Transfer of technology to China:A Scandinavian and European perspective

This paper examines the question of technology transfer from the perspective of techno-economic security and how companies respond to the possibility of losing competitive advantage through misappropriation or leakage. It explores transfers from Europe to China and addresses in particular the operations of Scandinavian companies within the context of the general picture for other European firms. Its point of departure is the authors' earlier research that looked at the motivations for transfer and the awareness of companies of techno-economic security issues. This has been supplemented by new data gathered by the authors from a number of Scandinavian companies in China. Specific actions have been identified and the ownership issue is introduced together with consideration of the role of the companies against the 'Ferdows' model. The analysis shows that the nature of the security question has changed together with the evolving context in which the companies are operating. In turn, the response of companies is contingent on a number of factors including the time horizon of the strategy for a unit in China and the nature of the strategy. It is also influenced by the form of ownership and management style in a particular organisation. © 2002 Elsevier Science Ltd. All rights reserved.

A Digital Library of Folklore Songs and Keyword-Based Search Engine

ACM Computing Classification System (1998): H3.3, H.5.5, J5.

Is Scotland a Westminster-style Majoritarian Democracy or a Scandinavian-style Consensus Democracy? A Comparison of Scotland, the UK and Sweden

Peer reviewed

Is Scotland a Westminster-style Majoritarian Democracy or a Scandinavian-style Consensus Democracy? A Comparison of Scotland, the UK and Sweden

Peer reviewed

Is Scotland a Westminster-style Majoritarian Democracy or a Scandinavian-style Consensus Democracy? A Comparison of Scotland, the UK and Sweden

Peer reviewed

“Animanazo”. Song and memories. Cultural expressions and movements in the reconstruction of the past inside a north Argentinian town

This article analyses the context of production and local situations of appropriation and resignification related to the folk song “Fire on Animaná” as well as the request and mobilization (“The animanazo”) provoked by this song in order to examine different mechanisms and foundations by which a population connect with an event from its community past, identifying with this and taking it in a specific way. In this article we combine discourse analysis of the song and of interviews to participants in this event with the reconstruction —through ethnographic observation— of how to use this song.

Let The People Sing? Irish Rebel Songs, Sectarianism, and Scotland’s Offensive Behaviour Act

Irish rebel songs afford Scotland’s Irish diaspora a means to assert, experience, and perform their alterity free from the complexities of the Irish language. Yet this benign intent can be offset by how the music is perceived by elements of Scotland’s majority Protestant population. The Scottish Government’s Offensive Behaviour Act (2012) has been used to prosecute those singing Irish rebel songs and there is continuing debate as to how this alleged offence should be dealt with. This article explores the social function and cultural perception of Irish rebel songs in the west coast of Scotland, examining what qualities lead to a song being perceived as ‘sectarian’, by focusing on song lyrics, performance context, and extra-musical discourse. The article explores the practice of lyrical ‘add-ins’ that inflect the meaning of key songs, and argues that the sectarianism of a song resides, at least in part, in the perception of the listener.

Petr Eben's oratorio Apologia Sokratus (1967) and ballet Curses and Blessings (1983): An interpretative analysis of the symbolism behind the text settings and musical style

The Czech composer Petr Eben (1927-2007) has written music in all genres except symphony, but he is highly recognized for his organ and choral compositions, which are his preferred genres. His vocal works include choral songs and vocal-instrumental works at a wide range of difficulty levels, from simple pedagogical songs to very advanced and technically challenging compositions. This study examines two of Eben‘s vocal-instrumental compositions. The oratorio Apologia Sokratus (1967) is a three-movement work; its libretto is based on Plato‘s Apology of Socrates. The ballet Curses and Blessings (1983) has a libretto compiled from numerous texts from the thirteenth to the twentieth centuries. The formal design of the ballet is unusual—a three-movement composition where the first is choral, the second is orchestral, and the third combines the previous two played simultaneously. Eben assembled the libretti for both compositions and they both address the contrasting sides of the human soul, evil and good, and the everlasting fight between them. This unity and contrast is the philosophical foundation for both compositions. The dissertation discusses the multileveled meanings behind the text settings and musical style of the oratorio and ballet in analyses focusing on the text, melodic and harmonic construction, and symbolism. Additional brief analyses of other vocal and vocal-instrumental compositions by Eben establish the ground for the examination of the oratorio and ballet and for understanding features of the composer‘s musical style. While the oratorio Apologia Sokratus was discussed in short articles in the 1970s, the ballet Curses and Blessings has never previously been addressed within Eben scholarship. The dissertation examines the significant features of Eben‘s music. His melodic style incorporates influences as diverse as Gregorian chant and folk tunes on the one hand, and modern vocal techniques such as Sprechgesang and vocal aleatoricism on the other. His harmonic language includes bitonality and polytonality, used to augment the tonal legacy of earlier times, together with elements of pitch collections and limited serial procedures as well as various secundal and quartal harmonic sonorities derived from them. His music features the vibrant rhythms of folk music, and incorporates other folk devices like ostinato, repetitive patterns, and improvisation.