Purpose. The article is devoted to the analysis of corporality as an attribute of plastic art in the Ancient art, the Middle Ages, the Renaissance, the modernism and the postmodernism. Theoretical basis. The authors consider historical development of the art as a change of paradigms. Within each paradigm a special understanding of art is created, which is characterized both by the act of creativity itself and by the evaluation of its results. Particularly urgent is the task to identify the origins (...) of these changes, to indicate their stages, the direction of the evolution of artistic creativity. In this context, corporality as a paradigm of European plastic art is considered in the article in the concrete historical dimension from the classics to the postmodernism. Originality. Postmodern experiments stimulate blurring the borders between the traditional forms and genres of art. Review of canonical ideas about the creation and destruction, order and chaos in art illustrates conscious reorientation from the classical understanding of artistic creativity to the construction of artifacts-simulacra, which is a characteristic feature in the oeuvre of contemporary artists, ranging from the pop art to the present day. Conclusions. The ideas of postmodern philosophers found their visual embodiment in modern artistic practices. Reconstruction of the body, re-switching of its elements according to the principle of chaotic collage, the interpretation of the human body as a separate substance isolated from the individual him/herself, which is presented as a phenomenon of mass culture, became the basis of the creative method of contemporary plastic art. The ideas of postmodern philosophers have found their visual embodiment in the contemporary artistic practices. (shrink)

This paper examines the perceived ethical values of Malaysian managers. It is based on the opinions of 15 hypothetical ethical/unethical business situations from the 81 managers who agreed to participate in the survey. The findings of this study showed that these Malaysian managers have high ethical values. However 53% of the respondents believed that the ethical standards of today are lower than that of 15 years ago. Apparently, this is related to the existence of many unethical business practices prevalent in (...) the modern business world. The behavior of one's immediate superior is the most important factor in influencing managers to commit unethical practices. The results also indicate only a slight variation among the managers in terms of perceived ethical values by virtue of job position, job specialization, type of business activity or the size of the business organization. (shrink)

ARCHAEOLOGYTHE Classical Spartans were noted for their austerity, which seemed already ancient to writers of the fifth century B.C. The early poetry and art of their country show a considerable aesthetic sense. This apparent contradiction has caused some students to conclude that the strict Lycurgan regimen was not introduced till the middle or even the end of the sixth century and that before that date Sparta had culturally been developing in much the same way as other important Greek states. The (...) argument is unsound. (shrink)

ARCHAEOLOGYTHE Classical Spartans were noted for their austerity, which seemed already ancient to writers of the fifth century B.C. The early poetry and art of their country show a considerable aesthetic sense. This apparent contradiction has caused some students to conclude that the strict Lycurgan regimen was not introduced till the middle or even the end of the sixth century and that before that date Sparta had culturally been developing in much the same way as other important Greek states. The (...) argument is unsound. (shrink)

In attempting to date the Shield several complementary methods are possible. Roughly these may be classed as literary, historical and archaeological. The literary method indicates that the Shield comes late in the Hesiodic corpus: in particular the use of the F is careful. The historical method suggests a preciser upper limit. Wilamowitz believed that the point of lines 393–401, which give the season in which the combat between Herakles and Kyknos took place, can only be that a commemorative festival was (...) held—at the temple of Apollo at Pagasae, since the scene is laid in Apollo's sanctuary. Mazon continues that the reputation of the temple dates from the end of the Sacred War and the establishment at Pherae of a dynasty with close connections with Delphi : he therefore sets the terminus post quern at about 590. This argument is attractive and possible. Several scholars have attempted to secure a lower limit from the last sentence in Hypothesis A: κα⋯ Στησ⋯χορος δ⋯ φησιν ' Hσ7iota;⋯δου εἶναι τ⋯ πο⋯ημα. But as Wilamowitz observes, we do not know whether the poem in which this mention came was a genuine work of Stesichoros. Certainly it need not make the Shield much earlier than the Stesichorean poem, since our ‘Hesiod’ wrote his epyllion for incorporation in the Ehoiai which was attributed to the genuine Hesiod, and an insertion into such a work could have been very quickly accepted. Mazon's lower limit of 560 is then on insecure grounds. Thirdly there is the possibility that analysis of the decoration of Herakles' shield might give useful comparisons to the conclusions of archaeologists on the chronology of Greek art. It is this method that I shall attempt. (shrink)