The entrepreneurial imaginary: The hyper-real case of the Zombiepreneur

Contemporary representations of entrepreneurship only reflect the past and present, not the utopian or dystopian futures that entrepreneurial behaviours may create. Given calls for alternative narratives of entrepreneurship that challenge the orthodoxy, there is a need to critique the multiple simultaneous representations of entrepreneurship and their potential impact on our future. Using Baudrillard’s concept of simulacra, this paper proposes a new epistemological way to interrogate future entrepreneurial reality through a radical hyper-real frame and an empirical deviation from the norm. The paper introduces and critiques representations that contribute an entrepreneurial imaginary based on contemporary discourse. Through viewing and coding for entrepreneurial behaviours observed in the top-30 Zombie movies, a deviant simulacrum that is far from our field is constructed. This is used to generate a new empirically derived taxonomy that challenges existing entrepreneurial representations and suggests the impossibility of a single entrepreneurial reality. Through this deconstruction, we highlight how entrepreneurial behaviours take on alternative meaning when explored through other realities. By comparing the Zombie genre as simulacra with extant entrepreneurial simulacra, we critically challenge our entrepreneurial system of meaning, providing a perspective where entrepreneurial behaviour may lead to different outcomes depending on the reality pursued.

Resepsi Remaja Terhadap Dampak Pergaulan Bebas Di Dalam Film Dua Garis Biru

The film is one of the mass communication media which has a big influence on society at large. a film is also a form of a message consisting of various symbols and signs that form a meaning system so that it can be interpreted by each person differently, depending on the person's reference and ability to grasp the meaning conveyed. The film Dua Lines Biru by Gina S. Noer takes the theme of teenage pregnancy in promiscuity. The interpretation of the conflict in this film scene becomes the background for the research to see the reception of the audience or the public in watching the film Dua Garis Biru. The purpose of this study was to analyze the reception of adolescent audiences on the impact of promiscuity in the film Dua Garis Biru. This research uses a qualitative method with an analytical approach to encoding and decoding theory from Stuart Hall, which observes the audience's position on the meaning of a work. An understanding of the impact of promiscuity in the film Two Blue Lines. The results of this study the audience dominates the Hemegony Position which means the message is conveyed and the audience accepts the meaning or message as it is. But several scenes are in the Negotiated Position and Oppositional Position because the informant has its own alternative meaning or reference in certain scenes.

Toward Sustainable and Inclusive Housing: Underpinning Housing Policy as Design for Values

A perusal of the literature on housing debates reveals that the term ‘value’ is mostly applied to express the financial value of a house and is dealt with in economic literature. However, an alternative meaning of the word ‘value’ in the housing literature can be found in research into the values underlying housing preferences, applying research methods from the marketing literature. The explicit combination of moral values and housing policy and design is found neither in the academic housing nor in the philosophical literature. However, diving deeper into the housing debate reveals that there are a host of moral values already present throughout this debate that are often not explicitly articulated and explicated, such as inclusiveness, sustainability, autonomy, and security. The aim of this paper is to address the role of values in housing policy and design. By doing so, we apply the Design for Values approach (DfV). We argue that the DfV approach can help to make implicit moral values more explicit, which can improve the housing debate, housing policy-making, and housing design. The paper first explores which values are relevant for housing policy and design and operationalizes those values. Next, the paper describes key debates in housing such as: What is “adequate housing” in times of rapid urbanization and increasing house prices? We argue that by exploring the underlying values of these debates, stakeholders can create a better understanding of the current (lack of) fundamental discussions on housing issues

German Neo-Pietism and the Formation of National Identity

In the early nineteenth century, a neo-Pietist circle of awakened Protestants emerged in Prussia and other German lands. Disturbed by the consequences of the French Revolution, the ensuing reforms and the rising national movement, these neo-Pietists—among them noble estate owners, theologians, and other scholars—tried to introduce an alternative meaning for the alliance between state and religion. Drawing on seventeenth- and eighteenth-century pietist traditions, neo-Pietists fused their keen religious devotion with newly constructed conservative ideals, thus rehabilitating the legitimacy of political authority while investing the people's confession with additional meaning. At the same time, and through the same pietistic source of inspiration, conservative neo-Pietists forged their own understanding of national identity: its origins, values, and implications. In this regard, and against the prevailing view of the antagonist stance taken by Christian conservatives toward nationalism in the first half on the nineteenth century, this article argues for the consolidation of certain concepts of German national identity within Christian conservatism.

Salvation in Acts 16: Meaning and missional implication derived from the sociohistorical method

In Acts 16:17, a slave girl proclaims: ‘these men are the servants of the Most High God who have come to show a way of salvation!’ The Philippian jailer in Acts 16:30 asks, ‘What must I do to be saved?’ What do they have in common regarding their understanding of the meaning of salvation? How is it similar or different from the understanding of salvation in Africa? Are these in line with the salvation narrative aim of Luke in Acts 16? Through the sociohistorical method, this paper explores the Greco-Roman context of the slave girl and the jailer. In this process, a contextual similarity between the Greco-Roman context and the African context is identified and the impact of these contexts on the understanding of the meaning of salvation is examined. Placed in conversation with the Lukan meaning of salvation in the passage, an alternative meaning of salvation emerges, along with implications for the Greco-Roman and African contexts.Intradisciplinary and/or interdisciplinary implications: This article shows interdisciplinarity by an engagement with a theological concept through the utilisation of the sociohistorical method in generating meaning and understanding of a New Testament text. It navigates the disciplines of New Testament, Biblical Studies, Mission and Apologetics.

The possibilities of cosmopolitan dialogue

This commentary responds to Rose-Redwood et al.’s (2018) article, ‘The Possibilities and Limits to Dialogue’, by reflecting on the possibilities of a culture of cosmopolitan dialogue. First, I focus on dialogue as part of knowledge production within academic communities, identifying the institutional challenges and power inequalities that fetter dialogues between Western academia and beyond. Next, I reflect upon the different ways in which the ‘relevance’ of human geography is understood in different contexts, partaking in an alternative meaning of dialogue, that is, as public engagement and social relevance.

Performing, Translating, Fashioning: Spectatorship in the Surveillant World

Despite the disciplinary power of surveillance, I argue artistic performances may also provide a space of resistance and self-fashioning. Discussions on artistic performance emphasize the ambivalence and uncertainty of art to resist existing power structures and create alternative meaning. However, how concretely, and when, do artistic performances challenge these structures often remains uncertain. Their popularity does not guarantee the depth of their engagement with surveillance practices, and apparent resistance may hide unconscious cooptation and blatant reproduction of existing inequalities and power structures. To understand the political effect of artistic performances, I argue one needs to look at how they participate to the redefinition of individual and collective selves. This must include attention to spectatorship as a different category from state and corporate surveillance. Spectators engage with performers, reinforce or deny their claim to self-fashioning. By looking at spectators one can better understand how a performance can be (or fail to be) self-fashioning not only for the performer but also collectively for the spectators.

Basil Fawlty ja ”esithatcherilaisuus” sarjassa Pitkän Jussin majatalo

Basil Fawlty ja ”esithatcherilaisuus” sarjassa Pitkän Jussin majataloArtikkeli tarkastelee brittiläistä tilannekomediaa Pitkän Jussin majatalo (Fawlty Towers BBC, 1975, 1979) konservatiivisuuden representaatioiden näkökulmasta ja kysyy, miten sarjan päähenkilö Basil Fawlty (esittäjä John Cleese) ”esithatcherilaisena” hahmona auttaa ymmärtämään niitä prosesseja, joiden seurauksena Margaret Thatcher nousi pääministeriksi vuonna 1979. Suositun sitcomin komediallinen päähenkilö artikuloi samoja arvoja kuin Thatcher mutta tekee sen monimerkityksellisesti, sillä kyseessä on komedia.Artikkelissa Fawltyn ”esithatcherilaisuus” ymmärretäänkin ongelmattoman käsitteen sijaan Fawltyn artikuloimina arvoina ja asenteina 1970-luvun jälkipuoliskon Britannian poliittis-yhteiskunnallisessa historiallisessa tilanteessa. Vastaavasti konservatiivisuus ymmärretään artikkelissa diskursseina, ei dogmaattisina opinkappaleina. Tämä vastaa thatcherismin ambivalenttia ja ristiriitaistakin luonnetta.Artikkeli väittää, että Basil Fawlty ja hänen arvomaailmansa ovat sarjan tärkein komedian lähde ja naurun kohde. Hän edustaa myös Thatcherille Britannian kehitystä pitkään jarruttanutta taantumuksellista konservatiivisuutta. Basililla ei kuitenkaan ole sarjassa vain yhtä positiota tai identiteettiä, vaan ne vaihtelevat tilanteen mukaan. Oleellista on, että sarja, sen jaksot, kohtaukset ja yksittäiset vitsit toimivat komediana. Tämä selittää myös sarjan tiettyä ambivalenttiutta suhteessa konservatiivisuuteen ja luokkayhteiskuntaan. Basil Fawlty And ‘Pre-Thatcherism’ in Fawlty TowersThe article analyses the popular British situation comedy Fawlty Towers (BBC, 1975, 1979) as a comedic representation of conservatism and its lead character, Basil Fawlty (played by John Cleese), as a ‘pre-Thatcherite’. The article discusses how Fawlty and the series can help us to understand the processes which led to Margaret Thatcher winning the election in 1979 and becoming prime minister. Fawlty promotes similar values to Thatcher, but with ambiguity as the series is a comedy; comedy makes interpretation of ideological issues problematic as it is an alternative meaning-making system to non-comedic forms.The article understands conservatism and Thatcherism as discourses rather than political dogmas or programmes. Thatcherism, including its relationship with particular forms of conservatism, is ambivalent and in some cases contradictory. Basil Fawlty is a prime example of this. The article argues that Fawlty can be seen as a ‘pre-Thatcherite’. He is the main target of laughter and ridicule in the series, but because of his witty remarks and sarcasm we are also laughing with him, not only at him. Despite his old-fashioned conservatism, he also represents values, such as patriotism, which can be seen as identifiable across political and ideological lines. This is exactly what Thatcher accomplished in the late 1970s

La Fábrica verde de la Ciudad lineal industrial: una propuesta de Le Corbusier para el trabajo del hombre en la “época maquinista”

Resumen: En Les trois établissements humains (1945) Le Corbusier, junto con el grupo ASCORAL, describe la fábrica verde como un establecimiento industrial organizado según “una biología de las circulaciones, de la composición de los edificios y de la eficiencia”, que “reinstala de nuevo las condiciones de la naturaleza alrededor del trabajo”. Son palabras importantes, que destacan algunos de los temas cruciales del pensamiento social de principios del siglo XX y sobre los cuales Le Corbusier reflexionó para crear nuevas soluciones arquitectónicas y urbanísticas. El artículo recorre sintéticamente estos aspectos del pensamiento de Le Corbusier a través de sus diferentes modelos urbanos, para detenerse en particular sobre la idea de Fábrica verde de la Ciudad lineal industrial, puesta en práctica en el proyecto de la fábrica de armas en Aubusson (1940), donde el verde, el paisaje, la circulación y los espacios están pensados con una idea de funcionamiento alternativa a la organización del trabajo, alejada de los ritmos mecánicos de la cadena de montaje. Esta concepción es alimentada por referencias culturales y arquitectónicas, entre las cuales figura el pensamiento del sindicalista obrero Hyacinthe Dubreuil, que Le Corbusier traduce en un proyecto para una fábrica que quiere conciliar el maquinismo funcional con la naturaleza a través de soluciones y relaciones compositivas “orgánicas” más que mecánicas. Abstract: In Les trois établissements humains (1945) Le Corbusier, with the ASCORAL group, describes the Green Factory as an industrial establishment organised according to « a biology of circulation, a composition of buildings and efficiency », that « newly reintroduces natural conditions around the workplace ». These are important words that highlight some crucial themes of the social thought of the XX century on which Le Corbusier had reflected a long time in order to create new architectural and urban solutions. The article traces and summarises these particular aspects of the architect's thought process through the different urban models of his studies, to then dwell especially on the idea of the Green Factory and the “linear industrial city ”, applied to the project for the arms factory in Aubusson (1940). Here trees, landscape, circulation and spaces give work a different and alternative meaning that is very distant to the mechanical rhythms of the production line. This concept is nurtured by cultural and architectural references, amongst which figures that of the trade unionist and factory worker Hyacinthe Dubreuil. Le Corbusier translates Dubreuil's thought in a project for a factory that wishes to conciliate functional machinism with nature, by using "organic" compositive solutions and relationships rather than mechanical ones. Palabras clave: establecimiento industrial, modelos urbanos, paisaje, espacios de trabajo. Keywords: industrial establishment, urban models, landscape, workspaces. DOI: http://dx.doi.org/10.4995/LC2015.2015.1128

A ROMAN-LAZI WAR IN THESUDA: A FRAGMENT OF PRISCUS?

Sudaτ 134: Ταρσοὶ καλάμων. οἱ δὲ Λαζοὶ βόθρους ὀρύξαντες καὶ δόρατα τοῖς βόθροις ἐγκαταπήξαντες ταρσοῖς καλάμων καὶ ὕλῃ μὴ βεβαίαν ἐχούσῃ βάσιν, ἀλλὰ πρὸς τὸ ἐπιφερόμενον ἄχθος ὀλισθαινούσῃ, τὰ στόματα τῶν ὀρυγμάτων ἐκάλυψαν· καὶ χοῦν ἐπιβαλόντες τά τε παρ’ ἑκάτερα χωρία γεωργήσαντες καὶ πυροὺς σπείραντες ἐτροπώσαντο τοὺς Ῥωμαίους. Ταρσοὶ καλάμων παρ’ Ἡροδότῳ ἡ τρασιά (πρασιάmss), οὗ ἐξήραινον τὴν πλίνθον.Frames of reeds. ‘The Lazi, having dug pits and securely fixed spears within them, concealed the openings of the holes with frames of reeds and material that has no firm foundation but would give way to any load placed upon it; and having thrown earth on top and tilled the ground to either side and sewn wheat, they put the Romans to flight.’ Frames of reeds in Herodotus are the drying-rack, where they used to dry bricks.This entry in theSudacomprises three elements. First, the lemma Ταρσοὶ καλάμων, compared with the usual format of the lexicon, is atypical (though not unparalleled) both in being a two-word phrase and in lacking an explanatory gloss. The word ταρσός most frequently denotes various artefacts with a flat and/or interwoven structure, such as screens, baskets and mats, and by extension is used figuratively of surfaces that resemble wickerwork or basketry. The phrase ταρσοὶ καλάμων or καλάμου is otherwise attested, with somewhat different meanings, in only three ancient authors: Herodotus, Thucydides and Aeneas Tacticus. Second, an anonymous extract from an unidentified historical work supplies a sample usage of the headword phrase, in this instance a military ruse in which wicker screens are instrumental in concealing pits dug by the Lazi prior to an engagement with the Romans. The historical setting, the style and language of the extract, along with the known sources and methodology of the compiler(s) of theSuda, indicate that the quotation belongs to a classicizing historian of Late Antiquity. These issues will be examined below. Third, as testimony to an alternative meaning of ταρσοὶ καλάμων, the compiler adduces a gloss on Herodotus’Histories, which he drew from an earlier glossary of Herodotean usages. Here two problems arise. The definition of a drying-rack for bricks indicates that the original glossarist (and in turn theSudacompiler) did not in fact understand Herodotus’ technical description. In any case, the reading πρασιά, transmitted in all codices of theSuda, and accepted by Adler, should undoubtedly read τρασιά.