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This paper offers an account of Bourdieu's rise to sociological 'stardom' in the last 30 years, giving special attention to the transnational dimensions of this process. It discusses the scope and relevance of his work to the field (in the making) of cultural sociology, showing how he contributed to its current form. It also presents the articles which constitute the contents of the journal special issue. The paper insists on the importance of assessing both the virtues and limits of Bourdieu's intellectual legacy through the means of historicization and sociological self-understanding, these being preconditions that allow the furthering of the 'progress of reason' which Bourdieu himself located as at the core of scientific endeavours.

[EN] The goal of this essay is to draw a concept for Cultural Diplomacy from three points of view: public diplomacy, actors and goals, and the connection between diplomacy and culture. Once we have reached an agreement about the concept, we examine the Spanish model of Cultural Diplomacy. We start from some practical examples to analyze ideas given by different authors about this subject. The main conclusion is a concept of cultural diplomacy as a type of diplomacy where the cultural instruments are used to achieve the diplomatic goals. That is why it is essential to clarify the political messages to be disseminated, which is, maybe, the main flaw of the Spanish model. ; [ES] El presente ensayo gira en torno al estado de la cuestión de qué es la diplomacia cultural desde varios puntos de vista, ya planteados por distintos autores: la diplomacia pública, sus actores y objetivos, y la relación entre diplomacia y cultura. Una vez delimitado el concepto, se repasa el modelo español de diplomacia cultural, destacando una serie de apuntes críticos sobre el mismo. En el análisis, hemos partido de ejemplos prácticos de diplomacia cultural, para insertarlos en algunas de las líneas académicas ya planteadas por distintos autores sobre esta cuestión. La principal conclusión es la asunción de la diplomacia cultural como una forma de diplomacia en la que la cultura es un instrumento, siendo esencial, por tanto, la clarificación de los mensajes políticos que quieren transmitirse a través de ésta, que es quizá la principal falla del modelo español. ; Menéndez Reyes, ME. (2018). Diplomacia cultural: aproximación al concepto, y apuntes sobre el modelo de diplomacia cultural en España. Culturas. Revista de Gestión Cultural. 5(2):29-48. doi:10.4995/cs.2018.10816 ; SWORD ; 29 ; 48 ; 5 ; 2 ; BADILLO, Ángel, 2014: Las políticas públicas de acción cultural exterior de España. Estrategia Exterior Española 19/2014. Madrid: Real Instituto Elcano. Disponible ...

"This edited volume responds to the absence of a comprehensive consideration of the implications of culture for children's peer relationships. Although research in this field has burgeoned in recent years, cultural issues have often been overlooked. The chapters in this book tap such issues as the impact of social circumstances and cultural values on peer relationships, culturally prescribed socialization patterns and processes, emotional experience and regulation in peer interactions, children's social behaviors, cultural aspects of friendships, and peer influences on social and school adjustment in cultural context. The role of culture and development is particularly emphasized in the chapters. The authors incorporate into their discussions findings from research programs using multiple methodologies, including both qualitative (e.g., interviewing, ethnographic, and observational) and quantitative (e.g., large-scale survey, standardized questionnaire) approaches, based on a wide range of ages (from early childhood to youth) of children in cultures from East to West and from South to North (Asia, South America, the Mid East, Southern Europe, and ethnic groups in the United States)."--Publisher's description

Tadeusz Kantor, una de las fi guras más importantes del teatro polaco y mundial del siglo XX, visitó España con su compañía Cricot 2 en varias ocasiones a lo largo de los años ochenta. Su primera presencia tuvo lugar en 1981, es decir, en plena transición. El estreno del espectáculo Wielopole, Wielopole, antes en el Centro Dramático Nacional —entonces una institución de reciente creación— y, posteriormente, en el marco del Festival Internacional de Teatro de Vitoria-Gasteiz, se inscribe en el proceso de los grandes cambios culturales que afectaron a España. Este artículo tiene como objetivo analizar el signifi cado y la importancia de este estreno en el marco de dicho contexto sociocultural de transformación, ya que puede considerarse uno de los signos indudables de la apertura cultural y del cambio del discurso artístico de ese período histórico. ; Tadeusz Kantor, one of the most important fi gures of Polish and world theatre of the twentieth century, visited Spain with his company Cricot 2 in several occasions during the eighties. His fi rst coming was in 1981, i.e. during the Spanish transition. Th e premiere of the show Wielopole, Wielopole, fi rst at the National Drama Centre —then an institution of recent creation— and, later, at the International Th eatre Festival of Vitoria-Gasteiz, was part of the process of the great cultural changes that aff ected Spain. Th is paper aims to analyze the meaning and signifi cance of its premiere as part of the transformation's social and cultural context, since it can be considered one of the undoubted signs of cultural openness and change of artistic discourse of that historical period. ; Tadeusz Kantor, l'une des fi gures les plus importantes du théâtre polonais et mondial du XXe siècle, a visité l'Espagne avec sa compagnie Cricot 2 à plusieurs reprises au cours des années quatre-vingt. Sa première venue était en 1981, soit en transition politique. La première du spectacle Wielopole, Wielopole, d'abord au Centre Dramatique National —une institution de création récente— et, plus tard, dans le Festival International de Th éâtre de Vitoria-Gasteiz, fait partie du processus des grands changements culturels ils ont aff ecté l'Espagne. Cet article vise à analyser le sens et la signifi cation de cette première dans le cadre du contexte socio-culturel de la transformation et peut être considéré comme l'un des signes incontestables d'ouverture et de changement de discours artistique de cette période historique et culturel. ; Este artículo se inscribe en el marco del proyecto de investigación titulado "La recepción de Tadeusz Kantor en España", fi nanciado por el Ministerio de Educación, Cultura y Deporte del Gobierno de España (ref: FPU13/01679).

Cultural policy is changing. Traditionally, cultural policies have been concerned with providing financial support for the arts, for cultural heritage and for institutions such as museums and galleries. In recent years, around the world, interest has grown in the creative industries as a source of innovation and economic dynamism. This book argues that an understanding of the nature of both the economic and the cultural value created by the cultural sector is essential to good policy-making. The book is the first comprehensive account of the application of economic theory and analysis to the broad field of cultural policy. It deals with general principles of policy-making in the cultural arena as seen from an economic point of view, and goes on to examine a range of specific cultural policy areas, including the arts, heritage, the cultural industries, urban development, tourism, education, trade, cultural diversity, economic development, intellectual property and cultural statistics

Darkness divides and enlivens opinion. Some are afraid of the dark, or at least prefer to avoid it, and there are many who dislike what it appears to stand for. Others are drawn to this strange domain, delighting in its uncertainties, lured by all the associations of folklore and legend, by the call of the mysterious and of the unknown. The history of our attitudes toward darkness—toward what we cannot quite make out, in all its physical and metaphorical manifestations—challenges the very notion of a world that we can fully comprehend. In this book, Nina Edwards explores darkness as both a physical feature and cultural image, through themes of sight, blindness, consciousness, dreams, fear of the dark, night blindness, and the in-between states of dusk or fog, twilight and dawn, those points or periods of obscuration and clarification. Taking us across the ages, from the dungeons of Gothic novels to the concrete bunkers of Nordic Noir TV shows, Edwards interrogates the full sweep of humanity's attempts to harness and suppress the dark first through our ability to control fire and, later, illuminate the world with electricity. She explores how the idea of darkness pervades art, literature, religion, and our everyday language. Ultimately, Edwards reveals how darkness, whether a shifting concept or palpable physical presence, has fed our imaginations.

Anthropology -- Culture -- Meaning-making and language -- Worldview and religion -- The dimensions of social organization -- Sex, gender, and sexuality -- Relatedness : kinship, marriage, family, and friendship -- Political anthropology -- Economic anthropology -- Globalization -- The anthropology of science, technology, and medicine -- Theory in cultural anthropology.

In this volume, some of the world's leading scholars involved in researching the fields of ethnopolitics, nationalism and ideas of nation and state have come together to produce a work that is both original and accessible. It explores the rich, but sadly neglected tradition of thought on non-territorial cultural autonomy as exemplified by the work of Karl Renner and Otto Bauer and the European Nationalities Congress of the 1920s.

If this study were designed merely to prove that part of the explanation for despotism and differential reproduction exists in the genetic propensity of men to compete, to use power to serve their own interests, and to express that interest by seeking a variety of sexual partners, there would be little need for comment. Such a book could have been written in half the pages used. An inordinate amount of space, however, is used by the author in (1) rejecting any basis except biology to explain despotism; (2) castigating any possible use of culture in explaining differentials in male reproduction; (3) apologizing for her findings that evolution has led to inequality in both production and reproduction, a condition the author deplores; and (4) insisting that equality can be effected if humans simply decide to satisfy genetic propensities differently (which surely is a cultural matter since only humans can perceive the concept of evolution and attempt to change society's use of it).

The measurement of cognitive abilities across diverse cultural, racial, and ethnic groups has a contentious history, with broad political, legal, economic, and ethical repercussions. Advances in psychometric methods and converging scientific ideas about genetic variation afford new tools and theoretical contexts to move beyond the reflective analysis of between-group test score discrepancies. Neuropsychology is poised to benefit from these advances to cultivate a richer understanding of the factors that underlie cognitive test score disparities. To this end, the present article considers several topics relevant to the measurement of cognitive abilities across groups from diverse ancestral origins, including fairness and bias, equivalence, diagnostic validity, item response theory, and differential item functioning.

Fashion studies and cultural studies -- Intersectional, transnational fashion subjects -- Fashioning the national subject -- Racial rearticulations and ethnicities -- Religion, fashion, and spirituality -- Class matters, fashion matters -- Gendering fashion, fashioning gender : beyond binaries -- Sexual subjectivities and style-fashion-dress -- Dressed embodiment -- Bodies in motion through time and space.