Suchergebnisse

Socio-legal studies in the environment of legal pluralism; Socio-legal scholars as public intellectuals; The "unexpected" career of functionalism during communism; In search of new concepts and methods: socio-legal studies after the collapse of communism; Concluding remarks.

The human body has been a potent and persistent metaphor for social and political relations throughout human history. For example, different parts of the body have traditionally represented different social functions. We refer to the 'head of state' without really recognizing the metaphor, and the heart has been a rich source of ideas about life, imagination and emotions. The heart is the house of the soul and the book of life, and the 'tables of the heart' provided an insight into the whole of Nature. The hand also plays an important role in conventional imagination regarding things that are beautiful (handsome) or damaged and incomplete (handicap). We can generalize from these diverse examples to argue that the fluids flowing from the inside of the body to the outside are regarded as socially dangerous and contaminating, because these fluids on the outside of the body directly challenge our sense of order and orderliness. This inside/outside division of the body combines with a wet/dry dichotomy to delineate these risky borders. Although leaking bodies have been a source of ancient metaphors of disorder, the modern world, that sociologists increasingly characterize by its liquidity, is peculiarly fascinated by flow as an image of global flexibility. The more our world is economically and militarily interconnected, the more we fear social fluidity. In political terms, asylum seekers and terrorists are thought not to respect our bodies or our borders; we are especially sensitive to their capacity to disrupt the solidity of sovereignty. In short, metaphors of the human body, even in an age of high technology, continue to shape the social and political imagination, but they are challenged by emerging metaphors of liquidity, that is by liquid modernity.

The emergence of Industrial Revolution 4.0 brings uncertainty in the development of InternationalRelations. In the context of international security, the south region is the epicentre of the development, especially with the concern of continual security issues that can be started or settled through the advancement of technology. However, the concept of International Security itself does not facilitate the change that currently occurs in the international world through industry 4.0. The role of the state is recognized as an upper hand over the role of individuals and society in international relations. Industrial Revolution 4.0 stresses the significance of autonomous and interconnectivity through advanced technology. On top of that, technology has been spread to the people globally. The existence of the internet helps people to expand their capacity as an individual. The aforementioned concept extends the role of individuals and society in international relations. This influence brings uncertainty to the traditional approach of International securitythus giving way for other viable approaches. This research utilizes the postmodernism approach as outlined by Jim George with a focus on the concept of Critical Social Movement by R.B.J. Walker to provide new insights for International Relations and security studies. This will be complimented several findings of security issues in the global south that illustrate the empowerment of individuals and society through the advancement of technology and their role in international security. With its emphasis on the role of individuals and society and its statement on the unpredictability of International Relations, this approach is, therefore, essential in comprehending the discourse of International Security in the era of industry 4.0.

At the beginning of the 21st century the conditio humana cannot be understood nationally or locally but only globally. This constitutes a revolution in the social sciences. The `sociological imagination' (C. Wright Mills) so far has basically been a nation state imagination. The main problem is how to redefine the sociological frame of reference in the horizon of a cosmopolitan imagination. For the purpose of empirical research I distinguish between three concepts: interconnectedness (David Held et al.), liquid modernity (Zygmunt Bauman) and cosmopolitization from within. The latter is a kind of class analysis after class analysis, which takes on board globalization internalized. For the purposes of social analysis, therefore, it is necessary to distinguish systematically between the national manifestation on the one hand and cosmopolitan reality of `global flows', currents of information, symbols, money, risks, people, social inequalities, on the other. This internal involuntary and often unseen cosmopolitanization from below of the national sphere of experience is occurring, however, with the power of economic globalization. So what does inner `cosmopolitanization' mean? The key concepts and questions of a way of life, such as nourishment, production, identity, fear, memory, pleasure, fate, power and politics, can no longer be located and understood nationally, but only globally whether in the shape of globally shared collective futures, capital flows, impending ecological or economic catastrophes, global foodstuff chains, transnational power games, or the `Esperanto' of pop music. In this article I look at transformation in the understanding of space-time, of identity, of the production paradigms, as well as at the resulting consequences for key sociological concepts like class and power and, within this frame, point to certain dilemmas of cosmopolitanism.

Revue française de civilisation britannique est mis à disposition selon les termes de la licence Creative Commons Attribution-Pas d'Utilisation Commerciale-Pas de Modification 4.0 International. ; International audience ; Commentators are unanimous about the important role of the UK in the 1970s in the history of popular music. Black Sabbath, Led Zeppelin, David Bowie , the Sex Pistols and the Police : perhaps no other country produced as many influential artistes in this decade. Yet there has generally been a separation between « serious » historical analyse s of the decade's social history and examinations of its musical legacy. This article attempts to look at the music in connection with the history of British society. What was changing about people's relationship to music ? What were artistes proposing to consumers, as entertainment, as philosophical or political discourse or as aesthetic rebellion ? ; Les commentateurs sont unanimes concernant le rôle important qu'a joué le Royaume-Uni des années 1970 dans l'histoire de la musique populaire. Black Sabbath, Led Zeppelin, David Bowie, les Sex Pistols, Police : quel autre pays a produit autant d'artistes influentes durant cette décennie ? Pourtant il y a souvent eu séparation entre les analyses « sérieuses » de l'histoire de la société et les examens de la musique qu'elle nous a léguée. Cet article est une tentative de voir la musique dans le contexte de l'histoire sociale. Quels changements étaient en cours concernant le rôle de la musique dans la vie quotidienne ? Que proposaient les artistes aux consommateurs, comme divertissement, comme discours philosophique ou politique, comme rébellion esthétique ?

Revue française de civilisation britannique est mis à disposition selon les termes de la licence Creative Commons Attribution-Pas d'Utilisation Commerciale-Pas de Modification 4.0 International. ; International audience ; Commentators are unanimous about the important role of the UK in the 1970s in the history of popular music. Black Sabbath, Led Zeppelin, David Bowie , the Sex Pistols and the Police : perhaps no other country produced as many influential artistes in this decade. Yet there has generally been a separation between « serious » historical analyse s of the decade's social history and examinations of its musical legacy. This article attempts to look at the music in connection with the history of British society. What was changing about people's relationship to music ? What were artistes proposing to consumers, as entertainment, as philosophical or political discourse or as aesthetic rebellion ? ; Les commentateurs sont unanimes concernant le rôle important qu'a joué le Royaume-Uni des années 1970 dans l'histoire de la musique populaire. Black Sabbath, Led Zeppelin, David Bowie, les Sex Pistols, Police : quel autre pays a produit autant d'artistes influentes durant cette décennie ? Pourtant il y a souvent eu séparation entre les analyses « sérieuses » de l'histoire de la société et les examens de la musique qu'elle nous a léguée. Cet article est une tentative de voir la musique dans le contexte de l'histoire sociale. Quels changements étaient en cours concernant le rôle de la musique dans la vie quotidienne ? Que proposaient les artistes aux consommateurs, comme divertissement, comme discours philosophique ou politique, comme rébellion esthétique ?

This study seeks to understand the media's relationship with the Jordanian national identity as a problematic case study in the path of building the modern Jordanian state. It also seeks to identity the role of the media in formulating the Jordanian national identity and the positioning of the identity in the contexts of the Jordanian media from a critical perspective that benefits from the heritage and literature of media cultural studies and from the media dimension of the public field theory.The study concluded that the media's relationship with shaping the Jordanian national identity throughout history is a thorny and vague one in most stages as a result of the nature of transformations undergone by the state and society and of the regional circumstances that have cast their shadow on the demographic identity of the Jordanian society. While the media-political vagueness has actually served the path of constructing the identity at some stages, it has currently lost this privilege.