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This article discusses the ways in which the dominated collaborate with their own domination, and it does it based on the ethnographic work of an investigation about the discursivity and the practice of the correctional pedagogy in an educational centre of Spanish juvenile justice. Establishing a dialogue between the concepts of symbolic violence by Bourdieu and that of moral career by Goffman, the article presents a double analytical approach that, first, elucidates the behaviours and staging of the inmates from a situated point of view and, secondly, inquires about how they somaticize the dynamics of subjugation of the prison regime. In this way, the paper explores the ways in which young people interpenetrate, or pretend to do so, with the perspective of themselves that confers the institution, in this case, one that expects to attend dangerous and violent individuals. That one labelling as a «young delinquent? seems to adopt the identity attributed to him and (re)presenting himself from that stigma. But other forms of obedience or participation are also discussed. Those forms that remain within the margins of control and the will of the inmates, and which respond to the coercive system of the total institutions. And others that insinuate a kind of subjection that attends to more subtle, continuous and inadvertent coercion: those unconscious dispositions that compel the dominated to unconsciously participate with their subjugation as an incorporated effect of the dynamics of domination itself. [ABSTRACT FROM AUTHOR]

Masculinity is culture's effect, a social construction and a performance, more than a universal and immutable essence. The hegemonic masculine model based on rigid gender difference and built on the stereotype of "macho" and male breadwinner, is doubted in the actual society. Contemporary art, as a social agent and as a powerful way of communication, contributes to questioning this model, by proposing new plural forms of masculinities. In this paper we develop a study about man images created in Spanish actual art, through an analysis of the work of local artists' selection. [ABSTRACT FROM AUTHOR]