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Cultural capital is usually defined as set of social features that provide individuals with social mobility and the possibility of changing their hierarchical position in systems such as wealth, power, prestige, education, and health. Cultural capital thus affects the processes of social promotion or degradation. It also includes social characteristics that allow horizontal mobility, that is, changes in social group membership. An individual's cultural capital includes his or her social origin, education, taste, lifestyle, style of speech, and dress.

The concept of cultural diversity has emerged as an influential one having impact on multiple policy and legal instruments especially following the adoption of the UNESCO Convention on the Protection and Promotion of the Diversity of Cultural Expressions in 2005. The discussions on its appropriate implementation are however profoundly fragmented and often laden with political considerations. The present brief paper offers some thoughts on the meaning of cultural diversity and its implementation in the digital networked environment, taking into account the effects of digital media upon cultural content creation, distribution and consumption. The paper was meant to be part of a document prepared by a civil society organisation for the OECD ministerial meeting in Seoul 2008 on the future of the Internet.

AbstractThis paper seeks to give a sense of the diversity of work that falls within the boundaries of 'cultural citizenship'– a term it locates as emerging from the problematisation of traditional citizenship models by issues of identity and mediation. This paper outlines three distinct strands of cultural citizenship theory, which respectively emphasise multiculturalism, the politics of cultural texts, and dialogical communication. Subsequently, this paper conducts a brief analysis and critique of these strands, enabled by an interrogation of the ways in which they each define and deploy the term 'culture'. It is argued that for cultural citizenship to develop a more coherent terminological 'face', a balance must be struck between a commitment to specificity, and the appeal of abstracted re‐imaginings of civil society.

Abstract
The swift rise of a new guard of cultural thinkers from the margins of the Arab world during the 1970s amounts to one of the most striking yet forgotten episodes in postcolonial Arab thought. Coming primarily from Morocco, these intellectuals and activists rejected a long-seated assumption prevalent among the ranks of Arab nationalists according to which one must disown their past traditions in order to become modern. The advent of cultural thinkers posed a grave challenge to this cherished evaluation, calling into question the agenda of political decolonization that Arab nationalists had propounded. How did the new intellectual guard of cultural thinkers come to assume such intellectual power? And what change did they make in the intellectual field and Arab conversation in general? Exploring these questions, this article establishes a definitive distinction between categories of postcolonial actors that were originally clumped together. It demonstrates that the voices shaping the new world of the Arab peoples are increasingly skeptical of political decolonization of the Arab nationalists and more in sync with Moroccan cultural thinkers who take pride in their cultural repertoire and traditions.

Introduction: How to see one billion images? -- From new media to more media -- The science of culture? -- Culture industry and media analytics -- Types of cultural data -- Cultural sampling -- Metadata and features -- Language, categories, and senses -- Information visualization -- Exploratory media analysis -- Methods of media visualization.

"Cultural Psychology is a textbook by Steve Heine, professor of Psychology at the University of British Columbia, intended for use in Cultural Psychology university courses. The most contemporary and relevant introduction to the field, Cultural Psychology 4e is unmatched in both its presentation of current, global experimental research and its focus on helping students to think like cultural psychologists"--

A discussion of the concept of "cultural violence," defined as any aspect of a culture that can be used to legitimize violence in its direct or structural form. Symbolic violence does not kill or maim like direct violence or the violence built into the structure, but legitimizes either or both. The relations between direct, structural, & cultural violence are explored, using a violence triangle & a violence strata image, describing various types of casual flows. Examples are presented of cultural violence from the fields of religion & ideology, art & language, & empirical & formal science. The theory of cultural violence is then related to the doctrines of the unity of life & the unity of means & ends of Gandhism. It is concluded that culture as a major focus of peace research deepens the quest for peace, & contributes to the potential formation of the discipline of "culturology.". 2 Tables, 23 References. Adapted from the source document.

JARVIS, B., 2011. Cultural studies. IN: Wolfreys, J. (ed.) The English Literature Companion. Basingstoke: Palgrave Macmillan, pp. 321 - 324 is reproduced with permission of Palgrave Macmillan. This extract is taken from the author's original manuscript and has not been edited. The definitive version of this piece may be found in The English Literature Companion by Julian Wolfreys which can be purchased from www.palgrave.com ; Why do literature students need to know about cultural studies? There are two main reasons. Firstly, cultural studies is partly responsible for the shape of the syllabus in many English departments in the twenty-first century. It was involved in the challenge to the traditional 'canon' of 'Great Works' by DWEMS (Dead White European Males). Cultural studies, therefore, is partly responsible for the fact that somewhere in your department people will be studying (get ready either to cheer or sneer) Harry Potter, or Stephen King, or Candace Bushnell's Sex and the City (1997). Although this might not seem especially contentious nowadays, just a few decades ago the idea that students might study graphic novels (that's the posh term for comics) or Hollywood adaptations of Shakespearean drama would have made most academics apoplectic (that's the posh term for very angry). A second reason why cultural studies is relevant to literature students is that it has been at the forefront of developing a distinctive approach to texts which is interdisciplinary, self-consciously theoretical and politicised. The 'cultural studies approach' has been imported into literary criticism and you are certain to encounter it at some stage in your secondary reading.

This article introduces a concept of `cultural violence', and can be seen as a follow-up of the author's introduction of the concept of `structural violence' over 20 years ago (Galtung, 1969). `Cultural violence' is defined here as any aspect of a culture that can be used to legitimize violence in its direct or structural form. Symbolic violence built into a culture does not kill or maim like direct violence or the violence built into the structure. However, it is used to legitimize either or both, as for instance in the theory of a Herrenvolk, or a superior race. The relations between direct, structural and cultural violence are explored, using a violence triangle and a violence strata image, with various types of casual flows. Examples of cultural violence are indicated, using a division of culture into religion and ideology, art and language, and empirical and formal science. The theory of cultural violence is then related to two basic points in Gandhism, the doctrines of unity of life and of unity of means and ends. Finally, the inclusion of culture as a major focus of peace research is seen not only as deepening the quest for peace, but also as a possible contribution to the as yet non-existent general discipline of `culturology'.

The development of cultural districts has become a standard practice in policy-making worldwide at different scales – local, regional and national (Braun and Lavanga 2007). Government bodies have used cultural district policies to regenerate and rebrand urban areas, sometimes focusing on increasing cultural consumption, as in the case of museum districts, other times fostering innovation and entrepreneurship, as in the case of cultural production districts. This chapter first provides a definition of cultural districts and its roots in the Marshallian industrial district; secondly, it looks at the agglomeration economies that firms, organisations and individuals enjoy because they are not only co-located in the same area, but also highly interconnected among each other. The argument put forward in this chapter is the importance of intense face-to-face interaction and spatial proximity in the production, distribution and consumption of cultural goods and services.

Arriving, departing and arriving again -- In search of gender trails : archive, folklore and cultural memory -- Laying foundations : a patchwork gendered history of Frankfield -- The rural black Jamaican gender system : case study, Frankfield -- Storying gender through personal narratives -- A metaphor comes to life : service learning, HIV/AIDS and cross-cultural knowledge -- Reflections on the culture-gender spiral.

La crisis cultural

The construction of new stadiums owned by football clubs, according to a scheme that sees them accompanied by museums, restaurants and shops, is today a successful model. The idea is much appreciated and at the center of a lively debate, in which broadly favorable opinions generally prevail. But what does this model represent in current post-modern societies? How does it relate to their logics and their lines of development? What does it represent in the consumption system of our cities? This book offers some answers by analyzing the emergence of the contemporary soccer stadium, the relationships between stadiums and urban policies, the transformation of the fans, the coherence with the trends in post-industrial cities.

SECTION A: Setting the context -- Defining cultural tourism -- Challenges in achieving sustainable cultural tourism -- Issues, benefits, risks and costs -- SECTION B: Cultural assets. Cultural heritage management principles and practice (with special reference to World Heritage) -- Tangible cultural heritage -- Intangible cultural heritage and creative arts -- SECTION C: Tourism, the tourist and stakeholders. How tourism works -- The cultural tourism market: a cultural tourism typology -- Tourism attraction system, markers and gatekeepers -- SECTION D: Products. Cultural tourism products -- Assessing product potential -- Market appeal/Robusticity matrix: a site specific auditing tool -- SECTION E: Operationalization. Framework for understanding what is necessary for a successful attraction -- Applying planning and management frameworks -- Experience creation