Enriching Social Network Theory with Theoretical Model of Confucian Five Virtues

<p><em>Comparing findings of empirical research on social networks of 700 Chinese entrepreneurs from three areas of</em><em> </em><em>Yangtze River Delta (Bart</em><em> </em><em>&amp;</em><em> </em><em>Burzynska, 2017) with that of 2000 senior employees from six large American and European companies</em><em> </em><em>(</em><em>Burt, 2005;</em><em> </em><em>Burt</em><em> &amp; </em><em>Kilduff, 2013</em><em>)</em><em>, their results elicited a core question awaiting for answer from international academic community: Is guanxi a phenomenon particular to Chinese or universal to every culture of the world? Luo (2017) tried to answer this question from the perspectives of mixed tie (Hwang, 1987), differentiated modes of association (Fei, 1992), particularism (Eisenstadt, 2000), family ethics orientation (Liang, 1963), and dynamic equilibrium between yin and yang (Li, 1998), but his answer is unsatisfactory yet. </em></p><p><em>Based on my epistemological strategy for constructing culture-inclusive theories, this article</em><em> </em><em>will reinterpret findings of empirical research by Bart and Burzynska (2017) and criticize the insufficiency of previous models in terms of a series of my theoretical models</em><em> </em><em>constructed for understanding Confucian Five Virtues.</em></p>

Describing and Comparing Archaeological Spatial Structures Case Study Meymanat Abad

<p><em>Traditionally, occupation phases, without clearly identifiable contexts, have been excavated according to arbitrarily defined vertical spits. The disadvantages of this approach are obvious—where occupation occurred on an undulating or sloped surface, stratigraphic levels or activity horizons, if they existed, are often unlikely to be identified and it becomes almost impossible to differentiate different phases of occupation within any period. Recently, three-dimensional recording of artefact locations with survey equipment, such as total stations, has become more common on these types of sites. In this paper, this method for recording and modeling stratigraphic relationships using 3D analysis a ”Arcmap” programs is applied.</em></p>

Deceased Standing Sure Footed or Walking Sheltered by the Sunshades in the Old Kingdom

<p><em>This article</em><em> </em><em>deals with an Old Kingdom scene of the tomb owner standing sure footed or walking on the ground. He is sheltered by the sunshades. This scene was collected from the Old Kingdom tombs. The commentary considers the distribution of the scene in the Old Kingdom cemeteries, dating of the scene and reasons for its appearance and disappearance, sex of the depicted deceased, number and location of this scene in the tomb, elements of the scene, activities associated with the scene, exercise time activities associated with the scene, and the accompanied inscriptions. Interpretations of the scene-details are given. New explanation of the sunshade of Nefer’s tomb is introduced. </em></p>

The Mesolithic Hunter-Gatherers in the Southeastern Mediterranean and Their Contribution in the Neolithisation of the Aegean

<p><em>The excavations in the Aegean since the 1990s onwards have revealed a new cultural stage, starting from the beginning of 9th millennium down to the end of 8^th. A network of sites extends from the northern to the southern Aegean Sea and from the West to the East, having as reference points the obsidian sources of Melos and Yali, Nissiros. In recent years, we have an increase of Mesolithic sites in the insular Aegean, the mainland Greece as well as in the western Asian coast, Cyprus and Crete. Recent research changes the data and shows that, along with the navigation capability and the specialization in fishing, an early Neolithisation in the Aegean began</em><em> </em><em>already in 9^th millennium BC. It means that active Mesolithic groups from the early 9^th mill. till the end of 8^thcould have been able to travel to the East, interact with local populations of the PPNA and PPNB and transfer plants and animals, domesticated or not to the Aegean and the Greek mainland, contributing to the full Neolithisation of the area. </em></p>

Horse Archetype and Its Relationship with Hero Patterns on Luster Pottery in the Seljuk

<p><em>Horse with the hero archetype are the most common mythological motif. In Jung’s opinion, archetypes are collective unconscious contents which potentially exist in the human’s mind; therefore, myth is not limited to the time and space. The pattern of horse and horseman was used on pottery and in wall paintings, paintings and drawings throughout the history. This kind of pattern is observed frequently on different artworks of the Seljuk Period (Eleventh and twelfth centuries AD). During the 10th century, due to various events, the Oghuz had come into close contact with Muslim cities. Seljuk Turks had a strong interaction with the nature. They fought with their neighbors to find suitable permanent pastures; so, war and hunting were their favorite works and subjects. One of the artworks on which these patterns were frequently used was golden shades and enamel pottery in the Seljuk Period. Pottery in this period is important in terms of its qualitative and quantitative value. In this article, first we address Jung’s opinions about the hero and horse pattern as an archetype; then, by introducing some samples of golden shades pottery with the pattern of horse and horseman, we will discuss the concept which the Seljuk society had understood.</em></p>