, express concerns or identify critical areas of our relationship with new technologies of ‘numericization’. While mindful of the important specificities (...) of the different families of quantification, we use our broad and holistic canvas to explore possible spaces for a more systematic investigation of incumbent and novel quantifications, as to increase communication among disciplinary communities, and among these and society, in the pursuit a democratic agency and self-defence. (shrink)

In the romantic period, there emerged a lot of piano works with colorful creation methods, which brought people infinite enjoyment of beauty and triggered countless discussions. Starting from the Romantic period, this paper analyzes the aesthetic characteristics of piano art, discusses its aesthetic essence, and traces its development source, aiming to deepen the public's cognition of piano art, strengthen the importance of piano art, give play to the influence of art, let aesthetics penetrate into the public (...) and enrich the emotional experience of the public. Guided by the dialectical materialist philosophy of Hegel, who is the master of classical philosophy, this paper analyzes the philosophical basis of his theory of aesthetic study of piano art and its relationship with the musical language and musical works of romantic piano musicians in the 19th century, and draws a conclusion that the artistic aesthetics of romantic piano and the artistic core of classical philosophy are embodied. The piano works of Romanticism "go back to the inner world" are the double presentation of the music language based on emotion theory and the artistic core of classical philosophy. (shrink)

Name der Zeitschrift: Klio Jahrgang: 99 Heft: 1 Seiten: 354-358.

The current piano curriculum, according to conventional wisdom, is a product of the western music education system, which accords Chinese traditional culture with less importance. Most of the methods and tools used in today's collegiate piano programs are Western-based, often ignoring traditional musical traditions. However, it is widely acknowledged that piano music plays a key role in the culture of music and that it is closely related to traditional culture and art. Examining the impact of Chinese traditional (...) philosophy on collegiate piano instruction and performance is the main objective of the present research. The study makes use of an empirical method by conducting a survey and gathering information using a questionnaire. 174 students from six Chinese institutions participated in the current research. Students were split into two groups as a result of the training methodology. 87 students in the experimental group studied using a previously developed curriculum to advance Chinese traditional music culture, whereas 87 students in the control group took piano lessons using the standard curriculum. We used the student’s t-test and Chi-square test for statistical analysis. Since it demonstrates how traditional Chinese philosophy is successfully promoted in educational contexts, the present study is significant from both an academic and a practical standpoint. (shrink)

The first season of Westworld the has recurring image of a piano which is capable of playing its own keys and pedals. Robert Ford's error demonstrates how our common‐sense view of consciousness has been incorporated into the way we think and even speak about the ourselves and others. When we look at ourselves and those around us, we use rather common‐sense concepts to explain or understand human behavior and action. Dennett believes that what we conceive as consciousness, from our (...) common sense, is an illusion that represents the deeper, more complex functions within the human brain. The eliminativism of Robert Ford, Paul Churchland and Daniel Dennett, rejects what our common sense tells us about consciousness and what Descartes himself had tried to defend. What we seem to intuitively conceive as human consciousness is just as much a fiction as are the narrative loops and backstories of Westworld's hosts. (shrink)

La réflexion s’appuie dans un premier temps sur une opposition entre deux attitudes de pianistes à l’égard du travail à l’instrument : Gould, qui revendique une séparation d’avec le clavier pour ne privilégier que la lecture; Arrau, dont la technique au contraire vise à « faire corps » avec son piano. L’étude de ces deux démarches d’interprètes conduit à une conclusion croisée : l’abstraction gouldienne n’est rien d’autre qu’un déplacement du jeu vers d’autres instruments (ceux qui servent à la (...) prise de son et au montage de ses enregistrements) ; le « faire-corps » hérité de la culture pianistique romantique est plus dialectique que fusionnel, et en cela implique une capacité de mise à distance. A partir de cette double conclusion, on tâche enfin de repenser la place du jeu à l’instrument dans la mise en œuvre d’une interprétation, en interrogeant le dialogue qui s’instaure entre la partition telle qu’elle s’écrit et le geste tel qu’il se joue. (shrink)

Resumen: El piano, de origen europeo, es la cristalización de la civilización musical occidental y es conocido como el rey de los instrumentos musicales. Después de cientos de años de desarrollo, ha desarrollado un sistema relativamente completo de creación, interpretación y enseñanza. En este proceso, se puede ver que hay muchas obras de música para piano con el estilo y el encanto únicos del pensamiento tradicional chino, utilizando el método de la música folclórica china y la melodía con (...) características chinas. La combinación de pensamientos tradicionales y piano demuestra el encanto único de la música china, con una fuerte herencia cultural y atractivo artístico. Por lo tanto, las obras de música para piano infiltradas en el pensamiento tradicional chino no son sólo un tesoro de China, sino también un elemento indispensable en la interpretación y educación del piano chino. El propósito de este artículo es comprender y reflexionar profundamente sobre las obras de música para piano en la cultura tradicional china, explorar la singularidad y el encanto de las obras de música para piano chinas y comprender la encarnación de los pensamientos tradicionales chinos en la creación de música para piano, explorando así la singularidad y la innovación. de la creación de música para piano china, proporcionando referencia y apoyo para promover el desarrollo de las obras de música para piano china. (shrink)