Статті в журналах: "Concordia discors"

1

Slama, Paul. "Concordia discors." Philosophie antique, no. 15 (November 24, 2015): 225–54. http://dx.doi.org/10.4000/philosant.432.

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2

Børresen, Kari Elisabeth. "Concordia discors." Augustinianum 36, no. 1 (1996): 237–54. http://dx.doi.org/10.5840/agstm199636128.

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3

Wald, Melanie. "»Discors Concordia«." Zeitschrift für Ästhetik und Allgemeine Kunstwissenschaft Band 53. Heft 2 53, no. 2 (2008): 123–59. http://dx.doi.org/10.28937/1000106130.

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4

Marc’hadour, Germain. "Concordia discors." Moreana 34 (Number 129), no. 1 (March 1997): 75–78. http://dx.doi.org/10.3366/more.1997.34.1.13.

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5

Sherr, Richard. "Ex Concordia Discors." Journal of Musicology 32, no. 4 (2015): 494–523. http://dx.doi.org/10.1525/jm.2015.32.4.494.

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In March 1558 Pope Paul IV ordered his College of Singers to consider two Spanish sopranos, then in Naples. Called to Rome for an audition, they were accepted according to the normal procedure (a vote). Two Italian members, however, aggressively abstained from participating. For this they would have been severely punished without they avoided through the intervention of their patron, the papal nephew Cardinal Carlo Carafa. In 1559 Paul IV demanded that the abstainers be dismissed, but their colleagues persuaded him to allow them to remain. Also in 1559 three other papal singers suffered when Cardinal Carafa was disgraced and banished by Paul IV. In 1562 the most recalcitrant singer in the original affair resigned from the choir for reasons that defy explanation. Though minor in itself, this curious tempest in a teapot opens a window into larger issues concerning the power relationship of popes and cardinals to the papal singers and shows the real dangers that could ensue from being a member of the household of a cardinal. Moreover, it exposes national tensions within the choir, shows the singers caught up in the political repercussions of the last spasms of the short and disastrous pontificate of Paul IV, and even gives a glimpse into their possibly aberrant personalities. Cardinal Carlo Carafa is also shown to have had a serious interest in the papal choir and individual papal singers for reasons that have yet to be elucidated and may not have been entirely musical.

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6

Heneveld, Amy. "Concordia discors : l’harmonie de l’écriture médiévale." Médiévales 66, no. 66 (June 30, 2014): 25–41. http://dx.doi.org/10.4000/medievales.7183.

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7

Khastgir, Aparna. "Ending as Concordia Discors: Titus Andronicus." Studia Neophilologica 73, no. 1 (January 2001): 36–47. http://dx.doi.org/10.1080/713789803.

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8

Chenet, François. "Métaphysique et poésie: une admirable concordia discors ?" Revue philosophique de la France et de l'étranger 137, no. 1 (2012): 15. http://dx.doi.org/10.3917/rphi.121.0015.

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9

Richardson, M. "Trade and competition policies: concordia discors>." Oxford Economic Papers 51, no. 4 (October 1, 1999): 649–64. http://dx.doi.org/10.1093/oep/51.4.649.

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10

Ireland, Casey. "Discors Concordia: Swamps as Borderlands in Dante’s Inferno." Neophilologus 104, no. 2 (March 16, 2020): 177–88. http://dx.doi.org/10.1007/s11061-020-09637-7.

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11

Pavesio, Monica. "Concordia Discors, édité par B. Bolduc et H. Glodwyn." Studi Francesi, no. 170 (LVII | II) (July 1, 2013): 451–52. http://dx.doi.org/10.4000/studifrancesi.3074.

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12

Takács, László. "Concordia discors – avagy az első triumvirátus megítélése Nero korában." Antik Tanulmányok 57, no. 1 (June 1, 2013): 117–24. http://dx.doi.org/10.1556/anttan.57.2013.1.9.

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13

Makhov, Aleksandr E. "THE CONCORDIA DISCORS TOPOS IN MEDIEVAL LITERATURE: CONTEXTS, MEANINGS, RHETORICAL VARIATIONS." RSUH/RGGU Bulletin. "Literary Theory. Linguistics. Cultural Studies" Series, no. 1 (2021): 10–23. http://dx.doi.org/10.28995/2686-7249-2021-1-10-23.

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14

Г.Т., Гарипова. "НАЦИОНАЛЬНЫЕ МИФОКОДЫ ОБОРОТНИЧЕСКОГО БЫТИЯ В РУССКОЙ И УЗБЕКСКОЙ ПРОЗЕ". Русистика и компаративистика, № 16 (17 листопада 2022): 71–90. http://dx.doi.org/10.25688/2619-0656.2022.16.04.

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В статье рассматриваются художественные оборотнические модели бытия в русской и узбекской литературах второй половины ХХ века, выявляются национальные бестиарные мифокоды, связанные с русскими и восточными религиозно-философскими системами, анализируются проблемы символизации оборотнических мирообразов, построенных по принципу «превращенной формы», идентифицируются смысловые аспекты семантики «возможных миров». Аналитический акцент ставится на попытке идентифицировать специфику мифологической образности при создании бестиарного амбивалентного героя, в котором реализуется принцип комбинаторного сочетания уровня “discordia concors” (гармоничный разлад) и “concordia discors” (несогласованная гармония). К анализу привлекаются произведения писателей русской литературы - роман-сказка А. Кима «Белка», романы Д. Липскерова «Последний сон разума» и В. Пелевина «Священная книга оборотня»; узбекской литературы - роман Т. Пулатова «Черепаха Тарази». Russian Russian and Uzbek literatures of the second half of the twentieth century are considered in the article, national bestial mythocodes associated with Russian and Eastern religious and philosophical systems are identified, the problems of symbolization of werewolf world images built on the principle of “transformed form” are analyzed, semantic aspects of the semantics of “possible worlds” are identified. The analytical emphasis is placed on an attempt to identify the specifics of mythological imagery when creating a bestial ambivalent hero, in which the principle of a combinatorial combination of the level “discordia concors” (harmonious discord) and “concordia discors” (uncoordinated harmony) is implemented. The analysis involves the works of writers of Russian literature - the fairy tale novel by A. Kim “Squirrel”, the novels by D. Lipskerov “The Last Dream of the Mind” and V. Pelevin “The Sacred Book of the Werewolf”; Uzbek literature - the novel by T. Pulatov “The Turtle Tarazi”.

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15

Daukšienė, Ona. "„Discors concordia“ XVII a. jėzuitų kūryboje: teorinės prielaidos ir raiška." Literatūra 48, no. 7 (January 1, 2015): 52–66. http://dx.doi.org/10.15388/litera.2006.7.8003.

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16

Handrigan, Gregory R. "Concordia discors: duality in the origin of the vertebrate tail." Journal of Anatomy 202, no. 3 (March 2003): 255–67. http://dx.doi.org/10.1046/j.1469-7580.2003.00163.x.

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17

Meile, Richard L., and Stephanie L. Shanks. "Comment on Pommerehne et al., ?concordia discors: Or: What do economists think??" Theory and Decision 18, no. 1 (January 1985): 99–104. http://dx.doi.org/10.1007/bf00134080.

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18

Hoffmann, Thomas. "Concordia Discors or Teach the Conflicts. Reflections on the Validity and Heuristics of Scholarly Conflict." Tidsskrift for Islamforskning 3, no. 2 (September 24, 2008): 53. http://dx.doi.org/10.7146/tifo.v3i2.24567.

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What kind of methodological and axiological lodestars would the academic community of Islam scholars do wise to observe in the current situation of intense political and medial ‘discursivization’ of Islam and Muslims? How are ‘we’ – our imagined scholarly community – to navigate in a field that over the past decades has moved from a fairly select and exclusive island to an increasingly deceitful and contested archipelago? Surely the first thing to do must be critical self-reflection, asking ourselves questions about our trade’s ideological and political implications and about the truths we hold selfevident. The second thing to do is also rather ‘self-centred’, albeit in a less meta-wise way, and that is to try to decide and spell out and commit oneself to some kind of research agenda.

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19

Volkova, Anna G. "THE RECEPTION OF FRANCISCAN MYSTICS IN EUROPEAN POETRY OF THE 17TH CENTURY." Vestnik of Kostroma State University, no. 3 (2020): 117–21. http://dx.doi.org/10.34216/1998-0817-2020-26-3-117-121.

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European poetry of the 17th century has its own complicated metaphoric language the interpretation of which depends on understanding of different contexts. It is especially true about religious poetry that does not only use metaphors, motifs and stories from the Bible but also perceive the biblical text through some confessions and often through some directions within a confession. Such cultural and historical code is important and necessary for reception and interpretation of poetical text. Franciscans as a special direction in Roman Catholic spirituality influenced very much on European literature and especially on religious poetry of Middle ages, Renaissance and Baroque i.e. the late 16th – 17th centuries. The main point of the article is studying of key images and motifs of Franciscan spirituality that were expressed in German mystical poetry (on texts by Johannes Scheffler familiarly known as Angelus Silesius). Except traditional motifs of poverty, God’s love, one can find out thoughts about relationships between the Creator and its creature popular in theology and religious experience of Franciscans in his poetry. In poetry such ideas as an experience of communication with God are transmitted through poetical language, metaphors and also through special mean of concordia discors or connecting unconnectable.

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20

Pahl, Chance David. "Christopher Smart, Concordia Discors , and the Figure of the Distressed Woman: Sentiment and Sentimental Parody in the Student and the Midwife." Eighteenth Century 63, no. 1-2 (March 2022): 17–39. http://dx.doi.org/10.1353/ecy.2022.a926991.

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Abstract: This essay discusses the two magazines with which Christopher Smart was most closely associated: the Student, or Oxford and Cambridge Monthly Miscellany (1750–51) and the Midwife, or The Old Woman's Magazine (1750–53). I focus specifically on the rarely discussed sentimental vignettes depicting female virtue in distress that are interspersed through both magazines. Although Smart did not write all of these tales—he produced the Midwife almost single-handedly but was one of several contributors to the Student —the ones he did compose show him to be a shrewd literary projector, responsive to market forces and an emerging demographic of sentimental readers. Curiously, however, Smart tends to surround sentimental depictions of distressed women with humorous parodies of virtue in distress. In these parodies, the predatory and diabolical men of sentimental narratives are replaced by comic, bumbling admirers; at the same time, innocent and naive female victims give way to experienced and aggressive old maids. Although Smart was inclined to satire, I argue that these tales do not, despite initial appearances, offer an underhanded attack on the sentimental tradition by comically parodying the pathetic tale. Smart may not have been a sentimentalist at heart, but neither was he opposed to sentimental narratives per se. So, what then? This conundrum can be resolved by considering both Smart's overarching commitment to miscellaneity and his concomitant desire for unity in diversity. Smart is strongly critical of other midcentury magazines, primarily because of their disconnected character. While actively promoting miscellaneity, Smart also works to create a sense of connection amongst disparate pieces in the Student and the Midwife , thereby achieving a kind of unity in an inherently fractured form. It is in this light that we should understand Smart's tendency to juxtapose sentimental vignettes with comic parodies. While obviously contrasting in tone, such tales are nevertheless fundamentally connected. As such, Smart's curious combination turns out to be part of a larger project to counter key weaknesses of the magazine form and, in the process, to achieve credibility for an otherwise disreputable genre.

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21

Garipova, G. Т., and Е. F. Shafranskaya. "Myth models of the national being in the novel “Do Not Interrupt the Dead” by Salavat Yuzeev." Philology and Culture, no. 4 (December 29, 2023): 111–19. http://dx.doi.org/10.26907/2782-4756-2023-74-4-111-119.

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The article investigates the controversial problems of cultural identification of the novel “Don’t Interrupt the Dead” by Salavat Yuzeev in terms of the modern transculturation theory of literature, written in Russian by non-Russian (national) writers. We avoid the term “a Russian-language writer,” which does not seem to be appropriate as it does not reflect mental and aesthetic realities. In the course of the analytical study of the world artistic model in the novel “Don’t Interrupt the Dead”, our main goal is to present the validity and pattern of identifying the writer as a transcultural author who creates a national Tatar model of the world using the means of Russian linguistic culture, but on the basis of mental national and general “Soviet” historiosophical myths.Mythopoetic analysis seems conceptual for the study of transcultural texts, since it allows us to identify generic mythological correlates of the maternal model of the world interrelated with foreign ethnocultural reality. The analytics, emphasized in the article within the framework of apophatic poetics, makes it possible to consider not only the inconsistent multinational constants of the artistic transcultural model (the borderland of the Russian and Tatar ethnicity and ethos), but also multinational ones in a special format of unity - concordia discors. The article underlines that in the case of transcultural literature, not elimination, but expansion of genetic memory takes place due to the acquisition of another culture as one’s own.

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22

Gallego, Julián. "Atenas, entre el amor y la anarquía: la democratización de los placeres y las contingencias de la política popular." Nuevo Itinerario, no. 14 (April 30, 2019): 58. http://dx.doi.org/10.30972/nvt.0143707.

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<p>En República, Platón describe a la democracia como un régimen anárquico, abigarrado y placentero (hedeîa), porque reparte la misma igualdad para todos. Esto genera un exceso de libertad que conduce a que se pueda hacer lo que se desee (ti bouletai), que Platón al igual que Aristóteles en Política consideran uno de los males principales de la democracia, y que este último explica a partir del hecho de que para la multitud es placentero (hedion) vivir en desorden y no con moderación. Si esta última primara el placer y el deseo quedarían restringidos o incluso anulados. De esta manera, la política democrática se caracteriza por el placer que produce, en tanto que habilita la posibilidad de que se materialice en y por el deseo de cada quien. Esto es lo que se ha planteado, desde diferentes perspectivas, como una erótica de la política (e.g. Victoria Wohl, Love among the Ruins: The Erotics of Democracy in Classical Athens; Andrew Scholtz, Concordia Discors: Eros and Dialogue in Classical Athenian Literature), una de cuyas dimensiones más evidentes es la relación amorosa, símbolo paradigmático de esta intersección entre placer y deseo, excepto que se los controle o se los suprima. Estas alternativas son las que Tucídides encarna en el Discurso Fúnebre que atribuye a Pericles, cuya propuesta de que los atenienses sean amantes (erastas) de la polis remite la cuestión a una entidad abstracta sin que haya placer en ese recurso amoroso. Aristófanes en Caballeros repone el principio del placer-deseo y lo inscribe en los intercambios entre los propios atenienses a partir de la figura del erastês toû démou, jugando con los roles activo y pasivo de las relaciones pederastas y transformando en prostitución la metafórica relación amorosa entre el demagogo y el pueblo. Sobre esta construcción se monta Platón en Gorgias y en Alcibíades I, donde acuña el término demerastês. El recorrido propuesto busca demostrar que todas estas expresiones tratan de des-investir al dêmos de su poder por su falta de cualificación, su mescolanza, su desorden, incapacitado como está de practicar el verdadero amor, en definitiva, por la anarquía que la democracia representa.</p>

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23

Galzerano, Manuel. "MISQUOTING SOPHOCLES’ OEDIPVS TYRANNVS. A NEW PROOF OF THE INAUTHENTICITY OF PS.-ARISTOTLE, ON THE COSMOS." Classical Quarterly 68, no. 2 (December 2018): 733–35. http://dx.doi.org/10.1017/s0009838819000065.

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Chapters 6 and 7 of the pseudo-Aristotelian treatise On the Cosmos (Περὶ κόσμου = De mundo) display ‘a series of well-crafted and carefully organized analogies’ in order to represent the power of god pervading the whole universe. The last analogy (400b14–28), which is by far the most important in this section, compares the rule of god over the world to the rule of the law in a Greek city (ὁ τῆς πόλεως νόμος). As shown by the author in the previous analogies, the perfect order of the universe is the result of the continuous creation and dissolution of single things: this process—based upon the harmony of opposites—is the keystone of the eternity and equilibrium of our world. Similarly, the law is the unmoved (ἀκίνητος) mover of every activity and experience in the city: both positive and negative situations involving single citizens contribute to the supreme order and stability of the city. Positive examples include the activity of rulers, officials and members of the assemblies (ἄρχοντες, θεσμοθέται, βουλευταί, ἐκκλησιασταί), whereas negative examples include those who go to trial defending themselves (ὁ δὲ πρὸς τοὺς δικαστὰς ἀπολογησόμενος) and those who are imprisoned and destined to capital punishment (ὁ δὲ εἰς τὸ δεσμωτήριον ἀποθανούμενος). In spite of their difference, all of these actions are due to one single order (κατὰ μίαν πρόσταξιν), that is, the civic law, which ensures the stability of the city. To stress and illustrate this concordia discors, which characterizes both the city and the universe, the author of the treatise closes the passage with a quotation from Sophocles’ Oedipus Tyrannus (lines 4–5):πόλις δ' ὁμοῦ μὲν θυμιαμάτων γέμει,ὁμοῦ δὲ παιάνων τε καὶ στεναγμάτωνThe author reads these verses as a perfect example of a context characterized by opposite situations: in fact, the city is full of paeans (παιάνων), which are interpreted as ‘songs of joy and relief’, and, at the same time, it is also full of laments and mourns (στεναγμάτων). The same interpretation can be found in the Latin translation of the treatise, which gives even more emphasis to the opposition between life and death: uideasque illam ciuitatem pariter spirantem Panchaeis odoribus et graueolentibus caenis, resonantem hymnis et carminibus et canticis, eandem etiam lamentis et ploratibus heiulantem.

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Starfield, Barbara. "Concord, Discord, and Primary Care." Mayo Clinic Proceedings 71, no. 12 (December 1996): 1209–10. http://dx.doi.org/10.4065/71.12.1209.

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25

Scharper, C. Diane. "Emerson’s World: Concord and Discord." Hopkins Review 15, no. 2 (March 2022): 138–46. http://dx.doi.org/10.1353/thr.2022.0052.

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26

Butler, Gregory G. "J.S. Bach and the Concord-Discord Paradox." Journal of Musicology 9, no. 3 (1991): 343–57. http://dx.doi.org/10.2307/763706.

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Butler, Gregory G. "J.S. Bach and the Concord-Discord Paradox." Journal of Musicology 9, no. 3 (July 1991): 343–57. http://dx.doi.org/10.1525/jm.1991.9.3.03a00030.

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Wiedemann, Thomas. "Sallust's Jugurtha: Concord, Discord, and the Digressions." Greece and Rome 40, no. 1 (April 1993): 48–57. http://dx.doi.org/10.1017/s0017383500022580.

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The current fashion for emphasizing ambiguities and discontinuities in literary texts should have found Sallust's writings congenial. The Catiline explores competing and contradictory claims to virtus, exemplified by Caesar, Cato, and Catiline himself, a paragon of ambiguity in contrast to the unproblematic Cicero. The Jugurthine Waris twice the length, with a more complicated structure and a wider range of material, including three formal digressions. A concern with the relationship between virtue and success, and with conflict between alternative virtues, is central to this monograph too; it concludes with a victory achieved not by years of military exertion but as the result of Jugurtha's treacherous betrayal to Sulla by Bocchus in contravention of all recognized moral principles (‘kinship, marriage, and a formal treaty’: cognationem, affinitatem, praeterea foedus intervenisse; cf. ‘deceit‘, composite dob, 111.2 and 4).

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Hutchison, Dougal, and Ian Schagen. "Concorde and discord: the art of multilevel modelling." International Journal of Research & Method in Education 31, no. 1 (April 2008): 11–18. http://dx.doi.org/10.1080/17437270801919842.

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30

Riquet, Johannes. ""How Shall We Find the Concord of this Discord?"." Variations 2012, no. 20 (January 1, 2012): 77–91. http://dx.doi.org/10.3726/85613_77.

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Tripathi., Ranjana. "MULTICULTURALISM: CONCORD AND DISCORD IN RECENT INDIAN ENGLISH NOVEL." International Journal of Advanced Research 5, no. 6 (June 30, 2017): 1309–13. http://dx.doi.org/10.21474/ijar01/4541.

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Barolsky, Paul. "CONCORD AND DISCORD IN LEONARDO'S "ADORATION OF THE MAGI"." Source: Notes in the History of Art 28, no. 1 (October 2008): 20–21. http://dx.doi.org/10.1086/sou.28.1.23207969.

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HIRST, DEREK. "Concord and Discord in Richard Cromwell's house of Commons." English Historical Review CIII, no. CCCCVII (1988): 339–58. http://dx.doi.org/10.1093/ehr/ciii.ccccvii.339.

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Ateekh-Ur-Rehman, A. M. A. Al-Ahmari, and A. Gunasekaran. "Evaluation of advance manufacturing technologies using concord and discord indices." International Journal of Computer Integrated Manufacturing 24, no. 4 (March 21, 2011): 328–37. http://dx.doi.org/10.1080/0951192x.2011.554873.

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Brenot, Claude. "Un discours monétaire sur la Concorde : le monnayage de Pupien, Balbin et Gordien III César." Cahiers du Centre Gustave Glotz 25, no. 1 (2014): 231–41. http://dx.doi.org/10.3406/ccgg.2014.1826.

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Si le droit des monnaies diffusait rapidement et largement l’effigie et la titulature d’un nouvel empereur, il revenait aux revers d’illustrer certains événements (entrées du prince, victoires, libéralités…), ou de propager, au gré des circonstances, des messages d’ordre plus abstrait et moins faciles à décrypter aujourd’hui. Mais il reste que la juste interprétation de ces revers ne doit pas être réduite à la simple analyse de l’image et de la légende qu’ils portent. Ils prennent leur juste et exacte valeur au sein de l’émission à laquelle ils appartiennent, à la façon des mots d’une phrase ou des phrases d’un discours. Dans cette optique, la reprise de la frappe de l’antoninianus par Pupien et Balbin, et l’unique émission qui en fut exécutée, centrée sur la dextrarum iunctio, est particulièrement significative. En exécution du donativum promis, les soldats en étaient les premiers bénéficiaires. Or les six légendes utilisées font écho au discours prononcé par Pupien au lendemain de la victoire d’Aquilée, et indiquent quels sont les fondements, les conditions et les bienfaits de la Concorde signifiée par le type des deux mains jointes. Une émission du début du règne comporte un revers à la légende Concordia autour de la représentation allégorique de celle-ci, qui, dans un autre contexte, prend une coloration différente.

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St. George, Scott, and Jan Esper. "Concord and discord among Northern Hemisphere paleotemperature reconstructions from tree rings." Quaternary Science Reviews 203 (January 2019): 278–81. http://dx.doi.org/10.1016/j.quascirev.2018.11.013.

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37

Ben Bakkar, Ouahiba. "Influence du Discours : Parole Légitimée , Engagée et Persuasive : Analyse des Discours de la Concorde Civile du Président Abdelaziz Bouteflika." مجلة علوم الإنسان و المجتمع, no. 15 (2015): 33–65. http://dx.doi.org/10.12816/0017001.

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Castilla Urbano, Francisco. "Concordia y discordia en el Renacimiento: el pensamiento sobre la guerra en la primera mitad del siglo XVI." Araucaria, no. 32 (2014): 25–52. http://dx.doi.org/10.12795/araucaria.2014.i32.02.

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Clairmont, David A. "Ideas of Concord and Discord in Selected World Religions. Joseph B. Gittler." Journal of Religion 81, no. 2 (April 2001): 346–47. http://dx.doi.org/10.1086/490869.

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Hyosik Hwang. "The Concord of Discord: An Optimistic Vision Represented in A Midsummer Night’s Dream." Shakespeare Review 54, no. 1 (March 2018): 77–98. http://dx.doi.org/10.17009/shakes.2018.54.1.004.

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Coleman, William. "Concord and discord amongst New Zealand economists: The results of an opinion survey." New Zealand Economic Papers 26, no. 1 (June 1992): 47–81. http://dx.doi.org/10.1080/00779959209544184.

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Ionova, S. V. "Discursive Emotions: Concord and Discord. Shakhovskiy V.I. (2016). Ecological Discord in Communicative Triangle: Human Being, Language, and Emotions. Volgograd: “Polikarpov I.L.”." Russian Journal of Linguistics 20, no. 4 (2016): 197–201. http://dx.doi.org/10.22363/2312-9182-2016-20-4-197-201.

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43

Yogev, Michael. ""How shall we find the concord of this discord?": Teaching Shakespeare in Israel, 1994." Shakespeare Quarterly 46, no. 2 (1995): 157. http://dx.doi.org/10.2307/2871043.

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Thomä, Dieter. "German Concord, German Discord: Two Concepts of a Nation and the Challenge of Multiculturalism." European Journal of Philosophy 4, no. 3 (December 1996): 348–68. http://dx.doi.org/10.1111/j.1468-0378.1996.tb00082.x.

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Hyde, Simon. "Roman Catholicism and the Prussian State in the Early 1850s." Central European History 24, no. 2-3 (June 1991): 95–121. http://dx.doi.org/10.1017/s0008938900018884.

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Анотація:

The relationship between the Roman Catholic church and the state in nineteenth-century German history appears to have been plagued by discord and mistrust. From the secularization of church lands and the dissolution of sovereign ecclesiastical territories at the beginning of the century to the Kulturkampf of the 1870s, church and state found themselves repeatedly at loggerheads. One thinks of the negotiations between Prussia and Rome on a concordat after 1815, the Cologne mixed marriage controversy of 1837, the Frankfurt Parliament's debates on Article III of the Reich Constitution in 1848, and the hostility aroused by the Raumer decrees of 1852. In a recent article on the Catholic church in Westphalia during the 1850s and his book on popular Catholicism in nineteenth-century Germany, Jonathan Sperber has challenged the validity of this picture of conflict between church and state.

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Petrosyan, Armen E. "From Discord to Concord and Back Again (Managing the Formation, Transformation, and Fission of Organizational Culture)." Journal of information and organizational sciences 45, no. 2 (December 15, 2021): 411–34. http://dx.doi.org/10.31341/jios.45.2.4.

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By means of theoretical analysis based on the results of previous research, and the relevant historical and factual material, the author outlines a new theory of formation, transformation, and fission of organizational culture. The mechanism that consolidates organizational culture (selection of “right” persons; adjustment to the common cause; and people’s accommodation with each other), the toolkit for renewing it (involvement of the key bearers of the culture to be introduced; elimination of those inconsistent with it; and translation of the proclaimed values to the “pliant mass” ready to get engaged in changes) as well as the nature of cultural ruptures in organizations and the ways out are brought into relief. The paper promotes a better understanding of the dynamics of organizational culture and gives an access to more efficient instruments to manage it.

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Spinrad, Phoebe S. "“Concord in Discord”: The Plays of John Ford 1586–1986 ed. by Donald K. Anderson, Jr." Comparative Drama 23, no. 2 (1989): 191–92. http://dx.doi.org/10.1353/cdr.1989.0030.

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Lee, Sang Mok. "Charismata in Romans 12 and Their Communal Meaning : Discord among Church Leaders and Paul’s Exhortation of Concord." Korean Journal of Christian Studies 104 (April 30, 2017): 55–82. http://dx.doi.org/10.18708/kjcs.2017.04.104.1.55.

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Holling, Michelle A. "Forming Oppositional Social Concord to California's Proposition 187 and Squelching Social Discord in the Vernacular Space of CHICLE." Communication and Critical/Cultural Studies 3, no. 3 (September 2006): 202–22. http://dx.doi.org/10.1080/14791420600841369.

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Gowland, David. "Book Review: The Uniting of Europe: From Discord to Concord: The Dynamics of European Security Cooperation 1945–91." European History Quarterly 29, no. 1 (January 1999): 171–74. http://dx.doi.org/10.1177/026569149902900112.

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