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Un ensemble éclectique de textes théoriques, de chapitres monographiques, d'entretiens, mais dont la lecture constitue sans doute la meilleure introduction à la société politique sud-africaine, bien au-delà de la restitution des nouvelles formes de la production culturelle populaire dont il traite (.).

Un ensemble éclectique de textes théoriques, de chapitres monographiques, d'entretiens, mais dont la lecture constitue sans doute la meilleure introduction à la société politique sud-africaine, bien au-delà de la restitution des nouvelles formes de la production culturelle populaire dont il traite (.).

The Americanism interrogates itself more & more on the phenomena of crossculturality initiated with the conquest of the continent, prolonged with the African slave trade & today seemingly reactivated with globalization. After having placed the discussion in the framework of what I consider to be a paradigmatic revolution in Cultural Studies, centered on the question of the relevance of the cultural cutting out of the humanity, I propose to observe the cultural blending in a new perspective. In the light of an ethnographic example of a popular Brazilian celebration in the Maranhao, the Bumba Boi, I invite the reader to grasp in this demonstration the place of production & reproduction of the social ties which constitute a society & which allow to understand a culture. Two mechanisms are participating in this process: first, the deconstruction of the popular traditional comedy by the actors themselves, allow them to understand the terms which are at the basis of their problematic identity in front of the national myth of the three races of Brazil (the White, the Indian & the Black); secondly, the appropriation of the theatrical play by the companies whose goal is to perform the dance of a mask to pay a promise to St John, allows the reorientation of the cultural fate of this demonstration in the way of stability & tradition in the long term. 6 References. Adapted from the source document.

In this paper, we examine the ethno-historical approach on "the Meeting between Ojibwa natives & Jesuits missionaries in the 19th." In a first time, we inform against the 17th century, by showing how this period & its missionary letters had a bad influence on the history of the 19th. In a second time, we'll survey the tree kind of sources for this history: Jesuits, Ojibwa & the Others, especially ethnographic studies, in order to display some of the future challenges for the research in that field. 30 References. Adapted from the source document.

This article introduces some of the primary topics for critical inquiry in the second section of the roundtable "Bread, Ovens, & Hearths of the Past" held in 1995 in Treignes, Belgium. Central to the writings in this section is the place of the oven in the historical development of bread-making as a cultural phenomenon. While archeological inquiry into combustion devices demonstrates the broad diversity of means utilized throughout various cultures for preparation of bread & other cereal-based foods, these studies have generally focused on the oven as its own end. What is here signaled to be of vital importance is the formulation of a new approach that calls upon a diachronic & pan-geographical dialogue on the history of bread-making in order to bring necessary attention to the social & cultural importance that these ovens & combustion devices held for the peoples who used them. The writings that here follow in this respect are presented in a south-east to north-west continuum. Adapted from the source document.

UNESCO's affirmation of cultural diversity adopted in Nov 2001 in Paris, France, is a codification of human rights based on awareness of globalization processes, the centrality of culture in contemporary issues, the necessity to be tolerant & respect other cultures, & the prevalence of pluralism. It is argued that cultural diversity is a common human heritage, essential to development. Human rights guarantee cultural diversity, which must be accessible to all & serve as a source of cultural & political innovation. General guidelines for implementing the mandate of cultural diversity are listed. J. Sadler

Co-direction du projet : Isabelle Charpentier ; Patrick Lehingue ; avec Eric Darras et E. Pierru ; Democratisation, the stated objective of French cultural policies since the end of the Second World War, is the recurrent subject of many passionate debates. The observation of cultural practices, which have been the subject of regular statistical measurements in France since 1973, thanks to the surveys on the cultural practices of the French under the aegis of the Department of Studies and Forecasting of the French Ministry of Culture, attests to a continuous increase in consumption of an intellectual and artistic nature. However, these figures should not mask the persistence of major social divisions and, consequently, the very relative nature of the democratisation that has taken place, in particular for the most distinctive regular cultural practices.Beyond simply relating the different cultural practices measured, their intensity and frequency, to the social properties of the practitioners, this work questions the meaning of these links, thus combining an approach in terms of the sociology of cultural consumption and socio-cultural inequalities in access to practices and products, with the concerns and hypotheses of reception studies. Indeed, in the wake of Anglo-Saxon Cultural Studies, but also of the 'intuitions' of the French sociologists Claude Grignon and Jean-Claude Passeron, the hypothesis was formulated that the relationship between the supply of cultural products (especially those with a strong cultivated symbolism) and the structuring of the tastes, expectations and practices of the public is neither uniform, nor mechanical, nor exclusive. The social effects linked to the cultural offer - in its multiple forms - are a function of the levels of exposure of the different audiences. However, these audiences appear to be very diversely and selectively exposed to this offer, and very unequally interested in it, particularly in working-class areas and, more generally, among those most deprived of cultural ...

Co-direction du projet : Isabelle Charpentier ; Patrick Lehingue ; avec Eric Darras et E. Pierru ; Democratisation, the stated objective of French cultural policies since the end of the Second World War, is the recurrent subject of many passionate debates. The observation of cultural practices, which have been the subject of regular statistical measurements in France since 1973, thanks to the surveys on the cultural practices of the French under the aegis of the Department of Studies and Forecasting of the French Ministry of Culture, attests to a continuous increase in consumption of an intellectual and artistic nature. However, these figures should not mask the persistence of major social divisions and, consequently, the very relative nature of the democratisation that has taken place, in particular for the most distinctive regular cultural practices.Beyond simply relating the different cultural practices measured, their intensity and frequency, to the social properties of the practitioners, this work questions the meaning of these links, thus combining an approach in terms of the sociology of cultural consumption and socio-cultural inequalities in access to practices and products, with the concerns and hypotheses of reception studies. Indeed, in the wake of Anglo-Saxon Cultural Studies, but also of the 'intuitions' of the French sociologists Claude Grignon and Jean-Claude Passeron, the hypothesis was formulated that the relationship between the supply of cultural products (especially those with a strong cultivated symbolism) and the structuring of the tastes, expectations and practices of the public is neither uniform, nor mechanical, nor exclusive. The social effects linked to the cultural offer - in its multiple forms - are a function of the levels of exposure of the different audiences. However, these audiences appear to be very diversely and selectively exposed to this offer, and very unequally interested in it, particularly in working-class areas and, more generally, among those most deprived of cultural ...

Co-direction du projet : Isabelle Charpentier ; Patrick Lehingue ; avec Eric Darras et E. PierruRapport intermédiaire ; Democratisation, the stated objective of French cultural policies since the end of the Second World War, is the recurrent subject of many passionate debates. The observation of cultural practices, which have been the subject of regular statistical measurements in France since 1973, thanks to the surveys on the cultural practices of the French under the aegis of the Department of Studies and Forecasting of the French Ministry of Culture, attests to a continuous increase in consumption of an intellectual and artistic nature. However, these figures should not mask the persistence of major social divisions and, consequently, the very relative nature of the democratisation that has taken place, in particular for the most distinctive regular cultural practices.Beyond simply relating the different cultural practices measured, their intensity and frequency, to the social properties of the practitioners, this work questions the meaning of these links, thus combining an approach in terms of the sociology of cultural consumption and socio-cultural inequalities in access to practices and products, with the concerns and hypotheses of reception studies. Indeed, in the wake of Anglo-Saxon Cultural Studies, but also of the 'intuitions' of the French sociologists Claude Grignon and Jean-Claude Passeron, the hypothesis was formulated that the relationship between the supply of cultural products (especially those with a strong cultivated symbolism) and the structuring of the tastes, expectations and practices of the public is neither uniform, nor mechanical, nor exclusive. The social effects linked to the cultural offer - in its multiple forms - are a function of the levels of exposure of the different audiences. However, these audiences appear to be very diversely and selectively exposed to this offer, and very unequally interested in it, particularly in working-class areas and, more generally, among those most ...

Co-direction du projet : Isabelle Charpentier ; Patrick Lehingue ; avec Eric Darras et E. PierruRapport intermédiaire ; Democratisation, the stated objective of French cultural policies since the end of the Second World War, is the recurrent subject of many passionate debates. The observation of cultural practices, which have been the subject of regular statistical measurements in France since 1973, thanks to the surveys on the cultural practices of the French under the aegis of the Department of Studies and Forecasting of the French Ministry of Culture, attests to a continuous increase in consumption of an intellectual and artistic nature. However, these figures should not mask the persistence of major social divisions and, consequently, the very relative nature of the democratisation that has taken place, in particular for the most distinctive regular cultural practices.Beyond simply relating the different cultural practices measured, their intensity and frequency, to the social properties of the practitioners, this work questions the meaning of these links, thus combining an approach in terms of the sociology of cultural consumption and socio-cultural inequalities in access to practices and products, with the concerns and hypotheses of reception studies. Indeed, in the wake of Anglo-Saxon Cultural Studies, but also of the 'intuitions' of the French sociologists Claude Grignon and Jean-Claude Passeron, the hypothesis was formulated that the relationship between the supply of cultural products (especially those with a strong cultivated symbolism) and the structuring of the tastes, expectations and practices of the public is neither uniform, nor mechanical, nor exclusive. The social effects linked to the cultural offer - in its multiple forms - are a function of the levels of exposure of the different audiences. However, these audiences appear to be very diversely and selectively exposed to this offer, and very unequally interested in it, particularly in working-class areas and, more generally, among those most ...

Co-direction du projet : Isabelle Charpentier ; Patrick Lehingue ; avec Eric Darras et E. Pierru ; Democratisation, the stated objective of French cultural policies since the end of the Second World War, is the recurrent subject of many passionate debates. The observation of cultural practices, which have been the subject of regular statistical measurements in France since 1973, thanks to the surveys on the cultural practices of the French under the aegis of the Department of Studies and Forecasting of the French Ministry of Culture, attests to a continuous increase in consumption of an intellectual and artistic nature. However, these figures should not mask the persistence of major social divisions and, consequently, the very relative nature of the democratisation that has taken place, in particular for the most distinctive regular cultural practices.Beyond simply relating the different cultural practices measured, their intensity and frequency, to the social properties of the practitioners, this work questions the meaning of these links, thus combining an approach in terms of the sociology of cultural consumption and socio-cultural inequalities in access to practices and products, with the concerns and hypotheses of reception studies. Indeed, in the wake of Anglo-Saxon Cultural Studies, but also of the 'intuitions' of the French sociologists Claude Grignon and Jean-Claude Passeron, the hypothesis was formulated that the relationship between the supply of cultural products (especially those with a strong cultivated symbolism) and the structuring of the tastes, expectations and practices of the public is neither uniform, nor mechanical, nor exclusive. The social effects linked to the cultural offer - in its multiple forms - are a function of the levels of exposure of the different audiences. However, these audiences appear to be very diversely and selectively exposed to this offer, and very unequally interested in it, particularly in working-class areas and, more generally, among those most deprived of cultural ...