Suchergebnisse

The recent social and political conflicto sunleashed in Chile place culture at the crossroads of narratives of change and plural artistic expressions. In this article, I argue that inverting key notions of Pierre Bourdieu's intelectual contribution is a fruitful route to make an account of that country's historical momento from a cultural perspective. ; Los recientes conflictos sociales y políticos desatados en Chile sitúan a la cultura en un lugar de cruce de narrativas de cambio y expresiones artísticas plurales. En este artículo, se argumenta que la inversión de nociones clave del acervo intelectual de Pierre Bourdieu es una vía fructífera para entender el momento histórico del país desde una perspectiva cultural.

The use of constructionism by climate change deniers and '9-11 truthers' to support 'post-fact' arguments in recent political and social debates has created controversy within science studies. Here, I seek to re-evaluate what constructionists actually say about facts in science. Through revisiting Gaston Bachelard – a key influence on scientific constructionism – I argue that science can penetrate to the 'noumenal core' of the phenomena it studies because it constructs them. This, however, need not imply that facts can be whatever we want them to be.

The meaning of a type of theatrical representations on the preHispanic past –which have become quite popular all over Latin America in recent years– is explored in this paper as one of the main attractions for cultural tourism in the region. In Peru, these representations are known as "raymis" (the Quechua word for "festivals"). From an anthropological perspective, the relevance of studying these festivals is twofold: first, because given that tourism is the basis of the local political economy developed in wide areas of the "Sacred Valley of the Incas" (Cuzco), the industry of tourism has an active role in producing an ethnical discourse that is locally elaborated by the political and intellectual elite of Cuzco (the so-called "incanistas") and globally consumed by tourists, natives, institutions, etc. Second, because these representations involve the participation of traditional authorities (the Mayors or "varayoqkuna") as the political representatives of their communities in the staging of rituals for tourism. The hypothesis guiding this research suggests that, in the context of the post-colonial situation characterizing the insertion of peasant communities to the Peruvian society, the participation of "authentic" natives in these representations for tourism may be interpreted as an example of the political negotiation of indigenous groups vis-à-vis foreign powers. ; En este texto se explora el significado de un tipo de representación teatral del pasado prehispánico muy extendida en los últimos años en toda América Latina; la misma se constituye como una de las principales atracciones del turismo cultural de la región. En Perú, estas representaciones reciben el nombre de «raymis» (festivales). Desde una perspectiva antropológica, el estudio de estos festivales es relevante por dos motivos. El primero, por el activo papel que la industria turística, base de la economía política local en amplias áreas del llamado «Valle Sagrado de los Incas» (Cusco), desempeña en la producción de un discurso étnico localmente elaborado por la élite política e intelectual del Cusco (los llamados «incanistas») y globalmente consumido por turistas, nativos, instituciones, etc. En segundo lugar, por la participación de las autoridades tradicionales (los alcaldes o «varayoqkuna»), como representantes políticos de sus comunidades, en la escenificación de rituales para el turismo. La hipótesis de trabajo que sustenta esta investigación sugiere que, en el contexto de la situación poscolonial en la que se insertan las comunidades campesinas en el Perú, la participación de los indígenas «auténticos» en estas escenificaciones para el turismo puede ser interpretada como un ejemplo de acción política de negociación de esta población frente a los poderes foráneos.

Intro -- Contents -- Introduction: Anti- Racism, Sociology and the Political -- Why Anti- Racism? -- Historicising Anti- Racism -- Anti- Racism and Europe -- Intercontinental Influences -- The Interpretative Capacity of Anti- Racism -- Writing a Sociology of Anti- Racism -- 1 'Race and State': European Modernity and the Political Idea of 'Race' -- 'Race' and Racism, Nation and State -- Internal Rationalisation/ External Fortification -- Racism, Antisemitism and the Paradoxes of Equality -- Racism, Europeanness and the Ideal of Humanity -- 2 Explaining Racism: Anti- Racist Discourse between Culture and the State -- The Culturalism of the UNESCO Tradition -- Culturalism and the Theorisation of a Neoracism -- Anti- Colonialism, Race and Class -- Conclusion: The Return of Culture -- 3 Anti- Racist Orientations: France, Britain, Ireland, Italy -- Touche Pas ⁄ Mon Pote!: The Emergence of Anti- Racism in France -- Black and White, Unite and Fight: The Emergence of Anti- Racism in Britain -- All Different All Equal All Exploited: The Emergence of Anti- Racism in Ireland -- Lavoratori Immigrati, Rompere la Catena dei Ricatti di Padroni e Governo Italian: The Emergence of Anti- Racism in Italy -- Conclusion -- 4 Anti- Racism as Public Political Culture -- Anti- Racism in Crisis -- Majoritarians and Communitarians -- Anti- Racism or Anti- Fascism? -- Conclusion -- 5 Who Says What, for Whom and from Where? Anti- Racism and Political Representation -- Anti- Racism and Political Representation: Beyond Visibility -- Keeping it Real: Authenticity or Experience? -- Selling Out? Claiming Rights or Asserting Independence -- Bringing it All Back Home: Localised or Globalised Anti- Racism? -- Conclusion: The Possibility of Alliance -- Conclusion: Anti- Racist Futures: A Sense of Deja Vu or a Journey into the Unknown? -- Policing Strangers: Anti- Racism in Context.

Im vorliegenden Beitrag möchten wir als erstes die Hintergründe der Proteste erläutern, die unseres Erachtens zu ihrer Entstehung und Verbreitung geführt haben. Neben den politischen Ereignissen im Vorfeld und während der Proteste beschreiben wir die Merkmale des politischen Systems unter der von Premierminister Recep Tayyip Erdoğan geführten AKP-Regierung, um ein Bild der politischen Landschaft zu vermitteln. Danach gehen wir anhand von Beispielen auf die Hauptmerkmale der Proteste ein und beantworten die Frage, was das "Neue" an den Gezi-Park-Protesten ist. Wir vertreten dabei die These, dass sie Ausdruck der Suche nach neuen Politikformen sind, welche sich in den innovativen Aktionsformen und -orten sowie in der kollektiven Politikgestaltung manifestieren. Anschließend skizzieren wir mögliche Grenzen der Proteste und wagen auch vorsichtige Aussagen über die Zukunft der Proteste.

This work reassesses Antonio Gramsci's politics in the light of contemporary Marxist critiques of mass culture. Unlike other studies of Gramsci that focus on either his political or cultural writings, it examines the relationship between politics, culture and history in his work.

Policy-specific actor-constellations consisting of party- and group-representatives commonly drive the effective establishment of new policy programmes or changes in existing policies. In the EU multi-level system, the creation of such constellations is complicated because it practically requires consensus on two dimensions: the European public policy at stake and the issue of European integration. This means that, for interest groups with interests in particular policy domains, and with limited interest in the actual issue of European integration, non-Eurosceptic parties must be their main ally in their policy battles. We hypothesise that interest groups with relevant European domain-specific interests will ally with non-Eurosceptic parties, whereas interest groups whose interests are hardly affected by the European policy process will have party-political allies across the full range of positions on European integration. We assess this argument on the basis of an elite-survey of interest group leaders and study group-party dyads in several European countries (i.e., Belgium, Lithuania, Italy, Netherlands, Poland, and Slovenia) in a large number of policy domains. Our dependent variable is the group-party dyad and the main independent variables are the European policy interests of the group and the level of Euroscepticism of the party. We broadly find support for our hypotheses. The findings of our study speak to the debate concerning the implications of the politicisation of European integration and, more specifically, the way in which party-political polarisation of Europe may divide domestic interest group systems and potentially drive group and party systems apart.

The uprising which shook France in May 1968 also had a revolutionary effect on the country's most prominent film journal. Under editors Jean-Louis Comolli and Jean Narboni, Cahiers du cinéma embarked on a militant turn that would govern the journal's work over the next five years. With a Marxist orientation inspired by the thinking of Louis Althusser, Jacques Lacan and Roland Barthes, the "red years" of Cahiers du cinéma produced a theoretical outpouring that was formative for the establishment of film studies as an academic discipline in the 1970s, and is still of vital relevance for the contemporary audiovisual landscape. It was also the seminal experience for a generation of critics who have dedicated the following half-century to the task of critically responding to the cinema. The Red Years of Cahiers du Cinéma (1968-1973) gives a historical overview of this period in the journal's history, combining biographical accounts of the critics who were involved with Cahiers in the post-1968 and theoretical explorations of the text they wrote.

The uprising which shook France in May 1968 also had a revolutionary effect on the country's most prominent film journal. Under editors Jean-Louis Comolli and Jean Narboni, Cahiers du cinéma embarked on a militant turn that would govern the journal's work over the next five years. With a Marxist orientation inspired by the thinking of Louis Althusser, Jacques Lacan and Roland Barthes, the "red years" of Cahiers du cinéma produced a theoretical outpouring that was formative for the establishment of film studies as an academic discipline in the 1970s, and is still of vital relevance for the contemporary audiovisual landscape. It was also the seminal experience for a generation of critics who have dedicated the following half-century to the task of critically responding to the cinema. The Red Years of Cahiers du Cinéma (1968-1973) gives a historical overview of this period in the journal's history, combining biographical accounts of the critics who were involved with Cahiers in the post-1968 and theoretical explorations of the text they wrote.