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This paper demonstrates how the study of knowledge can strengthen the analysis of transnational corporations and globalisation through the case of the Walt Disney Company. Disney is emblematic because its prosperity is founded on both global and intergenerational reception, integration and consumption of its products and its imageries. Its transnational preponderance is observed by taking into account its socio-economically grounded power, its intertwined material and ideational universes and its multilayered knowledge structuring. Based on cultural studies methods, world-economy theories and sociological conceptual tools, we assess the Disney Company's ability to structure collective imagination, to orient behaviour and to favour new practices through its media contents, its entertainment activities and its diversified by-products. Consequently, this makes it possible to consider the material and ideational extent of the power of the company. Finally, the specific aspects of the knowledge structure are stressed, particularly its inherent inertia, its geo-cultural dynamics, its co-evolution with material structures and its polarisation around specific symbols, narratives and objects. By doing so, this research contributes to the intersection between the new field of Cultural Political Economy and International Political Economy in the context of globalisation of ideas and identities. Adapted from the source document.

AbstractAlthough many contributions examine how individuals and various entities (e.g., organizations and countries) manage to obtain a (competitive) advantage, there is a knowledge gap on how to make the best of disadvantages. Using notably the theories of self‐enhancement and psychological reactance, the existing literature has explained the mechanisms that can motivate and support an entity to get out from a disadvantageous position. We go further by addressing the "how" issues. We conceptualize disadvantages and adopt a provocative stance by showing how they can be transformed into valuable opportunities. Specifically, we document how being disadvantaged may be a driver of compensatory behaviors, effectual thinking, and innovation and serves as an emotional bond and in‐group marker. We also draw managerial and policy implications that offer a refreshing view on how to take advantage of disadvantages, such as changing the non‐market context and promoting the disadvantage as a market differentiation factor. As a caveat, adopting this stance should not be interpreted as a catch‐all solution that exonerates stakeholders from doing their part in providing support to disadvantaged entities.

"This book fosters critical reflection on Europe's place in a fast-changing global environment, covering the soft and hard facets of EU power along the spectrum of low politics-high politics. Taking an innovative case-study approach, it provides a wide understanding of European Studies and International Relations beyond classical power considerations and addresses the crossroads of the two disciplines. Fundamentally, it addresses the specificity of the EU as an actor in International Relations and shows that the EU holds power and influence - creating opportunities for peace-making and peacebuilding - in a way classical IR theory would suggest it should not. This book will be of key interest to scholars and students of European Studies, foreign policy analysis, International Relations, Security Studies, Political Science, History, Economics"--

La 4e de couverture indique : "Les sphères de la culture sont devenues incontournables pour comprendre les stratégies de puissance poursuivies par les industries culturelles et les gouvernements. Si l'essentiel de l'activité internationale en matière culturelle provenait, il y a encore une décennie, de l'Amérique, en particulier d'Hollywood, ce temps est bien révolu. Aujourd'hui, on assiste à une démultiplication des acteurs privés et publics et de leurs coalitions transnationales, tandis que les sphères numériques prennent une place prépondérante dans les luttes hégémoniques. D'une part, les pays émergents ont poursuivi une politique de développement réussie dans les sphères de la culture. D'autre part, les géants du web, les fameux « GAFAM », profitant de leur position dominante sur internet, ont investi les filières audiovisuelles. Hors de toute régulation internationale, ces nouveaux acteurs viennent rivaliser avec les puissances établies en vue de parvenir à concentrer une part de soft power. Ce sont donc ces univers profondément transformés que cet ouvrage se propose d'examiner."