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La historiografía suele reservar la denominación de guerras de religión para una serie de conflictos de larga duración, inevitablemente virulentos, y que rasgaron, dogmáticamente y dramáticamente, iglesias, gobernantes y comunidades enteras. Sin embargo, en la Europa moderna, los conflictos que involucraban la religión, directa o indirectamente, por activa o por pasiva, no eran únicamente de esta índole, sino que también se dirimieron en el ámbito del pensamiento en general, la creación artística y -por supuesto- la política

Too often we forget that culture is not a social fact but a concept. In this article it will be argued that cultures do not exist, in spite of their apparent pervasiveness within the social sciences and in daily life. A question will be raised as to the ideological role of the idea of culture, that is, what effects does it produce in the social construction of reality? To do that, the concept and its uses will be criticized, noting that the very concept and its use in daily life represents practices of classification and segregation. Finally, it is suggested that the concept of culture should be abandoned and that we should look forward to new ways of conceiving human diversity more suitable to a situated ethical thinking.

Los reyes y emperadores de la Casa de Austria fueron durante siglos los defensores de la religión católica y la Iglesia de Roma. Los monarcas españoles pertenecientes a este linaje hicieron de la defensa de la Fe cristiana un eje esencial de su práctica política, estableciendo un pacto con Dios con un objetivo confeso: una realeza legítima para un planeta católico. Esta alianza será representada en las artes propagandísticamente en las numerosas recreaciones pintadas de la batalla naval de Lepanto, que muestran a Dios, la Virgen y los santos tomando parte en el combate y decidiendo su suerte. Varios cuadros de la Corte de Felipe II dejan entrever las complejas claves dinásticas, espirituales y simbólicas de un momento crucial de la monarquía hispánica. ; For centuries, the Habsburg kings and emperors were defenders of the Catholic religion and the Church of Rome. The Spanish monarchs belonging to this lineage made the defence of the Christian faith a fundamental core of their political practice, establishing a pact with God with a declared objective: legitimate royalty for a Catholic planet. This alliance would be represented as propaganda in the arts in the many painted recreations of the naval battle of Lepanto, showing God, the Virgin and the saints taking part in the combat and deciding its destiny. Various paintings from the Court of Philip II reveal the complex dynastic, spiritual and symbolic keys to a crucial moment for the Hispanic monarchy.

"This film illustrates the changes the Lepcha of the Dzongu reserve, North Sikkim, have been through in the last 60 years. From the 1940's, the Lepcha of Tingvong village gradually abandoned hunting, gathering and the slash and burn cultivation of dry rice, and became settled agriculturalists. Entire mountains sides were converted to cardamom and terraced for the cultivation of irrigated paddy. The irrigated rice and the cardamom cash crop not only brought the Lepcha within Sikkim's market economy but helped create a surplus which could among other things be invested in religion. In the 1940's, the Lepcha of Tingvong embraced Buddhism and all its complex rituals without however abandoning their strong shamanic traditions. Today, both forms of rituals amiably co-exist in the village. This film is part of a long-term visual anthropology training project for the tribal communities of Sikkim."--Original container

El presente trabajo trata de demostrar que el pronunciamiento en la Galia del césar Juliano contra el emperador legítimo, su primo Constancio II, hijo de Constantino, fue la culminación de un proyecto soñado desde que de niño vivió en directo el asesinato de la mayoría de los miembros de su familia paterna, incluido su padre, en una revuelta de soldados que estaba inspirada por el propio emperador. La amargura de su niñez y juventud, apartado de la corte y en el exilio, sin familiares ni amigos, fue un campo abonado para quienes defendían en distintas ciudades del Imperio y desde puestos de poder los intereses de su familia desaparecida. Entre ellos se encontraba una buena parte de los fi lósofos neoplatónicos y rétores paganos que veían con acritud la persecución de las religiones tradicionales por un emperador cristiano e intolerante. La conjunción de una serie de circunstancias, ajenas en gran parte al propio Juliano, permitió que éste contase con el apoyo militar y político para poder llevar a cabo, una vez enviado a la Galia como césar para defender sus fronteras, el motín que le convirtió primero en Augusto de Occidente y poco después de todo el Imperio. ; Th is work attempts to show that the rebellion in Gaul of the Caesar Julian against the legitimate emperor, his cousin Constantius II, son of Constantine, was the culmination of a project he had dreamed of ever since, as a child, he had witnessed the murders of most members of his father's family, including his father himself, in a revolt by soldiers inspired by the Emperor himself. Th e bitterness of his childhood and youth, kept away from the court and in exile, without family or friends,was fertile ground for those who, in diff erent cities of the Empire and in positions of power, upheld the interests of his dead family. Among these were a good proportion of Neo-Platonic philosophers and pagan rhetoricians who watched bitterly as the traditional religions were persecuted by an intolerant Christian Emperor. Th e conjunction of a series of circumstances, largely beyond the control of Julian himself, meant he received the military and political support so that, once he had been sent to Gaul as Caesar to defend its frontiers, he could carry out the rebellion that made him Emperor, fi rst of the West, and then of the whole Empire.