Mahidol University International College

About: Mahidol University International College is a based out in . It is known for research contribution in the topics: Tourism & Corporate governance. The organization has 240 authors who have published 485 publications receiving 6095 citations.

Routes for Roots: A Mapping Shorthand Symbolism with Reference to Nelson Goodman’s Hidden Ars Combinatoria

Abstract: A shorthand symbolism for the relational mapping of categories (MSS) is introduced and developed on the basis of Nelson Goodman's structural methodology. Through a reconstruction of extensional isomorphism that Goodman introduces as a criterion for definitional accuracy, and a brief reminder of the argument structure behind his ‘new riddle of induction’, Goodman's radical ontological relativism is turned into a protological principle of what I call ‘domain constituting philosophy’. MSS is demonstrated with reference to Goodman's symbol theory, particularly his notion of exemplification, as well as in a final structured comparison of Frege's ‘sense’ with Goodman's straightforward construction of ‘secondary extension’.

International colleges and the cultivation of social capital in a divided Thailand: A narrative study of leadership perspectives at a Bangkok-based campus:

Abstract: The establishment of international colleges in public universities has been part of a deliberate national strategy to modernize higher education in Thailand since the 1990s. These colleges use Engl...

The Representation of Oriental Others in Haydn’s L’incontro improvviso

Abstract: This paper examines the musical Orientalism and representation of Oriental Others in Haydn’s seraglio opera, L'incontro improvviso. In seraglio opera, one of the Turkish-themed musical genres of “Turcomania” that swept Europe in the eighteenth century, Oriental Others were defined by their supposed negative human traits such as slyness, crudeness or irrationality. Alla turca topos in L’incontro, as in other seraglio operas, are extensively used to accentuate the inferiority of Others, their customs or religions. The representation of Others demonstrates little ethical complexity, exhibiting a stark dichotomy between morally upright Westerners and unsophisticated Others with dubious morals. I argue that despite presenting no European characters dueling with Others and thus foregoing such a narrative format as “East meets West on stage,” Haydn’s L’incontro is, nonetheless, more diminishing in its portrayal of Others than in most seraglio operas: even the male protagonist is among the degraded Others who are usually subplot characters from a low social echelon. No “rescuer,” the protagonist in L’incontro is rendered as an incompetent figure. Ali’s unmanly stature is further highlighted by the active, counter-stereotypical Oriental heroine, Rezia, who is presented as a foil to emphasize the inadequacy of Ali. The ultimate male Other, the Sultan, suffers equally from a weak stage presence despite fulfilling his role as a conveyer of Enlightenment ideals in a typical lieto fine of Turkish opera.